Country Music Gains Ground In Ringtone Sales

We all know that ringtones are the new 45 rpm and it appears that country music is gaining some ground in the sales of “polyphonic,” synthesizer-like reproductions of a melody, and the much more popular “mastertone” or “realtone” format, which is excerpted from an actual recording. according to Nielsen RingScan, mastertone buys accounted for 91 percent of ringtones sold last year in the United States.But so far, the big money is not quite there:

“Ringtone royalties are minuscule in the overall scheme of things,” Todd Ellis, Licensing Manager for Sony/ATV Music Publishing said. “Compared to CD sales, they’re still rather small. But they are gaining some significant income, especially in the pop and R&B worlds. Country has been a little bit slow to catch up. The really large [Country] hits will do well, ringtone-wise, for income, but the big money is still with R&B and rap songs. Ballads don’t usually do as well as ringtones because they don’t sound as good as upbeat songs that have a real catchy chorus or a cool intro.”

Apparently being hip enough to use your phone as a lame music player does not automatically mean you have forward thinking taste in music as Rascal Flatts and Carrie Underwood lead in country music sales of mastertone rings. No thanks, I’ll stick with my Willie Nelson “On The Road Again” ringtone when you hit me, yo.

Glen Campbell and Old Crow Medicine Show Ready New Releases

Country music icon Glen Campbell is set to release an album of cover songs that have “personally moved and inspired him.”

The ironically Titled “Meet Glen Campbell” (c’mon, it’s a covers album, is the listener really meeting Campbell?) will include Travis’ “Sing,” Tom Petty’s “Angel Dream” and “Walls,” The Replacements’ “Sadly Beautiful,” U2’s “All I Want Is You,” The Velvet Underground’s “Jesus,” and Jackson Browne’s “These Days,” among others.

Recorded in March and April at The Recording Studio and Jim Henson Studios in Los Angeles, Meet Glen Campbell is produced by Julian Raymond (Rosanne Cash, Fastball, Shawn Mullins, Wallflowers) with engineer/co-producer Howard Willing. The album  features musical contributions by Campbell contemporaries as well as younger rock and alt-country artists who joined him in the studio, including Cheap Trick’s Robin Zander, Roger Joseph Manning, Jr. and Jason Faulkner from Jellyfish, and Chris Chaney from Jane’s Addiction. Campbell’s sons and daughters, who regularly perform with their father, recorded backing vocals for the tracks.

Meet Glen Campbell full track list:
1.  Sing [Travis]
2.  Walls [Tom Petty & The Heartbreakers]
3.  Angel Dream [Tom Petty & The Heartbreakers]
4.  Times Like These [Foo Fighters]
5.  These Days [Jackson Browne]
6.  Sadly Beautiful [The Replacements]
7.  All I Want Is You    [U2]
8.  Jesus [Velvet Underground]
9.  Good Riddance (Time Of Your Life) [Green Day]
10. Grow Old With Me [John Lennon]

Also in new release news Old Crow Medicine Show  are set to release Tennessee Pusher on September 23rd.Listen to the first single “Caroline” at the band’s MySpace page.

Glen Campbell in Concert-Wichita Lineman

[youtube]http://www.youtube.com/watch?v=k9x_1Ri3XxE[/youtube]

No Depression Is Dead, Long Live No Depression

No Depression magazine, the bible of alt/roots/country/Americana music and lifestyle for thirteen years is making a comeback of sorts. Nodpression.com will be relaunched in late September and will be edited by the magazine’s founding co-editor Peter Blackstock and will include regular blogs by many of the magazine’s most frequent contributors, including Blackstock and fellow founding co-editor Grant Alden.

The new site will also include record reviews and live reviews, features on emerging artists, news updates, the current web site’s popular upcoming-releases list, reader-participant discussion forums — and, perhaps most significantly, a vast and cross-referenced archive featuring almost all the content from No Depression magazine’s 75 issues published from 1995 to 2008.

In preparation for the September relaunch, the website is promoting the No Depression Founders Circle, a way for fans and supporters of the magazine to take a financial stake in the new web site’s continued existence. I think this is a good move that I wish had been taken back before the magazine folded. I for one would have paid for the coverage ND provided that I could not find gathered between a set of magazine covers.

In my opinion ND lost their way when the publishers started to think about their audience as a demographic instead of a congregation of sorts. They went from having John Prine and Johnny Cash on thre cover to featuring the then alt.rock flavor of the month The Shins. Like a politician, they attempted to move to the mainstream, toward popularity with the mainstream and their pocketbooks, at the riisk of alietnating thier hard-core and reverent followers. Someone should have told them that a vast majority of Americans distrust politicians and lawyers for just this very reason, they appear to stand for nothing but whatever will help them win at the moment. That is almost exactly the definition of shiftless. The congirigation lost faith after that and hard times became even harder.

As an added incentive for getting eyeballs, folks who sign up for the website’s mailing list at NoDepression.com will be eligible to win an Epiphone DR-100 Vintage Sunburst acoustic guitar which has been provided by Epiphone. Great email bait! I singed up this morning!

Also a new No Depression “bookazine” (to be designated No Depression #76) also will be available in print-form on the shelves of bookstores nationwide in October. The publication, a joint venture between ND and the University of Texas Press, will be issued twice annually (every fall and spring). Blackstock and Alden will serve as co-editors, with Alden also reprising his magazine role as art director. A handful of book-release events at bookstores and record stores nationwide are also in the works. I appuad this effort and look forward to it, at the same time I wonder why something like this couldn’t have been applied to the magazine in it’s former incarnation.

All of this is no surprise for anyone that read the publishers online adios to the magazine: “Plans to expand the publication’s website (www.nodepression.net) with additional content will move forward, though it will in no way replace the print edition.” Why Grant and Peter weren’t doing this in conjunction with the print version of ND all along is a mystery to me, but I say better late than never. Get over there, sign up for their emails and send them cash. The world that I cover and we all love is a better place with them in it.


Review – The Weight – The Weight Are Men (The Colonel Records)

The Weight are a Brooklyn, NY based country rock band that, in spite of it’s North-Eastern local, delivers the Southern-fried goods. The band was beget by singer/songwriter and veteran of the Atlanta, GA, punk rock scene Joseph Plunket who began dabbled in country music and recorded several EPs and one long-player with a revolving cast of musicians as he tapped his inner hillbilly.

Now blessed with a stable and top-notch line up Plunket, along with Fletcher “Poor Boy” Johnson on guitar, piano, and harmonica, Will Noland on bass, Jay Ellis on drums and Johnny Carpenter on pedal steel, has recorded an album of shear authentic and audacious country-rock, stripped clean of post-whatever and 100% free of ironic smugness. Imagine as the 60’s came to a close that back off in the woods of Saugerties, NY the Band had hung out with Gram Parsons instead of Dylan cutting tracks in the basement of Big Pink, that alternate history it might have sounded something like this.

The Weight’s newest release “The Weight Are Men” kicks off with a gentle strumming of “Like Me Better,” a bittersweet barroom testament to love gone wrong delivered by Plunket in his earnestly gruff vocal style. The highway rave-up “Had It Made” follows with its Southern boogie roots planted firmly in Chuck Berry’s territory.

“Johnny’s Song” is a lulling tune on life and love that builds to a big singalong finale and “Talkin” is a tune taken right from the Neil Young book of groove-roots compositions (complete with yawning harmonica) and offers one of my favorite lines from the album – “Give me a lady and rent control, it might take one, it might take both, to satisfy my soul.”

“Sunday Driver”  is reminiscent of the best of The Band’s bittersweet compositions. It’s a slow-moving, pedal-steel laced gem that really showcases Plunket’s voice. “Hillbilly Highway” is a traveling man’s fiddle-laced yearn to come back to his love that should be on mainstream country radio (it won’t be, mainstream country is too rigid and short-sighted.) “A Day In The Sun” is a harmonica fueled Southern boogie gives a the release a woozy “Sticky Fingers” send off.

Bottom line, “The Weight Are Men” is one of the best roots-rock releases of 2008.

The Weight – Had It Made (mp3)

Medley – Unknown Hinson – The King of Country Western Troubadours

I’m in a Unknown Hinson mood. You should be too….

[youtube]http://www.youtube.com/watch?v=4LJf9fYM8-s[/youtube]

[youtube]http://www.youtube.com/watch?v=4IL_pbFbYK0[/youtube]

[youtube]http://www.youtube.com/watch?v=QfSfK0AMWlc[/youtube]

[youtube]http://www.youtube.com/watch?v=GGsxCscY_nk[/youtube]

Jackson Cage – Belfast, Northern Ireland

I’m always fascinated when country music is honored and performed by folks overseas. I’m also interested in how new bands are able to use the web to do much of the heavy lifting traditionally done in the past by big labels with big money and a large staff. I get both of these plus great music with Belfast Ireland’s country rock band Jackson Cage. The Jackson Cage I’m most familiar with is a dour song about suburban futility by Bruce Springsteen on his release “The River.”  Jackson Cage the band do exhibit some of New Jersey’s most famous hillbilly’s knack for narrative, but only inasmuch as he was willing to channel Dylan, Woody Guthrie and The Band to tell a compellingly stark tale.

Jackson Cage’s self-funded, self-released, self-promoted and self-titled debut album managed to hit #1 on the most popular Alt Country Albums on Amazon MP3 (it currently sits at #5 just after Ryan Bingham’s Mescalito.) What makes all this more impressive is that Amazon only sells MP3s to US customers.

Jackson Cage is one of those rare cases where a band exhibits a skillful grasp of great music roots while working contemporrary technology just as adeptly. Keep your eye on Jackson Cage.

Jackson Cage – Taste the Moon(mp3)

Jackson Cage – White Line(mp3)

Jackson Cage  – I ain’t gonna waste my time(mp3)

It Burns When I Pee Episode 17 – Even God Needs The Devil

Image by Keith Neltner

While working on their spiritual and format rebirth, It Burns When I Pee Episode 17 now offers new cast members, and an all around more righteous path to country music salvation. Featuring an interview with Jayke Orvis, from The .357 String Band and some cuts from their new album Fire & Hail. This episode also unleashes their new co-host Ryan “Creepy Guy” Hamm.

Blake and Ryan also talk about the Tim McGraw concert fight video, Norma Jean watch’s Two Girls and One Cup for the first time, and we play IBWIP Jeopardy. There is another famous IBWIP Giveaway’s, this time giving away an awesome Spfanzine.com T-shirt and Hank Cash CD. Jared Morningstar provides an album review of Justin Townes Earl’s new album, The Good Life.

But most importantly IBWIP graces us with jewels country music that Nashville’s conveyor belt of pop-country crap would’nt touch with a ten foot pole. There are songs from Adam Lee and The Dead Horse Sound Company, Justin Townes Earl, Plunkett, The .357 String Band, and Old Crow Medicine Show.

David Allan Coe and Shooter Jennings in Harp Magazine

A great conversation by a couple of bonafide country music outlaws reminiscing about the good old days. From the piece:

JENNINGS: Nashville’s never going to change. They’re always going to be the same. They play by the rules. And it’s all still a pop thing. Nashville controlled it in the ’60s, ’70s, ’80s and ’90s. It was just the reckless people that did it their own way that broke out [into the mainstream].

COE: The greatest example of that is Charlie Rich. Charlie Rich was just coming off of Behind Closed Doors, which was the biggest fuckin’ record. And if you went up by Sony Records, they would tell you-you couldn’t walk in a building, you know. Because Charlie was in the building, they had the doors locked. Security had to check you out first before you could get in the building. Then they had the awards show. And he was supposed to read the winner of male vocalist of the year. And he just opened the envelope and read it and took his fuckin’ lighter out and set it on fire.

JENNINGS: When John Denver won.

COE: Yeah. He refused to announce this guy as male vocalist of the year. And I thought it was the greatest fuckin’ thing I ever saw in my life. And you know what? You never heard Charlie Rich’s name again ever. That’s how powerful that town is. I just think music should be good or bad, period.

The Avett Brothers Sign with American, Working with Rick Rubin

Record producer and co-head of Columbia Records Rick Rubin seems to be filling his dance card for the rest of the year. The latest news that ZZ Top has signed with Rubin’s American label (made famous by the outstading work done in the last years of Johnny Cash’s life) is now followed by the news that the North Carolina’s post-folk band The The Avett Brothers have signed with the bearded production guru. From the band’s site:

To our dearest fans,

Since we first performed as The Avett Brothers, we have been fortunate enough to find and build a genuine and mutual respect with those who care to listen. It is this kind exchange that champions our music, and allows us the forum to continue on our path, with this work, this art. We believe this to be an appropriate time for a brief update, as we would like for you all to know of the most noteworthy of present developments.

We have recently begun working on a new full length album with Rick Rubin. The recording process has been, and will no doubt continue to be, an experience defined by heightened levels of commitment and conviction. It is our distinct pleasure and honor to be in such fine company as we build and bring this most current chapter of songs to fruition.

With this union has come another, as we have just completed and signed an agreement with American/Columbia Records, the label with whom we will proudly release our next record. It is our sincere hope, in regard to this news, that our ongoing relationship with Ramseur Records is understood. There have not been, and will be no hard feelings or abandon-based resentment from either party involved. The Avett and Ramseur camps remain strongly and truthfully connected, both personally and professionally. There has been no change in these matters through this momentous transition.

For all of you who have gone to such great lengths to show your appreciation, we continue in our most sincere efforts to return the sentiment. The music would go nowhere without you. Our hearts and our minds are on the recording of this next album, and we look forward with great anticipation to sharing it with you all. Until then, thank you as always, and we will see you somewhere on that open road…

Sincerely,
The Avett Brothers
July, 2008

The Avett Brothers – “For Today”

[youtube]http://www.youtube.com/watch?v=YGKdBkBuBZQ[/youtube]

Kitty Wells Exhibit at the Country Music Hall of Fame

The Country Music Hall of Fame will premier a Kitty Wells exhibit on August 15. Opening weekend festivities will include a 45-minute exhibit tour, guided by a Museum curator; an interview with Wells, hosted by 650 WSM announcer Eddie Stubbs and illustrated with photos, film footage and recordings from the Museum’s Frist Library and Archive; an autograph signing by Wells in the Museum Store; and a screening of the 1982 Showtime special A Tribute to Kitty Wells, hosted by Tammy Wynette.

Texas legend Joe Ely dropped by NPR’s Mountain Stage to play some of his great songs live.

CMT.com has an interesting article on the high fuel prices effects and the ecomonmis impact it has had on touring country music acts.

To illustrate the situation touring artists now face, Case recalls a recent Ralph Stanley swing into Texas. “It was just a straight run, not a lot of geography,” he explains. “He went from home [in southwest Virginia], played three dates that were all closely routed in Texas. He came back and his [roundtrip] fuel bill was almost $2,000.”