Drive By Truckers, Jason Isbell, Juston Townes Earle – New York City – 7/19

This last Thursday the planets lined up just right above the New York skyline and the night was graced by not one, but three excellent performances for a yearning for some fine alt.country faire.

The mighty Drive By Truckers dropped into the city to perform a free show at Clinton Castle national monument at Battery Park to play a free show for the River to River festival. The rainstorms that had come down all week held off but provided a cool, cloudy evening for the show.    

I arrived at 8:00 to the capacity show that was already in progress and in the middle of the song of sexual discord “Panties In Your Purse”. The crowd was a mix of hipster, Wall Street workers that had strolled over from work a few blocks away and folks that look like they had taken their motorcycles or pick-ups from the nether regions of the East to catch the show.

With the “extremely amicable” departure of singer /songwriter/guitarist Jason Isbell I had some trepidation that the remaining band would be lacking in some significant way. I should have known better than to question the resiliency of mighty Truckers. With Athens, Georgia’s John Neff added in as guitarist and pedal steel and did a fine job brandishing his yellow metal flake Telecaster and the legendary Muscle Shoals keyboardist Spooner Oldham was joining the Truckers on some of the dates and added a layer of funk and rhythm I had yet heard at a DBT show.

The classis were mixed with the new cuts from the latest “A Blessing and a Curse” – “Heathens”, “Sounds Better In The Song”, “Sink Hole”, “Puttin’ People On The Moon”, “Bulldozers and Dirt”, “The Night G.G. Allin Came To Town”, “Where The Devil Don’t Stay”, “The Living Bubba”, “Sands Of Iwo Jima”, “Zip City”. There was a nod to New York City with the frequent set standard by the musician, author and poet Jim Carroll’s “People Who Died.” They night finished off with the night with a rousing rendition of Bruce Springteen’s harrowing song of alienation and violence State Trooper.

After the show I headed uptown to the Mercury lounge to catch Ex-Trucker Jason Isbell, but first opening the show was a man whose moniker sets a dizzyingly high level of expectations, Justin Townes Earle.


Being Steve Earle’s first born means growing up under difficult conditions (read the book Hard Core Troubadour for more details on this) and having some big boots to fill. And Justin’s middle name is, of course, in honor of Steve Earle’s musical and chemical, mentor Townes Van Zandt. Even bigger boots.

And judging from this evening’s show Justin is well on his way to being his own man. With only an acoustic guitar and a backing ukulele (didn’t catch the musician’s name) Donning a silver specked western shirt Justin covered quite a bit of his folk-ragtime tinged EP Yuma (which he himself went out front and sold at the door for $10.) The Ghost of Virginia. You Can’t Leave Yuma, Let the Waters Rise, A Desolate Angels Blues – as well as a Buck Owens cover that I did not recognize – All in all a splendid performance from a man with an impeccable Americana pedigree, but doesn’t just ride his namesakes shirt tales.  

 

During the show Jason Isbell was mulling about in Mercury Lounge’s sold out small space. Now it was his turn to be the man in the front and not off to the right side of Patterson Hood.

Isbell and his Muscle Shoals area band the 400 Unit: Jimbo Hart (bass), Ryan Tillery (drums) and Browan Lollar (guitar) got right down to it with the searing blues-rock “Try” from the newly released Sirens of the Ditch, most of which was covered in this show.

Isbell then launched into a tribute to his former band mates by playing a song he cut with the Drive By Truckers the wrenching “God Damn Lonely Love” – he later made a kin-hearted reference to the truckers earlier show by saying – “I hope you got to catch those guys tonight. I was stuck here getting ready for this.”

Then came “The Assassin” and the excellent “Hurricanes and Hand Grenades” and the coming of age “Grown.”
As with his former band playing the distinctly New York song  “People Who Died” Isbell’s band – specifically guitarist Browan Lollar sang the Talking Heads “Psycho Killer.”

The band then played the band then played the weakly poppy “New Kind of Actress”, which seeing it live didn’t make me like it any more then I did before. Then another nod to the DBT days with “Decoration Day.” The show ended with a blasting version of Thin Lizzy’s  “Jailbreak” which left me exhilarated as well as drained from the long, delirious, night.

Johnny Cash’s “The Great Lost Performance” to Be Released July 24, 2007

A first-ever release of a performance by the Man in Black at the Paramount Theatre in Asbury Park, New Jersey on July 27, 1990 will be released as “Johnny Cash – The Great Lost Performance” (Island/UMe), released July 24, 2007, debuts nearly 17 years to the day of the original concert.

The nearly hour-long CD features the classics – “I Walk The Line,” “Hey Porter” and “Folsom Prison Blues” and “Ring Of Fire,” but will also feature duets with wife June Carter Cash on “Jackson” and “The Wreck Of Old ’97.” The CD will also feature Cash’s first performance of his original “What Is Man?,” and his only recorded version of country gospel’s “Wonderful Time Up There” and “A Beautiful Life,” and his only concert version of “Life’s Railway To Heaven,” whose studio version by Cash
was released only posthumously.

Props to the 9513 for the heads up!

Country Radio Lives!

Just got back from seeing the family in Dallas for the 4th. While tooling around in Mom’s Merc I checked out the local flavor and tuned into Lone Star 92.5, the Clear Channel radio station I previously had posted on. Sure I could stream them online and enjoy the tunes here in Manhattan but it’s not the same as cruising around the rain soaked streets of my youth.

I one sitting I heard The Allman Brothers, Dylan, Reckless Kelly, Johnny Cash, The Drive By Truckers and Todd Snyder. This, in my mind, is heaven.

On the plane home we too AirTran Airlines. They are always good and, from my experience, mostly on time. Most importantly, the servers on board are always nice to my daughter and they get major points for that.

The airline offered XM Radio on board the plane and while my daughter was absorbed in Miyazaki’s superb animation feature Spirited Away, I checked out what XM had to offer. I stayed a while at “Willie’s Place” and was pleased to hear the old school outlaws represented – Merle, Ray, Leftie – legends you don’t hear enough of on commercial radio. I then headed over to X (cross) Country and it sweetened the deal with John Prine, Lucinda Williams and Steve Earle. I was sold. When I get out of the city and buy and truck the very next day I’m getting XM Radio. But when I drive it through Dallas, it’ll take a back seat the Lone Star 92.5.

Nashville Skyline on Miranda Lambert

the risk of being not only a Chet Flippo (CMTs Nashville Skyline) fanboy but one for Ms. “crazy chick” Miranda Lambert as well. Chet’s latest post (thanks 9513) on Miranda’s rise to stardom on her own terms and some of the cool things she’s done that lends her more cred than most of her other Music City counterparts:

She learned a valuable lesson in songwriting with her first album. The title song, “Kerosene” — which really put her on the musical map — sounded very much like Steve Earle’s “I Feel Alright.” Very much like it. After that was brought to her attention, she added Earle’s name as her co-writer on the copyright. And on the royalties. She told Barry Mazor in a No Depression interview, “I didn’t purposefully plagiarize his song — but unconsciously I copied it almost exactly. I guess I’d listened to it so much that I just kind of had it in there.” Well, hell, outlaws rip each other off now and then. But then they usually own up about it — as she did — very quickly.

Cool, no? How many other Nashville Star and CMT alum would go out of their way to credit Earle (and share royalties with him) rather than dispatch a labels lawyers to pay him off? Class act! Miranda is making me proud of Texas in a way that Willie and the Chicks did.

Miranda Lambert In The New York Times

The New York Times has a cool write-up on Miranda Lambert. Lambert talks about the influences for her new album – “Crazy Ex-Girlfriend” – gives credit to Gretchen Wilson for opening the career door for her and is compared to some mighty company:

Ms. Lambert, 23, cites the usual outlaw influences — Waylon Jennings, Merle Haggard — as well as the well-regarded singer-songwriters Steve Earle, Buddy Miller, Jerry Jeff Walker and Guy Clark. In essence, Ms. Lambert is an alt-country singer operating covertly in the mainstream. “Dwight Yoakam, the Dixie Chicks — I think there’s a way to be really cool and mainstream, too,” she said.

Marty Stuart Announces Late Night Jam Lineup

Country Standard Time reports – Marty Stuart will host his annual Late Night Jam to benefit MusiCares during CMA Music Fest on June 6 at Nashville’s Ryman Auditorium. Marty Stuart and his Fabulous Superlatives (Kenny Vaughan, Harry Stinson, Brian Glenn) will perform and host the unstructured marathon of live music with guest performances this year by singer/songwriter Neko Case, Muzik Mafia founder John Rich (Big & Rich), Eric Church and Ashley Monroe,Charley Pride, Pam Tillis and Porter Wagoner.

“I try never to lose sight of the fact that Nashville is considered Music City,” said Stuart. “When it is time to book the Late Night Jam, it is always my goal to make every form of music welcome. That’s why the Ryman is such a great setting for this concert. It is the Mother Church. Every year, I always feel like its the best we’ve ever had, and this year proves to be no different.”

Marty Stuart’s 6th Annual Late Night Jam has raised more than $70,000 to date for MusiCares, the philanthropic arm of The Recording Academy.

That same week, Stuart will release “Compadres: An Anthology of Duets,” which includes a lifetime of musical collaborations with friends such as Merle Haggard, Loretta Lynn, Steve Earle, George Jones, BB King, Mavis Staples and others. He will also debut an historic museum exhibit titled “Sparkle & Twang: Marty Stuart’s American Musical Odysse” at the Tennessee State Museum that week featuring treasures from the late Johnny Cash, Hank Williams, Patsy Cline, Elvis and more.

Elizabeth Cook – Balls

Balls is the boldly titled release by Wildwood, FL. native Elizabeth Cook. With singer, songwriter and ex-guitarist for Emmylou Harris’ Hot Band Rodney Crowell sitting in as producer the release has one boot astride in contemporary swagger and one firmly planted in tradition.

I’m new to Ms. Cook, but apparently she’s been around a spell and is the hottest thing I never heard of. She made her Grand Ole Opry debut on March 17, 2000, and appeared repeatedly thereafter, which is a remarkable achievement considering that, at the time, she was an indie artist with zero radio airplay.

The album kicks it off right with “Times Are Tough In Rock ‘n’ Roll” – A celebration of country music bounces along with a jaw harp boinging throughout. The song softly disses on rock music, thought with the singling out of Britney Spears I wonder if it’s really pop music that is being tarheted with this fun tune.
“Don’t Go Borrowin’ Trouble” follows with a slow-burning lament that looking for bad times leads to you just might finding some.

The song that begets the title, “Sometimes it takes Balls to be a Woman” is next – Like many great country songs recorded by woman it’s both boldly declarative and coyly playful. A nice shuffle and some mean guitar work by the Nashville master Kenny Vaughn drives this baby all the way home. Cook does a shout out to Loretta and Dolly just to let folks know she knows who paved the path she’s now gracefully walking.

A duet with alt.country rocker Bobby Bare Jr. on the “Amazing Grace” reminiscent “Rest Your Weary Mind” sets Bare’s woozy rasp against Cook’s pitch perfect voice blended to fine effect with acoustic guitar, mandolin and soulful fiddle.

“He Got No Heart” is a slight boom-chucka tune about some no good dude that’s done this girl no good (he got no heart/his mama forgot that part) and makes feeling bad a lot of fun.

“Mama’s Prayers” is a pious tear-jerker about mama loving her while she’s out in this mean ‘ol world that wins because of it’s sincerity.

“What Do I Do” is a great song in the vein of classic Tammy Wynette of love on the skids.” Gonna Be” is a toe-tapping song of gumption and wherewithal.

An independent sprit shines throughout this fine album. Cook has a voice that is as clear as a crystal pond and strong enough to belt out a song that leaves the Underwoods and Wreckers in the dust. It’s easy to draw a line in the country lineage from Loretta and Dolly to Elizabeth Cook.

Cash American VI News

Thanks to JakobGreen at the Hank III board for this one

American VI will be the second album of songs from the final recording sessions Johnny Cash made before he died. Like its predecessors, American Recordings, Unchained, American III: Solitary Man, American IV: The Man Comes Around, and American V: A Hundred Highways, American VI is produced by Rick Rubin and will be released on Rubin’s American Recordings record label. Lost Highway Records currently distributes country releases from the American Recordings label. Though the liner notes of Unearthed (a box set comprised of outtakes from the first four entries into the series) claim “around 50” songs were recorded during the American V sessions prior to Cash’s death on September 12, 2003, only two albums worth of material will be released, including American V: A Hundred Highways.

One track known to be recorded during these sessions but not included on American V is “There Ain’t No Grave Gonna Hold My Body Down”. Another track that could possibly be included is “A Satisfied Mind” which was released on the soundtrack to Kill Bill, Vol. 2. Rubin is credited as producer and the track is copyrighted 2003, which would suggest that it came from Cash’s final sessions.

Sheryl Crow’s “Redemption Day” was recorded by Cash weeks before his death and is a likely candidate for inclusion on American VI.

Doug Kershaw has told audiences in 2006 that he has heard Cash’s recording of Kershaw’s signature song “Lousiana Man”, but its status for inclusion on American VI is unknown.

According to a USA Today article, American VI could be released in early 2007. Most likely it will be released Mid-2007.

Track listing…

“A tentative track listing has been revealed on ManInBlack.net, a Johnny Cash fansite. It includes the following songs…”

1. “San Antonio”
2. “Redemption Day”
3. “Here Comes a Boy”
4. “That’s Enough”
5. “1st Corinthians 5:55”
6. “I Can’t Help But Wonder”
7. “Nine-Pound Hammer”
8. “North to Alaska”
9. “His Eyes on the Sparrow”
10. “If I Could Hear My Mother Pray Again”
11. “The Eye of an Eagle”
12. “Don’t Take Everybody for Your Friend”
13. “Belshazzar”
14. “Loading Coal”
15. “A Half a Mile a Day”
16. “Flesh and Blood”
17. “I Am a Pilgrim”
18. “Beautiful Dreamer”
19. “Ain’t No Grave Gonna Hold My Body Down”
20. “Family Bible”