Author Archives: Baron Lane

Ryan Adams Announces Live at Carnegie Hall LP – Out April 21

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Ryan Adams has announced his first live album, ‘Ryan Adams: Live at Carnegie Hall,’ will be released April 21 via his own label Pax-Am in partnership with Blue Note.

The digital / 6xLP 180G Deluxe Box Set, 42 track release captures a two-night run at Carnegie Hall last November. Included on the release will be “This is Where We Meet in My Mind” and “How Much Light”—that which have never been officially released. Adams will also release a condensed 10-song version of the live event on June 9, titled Ryan Adams: Ten Songs From Live at Carnegie Hall 0 available as a digital download, CD, or LP.

You can check out the full tracklisting at Adams’ website.

Here’s Adams performing “Oh My Sweet Carolina” from night two at Carnegie Hall:
https://www.youtube.com/watch?v=EP7-DbzCdUs

Ryan Adams: Ten Songs From Live at Carnegie Hall:
01 Oh My Sweet Carolina (11/15)
02 Nobody Girl (11/15)
03 New York, New York (11/15)
04 Sylvia Plath (11/15)
05 This is Where We Meet in My Mind (11/15)
06 My Wrecking Ball (11/17)
07 Gimme Something Good (11/17)
08 How Much Light (11/17)
09 Kim (11/17)
10 Come Pick Me Up (11/17)

Watch Adams perform “Oh My Sweet Carolina” from his second night at Carnegie:

Listen Up : Lydia Loveless – “I Would Die 4 U” (Prince)

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Lydia Loveless & Cory Brannan - 'Prince Covers Split Single'

Legendary Chicago roots music label Bloodshot pulled a great April Fools hoax last year when they announced that they would be bring 21 artists together to compile a “roughed-up roots take” of Prince’s music to be pressed on “purple swirl colored double vinyl LP set”

Turns out the joke was on them. People wanted the fake release.

As a treat for these fooled fans Bloodshot is releasing a purple (natch) 7″ containing a pair of Prince covers by Lydia Loveless and Cory Branan for Record Store Day.

The cover of “I Would Die 4 U”, from the seminal “purple Rain,” has all the emotional punch and punk-pop chops you would expect from Ms. Loveless.

Cory Branan recorded a version of “Under The Cherry Moon” from film of the same name. THe presser describes it as having “.. Matt Rowland’s illustrious piano-playing while Cory channels the creepy (erotic-yet-suicidal? The ’80s were weird.) bedroom R&B of the source material into a dingy Manhattan jazz lounge interpretation, sung with the fervor of Tom Waits doing The Phantom of the Opera. Oh, it’s dark, folks. Real dark.” Can’t wait.

“I Would Die 4 U / Under the Cherry Moon” 7″ single will be released via independent record retailers on Record Store Day, April 18, 2015.

Record Store Day 2015 – Americana and Roots Music Picks

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Record Store Day, the annual celebration of local record stores for aficionados of the antiquated data storage device known as vinyl will be taking place as always on the Third Saturday in April. For 2015 that means Saturday, April 18.

The crew behind Record Store Day have been the driving force for 8 years on what we’re now seeing as the explosive, and surprising, resurgence of vinyl releases. The most public example of this is last year’s Record Store Day ambassador Jack White’s the recent sales of his latest ‘Lazaretto’ setting a record for first-week sales by moving 40,000 vinyl copies. This eclipsed the previous long-standing record of about 33,000 held by Pearl Jam’s ‘Vitalogy.’

As overall music sales continue to decline , vinyl sales increased to 6.1 million in 2013, up from 4.6 million the year before. By comparison, total vinyl sales failed to reach even one million units in 2007.

As vinyl grows in popularity there’s is pressure on vinyl manufacturers, who like us all were caught off-guard by the resurgence. But shops like United Record Pressing based in Nashville, TN, the shop responsible for manufacturing White’s best-seller are expanding to meet the growing demand.

The demand for vinyl is partially due to it’s described ‘warmer’ sound, BUt the real drive behind Record Store Day is uniqueness and scarcity. Maay of the releases come on colored vinyl or as picture discs and many of the releases are produced in very limited runs, some totaling no more than a few hundred.

This stands in direct contrast to digital music’s hemogeny of sound and structure. an MP3 might be convenient, but it’s never scarce or unique.

Check out the Americana and roots selections below and take a look at the full list. Get to your favorite indy record early on April 18 (I’ll be at Good Records in Dallas) and share those great finds with me on Instagram and Twitter.

Asleep At The Wheel (with Willie Nelson and The Blind Boys of Alabama) – Unreleased single from ‘Still The King: Celebrating The Music of Bob Wills and His Texas Playboys’
Format: 7″ Vinyl
Label: Bismeaux Records
Release type: RSD Limited Run / Regional Focus Release
More Info:
RSD Exclusive single featuring bonus Asleep at The Wheel performances with Willie Nelson and The Blind Boys of Alabama not included on the Still The King album. Signed by Ray Benson, and numbered.
TRACKLIST: “New Spanish Two Step”/”The Devil Ain’t Lazy”

Bob Dylan – ‘The Basement Tapes’
Format: 12″ Vinyl
Label: Other Peoples Music
Release type: RSD Exclusive Release
More Info: The Basement Tapes recorded in 1967 while Bob Dylan recuperated and features many Dylan songs that had appeared on bootleg records prior to the “official” release in 1975. The recording took place in Woodstock and features four members of the Hawks (Rick Danko, Garth Hudson, Richard Manuel and Robbie Robertson – and one American, Levon Helm) better known today as The Band. Individually autographed and numbered by Garth Hudson.

Bob Dylan – ‘The Night We Called It A Day’
Format: 7″ Colored Vinyl
Label: Columbia
Release type: RSD Exclusive Release
More Info:
Limited Edition blue vinyl single featuring two songs from Bob Dylan’s newest release “Shadows In The Night”

Brandi Carlisle – special 7”
single of the new song “Wherever Is Your Heart” + B-side cover of Graham Nash’s “Simple Man”

Johnny Cash – Koncert v Praze (In Prague–Live)
Format: 12″ Colored Vinyl
Label: Legacy
Release type: RSD Exclusive Release
More Info:
Johnny Cash playing his greatest hits behind the Iron Curtain in 1983. Limited edition heavy weight vinyl release pressed on Soviet Red 180 gram vinyl.

Steve Earle & The Dukes – ‘Terraplane’
Format: 10″ Vinyl
Label: NEW WEST RECORDS
Release type: RSD Exclusive Release
More Info:
Steve Earle A-side version of Terraplane (a song not on the record) and a b-side of Robert Johnsons “Terraplane Blues”. Will be mastered at the level of Robert Johnson’s original recording. Most of the versions you hear today are remastered and the db’s are brought up. This one will be as close to the original 78 as possible. Includes download card.
TRACKLIST: A: Steve Earle “Terraplane” B: Robert Johnsons “Terraplane Blues”

Father John Misty – ‘I Love You, Honeybear’
Format: 7″ Colored Vinyl
Label: SUB POP
Release type: RSD Exclusive Release
More Info:
Father John Misty presents a lovely, acoustic version of the title track of his latest album, I Love You, Honeybear, along with a new, exclusive B-side, truthfully-entitled “Never Been a Woman,” on a colored-vinyl, heart-shaped 7”. This release is exclusive to Record Store Day, and it is limited to 5,700 copies worldwide. Includes download card.
TRACKLIST: “I Love You, Honeybear (Acoustic Version)”/”Never Been a Woman”
TRACKLIST: Side A: “The Night We Called It A Day” Side B: “Stay With Me”

Charlie Feathers – ‘Charlie Feathers’
Format: 10″ Vinyl
Label: Sundazed Music
Release type: RSD Exclusive Release
More Info:
Crazy, coveted rockabilly recordings from legendary wildman Charlie Feathers! Includes all eight of his King sides as originally issued in ‘56 & ‘57 – now rare and pricey 45s and 78s – with new notes from Colin Escott.
TRACKLIST: “One Hand Loose” / “Can’t Hardly Stand It” / “Bottle To The Baby” / “Everybody’s Lovin’ My Baby” / “Too Much Alike” / “When You Come Around”

Dom Flemons – ‘What Got Over’
Format: 10″ Vinyl
Label: Music Maker
Release type: RSD Exclusive Release
More Info:
10″ record with nine new tracks. “Included here on What Got Over, there are also a few alternatesto the main tracks I picked for Prospect Hill – versions in which I experimented with the sound and instrumentation but in the end they didn’t make the final cut. I sequenced this EP to be record two of two in conjunction with Prospect Hill. When you reach the end of this album you will have heard the whole Prospect Hill Omnibus! If you take both albums and make them into a playlist it will be a full hour of music.” – Dom Flemons
TRACKLIST: “Big Head Joe’s March”/”Milwaukee Blues”/”Clock On The Wall”/”Keep On Truckin'”/”Hot Chicken”/”Have I Stayed Away Too Long”/”Going Backward Up The Mountain”/”Til’ The Seas Run Dry”/”What Got Over”

Gram Parsons/Lemonheads – ‘Brass Buttons’
Format: 7″ Colored Vinyl
Label: Rhino
Release type: RSD Exclusive Release
More Info:
7″ 45 RPM Vinyl is Circle swatch splatter Bronze on Baby Pink. Part of Rhino’s now celebrated RSD exclusive Side By Side 7″ singles series. Two artists perform the same song. Surprising and unusual performances and repertoire.
TRACKLIST: “Brass Buttons”/”Brass Buttons”

Justin Townes Earle – ‘Live at Grimey’s’
Format: 10″ Vinyl
Label: Vagrant
Release type: RSD Exclusive Release
More Info:
TRACKLIST: Side A: Call Ya Momma, When the One You Love Loses Faith, Worried Bout the Weather, Single Mothers
Side B: Today and a Lonely Night, Burning Pictures, White Gar

Kenny Wayne Shepherd Band – ‘A Little Something From The Road, Vol. 1’
Format: 12″ Vinyl
Label: Concord
Release type: RSD Exclusive Release
More Info:
12″ vinyl featuring live smokin’ versions of classics from the recent Goin’ Home project as well as a couple extra blues nuggets.
TRACKLIST: 1. “Looking Back” 2. “House Is Rockin’” 3. “You Can’t Judge A Book By The Cover” 4. “Woke Up This Morning” 5. “You Done Lost Your Good Thing Now”

Robert Earl Keen – ‘Gringo Honeymoon’
Format: 12″ Vinyl
Label: Sugar Hill
Release type: RSD Exclusive Release
More Info:
Much anticipated vinyl issue of the Texas troubadour’s breakout 1994 release.

Lucero – ‘Jukebox Series #3’
Format: 7″ Vinyl
Label: Liberty & Lament
Release type: RSD Exclusive Release
More Info:
TRACKLIST: “Boom Boom”/”Midnight Special”

Mumford & Sons – ‘Believe’
Format: 7″ Vinyl
Label: Glassnote
Release type: RSD Exclusive Release
More Info:
Bootleg style 7″ hand numbered and hand stamped. First physical release of music from the upcoming album.
TRACKLIST: “Believe”/”The Wolf”

Willie Nelson – ‘Teatro’
Format: 2 x 12″ Colored Vinyl
Label: Modern Classics/Light in the Attic
Release type: RSD Exclusive Release
More Info:
* First time ever issued on vinyl for Record Store Day 2015
* Features duets with and backing vocals by Emmylou Harris
* Produced by Daniel Lanois (U2 Joshua Tree; Bob Dylan Time Out Of Mind; Emmylou Harris Wrecking Ball)
* Record Store Day exclusive featuring deluxe gatefold “tip-on” uncoated jacket and gold vinyl
* Limited to 5,000 copies

Location is everything. When Willie Nelson and album producer Daniel Lanois set out to create a cinematic-sounding album, Teatro, they took over a disused movie theatre in Oxnard, California, and pictured its dusty glory on the LP sleeve. Recorded as-live in situ amid the red velvet seats, Teatro sees Nelson working extensively with his frequent collaborator Emmylou Harris, who joins him for duets and on backing vocals on 11 of the 14 tracks. The other major player is U2 and Paul McCartney collaborator Daniel Lanois (producer of Bob Dylan’s Time Out of Mind, Emmylou Harris’ Wrecking Ball), who produces the album, plays guitar and bass, took the cover photo and wrote one of the album’s songs, “The Maker”, a stunning performance with glacier-thick vibe.

Originally released by Island Record in 1998, Teatro is issued here as a special Record Store Day release. LA and Seattle-based Light In The Attic present the album as it’s never been seen before – on vinyl. Pressed on gold vinyl with a deluxe, gatefold, ‘tip-on’ uncoated jacket, this is a chance to own this unique album in its most beautifully presented form.
TRACKLIST: Side A: “Ou Es-Tu, Mon Amour? (Where Are You, My Love?)”, “I Never Cared for You”, “Everywhere I Go”, “Darkness on the Face of the Earth”
Side B: “My Own Peculiar Way”, “These Lonely Nights”, “Home Motel”, “The Maker”
Side C: “I Just Can’t Let You Say Goodbye”, “I’ve Just Destroyed the World (I’m Living In)”, “Somebody Pick Up My Pieces”
Side D: “Three Days”, “I’ve Loved You All Over the World”, “Annie”

Okkervil River – ‘Sleep and Wake-Up Songs’
Format: 12″ Vinyl
Label: JAGJAGUWAR
Release type: RSD Exclusive Release
More Info:
Sleep and Wake-Up Songs is now being rereleased for Record Store Day, it’s first time pressed ever on vinyl. Including a demo of the EP track “You’re Untied Again” and the never before released song “Knocking Myself Out,” the EP reveals Okkervil River in-between the monumental albums Down The River of Golden Dreams and Black Sheep Boy. Band leader Will Sheff looked back to this EP, remarking, “I can hear in it somebody who is actually getting comfortable with singing, with playing the guitar, with letting music happen naturally.”
TRACKLIST: SIDE A: 1. A Favor 2. You’re Untied Again 3. And I Have Seen the World of Dreams 4. Just Give Me Time
SIDE B: 5. No Hidden Track 6. You’re Untied Again [Solo Sketch] 7. Knocking Myself Out [Home Recording]”

Reverend Horton Heat – ‘It’s A Rave-Up/Beer, Write This Song’
Format: 7″ Colored Vinyl
Label: Victory Records
Release type: RSD Exclusive Release
More Info:
Two brand new, previously unreleased tracks from Reverend Horton Heat on solid red 7″ vinyl with 150 randomly distributed clear pink copies.
TRACKLIST: “It’s A Rave-Up”/”Beer, Write This Song”

Simon & Garfunkel – ‘Homeward Bound/Leaves That Are Green’
Format: 7″ Vinyl
Label: Legacy
Release type: RSD Exclusive Release
More Info:
This collectible 7” 45rpm vinyl releases recreates the origina 1966 “Homeward Bound” single, pairing two essential Simon & Garfunkel cuts from that year: “Homeward Bound” (from Parsley, Sage, Rosemary and Thyme) and “Leaves That Are Green” (from Sounds of Silence). A Top 5 single in the US, “Homeward Bound” became a worldwide phenomenon reaching #4 in the Netherlands and #9 in the UK while going Top 20 in Australia and Sweden (where it hit #12). The cover for this RSD 2015 release is based on the German single artwork.

Dolly Parton – ‘The Grass is Blue’
Format: 12″ Vinyl
Label: Sugar Hill
Release type: RSD Exclusive Release
More Info:
Dolly’s seminal 1999 bluegrass debut, available for the first time on vinyl.
TRACKLIST: “Homeward Bound”/”Leaves That Are Green”

Todd Snider – ‘Impending Doom’
Format: 7″ Vinyl
Label: Aimless
Release type: RSD Exclusive Release
More Info:
The A-side of this RSD exclusive 7″ is a Rolling Stones cover, the B-side is an unreleased Todd Snider original.
TRACKLIST: “Shattered”/”Backlash”

st paul

St. Paul and the Broken Bones – Live From The Alabama Theatre
Format: 12″ Vinyl
Label: Single Lock
Release type: RSD Exclusive Release
More Info:
Covers of Sly and the Family Stone’s “Sing a Simple Song” and David Bowie’s “Moonage Daydream” recorded live at the Alabama Theatre on 11/14/14. Released on a 12″ transparent crimson record SHAPED LIKE THE STATE OF ALABAMA.
TRACKLIST: “Sing a Simple Song”/”Moonage Daydream”

Doc and Merle Watson – ‘Ballads from the Gap’
Format: 12″ Vinyl
Label: Vanguard
Release type: RSD Exclusive Release
More Info:
Fan-voted vinyl re-issue of the iconic release, re-mastered from the original tapes and presented in ‘exact replica’ packaging.

Bonnie ‘Prince’ Billy & Broeder Dieleman – Split 7″
Format: 7″ Vinyl
Label: Snowstar Records
Release type: RSD Limited Run / Regional Focus Release
More Info:
Bonnie ‘prince’ Billy & Broeder Dieleman cover and translate each other, after having toured together in the Netherlands in 2014. Broeder Dieleman is from the south of the Netherlands, and sings in Dutch. He translated Bonnie prince Billy’s ‘Three Questions’, while Will Oldham does his (translated) take of ‘Gloria’
TRACKLIST: 1: Bonnie ‘Prince’ Billy – Gloria 2: Broeder Dieleman – Drie Vragen

Junior Brown – Better Call Saul: Theme 7″
Format: 7″ Vinyl
Label: SPACELAB9
Release type: RSD Limited Run / Regional Focus Release
More Info:
TRACKLIST: “Better Call Saul”/”Better Call Saul (Instrumental)”

Giant Sand – ‘Valley of Rain (30th Anniversary Edition)’
Format: 2 x 12″ Vinyl
Label: Fire America
Release type: RSD Limited Run / Regional Focus Release
More Info:
Marking the 30th anniversary since Giant Sand’s debut album “Valley of Rain,” Fire America brings you this limited edition 2xLP 30th Anniversary Edition. The first disc is the lovingly re-mastered “Valley of Rain” in its entirety, with the addition of the track “Torture of Love,” which was added by Howe Gelb himself. The second disc features extra material recorded as Giant Sand and the pre-Giant Sand line up “Giant Sandworms,” including a “Valley of Rain” remix, a “repaired” version of “Tumble and Tear” along with five fascinating bonus tracks compiled from live and radio recordings from the time period.
• Limited to 500 copies for North America
• Liner notes from Howe Gelb.
TRACKLIST: Disc One: 1. Valley Of Rain, 2. Tumble & Tear, 3. October Anywhere, 4. Barrio, 5. Death, Dying & Channel 5, 6. Torture Of Love, 7. Down On Town / Love’s No Answer, 8. Black Venetian Blind, 9. Curse Of A Thousand Flames, 10. Artists, 11. Man Of Want
Disc Two: 1. Valley Of Rain – Remixed Instrumental, 2. Tumble And Tear – Repaired, + Five bonus tracks

Lydia Loveless & Cory Brannan - 'Prince Covers Split Single'

Lydia Loveless & Cory Brannan – ‘Prince Covers Split Single’
Format: 7″ Colored Vinyl
Label: Bloodshot
Release type: RSD Limited Run / Regional Focus Release
More Info:
Two never before released tracks. Physical Only, Purple Vinyl
TRACKLIST: Lydia: “I Would Die For You” Cory: “Under The Cherry Moon”

Lee Ann Womack – ‘Trouble in Mind’
Format: 12″ Vinyl
Label: Sugar Hill Records
Release type: RSD Limited Run / Regional Focus Release
More Info:
a limited edition 3-Song 12” vinyl – blues classic “Trouble in Mind,” Roger Miller’s demi-obscure “Where Have All The Average People Gone?” and Ralph Stanley’s bluegrass gospel “I’ve Just Seen The Rock of Ages.”

Various Artists – ‘Music To Drink Beer To’
Format: 12″ Vinyl
Label: Legacy
Release type: RSD Limited Run / Regional Focus Release
More Info:
Music To Drink Beer To is a limited-edition compilation put together by longtime friends Sam Calagione of Dogfish Head and Adam Block of Sony Music’s Legacy Recordings. Sam, who’s in the beer business and a raging music geek, and Adam, who’s in the music business and a raging beer geek, sat down over a few beers and a stash of well worn vinyl and picked some of their favorite tracks.
TRACKLIST: 01. “Please, Mrs. Henry”/Bob Dylan & The Band, 02. “Fishin’ Blues”/Taj Mahal, 03. “I Put A Spell On You”/Screamin’ Jay Hawkins, 04. “Gimmie Danger”/Iggy And The Stooges, 05. “Whiskey Bottle”/Uncle Tupelo, 06. “You Ain’t Goin’ Nowhere”/The Byrds, 07. “What Good Can Drinking Do”/Janis Joplin, 08. “Mannish Boy”/Muddy Waters, 09. “Scuttle Buttin’”/Stevie Ray Vaughan And Double Trouble, 10. “Surrender”/Cheap Trick, 11. “Juicy Fruit”/Mtume, 12. “Electric Relaxation”/A Tribe Called Quest

The Reverend Peyton’s Big Damn Band – ‘You Can’t Judge A Book…’
Format: 7″ Vinyl
Label: Daddy Kool Records
Release type: RSD Limited Run / Regional Focus Release
More Info:
The Reverend Peyton’s Big Damn Band has been creating a whirlwind with their riveting and unconventional elixir of muscular and high voltage country blues capped by gritty growling vocals and striking finger picking. Inspired by the likes of Charley Patton, Furry Lewis and John Hurt, Reverend Peyton is steeped in the great blues tradition but is catapulting its roots into a new era.
TRACKLIST: “You Can’t Judge A Book By Looking At The Cover” B/W “Some These Days I’ll Be Gone”

Chris Stapleton – ‘IN STEREO’
Format: 10″ Vinyl
Label: Mercury Nashville
Release type: RSD Limited Run / Regional Focus Release
More Info:
TRACKLIST: “When the Stars Come Out” “Fire Away” “Tennessee Whiskey”

The Waterboys – ‘Puck’s Blues’
Format: 10″ Vinyl
Label: Harlequin & Clown
Release type: RSD Limited Run / Regional Focus Release
More Info:
Home demos and acoustic tracks recorded in advance of the new album.
TRACKLIST: A1-November Tale, A2-I Can See Elvis
B1-The Girl Who Slept ForScotland, B2- Destinies Entwined

The Mavericks – ‘Mono’
Format: 12″ Vinyl
Label: The Valory Music Company
Release type: ‘RSD First’ Release
More Info:
Early vinyl release for Record Store Day, includes digital download

John Prine – ‘September 78’
Format: 12″ Vinyl
Label: Oh Boy Records
Release type: ‘RSD First’ Release
More Info:
A live record of John playing with a full band. There are loud guitar solos, funky organ playing and a couple of unreleased covers that will really surprise some folks.

Various Artists – ‘Sawyer Sessions Vol 1’
Format: CD
Label: Yep Roc Records
Release type: ‘RSD First’ Release
More Info:
The Sawyer Sessions started simple enough: new town, new building, new vibe. When the Yep Roc Music Group moved to Hillsborough, North Carolina two years ago, they wanted to find a way to integrate themselves into the creative juices flowing just beneath the surface of this historic, southern town. Named after their nearly 100-year-old office building, The Sawyer Sessions are one part video series, one part mobile recording lab, one part way to introduce the music group to their neighbors. But instead of bringing by a pie, they bring a collection of artists with diverse backgrounds and styles – Grammy Award winners, noted international songwriters, all legendary performers. They drop them into to everyday life situations and record them at restaurants, galleries and private homes – the only rule is that it has to be within the roughly 4.3 square miles of their new hometown. This record documents the best of those first year of performances and serves as a “map” of Hillsborough, North Carolina. Limited Edition Record Store Day Exclusive with hand-drawn cover art.

Bruce Springsteen – ‘Nebraska’
Format: 12″ Vinyl
Label: Legacy
Release type: ‘RSD First’ Release
More Info:
• Newly remastered on LP!
• Packaged in faithful recreation of original LP sleeves.
• Remastered from the original source tapes
• 180-gram audiophile vinyl
TRACKLIST: “Nebraska”, “Atlantic City”, “Mansion On The Hill”, “Johnny 99”, “Highway Patrolman”, “State Trooper”, “Used Cars”, “Open All Night”, “My Father’s House”,”Reason To Believe”

Watch Out : Whitey Morgan’s – “Waitin’ ‘Round To Die” (Townes Van Zandt) [VIDEO]

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Whitey Morgan’s “Waitin’ ‘Round To Die”

It takes guts to cover Townes Van Zandt. A musician will fall short of the original can take comfort that though they get leads of cred for choosing the legendary songwriter.

“Waitin’ ‘Round To Die” is one of Van Zandt’s darkest songs in a discography brimming with melancholy. A nameless drifter recalls abusive from his father, abandonment of his mother, drug and alcohol abuse, fast women and then a stretch in prison. All leading to a husk of man waiting for his new companion, codeine, to take his wretched life.

This is not a tailgate party ditty.

Townes’ first wife, Fran Petters, stated in the Townes documentary, “Be Here to Love Me, that “Waiting ‘Round To Die” was the first song Van Zandt composed during their marriage in Houston, Texas. My favorite version of the song was done Van Zandt on the extraordinary documentary of 1970’s roots music, :Heartworn Highways.” Townes lays the song his Austin, Texas home picking his guitar picking in his signature style as his neighbor and friend Seymore Washington sits nearby. At one point during the performance 75 year old Washington begins to weep.

This is the power of music.

Where’s Townes original was spare and spacious, Whitey Morgan fills the space with a Ennio Morricone-style arrangement swirling around his his Southern-soul baritone.

Whitey Morgan’s “Waitin’ ‘Round To Die” from forthcoming ‘Sonic Ranch’ – May 19th

Sony Music Nashville CEO Gary Overton is Right (And So What?)

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GaryOverton

When Sony Music Nashville CEO Gary Overton told the Tennessean, “If you’re not on country radio, you don’t exist.” it caused a minor kerfuffle between country music bloggers and country artists, like Aaron Watson and Charlie Robison, that felt they , and country msuic’s integrity, were in his contemptuous crosshairs.

I even took it apon myself to decry Overton’s statement on Twitter and retweet links to essays taking him to task.

But after some reflection, I am willing to concede that Overton is correct in his statement.

First context.

Overton made his incendiary remarks while attending the annual Country Radio Seminar in Nashville, where 2,424 attendees, exhibitors, panelists and sponsors came to discuss the future of the industry. That’s the Country Radio industry. Not the roots americana industry. Not the historical preservation of country music.

As with any trade convention quality was not the focus, unless there is a direct line between it and profits.

It’s about return on investment. Period.

No more clear symbol of this was the surprise appearance of Garth Brooks to announced the year’s Country Radio Hall of Fame inductees in both the Radio and On-Air categories.

Whether you like Brooks’ music, or believe he’s the beginning of genre cross-over hell and the end of everything that was good about country music (he wasn’t), with 8 Academy of Country Music awards and a RIAA (Recording Industry Association of America) listing of as the best-selling solo album artist of all-time (surpassing Elvis Presley) with 135 million units sold, he is the the gold standard by which radio play, record sales and concert attendance is measured.

Jimmy Rodgers mights be the father of country music, but Garth is it’s first superstar.

This is the ontological existence of which Overton refers. The world made possible by Garth.

When your music is no longer a nuanced craft and becomes a replicable commodity, you exist. If your personality and looks are a marketers dream, you exist. If your income far exceeds the label’s output, you exist. If you’re willing to run that gilded hamster wheel ad infinitum until the end of your short days, you exist.

If you’re willing to use your talents to grease the music row production machine, to achieve potential fame and admiration of millions, you exist.

Short of that piss off.

It’s not all gloom. When an industry behemoth refuses to adapt to customer tastes and industry trends alternatives spring up.

The Nashville Sound led to Buck, Merle , Willie and Waylon. The Urban Cowboy fab resulted in Dwight Yoakam, Steve Earle, Lyle Lovett and kd Lang.

Though these rebels were never fully integrated into the machine itself they did send waves into record sales and radio execs had take notice.

Now the so-called Bro-Country fad has Kacey Musgraves, Brandy Clark, Sturgill Simpson and Jason Isbell rocking the mainstream country boat.

But like McDonalds facing a healthier eating public, or Budweiser facing a less people willing to swill their sun-par product, Music Row can only partially assimilate. The assimilation will also lead to the application of the Garth standard of success, of existence, so songs will be optioned and the same flavorless production sauce will be slathered over extraordinary songs rendering them worthy of mainstream radio play and consumptions of an always shifting, faceless and fickle demographic.

So Overton is correct. By the Garth standard of rendering cultural artifacts into mass consumption radio fodder, most musicians don’t matter. Thier work or image doesn’t fit into the already prefabbed sonic and stylized containers.

But luckily the Garth standard is not the only one that counts.

There the already mentioned Bakersfield /Outlaw standard of creatively seeing untapped opportunities and bucking (hehe) conventional (and played out) trends.

There’s the model of artists like Buddy Miller, Jim Lauderdale, Gretchen Peters, Vince Gill, Chris Knight, Guy Clark and others that straddle the commercial and artistry territories without compromise.

There’s the vibrant and thriving Americana model that cultivates and champions the best of country music, and country music sourced genres , new and older talents. And has created a thriving , and lucrative, community.

And then there’s the Hank III model of giving the finger to Music Row and bringing in a whole new demographic from the ground up, to build a loyal, enthusiastic and sustainable fan base.

Some say the Garth standard of mega sales, and celebrity status, is dead, or dying, in a music industry in transition.

I certainly have no crystal ball telling me where all this is headed. But I take comfort is knowing that Overton and his ilk are on their heels as their concept of existence crumbles beneath them.

Or as singer/songwriter, and one-time potential Voice contestant, Jason Isbell so eloquently tweeted:

“Of course major-label execs are saying crazy things these days. Have you ever heard the kinds of things people say when they’re dying? ”

Jimmie Rodgers ‘The Father of Country Music’ Collection up for auction

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Jimmie Rodgers auction

Roots music history geeks, it’s time to break open those piggy banks.

Boston, MA based RR Auction will hold an auction offering a “diverse collection of material related to Rodgers’s life and musical career..”

The auction will total approximately 90 items, and will include letters, fabric (!), souvenir programs, newspaper clippings, and several signed and unsigned photos of the country music star and members of both the Rodgers and Bozeman families.

The jewel of the collection is a vintage matte-finish Victor Records publicity photo of Rodgers wearing a bowtie and boater hat, signed and inscribed in fountain pen, “To my dear little Aunt Dora, from your nephew with lots of love, Jimmie Rodgers.”

Additionally highlighted by a trio of handwritten letters:

The first, one page, dated October 12, 1913; letter to Uncle Tom, in full (spelling and grammar retained): “We are making a little money and having a good time to. I thing we will be in [Birmingham] Ala Saturday one time I hope all is well, tell all I said helo.”

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The second, one page, postmarked May 2, 1911; letter to Aunt Dora, in part: “You are well I hope. I will be down there during the fair, and I might stay up to the house sister and I are well how are you all and tell Talmage to write to me how is he. Well I will close I have got to eat supper at 6. Answer soon.”

The third, three pages, postmarked January 7, 1920; letter to Dora, in part: “I know I have been slow about writing to you but I have been going from place to place, and haven’t had time to write…and I am going to send your $10.00 dollars soon as I can possibly get it, but aunt Dora I have had to pawn my watch to get money to eat on. I have a very good job working between Delta Point La and Shreveport but having a hard time oh my…well aunt Dora I am going to stop, this train is running so blooming fast I cant hardly write as it is. Write me real soon and if you can spare $5.00 please send it to me.”

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Of additional note is a pair of scarce signed books from Rodger’s childhood. A copy of Goodrich’s New First School Reader (1864) and The Elementary Spelling-Book (1841), respectively signed on the inside of the front (Goodrich) and back (Elementary) covers in black ink, “Jimmie Rodgers.” Each book is individually presented in a picture box with nameplates affixed to the viewing glass and soft lining to the interior.

Also included in the treasures are a yellow crocheted bookmark, patch of red, white, and blue quilt, and red and white polka-dotted bandana; the latter of which was personally-owned and –worn by Jimmie Rodgers. Accompanied by a handwritten letter of provenance for the bandana from Anne Shine Landrum, Rodgers’s second cousin and is dated March 1, 2001.

The remainder of the lot includes a Jimmie Rodgers and Swain’s Hollywood Follies tour card, newspaper clippings, a pair of commemorative hats, a photo album which features approximately 45 personal images of family and friends, including legendary artists like Johnny Cash and Ernest Tubb; a VHS tape of The Singing Brakeman, Rodgers’s only film appearance; various Bozeman and Rodgers family correspondence and photos, including a wonderful cabinet photo of Jimmie and his two brothers, Walter and Talmage; and three portfolios that contain numerous letters, postcards, photographs, and a collection of six concert programs, including a Hank Williams Memorial show in Montgomery, Alabama, on September 20–21, 1954, and a Jimmie Rodgers Memorial Festival in Meridian, Mississippi, on May 19–26, 1990.

“This incredible collection of Rodgers memorabilia and intimate family keepsakes would make for a unique and instant focal point in any country music collection,” said Bobby Livingston, Executive at RR Auction.

Online bidding for the Hollywood Lifetime Collection Auction from RR Auction begins Thursday, March 12 – Wednesday, March 18, followed by a live auction on Thursday March 19, in Cambridge, MA, beginning at 1:00PM Eastern. More details can be found online at www.rrauction.com.

Listen Up! Sarah Gayle Meech – ‘Loneliest Place In Town’ Premier – Interview

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Sarah Gayle Meech
Photo by Amanda Van Sandt

Dont think of Sarah Gayle Meech as a country music revivalist. Like her musical peers Kacey Musgraves and Sturgill Simpson she’s the contemporary version of classic spirit. The spirit of honesty, human complexity and a little ass kicking bravado.

This is a spirit that Music City, in an effort to produce, replicate and deliver mass consumable cultural products, has abandoned by design. Too risky. If there’s anything big business hates it’s risk. But Sarah Gayle Meech is not afraid of risks. She appears to feed off of them.

Her inked physique, and rockabilly-ready style, puts her aesthetically at odds with the blonde cheerleader Music Row clones. She’s disruptive in looks and in talent, not willing to back down from hard topics and hard twang. She’s taking on the mainstream Bro-Country the way that Dwight Yoakam and Nanci Griffith took on the 80’s Urban Cowboy fad. Great songs, well played, that feel real.

Meech took time from preparing for her newest album release, ‘Tennessee Love Song’ March 31st, to answer a few questions.

Listen to ‘Loneliest Place In Town’ below.

Pre-order Tennessee Love Song

Twang Nation: With your shows at stages like Robert’s Western World and Layla’s Bluegrass Inn, you’ve become the honky-tonk queen of lower Broadway. This is not an easy crowd to impress. Take me through your music journey from California to this point.

Sarah Gayle Meech: Honky tonk queen, I love it! I’ve been in Nashville now 5 years from LA. Started playing lower Broadway almost 4 years ago. I dove into the Broadway shows because I wanted to learn more and play music for a living. When I saw the level of skill the lower Broadway musicians had, I was pretty floored. At any given time of the day, some of the best players in the world are down at those honky tonks playing a 4 hour show for tips. Pretty unreal, definitely like no other place in the world. I had done a good deal of singing and playing before moving to Nashville, but I was nowhere near the level of these musicians. After a lot of persistence and getting to know players, I started landing my own shows, that eventually turned into residencies at Layla’s Bluegrass Inn and Robert’s Western
World. I have tremendous respect for the players down there, and feel fortunate to have a home base.

TN: You were awarded the Female Outlaw of the Year 2nd Annual Ameripolitan Awards in Austin earlier this month. I know the awards founder (and your friend) Dale Watson’s interpretation of ‘Ameripolitan.’ do you think it’s distinct from country or Americana music?

SGM: Winning this award was a great honor. It’s so inspiring to see the passion of the fans and creators of this movement. I think what Dale is trying to establish with Ameripolitan is what country music used to be. When country music was defined by the sounds of Hank Williams, Loretta Lynn, steel guitars, fiddles. Nowadays, “country” music is stuff like Florida Georgia Line and Taylor Swift,
which is clearly pop/rock music. It seems a lot of fans are confused and are wondering what happened to “country” music, so many lines have been blurred. Ameripolitan is staying true to the traditional sounds and roots of country music by embracing the styles of honky tonk, rockabilly, western swing, and outlaw. In case you’re wondering what happened to real country music, Ameripolitan is the new home.

TN: “Tennessee Love Song,” your follow up to your debut ‘One Good Thing,’ was partially supported by Kickstarter campaign which was funded, and then some, by your fans. Why did you decide to go the crowd funding route, and would you do it again?

SGM: I’m an independent artist, 100%. Making an album can be very expensive. I funded the recording and mastering of the album on my own. When it came time to release the album, I needed help. That’s when I decided to give Kickstarter a try. I sat on the fence about running a Kickstarter campaign for awhile, the idea of failure freaked me out. But the more I thought about failing, the more I wanted to kick it’s ass. It was a successful campaign and has allowed me to launch Tennessee Love Song. The whole Kickstarter campaign was a lot of work, but very worth it. It also gave me a lot of inspiration to have the support of so many people, for which I am truly grateful. Yes, I would do it again.

TN: Like your debut you tapped Andy Gibson (Hank Williams III steel/dobro player) as producer and session man. What does he bring to the table that had you going back for a second helping?

SGM: Andy is a super talented musician and a good friend. I was introduced to Andy by Bob Wayne, heard the album they were recording and thought it sounded fantastic. His style of recording and playing doesn’t sound like anyone else’s, it’s unique with lots of character, exactly what I was looking for. We work well together and I get the creative freedom I need. He has a great ear and is proficient on many instruments.

TN: You co-produced on the new album, how did that change things?

SGM: This time around I chose all the players, wrote and arranged all the songs/ instrumentation…I was more hands on for this album. When I recorded my first album One Good Thing it was a huge learning process. Having one album under my belt helped me navigate better through the process of the 2nd one. I had a clear vision of where I wanted ‘Tennessee Love Song’ to go, and was able to
achieve it.

TN: You have said you are partially inspired by Southern Gothic literature. What
author inspires you most and why?

SGM: I like the characters and themes of Southern Gothic writing. Seriously flawed people in dark situations, but with an underlying charm. I’ve always been drawn to people with immense character and grit, and have the grace to carry it. Tennessee Williams and Flannery O’Connor are among my favorites, their stories and real life struggles resonate with me.

TN: What performer that has passed would you like to go back in time and share the
stage with?

SGM: Big Mama Thornton, that would be something!

TN: You are featured on on the new season on ABC’s Nashville. The programs has done a great job of being Music Row soup while sneaking in songs and cameos of some of underground Nashville’s best. How did that gig come about?

SGM: I was playing at Robert’s Western World one night and the producer of Nashville was there. He got my cd, and about a week later I got a call from the music supervisor saying they were interested in having me perform my ‘song One Good Thing’ on the show. The whole experience was really great, it was a pleasure being part of the show and working with the crew.

TN: You also has a song from your debut, ‘Sound of a Heartbreak’, featured on the FX TV series Justified episode 5, “Shot All To Hell.” Do you see television and movies
as a way to get in front of a different audience?

SGM: Definitely, it exposes you to new fans. As an independent artist, it’s a great way for my music to reach people all over the world. Justified is a great show, I
was really excited to hear my music on it.

TN: You’ll get to share the bill with Merle Haggard, as well as Wanda Jackson and others, at the first annual Ink n Iron convention in Nashville this summer. As the late Chris Farley might say, “That will be
awesome.” I assume that’s your take?

SGM: Ink and Iron is coming up August 7th through 9th…I am honored to be included in that lineup! Just being on the same lineup as Merle Haggard is seriously awesome.

TN: What’s next for you? Any secret projects?

SGM: I’m working on my home recording skills…I’ve got a long way to go, but I want to record an EP on my own, real primitive, stripped down. The wheels are already turning for album #3…oh, and I’m learning to play the drums. The journey continues!

MUSIC REVIEW: James McMurtry – ‘Complicated Game’

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james-mcmurtry-COMPLICATED GAME

The thing with masters is that they appear to wield craft with such aplomb that they give the illusion of effortlessness.

Texas singer-songwriter James McMurtry’s newest album, ‘Complicated Game’ builds on 2005’s ‘Childish Things’ and 2008’s ‘Just Us Kids’ to give just such musical mirage. But songwriting practitioners will assure you, this is a skill not easily acquired. It’s God given, Devil dealt or sweat earned.

Take, for example the album’s opener “Copper Canteen.” Though the song uses themes that Music City gleefully throws into commercial radio wood-chipper in McMurtry’s deft hands this small town serenaide is a broken hope chest. Inside are hard times, splintering generations, love, faith and hope backdropping simple pleasures like fishing, hunting, churching – hell there’s even a truck. It’s a nuanced and vivid emotional diorama of steadfast independance and weary pride.

“You Got To Me” finds McMurtry winding between a fall wedding and a woman that got under his skin before deciding to vamoose leaving him with ‘…all this empty down on top of me.” But
instead of a shattering heart pining away he’s left wiser as he declares ‘But I know a thing or two now.”

The rambling banjo and drums of “Ain’t Got a Place” fits nicely in this updated, expansively Buddhist version of the old hymn “This World Is Not My Home.” The released single ‘How’m I Gonna Find You Now’ is a beat-driven truckstop stomper is laced with what I think is a psychedelic banjo arrangement. While listening to the frenetic style of the song I was reminded of the opening chapters of HUnter S. Thompson’s Gonzo masterpiece “Fear and Loathing in Las Vegas.” You can imagine the good Doctor screeching “Turn the goddam music up! My heart feels like an alligator!” while sucking on a pint of ether.

‘She Loves Me’ is where ‘Complicated Game’ get’s it’s title. A romantic triangle is rationalized by one of the right angels with trepidation and bravado against a wonderful doo-wop build up.

Given his lineage the literary comparison to McMurtry’s songs are lazy, but I’m a lazy bastard. ‘Complicated Game’ is a 12 song .38 magnum opus of narrative excursions of a fading heartland and road weary hearts.

Though his way with a rhyme is legendary McMurtry is no slouch on the guitar, but on ‘Complicated Game’ it’s noticeably subdued to strummed or picked acoustic or muted slide electric.
The inclusion of accordion, mandolin, banjo, piano and organ.

No list of great songwriters would be complete without McMurtry, but his skill of writing wry, empathetic songs of working-class life, while keeping his political cards close to his chest, is getting better where you thought there was no room for improvement. ‘Complicated Game’ is a great album that will last over years of listening. My money is it’ll improve where in those quiet, surprising places where there’s no room for improvement.

Official Site | Buy

Mumford and Sons Announce New Album, ‘Wilder Mind,’ Gentlemen of the Road Stopovers

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Mumford & Sons

Mumford & Sons fans wait no more (get it?) the folk-rock british band that made tweed cool has details of their forthcoming third album, ‘Wilder Mind.’

‘Wilder Mind’ is produced by James Ford (Arctic Monkeys, HAIM, Florence & The Machine) will be released in North America through Glassnote Records on May 4. It features twelve new tracks, written collaboratively by the band in London, Brooklyn, and Texas. A few of the new songs were written and demoed at Aaron Dessner’s (The National) garage studios in Brooklyn. The band also returned to Eastcote Studios in London, where they recorded ‘Sigh No More,’ for further writing and demo sessions. The album was recorded at AIR studios in London.

From the release:

This new album marks a significant departure for the young British band from their previous records, 2009’s Sigh No More, and 2012’s Babel. The early sessions in New York and London witnessed a change in the band’s approach not just to writing and recording, but to texture and dynamics, too. There is a minimalist yet panoramic feel to the new album, whose sound Marcus Mumford describes as “a development, not a departure.” It came about by both accident, and by conscious decision.

“Towards the end of the Babel tour, we’d always play new songs during soundchecks, and none of them featured the banjo, or a kick-drum,” says Marcus Mumford. “And demoing with Aaron meant that, when we took a break, we knew it wasn’t going to involve acoustic instruments. We didn’t say: ‘No acoustic instruments.’ But I think all of us had this desire to shake it up. The songwriting hasn’t changed drastically; it was led more by a desire to not do the same thing again. Plus, we fell back in love with drums! It’s as simple as that.”

“It felt completely natural, though,” says Ben Lovett, “like it did when we started out. It was very much a case of, if someone was playing an electric guitar, drums were going to complement that best; and, sonically, it then made sense to add a synth or an organ. We chose instruments that played well off each other, rather than consciously trying to overhaul it.”

The album will be available to pre-order through the band’s website, http://www.mumfordandsons.com/.

Mumford and Sons 'Wilder Mind,'

Wilder Mind Tracklisting:
1. Tompkins Square Park
2. Believe
3. The Wolf
4. Wilder Mind
5. Just Smoke
6. Monster
7. Snake Eyes
8. Broad-Shouldered Beasts
9. Cold Arms
10. Ditmas
11. Only Love
12. Hot Gates

EDIT – Hear Mumford and Sons’ new electrified style in “Believe” below.

In support of ‘Wilder Mind,’ Mumford & Sons will embark on series of Gentlemen of the Road Stopovers.

Theses tow day events are a traveling music festival with an “eclectic and energetic roster of artists curated by the band themselves.” Mumford & Sons will headline the Saturday shows. The events will have a local focus “involving local businesses, venues, and, most importantly, local people will happen in and around the town. ”

About this year’s upcoming Stopover tour, Mumford & Sons said: “The Gentlemen of the Road Stopovers are all about live music. We get to put them on in towns not normally frequented by touring bands in busses or splitter vans. We deliberately look for towns that have something unique, or some vibe of which they are proud, explore them and enjoy what they have to offer.”

Like 2012 and 2013, these outdoor events will take place in carefully selected and unique locations internationally, and will feature a host of acclaimed acts including Foo Fighters, Alabama Shakes, My Morning Jacket, The Flaming Lips, and many others, including more to be announced. This year’s host towns include Seaside Heights, NJ; Waverly, IA; Walla Walla, WA; and Salida, CO.

Tickets will go on sale at 10 am local time on March 6th from www.gentlemenoftheroad.com/tickets. Please visit the website for all ticket details.

Mumford & Sons recently announced headline performances at this year’s Bonnaroo, Squamish, Reading & Leeds Festivals, Open’er Festival, Bilbao BBK Live, and Nos Alive Festival.

Mumford & Sons Gentlemen of the Road Stopovers

Seaside Heights, New Jersey, USA
June 5th + 6th – Mumford & Sons, The Flaming Lips, Alabama Shakes, The Vaccines, The Maccabees, Dawes, The Very Best, Jenny Lewis, Little May, JEFF The Brotherhood, Blake Mills + more TBA

Waverly, Iowa, USA
June 19th + 20th – Mumford & Sons, The Flaming Lips, My Morning Jacket, Dawes, Jenny Lewis, The Maccabees, The Very Best, Rubblebucket, JEFF The Brotherhood, Blake Mills + more TBA

Aviemore, Scotland, UK
July 31st + August 1st – Mumford & Sons, Primal Scream, Simian Mobile Disco, Ben Howard, Lianne La Havas, The Maccabees, Jack Garratt, Honeyblood + more TBA

Walla Walla, Washington, USA
August 14th + 15th – Mumford & Sons, Foo Fighters, The Flaming Lips, The Vaccines, Dawes, Jenny Lewis, TuneYards, James Vincent McMorrow, JEFF The Brotherhood, Blake Mills + more TBA

Salida, Colorado, USA
August 21st + 22nd – Mumford & Sons, The Flaming Lips, Dawes,
Jenny Lewis, The Vaccines, TuneYards, James Vincent McMorrow, JEFF The Brotherhood, Blake Mills + more TBA

Listen Up! Dorthia Cottrell – “Song For You” (Gram Parsons)

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Dorthia Cottrell

Dorthia Cottrell steps out of the din of her doom metal band, Richmond Virginia’s Windhand, to stroll the subtle climes of folk and Americana for her self-titled debut solo album (March 3)

Her take on Gram Parson’s “Song For You” (hear below) is a daring choice, and she pulls it off beautifully. A single, simple acoustic guitar strummed around her heart-breakingly expressive voice she gives Gram’s treasure a new lustre.

“Song For You,” a cover of Townes Van Zandt’s “Rake” and 8 originals comprise the album.

Pre-order here. Dorthia Cottrell first ever U.S. tour dates below.

Dorthia Cottrell Live Dates:
March 22 – Strange Matter – Richmond, VA (RECORD RELEASE)
April 29 – St. Vitus – Brooklyn, NY
May 5 – TBA – Marshall, NC #
May 6 – Crow and Quill – Asheville, NC #
May 7 – Poison Lawn – Knoxville, TN #
May 8 – tba – Nashville TV #
May 9 – Louisville, KY #
May 10 – Peoria Pizza Works, Peoria, IL #
May 11 – Liar’s Club – Chicago, IL #
May 12 – Cobra Lounge Chicago, IL #
May 13 – Afternoon In store at Indy CD & Vinyl #
May 14 – Night show at Melody Inn -Indianapolis, IN #
May 14 – Space Bar – Columbus, OH #
May 15 – Howler’s Coyote Café – Pittsburgh PA #
May 16 – Good Weekend – Allentown – PA #
May 17 – TBA – NYC #
May 18 – TBA – Philadelphia PA #
May 19 – Metro Gallery – Baltimore, MD #
May 20 – TBA – DC #
May 21 – TBA – Richmond #
June 14 – Suoni Festival – Montreal, QB

# – w/ Nate Hall