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He sings: “They just said, ‘Don't go, don't go’ / Well, all this leaving is neverending / I kept hoping for one more question / Or for someone to say, / ‘Who do you think you are? Album closer “One Fine Morning” takes on the same issue — riding out into the sunset — with different results.

Here, Callahan finds some small triumph in exile, deciding, “And for I am a part of the road / Yeah, I am a part of the road / The hardest part / The hardest part”.

All the while, he and his band, draw just the right notes of mourning and longing, piano and guitar, and atmospheric noise all coming together perfectly.

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As the article states, "Defense attorneys in Washington say that the clemency process -- the only route to freedom for the state's three strikes inmates -- is cumbersome and expensive," as "the state does not provide public defenders for clemency petitioners." Moreover, "defendants in some Washington counties still face life prison charges for strings of relatively minor crimes," according to Washington Defender Association director Christie Hedman.

She told the paper that prosecutors frequently use the threat of three-strikes sentencing "to extract a longer sentence than what otherwise might be imposed." However, Washington's decision to review three-strikes cases and grant clemency to unfairly sentenced offenders certainly represents a step in the right direction. Representative for Virginia, Robert "Bobby" Scott, took another small step forward on July 30, 2009, as the Virginian-Pilot reports ("Bill on Cocaine Sentencing Passes House Panel").

He has two expressions—one shyly, slyly neutral, the other a stanky guitar face—and two stage moves.

Sometimes he prances a little, like a kitten marching on a duvet, and sometimes he adds a sort of "move away from the mic to breathe in" maneuver, like in "Chocolate Rain." At his Duke Performances show Saturday night, he told two stories, an incomprehensible bit about a man in tiny running shorts and a dig at a local nightclub that shall remain nameless, because I have to live here.

The music underscores the importance of this realization, building in volume on a parallel path to the narrative’s climax.

Callahan is a storyteller, and he knows how to use his guitar and his pen in tandem to great effect. The gorgeous “Riding for the Feeling” — possibly the album’s finest moment — has Callahan saddling up to leave town once again, though he can’t find a convincing reason to go other than a sense of momentum.

Otherwise, Callahan stood still and stoically played his acoustic guitar on the stage of Baldwin Auditorium.

Electric guitarist Matt Kinsey sat over a rack of pedals, scraping his pick and riding the whammy bar, embellishing Callahan's patient wood grain with glistering squalls.

Bill Callahan always seems like the smartest guy in the room.


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