Nashville-based Americana Music Association has released an excellent initial artist line-up for showcase portion of the conference, festival and awards show. the selections show a broad range of diversity and excellence the of the genre. Great to see many Casa Twang favorites represented as well.
Artists include: Black Prairie, Billy Bragg, Rosanne Cash, The Devil Makes Three, Frank Fairfield, Drew Holcomb & the Neighbors, John Fullbright, JD McPherson,
The Lone Bellow, Aoife O’ Donovan, Darrell Scott & Tim O’Brien, Richard Thompson, The White Buffalo, Holly Williams and The Wood Brothers
The Devil Makes Three
Sam Doores, Riley Downing & the Tumbleweeds
Drew Holcomb & the Neighbors
Hurray for the Riff Raff
The Infamous Stringdusters
The Lone Bellow
Luella & the Sun
Buddy Miller & Jim Lauderdale
Old Man Luedecke
Darrell Scott & Tim O’Brien
Sons of Fathers
Spirit Family Reunion
The Stray Birds
The White Buffalo
The Wood Brothers
The Recording Academy continues what they call a “continuing evolution” of the Grammy Awards with changes in three categories, including our beloved Americana category.
If you remember a couple of years ago the organization caused a backlash when they eliminated categories and folded many into already existing genres. Those changes remain three new changes are being implemented “to ensure the Awards process remains representative of the current musical landscape.”
Two years ago, the organization made major waves in the industry with a long list of changes to existing categories that saw many areas condensed and elicited protests from multiple genres. Those changes have stuck while three new changes are being implemented “to ensure the Awards process remains representative of the current musical landscape.”
In 2009, the Academy split the category for Best Contemporary Folk/Americana Album into two separate categories: Best Contemporary Folk Album and Best Americana Album.
The strength of the Americana genre’s grow is being recognized the addition of the Best American Roots Song. “A songwriter’s award, it will encompass all of the subgenres of the Field (Americana, bluegrass, blues, folk, regional roots music), and puts the Field in line with the Rock, Rap, R&B, Country, and Gospel/CCM Fields, all of which have songwriters’ awards.”
This is great news as it allows the Recording Academy to better reward the broad pool of talent that makes up the genre.
If you’re a struggling musician I suggest you take a look at the career of Jim Lauderdale. Between early setbacks as a Bluegrass banjo player, and being marginalized in Music Row there were plenty of opportunities to chuck his guitar in the gutter and call it quits. But he persevered and used his songwriting as a musical dowsing rod to move him always forward toward unexpected and exciting places.
If the Americana genre didn’t already exist it would have to be created for Lauderdale. He’s worked in multiple genres (Bluegrass, country, rock, soul) with multiple artists (George Jones, Ralph Stanley, Elvis Costello, Lucinda Williams, Steve Earle and more), but the music has always been grounded in honesty with a twist of risk. This will to be daring, attention to legacy, while pushing forward has allowed Lauderdale to become something you don’t see music in the music industry, unique.
He’s now a Grammy winning singer/songwriter, the subject of a crowd-sourced biopic (Jim Lauderdale: The King of Broken Hearts)
He hosts, along with Buddy Miller, “The Buddy & Jim Show” Saturdays 10 pm ET on SiriusXM Outlaw Country. He also hosts the “Music City Roots: Live from the Loveless Cafe”, weekly Americana music show broadcast live on WSM from the Loveless Barn on Highway 100 in Nashville. He is also the MC for the Americana Music Awards and Honors show in Nashville where his catch-phrase “Now THAT’S Americana” is as much of a delight as the stellar performances on the storied Ryman Auditorium stage.
I talked to Lauderdale, through spotty reception, on the road to Nashville the day after his birthday performance at the Music City Roots spin-off, “Scenic City Roots, in Chattanooga Tennessee
Twang Nation: Jim? How are you today?
Jim Lauderdale: Just fine. Driving on a beautiful, crisp spring day heading back to Nashville from Chattanooga Tennessee.
TN: Happy belated birthday, You share a birth with Bob Harris ( “‘Whispering Bob Harris” the legendary is the host of the BBC 2 music program The Old Grey Whistle Test, and a supporter of country and roots music)
JL: Really? It’s also George Shuffler’s birthday, who played guitar for the Stanley Brothers.
TN: Cool. So you’re taking some time off from your tour supporting the “Buddy and Jim” album. How’s that going?
JL: It’s been great! We too some time off because Buddy is producing the Wood Brothers and he also co-produces the music for the TV show Nashville with T Bone Burnett. He’s got a pretty full plate most of the time. Our next date is in San Francisco at the Great American Music Hall. I love playing that space.
TN: I’ll be there. The first time I saw you and Buddy working with the new material it was at last year’s Hardly Strictly Bluegrass Festival. It was a morning slot but the place was still full.
JL: I love that festival. Warren Hellman has done so much for the community. He’ll be missed.
TN: True. So let’s visit your childhood in Troutman, North Carolina. Your father was a minister and your mother was a music teacher. How did this shape you musically?
JL: I believe it helped to train my ears. They were both great singers, so it was a combination of hearing a lot of church music. Hearing my mother, who was a choir director at the church, a chorus teacher, and a piano teacher, I was hearing stuff all the time. My older sister was the first to start buying records like the Beatles when I was in the first grade. At the time music was just exploding and so much was coming from the radio and in North Carolina radio then was a mixture of rock and roll, soul music like Stax and Motown, and then there were peripheral country stations where Bluegrass was being played. So there was just so much great music being played and available. I think Buddy and i share a lot of the same influences. that’s how all these influences made me want to sing. I started singing really early and then started playing drums for a few years when I was 11 and then, when I was 13, I started playing blues harmonica. When I was 15 I started playing the banjo and getting more into Bluegrass music. I always wanted to do a Bluegrass record but it took me a long time to get a deal to do one. When it happened I got to do it with Ralph Stanley and his band, the Clinch Mountain Boys (1999′s I Feel Like Singing Today)
TN: Not bad company to keep for your inaugural Bluegrass venture.
JL: That was kind of a dream because I grew up loving his work. I used to try and play banjo in his style and sing in a tenor like Ralph would. One of the best things to happen out of that was that I began writing with Robert Hunter (poet and lyricist for the Grateful Dead.) A friend of mine, Rob Bleetstein, put me in touch with him in the Bay Area. i knew that Robert and Jerry Garcia were huge Stanley Brothers’ fans, so that’s how I started writing with Robert and since then we’ve created 4 albums. The last two were Bluegrass of stuff we’ve done together. I have an upcoming album with the North Mississippi Allstars coming out in the fall and it has stuff that Robert and I wrote as well. So, even though it took me a long tie to get something out in that world, it was worth the wait because of all the good things that have happened.
TN: Making up for lost time.
JL: Right. And the same with Buddy. We had met back in New York in the early 80′s. We were both living there and both had country bands going and Buddy, to me, had the best band there. There was a nice country scene going on in New York at the time. There were about 5 bars in New York like the Lone Star Cafe that featured country music. So there was a lot of work. Eventually we both ended up on the west coast and started playing gigs together. Then Buddy came to Nashville first and ended up playing with Steve Earle and Emmylou Harris. His career really took off! So we’ve known each other for 33 years and have talked about doing a record for the past 17 years so this new album was also worth the wait. Our schedules just wouldn’t allow it. But last year we started this radio show last summer on SiriusXM Outlaw Country (The Buddy & Jim Show , Saturdays 10 pm ET) and that started moving things toward us sitting down and writing material. It happened pretty quickly, we spent a few days in pre-production and wrote some stuff but we cut the album in three days in his home studio. He produced the album and we’re really happy with it. I love playing with Buddy, he always makes me smile.
TN: There’s a song you wrote that was covered by George Strait called The King of Broken Hearst. It’s got a great story.
JL: I moved to L.A. partly to be in the same atmosphere that Gram Parsons had been in. There was this story that came from (former rock ‘n’ roll groupie and author) Pamela Des Barres, who was a friend of his, who said he had this L.A. party and was playing George Jones records. These people had never heard him (Jones) and he started crying. he said “That’s the king of broken hearts.” It was one of those times when an idea just comes to you. I play that song all the time and I love it.
TN: Gram is seen as the patron saint of the Americana genre and , I believe, you and Buddy have earned a place at that table. With your work with the Americana Music Awards and Music City Roots would you consider yourself an ambassador of Americana?
JL: Oh, I don’t know about that. But I’m certainly happy it’s out there. The guy I mentioned before, Rob Bleetstein, helped to coin there term (along with Jon Grimson of Nashville) for a trade publication that’s no longer around called Gavin Report. It was like Billboard and R&R (Radio & Records) magazine. They needed a chart for rootsy American music and Rob said “How about Americana?” So that put a name on it. But to me it’s just great that Americana allows a broad umbrella for roots music – Blues, Bluegrass, folk, rock, country – music that is not overproduced and it’s all connected, And it’s a place that, in his later years, someone like Johnny Cash can get played on the radio. And Merle Haggard, and folks like Guy Clark and Joe Ely, Butch Hancock and jimmie Dale Gilmore. Stuff that’s too rootsy for mainstream radio. it’s nice to have a place where people can be recognized.
TN: You’ve worked in the Music Row world and the Americana world and been successful in both. What do you think contributes to your success to work in both of those environments?
JL: Well I had plans but things would work out a different that what I thought. It was accidental in some ways. I wanted to make Blue grass records as a teenager, but it never worked out. Then in my early 30s I finally got a record contract in the country genre. But that record was too country at the time to be accepted in 1988. Dwight Yoakam’s producer and guitarist Pete Anderson did it with me (The unreleased CBS album that later appeared on an overseas label as Point of No Return.) My next album wasn’t as traditional but it was pretty far out there. It was co-produced by Rodney Crowell and John Leventhal (1991′s Planet of Love) Even though that album didn’t have a lot of commercial success, 8 of the 10 songs went on to be recorded by other people like George Strait. So that too me into that world of songwriting though my plan was to have a successful career with my own records. I kept putting out my own records and, when it wouldn’t work out, the only way to rise above of the disappointment was to write myself out of it. I still had a contract for a few more majors, but I started doing some independent labels and was more eclectic. Bluegrass with country mixed with R&B ad soul. The work I’m doing with the North Mississippi Allstars I did with Robert Hunter is more blues, rock and soul. I’m also trying to finish up a stripped down acoustic record that I’m writing with Robert. He’s really important in my like as far as music, so I want to keep that going.
TN: Speaking of Robert Hunter lest year you were in the Bay Area with the American Beauty Project. How did that come about?
JL: Those two albums (Grateful Dead’s) Working Man’s Dead and American Beauty opened up a door in my spirit when I heard them. All the things I’d done before – country, Bluegrass, rock – came together in those two records. To me they were like the Gram Parsons solo albums with Emmylou, those records are touchstones. The New York Guitar Festival which was put together by David Spellman, each year, would choose a different album and then singers and guitar players would play a song from that record. A few year’s ago they chose American Beauty and it went over really well. The singer Catherine Russell, Ollabelle, Larry Campbell and his wife Teresa Williams became the core of the American Beauty project which we took around the country. We still do it occasionally and will probably do some more shows in the future. It’s always a lot of fun.
TN: Tell me about your work with the roots-rock band Donna the Buffalo.
JL: I met them at the Newport Folk Festival while opening for Lucinda Williams on her “Car Wheels on a Gravel Road” tour. I met this group of folks that were really friendly, but I had missed their show earlier in the day. We made this friendship and we then jammed together at Merlefest in North Carolina. They then invited me to play their festival that they put on in the summer and offered to back me up during my set. So over the years we’ve worked festivals and sat in with each other. I started to write songs for all of us to do and when i had an album’s worth we went into the studio and did it (2003′s Wait Til Spring) We still do stuff when we can. They’ve got a new album coming out in June which I’ve heard and it’s fantastic (tonight Tomorrow & Yesterday – June 18) They are one of my favorite bands as an audience member and I love to sit in with them. We have a few new songs we’ve written but i need some more material to do another record.
TN: Any other new artists that have caught your ear?
JL: There’s a lady that just moved to Nashville, Lera Lynn. There’s another band that just moved from L.A. to Nashville called HoneyHoney that I like a lot. There”s a songwriter named Ryan Tanner I think is really good. And there’s a guy in North Carolina named Daniel Justin Smith that I think is really good. There’s no shortage of new, young singer, songwriter and pickers that are acoustically influenced and have their own style of country and roots music. I’m really encouraged by that. When i host the Music City Roots showcase it gives me an opportunity to be exposed to new performers. There was a band on the other night out of Birmingham, Alabama called St Paul and the Broken Bones. They are a kind of soul review kind of band and they are just out of this world. There’s a woman called Sara Petite out of San Diego who I like a lot. I also love Shovels and Rope, Robert Ellis , Max Gomez and the Milk Carton Kids.
TN: Who would you like to write music with someone that you haven’t?
JL: Gosh, I wish I could work with Eric Clapton. I love his work. I would also like to work with Keith Richards. I got to sing harmony with him on the song Hickory Wind on a Gram Parsons tribute called “Return to Sin City.” Norah Jones was on that, I’d like to work with her. I did a song with John Leventhal called Planet of Love that was pitched to Ray Charles to do with Norah Jones, but that didn’t happen before he passed away. I always wanted to work with Doc Pomus before he passed. And I always wanted to do something with Jerry Garcia and I’m sorry that didn’t happen. I’m slowly getting to work with a lot of folks I hold in high esteem. I got to write with Dan Pen and we’ve been working on some things in England with him and Nick Lowe’s great band. I got to song with George Jones years ago and that was a treat. You just never know in this up and down world of music.
TN: You’ve moved deftly between genres in this time, is there a musical era you would like to travel to and perform?
JL: The 60′s and early 70′s for the soul, country and rock music that was coming out and then the late 50′s early 60′s for Bluegrass. And the 50′s for Blues music. Being able to work in those times at the peak of the music would have been great.
TN: You’re a great singer, songwriter but your also a consummate showman. You’re very personable and funny on stage. Many have also taken note of your rhinestone bedecked clothing when you perform. How many suits do you have and where do you get them?
JL: Oh, I think i have 20 or 25 suits with shirts. I have gotten a few vintage pieces here and there, but i get most of my things new and custom made from Manuel (Cuevas) who is a designer and tailor here in Nashville that used to work with Nudie (Cohn) out of L.A. when he was a teenager. He’s still here producing things for people like Jack White.
TN: Thanks for your time and keep your eyes on the road.
No overt themes in this episode, just great music.
One of my favorite bands Durham, North Carolina’s Hiss Golden Messenger kicks things off with the raucous Red Rose Nantahala from their new album Hawwe also take a listen o new work from Jason Isbell being supported by members of his band, the 400 Unit, and his newly betrothed Amanda Shires. Patty Griffin gives us the beautiful Mom & Dad’s Waltz from her new American Kid and we get an early listen to Shonna Tucker, and her new band Eye Candy.
And lastly we say goodbye to a country music legend with Choices by George Jones.
As always. I hope you like this episode of the Twang Nation Podcast and thank you all for listening. If you do tell a friend and let me know here at this site, Google+ , Twitter or my Facebook page.
1. Hiss Golden Messenger – “Red Rose Nantahala”- Album: “Haw” (Paradise of Bachelors)
2. Shannon McNally – Song: “If It Were Mine To Keep”- Album: “Light Walker Demos EP” (Sacred Sumac Music)
3. The Builders and the Butchers– Song: “Dirt In The Ground”- Album: “Western Medicine” (Badman Recording Co. – July 2nd)
4. The Dustbowl Revival – Song: “Hard River Gal”- Debut Album: “Carry Me Back Home” (self-released)
5. Jason Isbell – Song: “Traveling Alone” – Album: Southeastern (Southeastern Records/Thirty Tigers. – out June 11th)
6. Rita Hosking – Song: “Nothing Left Of Me” – Album: Little Boat (self-released)
7. Shonna Tucker and Eye Candy – Song: “Linda Please” – Album: ? ( ? )
8. Patty Griffin – Song: “Mom & Dad’s Waltz” – American Kid ( New West Records – out May 7 )
9. Eastbound Jesus – Song: “Katie Belle” Album: Northern Rock ( Self-released)
10. George Jones – Song: “Choices”
Steve Martin and Edie Brickell. The pairing seemed odd when i caught wind of it, but the results were a great combination of rustic roots with modernist sensibilities. Like the Nashville Sound if it had taken place 30 years earlier.
They made their collective TV debut last night, performing “When You Get to Asheville” with the Steep Canyon Rangers on the Late Show With David Letterman.
Appearing in back woods finery Martin deftly works the banjo and Edie recalls her “What I am…” breathlessness on this plaintive tune of a classic lovelorn longing. The perennial theme is afforded
modern touches like using email to communicate. They are deftly backed by the Martin’s usual partners Steep Canyon Rangers The cut is taken from their new release, Love Has Come for You, which Rounder released this week.
in honor of Record Store Day 2013 Austin native and folk singer/songwriter Sarah Jarosz is offering a new live release, Live at the Troubadour. The five song EP was was recorded the famed Los Angeles venue and features longtime collaborators Nathanial Smith (cello) and Alex Hargreaves (violin.)
Four live performance videos, shot by videographer Alex Chaloff, beautifully capturing the grace Jarosz of her live shows were created especially for the release. These were originally featured on The Bluegrass Situation, CMT Edge, Bluegrass Nation and RecordStoreDay.com.
Currently wrapping up her senior year at the New England Conservatory of Music, Jarosz will spend her summer making appearances at major festivals including Del Fest, Telluride Bluegrass Festival, High Sierra, Forecastle, Ossipee Valley and Newport Folk Festival.
LIVE AT THE TROUBADOUR track listing
1. Tell Me True
2. Kathy’s Song
4. Shankill Butchers
5. Broussard’s Lament
Look for Sarah Jarosz new Sugar Hill release is coming this fall.
Sarah Jarosz Tour Dates
2013-4-19 Burlington, VT – Flynn PAC – with John Prine
2013-4-20 Portsmouth, NH – The Music Hall – with John Prine
2013-5-03 Austin, TX – AT&T Executive Education and Conference Center
2013-5-23 New York, NY – Rockwood Music Hall
2013-5-25 Cumberland, MD – Del Fest
2013-6-12 The Woodlands, TX – Dosey Doe Coffee Shop
2013-6-13 Wimberley, TX – Blue Rock Artist Ranch – Blue Rock Studio
2013-6-14 Dallas, TX – Poor David’s Pub
2013-6-15 Santa Fe, NM – The Downs of Santa Fe – with Rodney Crowell & Emmylou Harris
2013-6-16 Phoenix, AZ – Musical Instrument Museum
2013-6-18 Salt Lake City, UT – The State Room
2013-6-21 Telluride, CO – Telluride Bluegrass Festival
2013-6-22 Telluride, CO – Michael D. Palm Theatre
2013-7-06 Quincy, CA – High Sierra Music Festival
2013-7-07 Quincy, CA – High Sierra Music Festival
2013-7-13 Louisville, KY – Forecastle Festival
2013-7-25 Northampton, MA – Iron Horse Music Hall
2013-7-26 Hiram, ME – Ossipee Valley Music Festival
2013-7-27 Newport, RI – Newport Folk Festival
2013-7-28 Ogunquit, ME – Jonathan’s Restaurant
2013-8-10 Portland, ON – Oregon Zoo Amphitheatre
2013-8-11 Seattle, WA – Woodland Park Zoo Amphitheatre
I grew up outside of Dallas and used to head to Deep Ellum on the weekend to see the local bands, like the New Bohemians, play Theater Gallery. Prophet Bar and Club Clearview. later I got to know some members of the band wand was able to see them perform with Bob Dylan and Don Henley. There was even an overnight stay in the Norman OK jail as part of the adventure (long story, buy me a beer sometime and I’ll tell you)
I was proud of our little, local band doing well.
Well band split, Brickell moved to New York City and did some solo work. Oh, and she married some musician names Paul Simon.
When i heard that Brickell would be rording with Steve Martin i had a feeling it was going to be cool. Martin might be a jester but his banjo playing is dead serious and steeped in tradition which he’s proven with his Grammy-nominated work with the Steep Canyon Rangers.
Love Has Come for You, will be released on April 23rd through Rounder Records. 13 new songs that allow Martin’s excellent banjo work to inspire Brickell’s lyrics and vocals. Below you the two talk about working on the album and you get to sample some of the tunes. All in a setting echoing the album’s cover.
The collaboration began when Martin sent Brickell “a tune with no song to it”: “I was so thrilled that you kept sending tunes because they would arrive and there were little stories in them just immediately for me,” she says. “I saw a lot of images and all I had to do was sit back and narrate what I saw.” The two also discuss the album’s double-entendre title, working with producer and beloved British musician Peter Asherand how the LP sounds more like a string quartet rather than a bluegrass album. “My own agent called me up, and he said I hope this doesn’t insult you but this is the best thing you’ve ever done.’”
Martin and Bickell continue to prove my view that all the cool kids are coming to Americana music.
Some musicians sound like they are moving Americana music, into new directions, and David Mayfield is one of them. Mayfield paid his dues playing bass for his family’s bluegrass band, alongside his younger sister, the singer/songwriter, Jessica Lea Mayfield. He handled bass on her debut record, Blasphemy So Heartfelt and performed same in her touring band.
Mayfield was also been a “gun-for-hire” for pick-up gigs in the tourist filled honky-tonks on Nashville’s lower Broadway and was also the lead guitarist and contributing songwriter for roots band Cadillac Sky, currently on indefinite hiatus.
He has also toured with The Avett Brothers, Mumford & Songs and Willie Nelson.
Mayfield’s self-titled debut was pretty much unremarkable, straight-ahead bluegrass fair. His upcoming Kickstarter funded release Good Man Down things get a bit more daring.
Mayfield said in a recent press release. “I feel like this record is more mature. Now that I’ve been touring so much I have had the chance to try new songs live and see how they are accepted, and to construct an album that is more of a cohesive thought.”
On the song Human Cannonball (below) Mayfield’s high-tenor meshes well with the melancholy, love-lost theme and the bluegrass influenced sound that are steeped in country music tradition. But the arrangement, and soaring chorus, shifts the song into the pop-folk territory of R.E.M, the Avetts and Mumford and Co.
It speaks well of that maturity Mayfield spoke of that he doesn’t get trapped in the saccharine mechanizations of the last two and comes closer to the best of the former.
Good Man Down is will be released April 1 on Beautywood Records.
Adele and i share something in common. We are both SteelDrivers fans. Adele even honored the band by recording a version of their song “If It Hadn’t Been for Love” and included it as a B side to her best-selling “Rolling in the Deep” CD single and has covered that very same song live.
The three time Grammy nominated, Nashville based band are well worthy of such accolades.
The SteelDrivers embody some of the best characteristics of any roots/Americana band performing today. The band fuses often dark lyrics, soul, bluegrass and mature pop to create something new and fresh and somehow comfortably familiar.
The SteelDrivers are banjo player Richard Bailey, bass/vocalist Mike Fleming, guitar / vocalist Gary Nichols, fiddler / vocalist Tammy Rogers and mandolinist Brent Truitt. Produced by Luke Wooton, Hammer Down is a collection of 10 new tunes from Rogers and Nichols as well as original members Chris Stapleton and Mike Henderson. The set also includes the songs “I’ll Be There” and “Cry No Mississippi” that Nichols co-wrote with John Paul White of The Civil Wars.
The SteelDrivers’ upcoming Rounder Records’ release “Hammer Down” can be heard below for one week here at Twang Nation.
The SteelDrivers are on the road for much of 2013 and an updated itinerary is at www.steeldrivers.net
Tour Itinerary to Date:
February 6 Music City Roots/Loveless Cafe Nashville, TN
February 8 The Station Inn Nashville, TN
February 16 Joe Val Bluegrass Festival Framingham, MA
February 17 The Iron Horse Northampton, MA
February 18 Joe’s Pub New York, NY
February 28 The Ark Ann Arbor, MI
March 2 Woodlands Tavern Columbus, OH
March 3 Beachland Ballroom Cleveland, OH
March 8 Bluegrass Underground McMinnville, TN
March 9 Mountain View Bluegrass Fest Mountain View, AR
March 21 Carbondale, IL Hangar 9
This year’s National Academy of Recording Arts and Sciences (NARAS) 55th Annual Grammy Awards nominees reflect the rich and diverse community of talent that celebrates some of the genres finest old and new. From a CBS prime-time nominations concert LL Cool J and co-host Taylor Swift.
Some history – Nashville hosted the Official Grammy awards in 1973, but this marks only the fist time The Grammys have held the nomination event outside of L.A. This fortuitous event for Music City resulted from a scheduling conflict with the event usual home at the Staples Center but the city rose to the occasion and showed the performers and attendees a great time. Of course I would have preferred to have people from the lists below perform of national televised show but I’m biased by design.
As in recent years social media was a major conduit for the event. Music City was abuzz on mobile phones, computers ad tablets during the hour-long broadcast from Nashville’s Bridgestone Arena (Go Predators!) . Nearly 12,000 posts on Twitter, Facebook and other social media sites mentioned the word “Nashville” in connection with the Grammy nominations
Aside from the usual categories of Americana, Folk and Bluegrass roots music made an impressive showing for the coveted Album Of The Year , which includes a nomination for Mumford & Sons’ sophomore outing Babel, and Best New Artist with Alabama Shakes and the Lumineers.
I got 2 out of 7 of my predictions right for the Best Americana Album category with The Avett Brothers and Mumford and Sons. The pleasant surprise in this category is John Fullbright who I’m willing to say here I’m pulling for. The legendary Bonnie Raitt is nominated in this category and I’ll also go on record as saying Bonnie has secured her legendary status in Blues and Rock. When there are performers from the community like Justin Townes Earle and Corb Lund have new albums out why poach legends from other genres.
Classic country was also celebrated with Nashville Western swing ensemble the Time Jumpers being nominated for two GRAMMYs for Best Country Duo/Group Performance for “On The Outskirts Of Town” and Best Country Album for their latest self-titled release. Best Country Album also has another surprise with Jamey Johnson being nominated for his tribute covers album “Living for a Song: A Tribute to Hank Cochran.” The “Gentle Giant” Don Williams is nominated for his duet with the woman that hold the record for the most Grammys by a female artists (27!), Alison Krauss for Best Country Duo/Group Performance with “I Just Come Here for the Music”
Here’s the full list of Americana and associated categories for the 55th Grammy Awards. The Awards will be presented on Feb. 10, 2013. Most of these will be presented in the pre-telecast ceremony before the televised portion that evening on CBS. To find ot the winners follow me on Twitter and watch live streaming at Grammy.com.
Best Americana Album
The Avett Brothers – The Carpenter
John Fullbright – From the Ground Up
The Lumineers – The Lumineers
Mumford & Sons – Babel
Bonnie Raitt – Slipstream
Best Bluegrass Album
Dailey & Vincent – The Gospel Side Of
The Grascals – Life Finds a Way
Noam Pikelny – Beat the Devil & Carry a Rail
Special Consensus – Scratch Gravel Road
Steep Canyon Rangers – Nobody Knows You
Best Country Album
Zac Brown Band – Uncaged
Hunter Hayes – Self-titled
Jamey Johnson – Living for a Song: A Tribute to Hank Cochran
Miranda Lambert – Four the Record
The Time Jumpers – Self-titled
Best Folk Album
Carolina Chocolate Drops – Leaving Eden
Ry Cooder – Election Special
Luther Dickinson – Hambone’s Meditations
Yo-Yo Ma, Stuart Duncan, Edgar Meyer, and Chris Thile – The Goat Rodeo Sessions
Various – This One’s For Him: A Tribute to Guy Clark
Americana and Roots artists on other categories:
- Mumford & Sons – Album of the Year for Babel, Best Rock Performance and Best Rock Song for “I Will Wait”, Best Long-form Music Video for “Big Easy Express” from the Railroad Revival Tour with Old Crow Medicine Show , Edward Sharpe and the Magnetic Zeros, “Markus Dravs nominated for Producer of the Year for Babel.”
- Alabama Shakes – Best New Artist, Best Rock Performance for “Hold On”, Best Recording Package for Boys and Girls
- The Lumineers – Best New Artist-
- Bruce Springsteen – Best Rock Performance, Best Rock Album for Wrecking Ball & Best Rock Song for “We Take Care of Our Own”
- The Goat Rodeo Sessions featuring Yo-Yo Ma, Stuart Duncan, Edgar Meyer & Chris Thile – for Best Folk Album, Best Engineered Album, Non-Classical
- Don Williams (feat. Alison Krauss) – Best Country Duo/Group Performance for “I Just Come Here for the Music”
- Taylor Swift/The Civil Wars – Best Country Duo/Group Performance & Best Song Written for Visual Media for “Safe and Sound”
- Woody at 100: The Woody Guthrie Centennial Collection – Best Boxed or Special Limited Edition Package, Best Historical Album
- Old-Time Smoky Mountain Music: 34 Historic Songs, Ballads, And Instrumentals Recorded In The Great Smoky Mountains By “Song Catcher” Joseph S. Hall – Best Historical Album
- Ryan Adams – Ashes and Fire – Best Engineered Album, Non-Classical