Music Review: Dori Freeman – ‘Dori Freeman’ [Free Dirt Records]

dori freeman

picture- Kristin Horton

2016 is still a young year but The album that sets the mark is already released.

Dori Freeman’s splendid debut is a deft study on the hill and holler template crafted by the Carter family. Her sonic road winds through honky-tonks, coffee houses , and even classic pop, to deliver a surprisingly cohesive and enjoyable journey of style and influence.

In part the influences come Freeman’s upbringing in a musical family. Raised in the small, rural Appalachian independent city of Galax, Va. (population 7,042 as of the 2010 census) soaking in the sounds and cutting her teeth in her grandfather’s shop on the historic Crooked Road.

This self-titled debut, produced by Teddy Thompson (son of English folk/rock legend Richard) brings a contemporary spark to seemingly familiar territory. The sparse acoustic opener ‘You Say’ balances a women’s pining for affection, that ultimately will leave her “blue,” with her need for independence. Like Gillian Welch Freeman is not a belter, but uses her range in a beautifully nuanced that dips and sways as the song needs.

“Go On Lovin'” is a barroom lament of love lost that showcases Freeman’s aforementioned vocal style with a sublimely subtle yodel break in the chorus. Sanag with yearning over beautiful pedal steel, fiddle and piano accompaniment this will result in many tears in beers.

“Tell Me” and “Fine Fine Fine” are revamps of classic 60s lovesick pop confections that Lesley Gore would have killed to record. “Ain’t Nobody” has Freeman, accompanied by only finger snaps, has a very Peggy Lee “Fever” feel to it, though in this case it’s detailing the worker blues and not a steamy come-hither.

Dori Freeman is a sterling example of a new generation if roots influenced musicians . She has blessed us with an ambitious debut that defies, satisfies and proves that when an artist’s vision is unencumbered by chart placement or other arbitrary distractions a thing of beauty can be realized.

four-half-rate

Buy | Official Site

Listen Up! Sturgill Simpson – “Brace for Impact”

Sturgill Simpson 'Living The Dream' on Conan

Sturgill Simpson , the reluctant outlaw country music hero appears to be moving further and further way from that designation. Simpson took to Apple Music’s Beats 1 with host Zane Lowe to preview his brutally gritty new single “Brace for Impact,” The singer/songwriter also let it be known his new album’s title, ‘A Sailor’s Guide To Earth.’

Simpson tells Lowe he made A Sailor’s Guide to Earth for his son, and it represents the next steps in his own personal musical evolution.

Never afraid to take a risk Simpson says “If you take a chance and try to progress a little bit, which for me is what it’s all about — I already made Metamodern, so I didn’t want to make another psychedelic country record,” he says. “But as soon as I open my mouth, it’s always going to be a country record. You’re always a little nervous because people might expect more of the same or they might not be as willing to take the journey with you, but I think any of the true fans probably wouldn’t expect anything less.”

On March 2, Simpson shared on social media an intriguing illustration that may well be the cover his upcoming album. Nope, actual cover updated:

Sturgill Simpson - A Sailor’s Guide To Earth

A SAILOR’S GUIDE TO EARTH TRACK-LISTING:
1. Welcome to Earth (Pollywog)
2. Breakers Roar
3. Keep It Between The Lines
4. Sea Stories
5. In Bloom
6. Brace For Impact (Live A Little)
7. All Around You
8. Oh Sarah
9. Call To Arms

“Brace for Impact,” moved more the the garage rock direction of “Sugar Daddy,” Simpson’s theme for HBO’s Vinyl, rather that the Bakersfield sound on peyote of Metamodern. Funked up splashes of Hammond organ, Simpson delivers a carpe diem message of kindness with swelling guitars and synth bass crashing around.

Still no word on a release day. Release date in April 15th.

STURGILL SIMPSON TOUR DATES
May 5—Austin, TX—Austin City Limits Live at the Moody Theater
May 6—Austin, TX—Austin City Limits Live at the Moody Theater
May 7—Dallas, TX—The Bomb Factory
May 10—Houston, TX—White Oak Music Hall
May 11—Oklahoma City, OK—Criterion Theater
May 16—Lexington, KY—Lexington Opera House
May 17—Lexington, KY— Lexington Opera House
May 18—Chattanooga, TN—Tivoli Theater
May 20—Knoxville, TN—Tennessee Theater
May 21—Indianapolis, IN—Egyptian Room – Old National Centre
May 22—Louisville, KY—Louisville Palace
June 2—Royal Oak, MI—Royal Oak Theatre
June 3—Chicago, IL—Riviera Theatre
June 4—Milwaukee, WI—Riverside Theater
June 5—Minneapolis, MN—First Avenue

Listen to the song and Simpson’s interview with Lowe below.

Watch Out: Jason Isbell and the 400 Unit Performs ‘If It Takes A Lifetime’ on The Late Show

Jason Isbell - "The Late Show"

Stephen Colbert continues the Letterman legacy of supporting great roots music by inviting Grammy winner (so badass saying that) Jason Isbell and the 400 Unit took to the storied Tonight Show stage to perform a rowsing ‘If It Takes A Lifetime’ from our #1 choice of 2015 “Something More Than Free.”

https://www.youtube.com/watch?v=KlBDlPPZBE8

In the technology is stupid department; An attentive viewing fan tweeted a screen cap (below) some discrepancies with the closed caption system and Isbell’s lyrics. I think I founf where they copied and pasted those alternate lyrics.

Screen Shot 2016-02-26 at 5.29.13 AM

Listen Up! Ashley Monroe – ” Like A Rose” Live At Third Man Records

Ashley Monroe - " Like A Rose"  Live At Third Man Records
Photo by Angelina Castillo

Last spring Ashley Monroe took to the intimate stage of the Blue Room at musician-producer Jack White’s Third Man Records to play songs , some from from her upcoming album, The Blade, to a room of mostly industry folks in Nashville for the annual Music Biz (Music Business Association) conference.

Monroe is the name, and she’s no stranger to the stage of our Blue room. The first time Ashley Monroe sang at Third Man Records, it was with Wanda Jackson for her “Live at Third Man Records,” LP released as part of Third Man Records’ Vault Package #9.

The next time she sang at Third Man Records, it was with Willie Nelson for his special 80th Birthday CMT Crossroads Live at Third Man Records performance, released as Vault Package #17. The last time Ashley Monroe sang at Third Man Records, it was May 2015 to record her very own Live at Third Man Records 12″ LP, recorded direct-to-acetate in the Blue Room.

Monroe first worked with White when she sang, alongside Ricky Skaggs. on The Raconteurs song ‘Old Enough.’

‘Like a Rose’ is from Monroe’s second studio album. This version can found on ‘Ashley Monroe – Live At Third Man Records” is available for pre-order now. The record will be released and available next Friday, February 26th.

Read the Rolling Stone coverage of this special event.

TRACKLIST
Side A:
1. Like A Rose
2. Dixie
3. The Blade
4. Weed Instead of Roses
5. Bomshell

Side B:
7. On To Something Good
8. Satisfied
9. Has Anybody Ever Told You
10. I’m Good At Leaving
11. Hickory Wing (Gram Parsons)

T Bone Burnett, Gillian Welch & David Rawlings will receive Berklee American Master Awards at Music City Roots

Gillian Welch

Berklee College of Music will present American Master Awards to legendary record producer, songwriter and recording artist T Bone Burnett, as well as the acclaimed roots duo of Gillian Welch and David Rawlings on a special Tuesday night edition of Music City Roots, the variety weekly music broadcast from the Factory in Franklin, TN. The show, set for March 15, 2016, will feature performances by outstanding all-star Berklee alums Sierra Hull (’11), Liz Longley (’10) and Maureen Murphy (’99). Berklee alumni Welch and Rawlings will perform as well, closing the show following presentation of the awards.

Berklee at Music City Roots, Live at the Factory is open to the public and tickets will be available at musiccityroots.com. The show will air on participating public radio affiliates around the country on a future date.

The American Master Award is presented by Berklee to industry leaders whose openness, generosity and deep commitment to music education have made a positive impact on the lives of young musicians, providing them opportunities to grow as artists and leaders. Past recipients of the award include Grand Ole Opry Manager Pete Fisher, drummer Eddie Bayers and recording executive Jim Ed Norman.

“We’ve enjoyed the music of quite a few Berklee graduates and students on Music City Roots over the years, and we know what an important role the college has played in supporting roots and Americana artists to develop fresh and original takes on tradition, so this special show means a lot to us,” says the show’s journalist and artist interviewing co-host Craig Havighurst.

Gillian Welch, along with her singing, guitar playing partner David Rawlings, both Berklee class of 1992, made an immediate impact on American music with the release of their 1996 album Revival. Since then, they’ve released a string of acclaimed albums that update the atmosphere of Appalachian folk music and participated in key milestones of Americana, including the O Brother, Where Art Thou soundtrack of 2001. T Bone Burnett produced Welch and Rawlings’ first album and the O Brother soundtrack, plus dozens of other recordings by artists as varied as Los Lobos, Ralph Stanley, Elton John and Diana Krall. He has been a member of Bob Dylan’s Rolling Thunder Revue, a Grammy-nominated recording artist and an enabler of numerous careers.

The March 15 show and award ceremony coincides with and celebrates Berklee’s Nashville trip, now an honored annual tradition. For 31 years, a group of Berklee students has spent its spring break in Nashville, getting deep music industry insight through clinics and workshops with accomplished alumni artists, songwriters, producers and engineers. The trip, which began with five students, has grown to more than 100 students per year and is led by Pat Pattison, professor of songwriting, and Stephen Webber, program director for the Music Production, Technology and Innovation Program at Berklee’s campus in Valencia, Spain. More than 3,000 students have attended the program since its inception. Longley and Hull participated in the Nashville trip as Berklee students. Welch and Rawlings first connected and started playing together as a result of the trip.

“This feels like a homecoming and a new beginning at the same time,” said Berklee President Roger Brown. “We’re thrilled to recognize T Bone, Gillian and David for their immeasurable contributions to music here in Nashville where so many Berklee alumni have become integral to the music community, and to forge a partnership with Music City Roots, a show that is so important to the tradition of live radio.”

The show will be webcast free via Livestream at 7:00 p.m. central at www.musiccityroots.com.

Listen Up! Caleb Caudle – “The Reddest Rose”

Caleb Caudle

“The Reddest Rose” is a dobro-dusted cut that has Caudle’s country heroes’ influences branded all over it. A little Gram Parsons melancholy, a shade Merle Haggard roughness with an ear for melody reminiscent of Lyle Lovett.

There’s a river I see that runs beside me, and I long to feel it’s water start to cool. Seems like what I run to the quickest, only leaves me blue.” Caudle sings in his road weary baritone in a away you know there’s truth in it.

“The Reddest Rose” is from the album ‘Carolina Ghost’, out Feb. 26 on This Is American Music label. Pre-order here.

Caudle says of ‘Carolina Ghost’:
”This record is all about making life changes and coming home,” says Caudle, who co-produced Carolina Ghost with longtime collaborator Jon Ashley (Avett Brothers, Dawes, Band of Horses). “I kicked booze about a year and a half ago and moved back to North Carolina and fell in love. So it all feels like a new start, really.”

Upcoming Caleb Caudle Tour Dates

Feb 24 The Cave Chapel Hill, NC
Feb 25 The Garage – Winston-Salem, NC (*Carolina Ghost Release Party*)
Feb 26 Slim’s – Raleigh, NC
Feb 27 The Evening Muse – Charlotte, NC
Mar 02 House Show – Richmond, VA
Mar 03 Club 603 – Baltimore, MD
Mar 04 Rockwood Music Hall – New York, NY
Mar 05 Maybelle’s – Washington, D.C.
Mar 10 Venkman’s – Atlanta, GA
Mar 12 Standard Deluxe – Waverly, AL
Mar 13 Callaghan’s – Mobile, AL
Mar 14 House Show – Baton Rouge, LA
Mar 15 The Mucky Duck – Houston, TX
Mar 20 The Basement – Nashville, TN
Apr 1 Jammin’ Java – Washington, DC
Apr 9 The V club – Huntington, WV (*W.B. Walker’s Old Soul Radio Show: 3 Year Anniversary*)

Top 6 Roots Music Moments at the 2016 Grammy Awards

58th-Grammy-Logo

Grit, heart and soul found it’s way between the sequins and glitter of the 58th Grammy Awards in Los Angeles. Folks that have been bustin Asa’s for years, and sometimes decades, get recognition (and hopefully a bump in music and ticket sales) and a chance to stand toe-to-toe with ther accomplished msusiaans and remind the sometimes jaded industry audience why music will always tie us into a shared human condition.

Here are some highlights:

The Steeldrivers

After four nominations The SteelDrivers proved the fifth time is the charm. The Nashville-based bluegrass badasses won thier first Grammy for Best Bluegrass Album for their fifth realese ‘The Muscle Shoals Recordings.’
The critically-acclaimed album debuted at #1 on the Billboard Bluegrass Chart and achieved the highest first-week sales in the band’s history.

Béla Fleck & Abigail Washburn’s eponymous album picks up the well-deserved Best Folk Album Grammy.

http://youtu.be/WV-Z1cfcVl8

The excellent documentary ‘Glen Campbell: I’ll Be Me” wins Best Compilation Soundtrack For Visual Media.

Chris Stapleton, Gary Clark Jr., and Bonnie Raitt play steal the show with this BB King tribute.

http://youtu.be/soijapAt6no

Aside from being part of the great tribute Chris Stapleton snagged 2 statues
Best Country Album (for Traveller) and Best Country Solo Performance (for the album’s title track). He shared the spotlight with producer Dave Cobb. He even called Taylor Swift out for “glitter bombing” him.

Jason Isbell made up for the snub of his 2013 ‘Southeastern’ by winning 2 Grasmmys during the event’s pre-telecast. Best Americana Album for ‘Somethng More Than Free’ and Best Americana Roots Song for ’24 Frames.”

Isbell thanked his wife, singer, songwriter Amanda Shires, who provides harmonies on the track; his manager Traci Thomas, his long-time band, the 400 Unit; producer Dave Cobb and those who voted mentioning humbly “It’s a real honor” to accept the award. At the end of his speech, Isbell also thanked Muscle Shoals, Ala., for “teaching me how to play music.”

Well done sir, no one deserves it more.

See Jason Isbell Pick Up His Grammy For Americana Song of the Year

Jason and Amanda Isbell

In an effort to bring viewers closer to the experiment the trophies for the 58th Grammys comes with a installed with a tiny, wireless (removable?) camera installed on the stand. Here we see statue cam POV, Jason Isbell taking the algae for his well-deserved Americana Roots Song of the Year win for “24 Frames.”

YiIt’s natural that you can hear a but of nerves as he’s listing his thanks to those that helped get him there, but he gets it done.

The pic above is from singer, songwriter, and Jasons’ wife Amanda Shires Isbell”a Facebook account.

It really says it all doesn’t it?

Isbell picked up a second statue for Best American Album for ‘Something More Than Free.”

https://www.youtube.com/watch?v=02JPhLXUrgg

Listen Up! Sturgill Simpson, “Sugar Daddy,” from HBO’s Vinyl

Sturgill Simpson - 'Turtles All the Way Down'

Listen to a psychedelic fuzzed out new song by Sturgill Simpson, “Sugar Daddy,” from HBO’s Vinyl. No twang to be found here.

This is sure to divide critics and fans alike that have come to connect Simpson with an outlaw country aesthetic. But there’s a bunch of garage rock fans that will dig it. Jack White, are you listening? One things for sure, Simpson continues to follow his own path.

“Sugar Daddy” will appear as a main theme to the show and on the first volume of songs on the soundtrack. The song will not be on his major label debut, expected sometime this year.

Listen Up! Brad Armstrong – ‘Cherokee Nose Job’

Brad Armstrong

Brad Armstrong is an auteur of atmosphere. On his newest release the guitarist, keyboardist and vocalist of the post-Southern rock band the Dexateens is working in the darker areas of the human psyche and the relationships and culture it forges to cast those shadows.

On ‘Cherokee Nose Job’ A strummed acoustic guitar gives no tell of the grizzly scene being set.

“Drew my best hunting blade, through my long, lost lovers face, and I sent her in the street to make amends.”

Slide dobro and electric guitar snakes around, refrains then bursts into a rushing torrent of feedback, bloodlust and righteous indignation.

Armstrong says of the song:

“CNJ is one of the more violent and harsh songs I’ve written. The plains Indians had a thing where if a woman were found to be cheating on her husband, they would slit her face open, up her lips and through her nose, so the rest of the tribe could see what part of her got her in trouble. The husband would do it. Stephen King had a riff about it in his novella Rage, which has stuck with me since I read it, at about age 14 or so. I just got to thinking about this Jim Jones kind of dude, like in Dogs of God by Pinckney Benedict, making his crazy family up in the mountains, and how he would probably do something like that. I had originally started doing a whole record about this crazy dude, but scrapped it. There are three tunes that survived from this project: CNJ, Deep Water, sung by Maria Taylor, and Shrines. I decided not to run them together in the sequence or anything, but those three go together.”

‘Cherokee Nose Job’ is from Brad Armstrong latest release “Empire.” Two songs from the album have been placed on the Audience Network’s show “Kingdom” as well as ABC’s hit show “Nashville”.

Pick it up here.

https://soundcloud.com/cornelius-chapel-records/07-cherokee-nose-job?in=cornelius-chapel-records/sets/brad-armstrong-empire