Yesterday evening I was hanging around on the twitter machine (I’m a wild man on a Friday night!) I was watching the usual silliness pass along on the distinguished group of folks that I follow there and then I saw a post from singer/songwriter Jason Isbell that caught my attention:
“Dierks” has officially ripped off my song “In A Razor Town.” Dierks is a douchebag.”
“In A Razor Town” is a cut off Jason Isbell’s first solo release ‘Sirens in the Ditch.”
There aren’t many Dierks that I’m aware of in music so my assumption was that he was accusing Nashville Capitol Records recording artist Dierks Bentley. That assumption was confirmed with subsequent tweets as Isbell called Bentley out by his full name and named the title of the allegedly “ripped off” song.
The accused song is “Home,” the title song off Bentley’s 10/10/11 release. Wikipedia states that “The song was inspired by the Tucson, Arizona shooting that killed six people and critically injured U.S. Representative Gabrielle Giffords in January 2011.”
Isbell also accuses Bentley of possibly bringing an idea of his song to co-writer of Home Dan Wilson.
“I bet Dierks brought that idea to the table and Dan ran with it.”
“@Jasonisbel “I bet Dierks brought that idea to the table and @Danwilsonmusic ran with it.†-HAHAHAHAHAHAHAHAHAHAHA! that is some funny shit!”
These things are tricky, and I was terrible at spotting copyright infringements in my copyright law class at NYU, but after listening to both songs (below) it’s a pretty amazing coincidence. If Bentley had heard Isbell’s song, and mistakenly brought it to the writers table as his own idea, he needs to listen objectively, fess up and cut Isbell in on the songwriting credits. That’s what Miranda Lambert did when it was brought to her attention that the title song to her album “Kerosene” was strikingly similar to Steve Earle’s “I Feel Alright.” Miranda will always be aces in my book for that.
ON EDIT: Ernie over at El Trash has a post striking similarities between Dierks Bentley song “Up on the Ridge†and Matt King’s songs “Hard Luck Road†and “Shanty Town.†there appears to be a pattern forming here.
Chorney -  Ukrainian and Jewish (Ashkenazic): nickname for someone with dark skin or dark hair, from Ukrainian chorny ‘black’.
Linda Chorney is aptly named. As the lone question mark on a Grammy Americana Album of the Year nominee list. A list dominated by Americana music stalwarts Ry Cooder, Emmylou Harris. Levon Helm and Lucinda Williams. Chroney is in name as well as in actuality, the dark horse.
As the GRAMMY blogger for the Americana/folk categories I was anticipating the nominees for these are other categorizes like Blugrass, country and wherever else the music I love was being represented Spotting an unknown name on the Grammy Americana Album of the Year list was surprising and, truth be told, bruised my ego a bit. I pride myself on knowing a thing or two about not just the  mainstream but the fringes of the Americana/Roots music territory. Seeing an unknown name, like happened to me with the Civil Wars and Mumford and Sons in early 2010 when they broke, kind of shakes my taste-maker mojo.
After interviewing Chorney about a week after her nomination I left unconvinced that her style of music fell into my definition of Americana.But after listening to songs over her catalog and watching live performances I could hear hints of artist I’ve seen perform at Hardly Strictly Bluegrass and the Americana Music Association showcases. So Okay.
One thing I had no doubt about was that this woman, over her 51 years, had paid her dues. Also that by engaging the GRAMMY365 site, a social site for members of the Grammy organization, to get her music in from of people that influence that nominations, was ingenious.
The Americana Music Association, who had a hand in the creation of Americana as a distinct Grammy category, has even withheld their boiler plate congratulations that is released soon after the nominees are announced. I wonder if their heads will explode if she actually wins.
In balance there were some people of considerable merit (most notably by Kim Ruehl and Paul Schatzkin) that took a more thoughtful approach to the Chroney nomination. They argue that though her music wasn’t their shot of hooch they were able to see Chorneys’s nomination as a testament to indy ethos, DIY perseverance and a performer’s adept ability to adapt in a music business that is undergoing a significant industrial upheaval.
Generally, the arguments against Chorney’s nomination run into two camps; She hasn’t done time in the Americana community and she somehow cheated her way into the nomination.
The first argument is ridiculous and smacks of the same Nativist logic used by some to argue for building a wall on the Mexican border. “You’re an outsider, you don’t belong and have nothing to contribute. You miust be kept out”Americana, like America herself, is made up of refuges and misfits. Diversity and acceptance are qualities that make up the genres strength. Newcomers are not always appealing to all members (yours truly included.)
The second argument – “she cheated” – Is equally ridiculous. It’s the same augment made by Luddites whenever a new way of doing things disrupts the norm. Automobiles were a “cheat” in a horse culture. Computer were a “cheat” in an analog world. Chorney paid her dues as a singer/songwriter, had n opportunity to create the album of her dreams, and then used a social network to get that album in front of people involved with the Grammys. The album still had to go though the evaluation of members of NARAS and, as is my understand in the case of Americana, a separate genre “expert” panel. There were many checks and balances beyond Chornys personal efforts to lobby for her work.
Chorney is a great example of the new breed of artist-entrepreneur, artists and craftsmen that see technology and a connected world has laid the world at their career doorstep and use every means at their disposal to walk through it.
I think a lot of the bile hurled at Chorney is a result of Americana communities inability to better define what Americana is. As I mentioned I believe this to be a founding strength but it makes others uncomfortable in practice. Some of the ill will, and I know tis because I know the professional background of some of those posting sneering bon-mots online, results from Chroney’s efforts shining a bright light on the PR industry and showing that many of it’s traditional value now lies in the hands of a diligent artist. Instead of reevaluating their place in the entertainment industry they choose to attack rather than adapt.
True until her bid for a nomination on GRAMMY365 Chorney appears to have never heard the term Americana applied as a musical formal genre. Most people haven’t. I bet when many young and established musicians start emulating the influences that enrich the genre, The Band, Parsons, Cash, their first instinct is not to look for labels but to indulge in the only thing that matters, the music. Do you think that the Avett Brothers or Robert Plant specifically sought out the Americana handbook before creating a work?
The real irony here is that many people that are up in arms about Chorneys nomination are people that over the years have dismissed the Grammys as being out of touch with current music and not representative of the best of music. Her nomination should just further justify their point of view.
Love her or hate her, Chorney is a excellent example when gatekeepers are removed from the music industry.
Below is a video I uncovered showing Chorney playing a show in 2009. I defy anyone to watch it and tell me that there nothing, absolutely NOTHING, that might be considered Americana in her sound (and wardrobe!)
Though her discography to date isn’t my shot of hooch I do respect Taylor Swift’s work ethic and spirit for her craft. I moved closer to the Taylor camp when I came across her heartfelt cover of Mumford & Sons White Blank Page Cover for the BBC Radio 1 Live Lounge. This morning while perusing the Interwebs I came across Swift’s cut for the upcoming The Hunger Games Soundtrack. Safe & Sound has Swift engaging one of her favorite bands, The Civil Wars, to tap into her inner Tori Amos covering what sounds like an outtake from the Civil War’s Grammy nominated Barton Hollow. Yes, that’s a a compliment. With T Bone Burnett producing the track we have full Music City/Americana worlds colliding.
It’ll be interesting to see how the imagined Americana gate-keepers welcome this collaboration from one of their chosen and an outsider trespassing in sacred ground. I wonder if they will heap scorn on this crass, commercial interloper or if they are just saving of of their venom for Linda Chorney.
Tis’ the season for “Best of…” “Top picks…”Depending on your point of view it’s either as welcome as a gift under the tree on Christmas morning or fruit cake. This subjective separation of musical wheat from chafe, truth be told, it’s my least favorite part of doing this blog. I prefer visit each work on an individual basis. And though I do bring a wider view of music, only in rare instances would weigh a work in contrast to something I heard just the week before. This 12-month capsule is constraining, bit with constraints come opportunity to focus the mind.
First- ground rules. No albums of cover songs. So, no Gurf Morlix or Carrie Rodriguez. But ya’ll should still buy the excellent Blaze Foley’s 113th Wet Dream and We Still Love Our Country respectively. No albums where an artist revisits earlier work, or live albums of already recorded work. Sorry Levon Helm, Ramble At The Ryman might get you that Grammy for Americana Album of the Year but you won’t make the TN 2011 list.
My pick for number one spot came to me in April and I pegged it early as the one to beat. Nobody even came close. Austin Lucas’ New Home In The Old World is a fine mix of country, folk and rock delivered in such a seamless and extraordinary way that ibelieveit advances th genre in it’s existence. Same with To the Wind and On To Heaven by Sunday Valley. The Kentucky band captured my attention early in the year with their brand of high-octane honky-tonk/gospel boogie and seeing them live sealed their spot at #2.
Jason Isbell may not care for end-of-year lists but he made mine by creating his most inspired and solid solo record with Here We Rest. A chance encounter at the Grimey’s Americanarama showcase at the Americana Music Association led me to the #9 quirky duo of Hymn for Her.
Canadian Laura Repo’s debut Get Yourself Home landed in my in-box the week I was putting this list together. Repo’s plaintive voice of simple, timeless themes and and the sparse arrangements reach back to country music’s roots and secured her a slot at number 10.
Last year was a great year for Americana/roots music and I reflected this bumper crop by overindulging and creating a top 25 list. On retrospect, this was excessive. this year I’ve focused on the abloute top 10 that I love to listen to from start to finish. Here’s no an even better 2012!
Due to either 1) all the great and positive responses from listeners and bands, or 2) my general bullheadedness, here it is friends, Episode 3 of the Twang Nation Podcast just in time for the holidays! This episode is festive a mix of gritty (Possessed by Paul James, Doc Dailey, Matt Woods ) and glorious (Laura Repo, Whitehorse, Matraca Berg) and concludes like an empty Tecate can perched on top of a silver tensile Christmas tree, with the classic Robert Earle Keen’s Merry Christmas from the Family. Remember you can leave requests or feedback below or emeuial me at baron(at)twangnation(dot)com.
1. Possessed by Paul James – song:Â Four Men From The Row -Â album: Feed the Family (Hillgrass Bluebilly Records 2010 )
2. Root Jack – song:Â The Good Life -Â album: In The Pines
3. Doc Dailey & Magnolia Devil – song: Sunday School album: Victims, Enemies, & Old Friends (Southern Discipline Recording Company)
4. Eleven Hundred Springs – song: Texas Afternoon - album: Country Jam (Palo Duro Records)
5 Laura Repo – Song: Like to call you honey album: Get Yourself Home (Independent)
6. Whitehorse – Song: “Killing Time is Murder – album: self-titled debut ( Six Shooter Records in October )
7. Matt Woods – Song: Beating Down My Door – Album: The Matt Woods Manifesto (Lonely Ones Records)
8. Whiskey Daredevils – Song: Party Plates – Album: Introducing the Whisky Daredevils (Lonely Ones Records)
9. Matraca Berg – Song: Your Husband’s Cheating On Us – Album: The dreaming Fields (Dualtone Records)
10. The White Buffalo – Song: Matador – Album: The White Buffalo ep
11. Robert Earle Keen – Song: Merry Christmas from the Family – Album: Gringo Honeymoon
I’m kicking the tires at a local start-up that reminds me of when MTV used to play music videos.So far it’s easy and coll to put the playlist together. I’ll be interested to hear what other folks think about and and look forward to the maturation of Cull TV as a channel for music social discovery and exploration.
Head over to the Twang Nation Cull TV channel and check it out some my my favorites from The Civil Wars, Jason Isbell, Justin Townes Earle, Conway Twitty and many more.
The GRAMMY nominees categories that I cover does not come with choreographed dancers or share the stage with Rihanna. They appear further down on the list near Best World Music Album and Best Spoken Word Album -Â the Americana/folk/bluegrass and the speck of trad country that might find its way into a movie soundtrack or liner note nods. This is the the pre-telecast posse, the back of the bus and behind the gym crowd. This is where the cool kids hang out. Where Lou Reed can sit between a nominee for Best Opera Recording and Best Comedy Album. These are the rough and rowdy mongrels of music.
I watch the nominee concert dutifully but it’s nothing to do with me or my readers. I am waiting for the full list to be posted online. Then I run my eye over it. downward to the Best Folk Album, some nice surprises with The Civil Wars and Eddie Vedder. Best Bluegrass Album, great to see the old guard Del McCoury and Ralph Stanley in the mix with Steve Martin and Jim Lauderdale. Next the big enchilada – Best Americana Album. Ry Cooder, Emmylou Harris, Levon Helm, Lucinda Williams legends all…wait…who’s this? Who is Linda Chorney?
I’m a frikkin “Influencer” for krips sake (or so Klout tells me), how is it I don’t know this person? Where did she come from and how, after 6 albums, is it that I haven’t heard of her until now? i like a to be surprised as much as the next music blogger, but sometimes there is this feeling that if you missed this artist how many others are sliding past your gaze. I needed to atone and find out who this person is.
So i did what any red-blooded Americana blogger would do – I Googled her. First off a video that appears to be centered on scuba diving in some tropical locale. She’s easy on the eyes, but how does she sound? First impression is Aimee Mann, Chrissie Hynde and Michelle Shocked on a serious Meet The Beatles! bender. I emailed her directly from her site. She can’t already have a layer of people to sift through for a conversation. I’m the the official GRAMMY folk/Americana blogger guy. I figure that that should account for something!
Maybe it did. Maybe I caught her at a vulnerable time in the wake of her nomination. Maybe she confused with with her friend Bryan Lang. Whatever…i had an interview set.
I hope the below exchange let’s you get to know Linda Chorney and you find her as charming and talented as I did. enjoy…
Twang Nation – So, how are you feeling?
Linda Chorney – I’m still a little but in shock but I feel great. When I told my mom and dad (about the Best Americana Album Grammy nomination) and my mom said this is one of her greatest moments since your birth for me.
TN – Wow, you can’t buy fans like that.
LC -Â (laughs) When I was younger they paid for my demo tapes and have been coming to biker bars that I’ve played throughout my life. They’ve waited for me to get my big break and now it’s kind of come.
TN – Tell me a little about how you got here.
LC – I once broke the top 40 in the adult contemporary on the Friday Morning Quarterback (music industry news publication) with my song Living Alone. We thought then that something was going to happen. Then the day we had some deals on the table was on September 11th (2001) and everything sort of got put on hold. I said to myself that I didn’t die that day, and nobody I know died. How important is another song? So I didn’t take (the deals falling through) that hard. Though I took the the events of September 11th very hard and wrote a song about it on my third album.
TN – I’ve been blogging about this genre for several years and lived in New York City for 5 years, how is it I’m just now hearing about a Grammy nominated Americana artists based from New Jersey?
LC – Probably because I’ve been bopping around the whole world. I played on Bleecker Street for years, at Red Line and the Back Fence and a few other clubs. I’ve played the Hamptons. I like to travel! I’ve bartered my way around the world. I’m an avid scuba diver but diving costs a lot of money so when I travel I will write a few dive places and say “Hey I’m a singer/songwriter and will perform for your crew aboard or your place in exchange for scuba diving. Diving can easily can run you a couple of hundred bucks a day. One place that responded was the Bottom Time Bar in Palau Micronesia and that where I shot my video for my song Sink or Swim (see below) I played a weekend and was able to dive for two weeks for free.
TN – Not a bad gig.
LC – it was awesome! I also went to Mount Everest where I sang at 17,000 feet – I’ve sung below sea-level and sung 17,000 feet above sea-level.
TN – Did you know you were in the running for a Grammy nomination?
LC – From the feedback I was getting from Grammy 365 people. I said to my executive producer, “Jonathan is all the people that say I’m great and are voting for me actually do vote for me I think we might have a shot.” I had no idea what I was doing. This is my first time with the whole Grammy process, two weeks before the ballets were due I had zero contacts. My husband and I stayed up 20 hours a day and we wrote every single person we could on the Grammy 365 site to ask for their contact information. Out of the roughly 6000 emails we personally wrote – we didn’t have a staff it was just me and him – then around 2000 people responded and I asked them to consider my stuff. I was overwhelmed with responses. One guy was the historian on (Martin) Scorsese’s George Harrison documentary, he said very nice things about my stuff, he said it touched him and that he was going to talk to other people about me and get them to consider my music – this happened several time with others -Â I was just blown away!
TN – Tell me the story about your executive producer and how y’all met.
LC – I was in Colorado playing a ski resorts, because the moneys good and I sell a lot of merch and get to keep all the money, and I would ski to my gig every day with my guitar on my back to perform at 10.000 feet. At one gig this quirky guy comes up to me after buying all my CDs I had for sale and said “You have something special here. I’m a doctor but I wanted to be a musician, so I know how hard it can be. I’d lie to send you something.” I had no idea who this guy was or if he was hitting on me so I gave him a P.O. Box address and sure enough a few weeks later a chord-less mic and guitar pickup showed up in the mail and it contained a note that read “This is for you kid, way to go.” Over the years I got to know his family, and we became really good friends. Last year he approaches me and says “Linda, I want you to make the album you’ve never been able to make before, and I’ll pay for it.”
Every other album I’ve done has been out of my own pocket and I was always watching the clock , I didn’t have the money for live drums or more time for the engineer, I knew how to make a great album but I never had the resources. Jonathan says “I want you to do this album without compromise Linda. I’m going to give you the money for this album and I don’t want anything in return. I just want you to make the greatest album that you can and I want to be part of the process.” I was so touched by this! Jonathan also knows some musicians like Jeff Pevar (CPR) and Leon Pendarvis (band leader for the Saturday Night Live band) who is a great keyboard player. So he got them involved in the project. I knew Lisa Fischer (singer and background vocalist for the Rolling Stones, Luther Vandross, and others) because she sang background on my adult contemporary charting song Living Alone. And I knew bass player Will Lee (The Late Show with David Letterman, B.B. King, Cat Stevens, Ringo Starr, James Brown and many others), then I knew people here in my neighborhood (Asbury Park, NJ) who should be famous , like Arlan Feiles, who has his own album coming out soon and to me is like Bob Dylan with a prettier voice. I had him sing a duet with me called Finally on the album and then I have a song on the album called Do It While You Can, with a kind of a Satchmo vocal vibe to it and Richie Blackwell (Bruce Springsteen) helped with that. So this whole thing is a passion project. There was no thought to “Let’s make this song four minutes so we can get radio airplay.”
The second CD (on Emotional Jukebox) has a symphony I fantasized about making (Mother Natures Symphony.) The 15 minute piece begins with classical to Bluegrass to folk then back to classical and then ends with a Beatles ending.
TN – Wow, you’re not one to walk the genre straight and narrow are you. You also cover Led Zeppelin’s Going to California on Emotional Jukebox.
LC – I do! I had to fight to have that on because I jammed it in the end with a Flamenco solo by this guy Hernan Romero (Al Di Meola) who this amazing player that was just in the Latin GRAMMYs who I met in Boston who’s been on a couple of my albums. I had this idea of the song that ended up being 7 minutes long and we still got airplay. They don’t make songs like that anymore. I like solos. On my song I’m Only Sleeping I put a whirly solo it it. I like music!
TN – Where was the album recorded?
LC – We recorded at Sear Sound in New York and Lupos Studio with Frank Wolf, who I’ve worked with in the past, engineering the project. He’s an amazing talent. I spent the most time on the album than anybody. I did all the editing and arranging myself on my Pro Tools at home at night with the master and poured over every single bar on the album to make sure I had all the instrumentation in all the right places so it was tasty, clean and interesting to me. that was my goal. I probably spent over 2000 hours on it.
TN – well your hard work is being recognized. When did you find out about your nomination?
LC – We were having a party that night and somebody gave me a mock GRAMMY because we all conceded to the fact that I didn’t stand a chance against these amazing and well-known artists – John Hiatt, Jeff Bridges, Steve Earle, Emmylou Harris, Ry Cooder – who is one of my heros – there was just no slot open for an unknown. So all the people went home from the party and then I started getting all these emails saying “Congratulations.” “You have my support.” “I’ll see you in L.A.” I thought this has to be a mistake. This must be a chain email that I’m on and somebody else was nominated. Then I had a hard time finding the list of nominees online. Then we found the list of nominees on GRAMMY.com and there in Americana Album of the year was my name first on the list. I had to wake up my executive producer, Jonathan, at midnight to tell him about it. We freaked out. He believed in me and my music and he’s such an amazing person.
TN – I love that you are on the nominee list, and that the GRAMMY Americana category appears to be a big tent where talent is rewarded no matter how what your profile.
LC – Early in the process I did put my album up for a lot of categories – best Album, and all of that. In retrospect i should have concentrated on the one category. I submitted for 8 but but as I was getting up to speed submitting my work it occurred to me that I might have been spreading myself too thin and that might not be in my best interest. So then I started concentrating on the Americana music category.
TN – Have you got your speech ready?
LC – (laughs) Not yet.I think I might have a mock one ready for You Tube and to post on my blog (lindachorney.wordpress.com) to thank the people that helped me.
Singer/Songwriter Kathleen Edwards will release her new album, Voyageur, January 17th 2012 on Zoë/Rounder Records. Produced by Edwards and Justin Vernon (who provides backing vocals and plays guitar, piano, organ, bass, banjo and xylophone), the ten-track album includes hilariously titled Change the Sheets, which was featured on Edwards’ recent 7†Wapusk (video below)
The album was recorded between August 2010 and May 2011 in Fall Creek, Wisconsin and Toronto, Canada. In addition to Vernon , the album includes guest appearances by Francis and the Lights, Norah Jones, Stornoway, John Roderick, Phil Cook (Megafaun), Sean Carey (Bon Iver), Afie Jurvanen (Bahamas) and Brian Moen (Peter Wolf Crier). Also featured is Edwards’ touring band— Gord Tough (guitar), John Dinsmore (bass), Lyle Molzan (drums) and her longtime friend and collaborator, Jim Bryson (guitars, keys).†Of making the record, Edwards comments, “I knew laying the foundation for this record would start with the songs. For the first time I was open to the idea of co-writing, and what had previously been an intensely private process became a challenge to see what would happen with an open mind to a different approach.â€
Voyageur is Edwards’ first full-length album since 2008’s acclaimed release, Asking For Flowers.
It’s good to see that Ryan Adams is still a great singer/songwriter and not always a petulant , self-indulgentdouche.
His appearance on CBS’s live music project, Live on Letterman, showed just how talented and charming Adams can be. After a basset hound costume fake-out he performed a nearly hour-long set featuring several songs from his latest release Ashes & Fire, a piono version of New York, New York. the Whiskeytown classic Jacksonville Skyline and a cover of Bob Mould’s Black Sheets of Rain.
The National Academy of Recording Arts and Sciences (NARAS) announced its nominees for the 54rd Annual Grammy Awards. I was pleased to see Americana and roots performers being nominated for some of the more prestigious awards like Record of the Year and Song of the Year. Below are nominees that fall into the Americana and roots category and other artists in other categories that might be of interest to readers of Twang Nation.
Best Americana Album
Emotional Jukebox – Linda Chorney
Pull Up Some Dust And Sit Down – Ry Cooder
Hard Bargain – Emmylou Harris
Ramble At The Ryman – Levon Helm
Blessed – Lucinda Williams
Best Folk Album
Barton Hollow – The Civil Wars
I’ll Never Get Out Of This World Alive – Steve Earle
Helplessness Blues – Fleet Foxes
Ukulele Songs- Eddie Vedder
The Harrow & The Harvest – Gillian Welch
Best Bluegrass Album
Paper Airplane – Alison Krauss & Union Station
Reason And Rhyme – Jim Lauderdale
Rare Bird Alert – Steve Martin And The Steep Canyon Rangers
Old Memories: The Songs Of Bill Monroe – The Del McCoury Band
A Mother’s Prayer- Ralph Stanley
Sleep With One Eye Open- Chris Thile & Michael Daves
Best Country Album
“Here For A Good Time” — George Strait
Best Children’s Album
I Love: Tom T. Hall’s Songs of Fox Hollow (various artists collection)
Best Historical Album and Best Album Notes
The Bristol Sessions, 1927-1928: The Big Bang of Country Music (various artists collection)
Record Of The Year
Rolling In The Deep – Adele
Holocene – Bon Iver
The Cave – Mumford & Sons
Album Of The Year
21 – Adele
Song Of The Year
The Cave – Mumford & Sons
Holocene – Bon Iver
Rolling In The Deep – Adele
Best New Artist
Bon Iver
Best Pop Solo Performance
Someone Like You – Adele
Best Pop Instrumental Album
The Road From Memphis – Booker T. Jones
Setzer Goes Instru-Mental! – Brian Setzer
Best Pop Vocal Album
21 – Adele
Best Rock Performance
Down By The Water – The Decemberists
The Cave – Mumford & Sons
Best Rock Song
The Cave – Mumford & Sons
Down By The Water- The Decemberists
Best Rock Album
Wilco – The Whole Love
Best Alternative Music Album
Bon Iver – Bon Iver
My Morning Jacket – Circuital
Best Country Duo/Group Performance
Barton Hollow – The Civil Wars
Best Country Song
Threaten Me With Heaven – Vince Gill
Best Engineered Album (Non Classical)
Follow Me Down-Â Brandon Bell & Gary Paczosa, engineers; Sangwook “Sunny” Nam & Doug Sax, mastering engineers (Sarah Jarosz)
The Harrow & The Harvest – Matt Andrews, engineer; Stephen Marcussen, mastering engineer (Gillian Welch)
Paper Airplane – Mike Shipley, engineer; Brad Blackwood, mastering engineer (Alison Krauss & Union Station)
I’m kicking the tires at a local start-up that reminds me of when MTV used to play music videos.So far it’s easy and coll to put the playlist together. I’ll be interested to hear what other folks think about and and look forward to the maturation of Cull TV as a channel for music social discovery and exploration.
