Sure Red Molly is an all female folk/newgrass trio. That’s incidental. The more important point is that they are a great folk/newgrass trio.
Red Molly – Laurie MacAllister (vocals, guitar, banjo), Abbie Gardner (vocals, guitar, Dobro, lap steel guitar), and Molly Venter (vocals, guitar,) who’s band came from a character in the Richard Thompson song “1952 Vincent Black Lightning,” echo a little Alison Krauss, a little The Mamas & the Papas, a lot of spirit.
That potent mix blended with sweet harmony has resulted in the band accumulating a sizable following of “Redheads.” as their fans are called.
“Clinch River Blues†is written by A.J. Roach the is the first track from Red Molly’s latest Red Album.
Song written by A.J. Roach. Video created by Asia Kepka.
Grammy nominations are a few months away but the topic of performers that might be up for an Americana Album of the year nomination – meaning releases between Oct. 1, 2013 and September 30, 2014 to be awarded on Feb. 8, 201 – has been a topic on my twitter feed lately. So I’ve decided to bring the speculation here.
First thing is not to get too nuts. Yes Sturgill Simpson and The Drive-By Truckers came out with excellent releases within the qualifying dates, but they are not known names in the mainstream, therefore not on a typical GRAMMY voters radar.Sure there have been some new artists that have broken through the national media consciousness, most notably The Civil Wars and Mumford and Sons, but these are the exceptions.
Granted there have been Americana AOTY nominees that have been welcome surprises. But nods towards promising new blood like John Fullbright (2013) or out-of-nowhere nominee like Linda Chorney are rare and , so far, have yet to snag the big prize.
No, the Recording Academy Voting Members like their Americana artists like their nominees they like they like their pre-awards restaurant, known and well-respected . Risk is a four-letter word in business and the GRAMMYS are about the business of music. Sure the organization does great work in the periphery to ensure music grows and is protected as a national treasure and heritage. The GRAMMYs telecast is a cultural trade show. Only the best are on display. And in the subjective world of music “best” means “sales.”
Of course sales in the Americana world is a rain drop compared to something like a Taylor Swift deluge, but there are charts for sales and airplay available if you dig a little. And for those not willing to dig the “best” defaults to “well known.” this is not a dig, it’s the artist’s responsibility to break through the din of music sameness to gain the attention of the voter if a GRAMMY is something they desire. And really, in the world of unit sales doesn’t “known” almost always results in ‘best?”
But sometimes the “best” in our little world doesn’t make it up to the big boys. Consider the lack of a nomination for Jason Isbell’s “Southeastern.” An album that made all the Americana, and many mainstream country, year-end lists last year. I was still hearing about that major oversight at Americanafest last month.
Luckily the known entities of Americana are still a cut above most genres and therefore often have some of the best music of the year.
Below are my picks for the 5 potential nominees with my pick for winner. There are a few dark horses I believe deserve to be in the running. Again, I do not vote for the GRAMMYS, just cover the event. I have no insider knowledge and will know the nominees and winners as you do.
Rodney Crowell – ‘Tarpaper Sky’ – This is the easiest pick of the bunch, As a 2013 Americana AOTY co-winner, along with Emmylou, Harris, Crowell already has the hearts and, more importantly, the attention of the Recording Academy Voting Members.
Carlene Carter – ‘Carter Girl’ – Nominated once in 1991 for the Best Female Country Vocal Performance GRAMMY for her throwback rendition of “I Fell in Love.” Carter has recently been working hard in support of her latest including a well-received stop at a GRAMMY Museum showcase.
Willie Nelson – ‘Band Of Brothers’ – It’s hard to ignore one of Willie’s best, and best selling, releases in years. With 11 GRAMMYs under his belt and a 2010 nomination for this category, alongside Asleep at the Wheel for ‘Willie and the Wheel,’ Willie has the gravitas and the goods to snag a nomination.
Jim Lauderdale – ‘I’m A Song’ – Lauderdale personifies Americana it it’s popular form as a representative of the Americana Music Association and as the acclaimed MC of their awards ceremony. He along with his musical and SiriusXM Outlaw Country co-host Buddy Miller, were nominated for this category last year for their collective release ‘ Buddy and Jim.’ He’s won 2 GRAMMYs first in 2002 with Dr. Ralph Stanley for “Lost in the Lonesome Pines” and his second for his “The Bluegrass Diaries” –
Rosanne Cash – ‘The River & The Thread’ – Cash released, what I consider, is the finest record of her career and was instantly heralded as a genre favorite. Critics from USA Today to this blog loved it. Radio loved it and, more importantly, fans loved it. Twelve GRAMMY nomination and one win for Best Female Country Vocal Performance for “I Don’t Know Why You Don’t Want Me” (1985) She’s well-known and respected in the hearts of the voters. Look for this one to win.
https://www.youtube.com/watch?v=bjMzrMeLJxw
DARK HORSE PICK
Sturgill Simpson – ‘Metamodern Sounds in Country Music’ – If there were a Nobel Prize for talent and genuineness in music Sturgill Simpson would get it for his latest. It’s a favorite across the Americana community and has perked up the ears of mainstream country music fans and blogs as well. Ideally ‘Metamodern Sounds in Country Music’ should win the GRAMMY for Country Album OTY. Hell, if Kacey Musgraves can do it why not?
Parker Millsap – ‘Parker Millsap’ – There’s no denying the buzz around this young Oklahoman. His performance at Americanafest resulted in a waiting line to squeeze in to a packed room and screaming on a Beatlemania level. And the hype lives up to the talent. Let;s hear it for the young bloods with old souls!
Nickel Creek – ‘A Dotted Line’ – Okay, Nickel Creek isn’t much of a dark horse. But after a seven-year hiatus (as a band, not as individual performers) will voters still recall their obvious greatness as they did when tehy received 4 GRAMMY nominations and won for Best Contemporary Folk Album for 2003’s ‘This Side?’
When discussing the pioneers and legacy of the alt.country movement Dallas’ Old 97s have to be on the short list of most influential, and enduring, roots rockers to ever till that field.
The band’s indy debut, ‘Hitchhike to Rhome,’ blasted onto the scene in 1994. Already cooked in was the roots-rock with a dash of pop ingredients that has served the band well over their 20-year career. Rhett Miller, already a solo veteran, displayed a deft hand at smart and catchy phrasing on songs like “St. Ignatius,†“If My Heart Was a Car,†and the album’s standout “Stoned,” that has made one of the most charismatic, and generous, front men going.
To celebrate the 20th anniversary of ‘Hitchhike to Rhome’ the excellent Omnivore Recordings continues their support of the Old 97s catalog (they released the ‘Too Far To Care’ reissue complete with demos (also available separately on vinyl as They Made A Monster), and the band’s sessions with Waylon Jennings) by reissuing the album as an expanded 2-CD and digital release. But wait there’s more! The album will also be released as on double vinyl LP for the first time with a limited edition first pressing on translucent orange vinyl!
From the presser:
“When band member and set co-producer Ken Bethea was revisiting the original tapes for this reissue, he discovered a treasure trove of eight extra tracks cut at the album sessions — many of which the band hadn’t even remembered recording. It seemed the perfect time to bring those previously unissued songs to light and add the tracks from their first four-song demo cassette to round out the early picture of the 97’s.
The 2-CD version of Hitchhike To Rhome contains the original album, coupled with a second disc of those 12 rare and unreleased tracks, many mixed from the original multi-tracks for the first time by longtime Old 97’s engineer Rip Rowan. The double LP features the LP on three sides with six of the recently unearthed tracks on Side 4. The download card included gives the buyer the complete 2-CD program. Both formats include rare photos, memorabilia and notes from Bethea.
Disc One
St. Ignatius
504
Drowning In The Days
Miss Molly
Dancing With Tears
4 Leaf Clover
Wish The Worst
Old 97’s Theme
Doreen
Hands Off
Mama Tried
Stoned
If My Heart Was A Car
Desperate Times
Ken’s Polka Thing
Tupelo County Jail
Disc Two
St. Ignatius (demo cassette version)
Drowning In The Days (demo cassette version)
Making Love With You (demo cassette version)

Stoned (demo cassette version)
Dancing With Tears (demo)*
Ivy (demo)*

Eyes For You*

Crying Drunk*

Victoria*

Old 97’s Theme Spgeddi*
Alright By Me*

Desperate Times*
LP TRACK LIST:
Side One
St. Ignatius
504
Drowning In The Days
Miss Molly
Dancing With Tears
Side Two
4 Leaf Clover
Wish The Worst
Old 97’s Theme
Tupelo County Jail
Doreen
Hands Off
Side Three
Mama Tried
Stoned

If My Heart Was A Car
Desperate Times
Ken’s Polka Thing
Tupelo County Jail
Side Four
Crying Drunk*

Dancing With Tears (demo)
Ivy (demo)*

Victoria*

Eyes For You*
Old 97’s Theme Spgeddi*
* Previously unissued
It seems with every Lucinda Williams release there is a cry of “her most personal album so far.†Allow me to carry on a tradition. Williams’ latest, her 11th studio album and the first for her own label Highway 20 Records, at least appears to be Lu’s most personal to date. Or at least her most personal album she could release that reflects where she finds herself in life
Of course if you’ve been following Lu for any length of time you’re used to her pentiant for starkly honest, take-no-prisoners songs. Much like the cover of “Down Where the Spirit Meets the Bone’ each release is like a slice from her heart as it takes it’s own unique journey.
“Down Where the Spirit Meets the Bone’ stretches across two bruised and battered discs/albums, delving deeply, and with clear-eyed gaze, into the human psyche, A place that few songwriters are brave enough, or wise enough, to travel. Little on to document and share.
But this is where the good stuff is.
If there’s a theme, no overt one but a wide marking, reflected in Williams’ adaptation of a poem by her father, Miller Williams. It comes in the sparse Spanish-guitar opener “Compassion.†Williams’ voice bares the marks of a hard truths. The gliding tempo frames a simple, earthly parable – In spite of perceptions have compassion for everyone you meet, because “you do not know what wars are going on/ Down there where the spirit meets the bone.â€
Other stand outs are “Protection,†a swampy-soul plea for refuge against encroaching menace. SImilar steamy style saturates the territorial tales of “West Memphis .”
‘Cold Day in Hell’ is a lovely cut from the POV of a scorned lovers’ lament of lessons learned that stops just short of the damage of bitter resentment.
Burning Bridges , with it’s jaunty beat and shimmery guitars, kicks off like a Steely Dan- style FM radio staple as a tale of regret gives way to resignation and a wash of roaring guitars.
“Wrong Number†is a sort of doo-wop book-end to her “Change The Locks” and her version of J.J. Cale’s ‘Magnolia’ gives an extra dimension of longing and carries Lu’s love of New Orleans.
‘Down Where the Spirit Meets the Bone’ is a result of a singer/songwriter crafting songs wrought from their life, not following a formula towards sales and charting. It’s an honest and sometimes brutal work, but it’s never dour as Williams describes much of the pain as a wizened observer setting markers and warnings created by a life lived.
Of course people being what they are all warnings and advice will be ignored and forgotten. And Lu will be right there with more great songs to beautifully, soulfully, remind us of what we already know.
Christian Lee Hutson, 24-year-old Nashville-via-Los Angeles roots singer-songwriter, has released a video for his song “Dirty Little Cheat” from his David Mayfield produced album “Yeah Okay, I Know” (Trailer Fire Records)
“Dirty Little Cheat” is a moody glitch-folk gem, or “bummer-core” as Hutson describes his sound, and the shadowy dark-hued video that reflects it fits its alienated dark heart perfectly.
Of the video’s production Hutson says “I met (director) Matt McCormack (Mack Productions) at the Valley of the Vapors festival in Hot Springs, AR after hearing of him through a mutual friend who had shown me some of his work. I asked if he’d be interested in making something for this song that was really precious to me and he pitched me this wonderful idea that plays exactly how he imagined it with his beautiful sister, Anna McCormack, who plays the bane of my existence.
We had a window of roughly 5 hours to shoot it, as I was in the middle of a tour that brought me through Hot Springs and had to drive to Fort Worth the following morning. I think my show wrapped up at 1 am so we must’ve shot the whole thing between 2 am and 7 am, at which point I hit the road. ”
Hutson has been touring throughout the year in support of his upcoming sophomore full-length release, Yeah Okay, I Know (Trailer Fire Records), including a Daytrotter session and an appearance in April at Communion Nashville, a monthly club night curated by Mumford and Sons’ Ben Lovett, sharing a bill with Johnny Stimson and Sturgill Simpson.
Hutson, who has shared many a stage with notable performers like Damien Jurado, Ralph Stanley and Father John Misty, worked with Grammy-nominated producer David Mayfield on the new album which you can buy from the link below.
“This is my hometown show!” Kacey Musgraves exclaimed from the stage near the start of her performance.
Though she had been on her current tour for several days in Texas this as close as Musgraves had come to her hometown. Musgraves cut her honky-tonk teeth in Golden TX. which lay a little more than 96 miles West of Dallas and many friends and family had come to see her at this special homecoming to celebrate a top-selling, Grammy-winning, chart-landing big-label debut and a tour of the world to support it.
Musgraves and her family were joined by a long-ago sold-out crowd of fans that formed a line that snaked around the side of the venue hours before doors were announced to open. Good ol’ boys, tattooed young gals and middle-age couples all stood boot-to-boot to catch country music’s newest star.
Credit Musgraves or her team for picking the Granada, and it’s capacity for roughly 800, for an intimate homecoming. She had recently rolled off an opening slot for pop-goddess Katy Perry, where the audience was treated to “Fire and dancing cats” and they were “shocked that we were a country band,” but the KatyCats eventually warmed up to them.
It’s easy to see why.
Though deeply steeped in country music’s traditional forms Musgraves has done what her predecessors like Dolly Parton and The Dixie Chicks had done years before. Worked traditional country music forms, and their strengths of storytelling, to build connections blended with contemporary sounds and dialect to appeal to a wider audience. All this without diluting the original spirit. This is no small task.
The 800 plus venue faced a stage that appeared set for a set for a larger production and might very well have been as much was probably used on the bigger venues she’s recently played.
The signature “acid western†motif of dusky western sky backdrop and neon cacti were on display to add just the right amount of kitschy fun. And her band’s Nudie style matching suits festooned with Christmas lights sealed the deal.
And a big show it was. Not big in the contemporary KISS-style circus definition of the word, but big in talent and heart.
From the opener “Silver Lining,” from her Grammy-winning 4th studio release ” Same Trailer Different Park,” she had the crowd enchanted. Donning a short skirt (she warned the front row to be careful with those phone cameras) cowboy boots, checked cotton shirt and fringed rhinestone wrist cuffs, she had the room as background accompaniment with the opening verse.
Woke up on the right side of rock bottom
You’re all out of pennies, and the well it done run dry
Light ’em up and smoke ’em if you had ’em,
But you just ain’t got ’em
Ain’t we always looking for a bluer sky
And it went that way the whole hour-plus show. Musgraves and her excellent band played ” Same Trailer…” nearly in it’s entirety as well as some choice covers and new songs at the encore.
Highlights were “Blowin’ Smoke,” which had the crowd answering back with the “Hey yeah” that gives the song it’s bluesy swagger. The non album track “The Trailer Song” which she premiered earlier this year ( “You might not have lived in a trailer, but I bet you has a nosey neighbor.”) was also a highlight as well as “Merry Go ‘Round” as Musgraves asked the crowd to use their cell phone lights to create a wonderful starry effect.
The covers were inspired as Dolly Parton’s “Here You Come Again ” fit her pop leanings and the Roger Cook, John Prine penned “Dance With You,” made famous by Texas legend George Strait shows she has a keen sense of great songs.
Her reggae-flavored working of “Step Off” folded nicely into Bob Marley’s positive vibe of “3 Lil’ Birds” to the crowd’s roaring delight and her version of Nancy Sinatra and Lee Hazlewood “These Boots Are Made For Walkin” brought the show to a steamy, rocking boil.
The finale has Musgrames and the boys circled around a single mic for an accapella version of Roy Rogers “Happy Trails.”
Years of playing live and penning quality songs for the likes of Gretchen Wilson, Miranda Lambert, Martina McBride and ABC’s Nashville have honed Musgraves into a sharp songwriter with an eye for common themes told in uncommon ways. Her “aw shucks” demeanor never come off as false or forced.
Will she have the staying power of loretta, Dolly or the pre-scandal Dixie Chicks? Time will tell. But one thing for sure, Kacey Musgraves is off to a hell of a start.
Set List:
Silver Lining
Stupid
Blowin’ Smoke
I Miss You
High Time
Here You Come Again (Dolly Parton cover)
The Trailer Song
Keep It To Yourself
Back on the Map
Mama’s Broken Heart (Miranda Lambert)
No Scrubs (TLC cover)
It Is What It Is
Dance With You – (George Strait cover)
Step Off / 3 Lil’ Birds (Bob Marley & The Wailers cover)
Merry Go ‘Round
My House
Encore:
Biscuits (new song – solo acoustic)
Cup of Tea (new song – solo acoustic)
These Boots Are Made For Walkin’ (Nancy Sinatra /Lee Hazlewood cover)
Follow Your Arrow
Happy Trails (Roy Rogers cover)
Ryan Adams has displayed some, um, irritation at being mistaken for Canadian pop-rocker Bryan Adams. He’s also been known to get bent out of shape when Bryan Adams songs are called out at his shows.
Well they’re nothing to be done about the former confusion the latter seems to have been remedied. During a Santa Barbara gig Adams (Ryan not Bryan) covered Adams (Bryan not Ryan) hit “Run To You.â€
After some playful banter about tempo-changes, fitted jeans and Lynyrd Skynyrd, Adams launched into the cover with no mention of what was to come.
And like most of his covers he not only nails it, he improves the song.
Lucinda William took to The Tonight Show with Jimmy Fallon, clad in badass black leather, to perform her new soul-soaked song “Protection.”
Lu gave a swaggering performance along her guitar-slinger the Wallflower’s Stuart Mathis. And as if it couldn’t get any better they were backed by Fallon’s house band, The Roots.
Fresh on the heels of his June-released, chart-topping Band of Brothers June, Willie is preparing a new FALL RELEASE.
Collaborating with Sister Bobbie, and performed with his regular band, Willie release an album of original songs “December Day” set for a December release (naturally.)
Willie told Billboard.com he has “about eight or nine originals” including “Back To Earth” and “I’ll Take You Home Again, Kathleen” as well a version of Irving Berlin’s “Alexander’s Ragtime Band.”
“I’ve been waiting to put one out with me and the band for a long time,” Nelson says. “These are songs we’ve been playing for a long time. I really like working with the guys we had for (‘Band of Brothers’) and anyone else I record with, but I really wanted to do something with my band, too.”
The title , “December Day” comes from a song featured on Willie Nelson’s 1971 release “Yesterday’s Wine.”
