Asleep at the Wheel To Release ‘Still The King: Celebrating the Music of Bob Wills and His Texas Playboys’ 3/3/2015

Still The King: Celebrating the Music of Bob Wills and His Texas Playboys,

“I think the…Western swing, or whatever you want to call it, will slack off for a little while and then I think some of these younger boys will come out here one of these days with a golden voice and it’ll build again.”—Bob Wills

After attending the Bob Wills Festival and Fiddle contest in Greenville, TX over the winter I developed a deep love for the Western Swing genre and for it’s creator, Bob Wills.

But I’m ready for more.

Luckily early in the new year Ray Benson & Asleep at the Wheel will again honor the legendary Bob Wills with ‘Still The King: Celebrating the Music of Bob Wills and His Texas Playboys,’ out March 3 on Bismeaux Records.

Exemplary Americana and country artists like The Avett Brothers, Old Crow Medicine Show, Buddy Miller, Elizabeth Cook, Lyle Lovett, Shooter Jennings, Brad Paisley and George Strait join the band on new interpretations on classics on, what looks like, a release that will best the previous two Will’s tributes from the band.

For over 40 years, Ray Benson & Asleep at the Wheel have been the deft practitioners and caretakers of Western swing craft, carrying Wills’ traditions across generations and the into the 21st century.

This release will be band’s third full-length Bob Wills tribute following 1998’s ‘Ride with Bob’ and 1993’s ‘A Tribute to the Music of Bob Wills,’ with four GRAMMY awards and over half a million copies sold collectively.

From the press release:

“The new album features genre-spanning collaborations with critically acclaimed artists, old friends and new favorites including Willie Nelson, Brad Paisley, Jamey Johnson, Merle Haggard, George Strait, The Avett Brothers, Amos Lee, Old Crow Medicine Show, Lyle Lovett, Kat Edmonson, Robert Earl Keen and Tommy Emmanuel, among many others. The album is available for pre-order via PledgeMusic and iTunes with the track “Tiger Rag,” featuring Old Crow Medicine Show, delivered in advance of the release date as an immediate download. Asleep at the Wheel will be performing at the New York Society for Ethical Culture on March 4 with spring tour dates to be announced. Watch the exclusive video teaser HERE. Please see the full track listing below.

Widely considered “The King of Western Swing,” Bob Wills (1905-1975) and his Texas Playboys performed thousands of shows across the United Sates for nearly six decades and recorded prolifically in the late ‘30s and early ‘40s. Early stars of American country music, Bob Wills and His Texas Playboys were a dance band with a country string section that played pop songs as if they were jazz numbers. “After 45 years of traveling and playing, it still amazes me how well this music, born in the 1920s and ‘30s, thrives in the present day,” says Benson. “The artists playing and singing on this collection range in age from folks in their 20s to former Texas Playboys 92-year-old Billy Briggs and 86-year-old Leon Rausch…certain evidence that Western swing music is alive and well as it cruises through the next millennium.” Bob Wills was inducted into the Country Music Hall of Fame in 1968, the Nashville Songwriters Hall of Fame in 1970, the Rock & Roll Hall of Fame in 1999 and the National Fiddler Hall of Fame in 2007.

Based in Austin, Asleep at the Wheel formed in Paw Paw, West Virginia in 1970. Since their inception, the band has won nine GRAMMY awards, released more than 20 studio albums and charted more than 20 singles on the Billboard country charts. In 1971, the band signed their first record deal after Van Morrison mentioned they “play great country music” in an interview in Rolling Stone. Their debut record, Comin’ Right At Ya, was released in 1973 on United Artists. The release of Texas Gold in 1975 brought the band national recognition, with the single “The Letter That Johnny Walker Read” becoming a top-ten country hit. The band has been awarded “Touring Band of the Year” (CMAs, 1976) and the “Lifetime Achievement in Performance” (Americana Music Awards 2009). In 2010, they earned a GRAMMY nomination in the newly minted Best Americana Album category for their critically acclaimed Willie & The Wheel, on Bismeaux Records.

Owned by Ray Benson, Bismeaux Records has won “Best Local Record Label” three years consecutively in the Austin Music Awards. Between 2005 and 2012, Ray Benson wrote, produced and starred in the Bob Wills musical A Ride With Bob. The production sold 70,000 tickets in 18 cities nationwide including the Kennedy Center in 2006. In 2007, Benson performed with Carrie Underwood & Johnny Gimble on the GRAMMY Awards Telecast in a special GRAMMY Salute to Bob Wills.”

Pre-order here

‘Still The King: Celebrating the Music of Bob Wills and His Texas Playboys’ tracklist:

1. Intro—Texas Playboy Theme (with Leon Rausch)
2. I Hear Ya Talkin’ (with Amos Lee)
3. The Girl I Left Behind (with The Avett Brothers)
4. Trouble In Mind (with Lyle Lovett)
5. Keeper Of My Heart (with Merle Haggard and Emily Gimble)
6. I Can’t Give You Anything But Love (with Kat Edmonson)
7. Tiger Rag (with Old Crow Medicine Show)
8. What’s The Matter With The Mill (with Pokey LaFarge)
9. Navajo Trail (with Willie Nelson and The Quebe Sisters)
10. Silver Dew On The Bluegrass Tonight (with The Del McCoury Band)
11. Faded Love (with The Time Jumpers)
12. South Of The Border (Down Mexico Way) (with George Strait)
13. I Had Someone Else Before I Had You (with Elizabeth Cook)
14. My Window Faces The South (with Brad Paisley)
15. Time Changes Everything (with Buddy Miller)
16. A Good Man Is Hard To Fine (with Carrie Rodriguez and Emily Gimble)
17. Ding Dong Daddy From Dumas (with Robert Earl Keen and Ray Benson)
18. Brain Cloudy Blues (with Jamey Johnson and Ray Benson)
19. Bubbles In My Beer (with The Devil Makes Three)
20. It’s All Your Fault (with Katie Shore)
21. Three Guitar Special (with Tommy Emmanuel, Brent Mason and Billy Briggs)
22. Bob Wills Is Still The King (with Shooter Jennings, Randy Rogers and Reckless Kelly)

2014 Grammy Nominees – Americana and Roots Music

grammy

The National Academy of Recording Arts and Science tried something new to announce the nomineews for the 57th Annual GRAMMY Awards. The nomniees were announced piecemeal, per catagory, via twitter exclusively starting at 9am.

Ths staggared apprach was odd but, if you kept on top of thier account, not terrible. A social media strategy is to garner attention for the nomination process and let musicians and other personalties announce via video tweets and the nomninees and fans to organically respond in kind. In that context this was a win.

After the major categories, best pop album, country album and the like , were out of teh way – with nominee reactions tweeted in reponse (which really is the only up side to the Twiiter  approach) the Best Americana Album nominees were released just before noon.

That the catagory was tweeted with the other major categories, along with fancy graphic of the nominee album covers , was like hanging with the cool kids – well, the popular kids,  as the other roots categories like folk and bluegrass – had to wait for the full nomninee list to be released later in the day.

I was three for 7 for my Americana Album of the Year predictions. Rosanne Cash, one of my safe bets (and still my choice to take the prize) and, suprisingly two of my dark horse choices, Nickel Creek and Sturgill Simpson, made the list.

My quibbles are with John Hiatt, inclusion for ‘Terms of My Surrender,’ a solid but not exceptional release. Keb’ Mo’ is nominated for ‘Bluesamericana.’ Mo is a legendary blues performer , and Blues Grammy winner, and should be represtented in that esteemed category. NARAS includes blues as a formal component to the category and though I agree with that the blues are a major part of Americana as a award category it is already represented as a formal genre. In that sme vein Dave & Phil Alvin’s rootsy jam ‘Common Ground’ is puzzlingly nominated in the Blues category. I say swap ’em.

Another head scratcher is the inclusion of Old Crow Medicine Show. Their latest effort ‘Remedy’ is certainly worthy of a nomination, but in folk? They would be better reprsented in Americana or even Bluegrass as these are their true styles.

NARAS continues to not care about the endless echo chamber of country music awards shows by making two sprising nominations. One being my top pick of 2013, Brandy Clark’s ’12 Stories as well as Lee Ann Womack’s ode to old-school aethsetic  ‘The Way I’m Livin’ ‘ Dierks Bentley, Eric Church and Miranda Lambert round out the list. The Acadamy is daring, but not totally deaf to the county mainstream market. 

Who will win? Well, Kasey Muagraves won the trophy last year for her irreverent ‘Same Trailer Different Park,’ so anything could happen.

Brandy Clark is also up against some stiff competition for New Artist, but she certainly deserves to win. 

Beck is nominated for his wonderfully melencholy folk ‘Morning Phase’ and for Best Rock Song and Rock Performance (still unsure of the distincion here) for the spacey ‘Blue Moon.’ Ryan Adams is up in the same categories with his latest self-titled album and song/performance for his retro-rock ‘Gimme Something Good.’

Alison Krauss, The women with the most Grammy wins, could increase her Grammy count to 28 with a win in the American Roots Performance category. She, Billy Childs & Jerry Douglas are nominated for their collaborative effort on ‘And When I Die’ from the tribute ‘Map To The Treasure: Reimagining Laura Nyro.’ This is her 42nd nomination.

Congratulations to all the nominees. Keep an eye on GRAMMY.com and CBS February 15, 2015 to see who takes home the trophy.

My choices are in BOLD.

EDIT – It was a major oversight that Mike Farris was not originally included as a nominee for the Best Roots Gospel album for his ‘Shine For All The People.’ He is one of the best performers, and human beings, I’ve ever had the privilege to know. Congratulations to Mike and all the good people at Compass Records.

Best Americana Album
‘The River & the Thread’ – Rosanne Cash
‘Terms of My Surrender’ – John Hiatt
‘Bluesamericana’ – Keb’ Mo’
‘A Dotted Line’ – Nickel Creek
‘Metamodern Sounds in Country Music’ – Sturgill Simpson

Best country album
‘Riser’ – Dierks Bentley
‘The Outsiders’ – Eric Church
’12 Stories’ – Brandy Clark
‘Platinum’ – Miranda Lambert
‘The Way I’m Livin’ ‘ – Lee Ann Womack

Best rock song
‘Ain’t it Fun’ – Paramore
‘Blue Moon’ – Beck
‘Fever’ – The Black Keys
‘Gimme Something Good’ – Ryan Adams
‘Lazaretto’ – Jack White

Best rock albums
‘Ryan Adams’- Ryan Adams
‘Morning Phase’ – Beck
‘Turn Blue’ – The Black Keys
‘Hypnotic Eye’ – Tom Petty and the Heartbreakers
‘Songs of Innocence’ – U2

Best new artist
Bastille
Iggy Azalea
Brandy Clark
HAIM
Sam Smith

Best American Roots Performance
Gregg Allman & Taj Mahal – ‘Statesboro Blues’
from: ‘All My Friends: Celebrating The Songs & Voice Of Gregg Allman’ [Rounder]
Rosanne Cash – ‘A Feather’s Not A Bird’ from: ‘The River & The Thread’ [Blue Note Records]
Billy Childs Featuring Alison Krauss & Jerry Douglas – ‘And When I Die’ from: ‘Map To The Treasure: Reimagining Laura Nyro’
[Masterworks]
Keb’ Mo’ Featuring The California Feet Warmers – ‘The Old Me Better’ from: ‘Bluesamericana’ [Kind Of Blue Music]
Nickel Creek – ‘Destination’ from: A Dotted Line [Nonesuch]

Best American Roots Song
(A Songwriter(s) Award. Includes Americana, bluegrass, blues, folk or regional roots songs. For Song Eligibility Guidelines see Category #3. (Artist names appear in parentheses.) Singles or Tracks only.)
‘A Feather’s Not A Bird’ – Rosanne Cash & John Leventhal, songwriters (Rosanne Cash) from: ‘The River & The Thread’ [Blue Note Records; Publishers: Chelcait Music admin. by Measurable Music LLC, a Notable Music Co./Lev-A-Tunes]
– ‘Just So Much’ – Jesse Winchester, songwriter (Jesse Winchester) from: ‘A Reasonable Amount Of Trouble’ [Appleseed; Publisher: Bug Music]
– ‘The New York Trains’ – The Del McCoury Band
Woody Guthrie & Del McCoury, songwriters (The Del McCoury Band)
Track from: My Name Is New York: Deluxe Audio Book [Woody Guthrie Publications, Inc.]
– ‘Pretty Little One’ – Steve Martin And The Steep Canyon Rangers Featuring Edie Brickell
Edie Brickell & Steve Martin, songwriters (Steve Martin And The Steep Canyon Rangers Featuring Edie Brickell) from: Live
[Rounder; Publishers: LA Films Music/Brick Elephant Music]
– ‘Terms Of My Surrender’ – John Hiatt songwriter (John Hiatt)
from: ‘Terms Of My Surrender’ [New West Records; Publisher: So Not That Music]

Best Folk Album
(For albums containing at least 51% playing time of new vocal or instrumental folk recordings.)
– ‘Three Bells’ – Mike Auldridge, Jerry Douglas & Rob Ickes [Rounder]
– ‘Follow The Music’ – Alice Gerrard [Tompkins Square]
– ‘The Nocturne Diaries’ – Eliza Gilkyson [Red House Records]
‘Remedy’ – Old Crow Medicine Show [ATO Records]
– ‘A Reasonable Amount Of Trouble’ – Jesse Winchester [Appleseed]

Best Blues Album
(For albums containing at least 51% playing time of new vocal or instrumental blues recordings.)
– ‘Common Ground – Dave Alvin & Phil Alvin Play And Sing The Songs Of Big Bill Broonzy’ – Dave Alvin & Phil Alvin
[Yep Roc Records]
– ‘Promise Of A Brand New Day’ – Ruthie Foster [Blue Corn Music]
– ‘Juke Joint Chapel’ – Charlie Musselwhite [Henrietta Records]
– ‘Decisions’ – Bobby Rush With Blinddog Smokin’ [Silver Talon Records]
‘Step Back’ – Johnny Winter [Megaforce Records]

Best Bluegrass Album
(For albums containing at least 51% playing time of new vocal or instrumental bluegrass recordings.)
‘The Earls Of Leicester’ – The Earls Of Leicester [Rounder]
‘Noam Pikelny Plays Kenny Baker Plays Bill Monroe’ – Noam Pikelny [Compass Records]
– ‘Cold Spell’ – Frank Solivan & Dirty Kitchen [Compass Records]
– ‘Into My Own’ – Bryan Sutton [Sugar Hill Records]
– ‘Only Me’ – Rhonda Vincent [Upper Management Music]

Best Roots Gospel Album
– ‘Forever Changed’ – T. Graham Brown [MCM World Media]
‘Shine For All The People’ – Mike Farris [Compass Records]
– ‘Hymns’ – Gaither Vocal Band [Gaither Music Group]
– ‘A Cappella’ – The Martins [Gaither Music Group]
– ‘His Way Of Loving Me’ – Tim Menzies [Grace Records]

Best Boxed or Special Limited Edition Package
‘Cities Of Darkscorch’ – Leland Meiners & Ken Shipley, art directors (Various Artists) Label: The Numero Group
– ‘A Letter Home (Vinyl Box Set) – Gary Burden & Jenice Heo, art directors (Neil Young) Label: Third Man Records
– The Rise & Fall Of Paramount Records, Volume One (1917-27)
Susan Archie, Dean Blackwood & Jack White, art directors (Various Artists) Label: Third Man Records/ Revenant Records
– ‘Sparks’ (Deluxe Album Box Set) Andy Carne, art director (Imogen Heap) Label: RCA Records/ Megaphonic Records
– ‘Spring 1990 (The Other One)’ Jessica Dessner, Lisa Glines, Doran Tyson & Steve Vance, art directors (Grateful Dead)
Label: Rhino

Best Album Notes
– ‘Happy: The 1920 Rainbo Orchestra Sides’ David Sager, album notes writer (Isham Jones Rainbo Orchestra)
Label: Archeophone Records
– ‘I’m Just Like You: Sly’s Stone Flower 1969-70’ Alec Palao, album notes writer (Various Artists) Label: Light In The Attic Records
– ‘Offering: Live At Temple University’ Ashley Kahn, album notes writer (John Coltrane) Label: Resonance/Impulse
‘The Other Side Of Bakersfield: 1950s & 60s Boppers And Rockers From ‘Nashville West’ ‘ Scott B. Bomar, album notes writer (Various Artists) Label: Bear Family
– ‘Purple Snow: Forecasting The Minneapolis Sound’ Jon Kirby, album notes writer (Various Artists) Label: The Numero Group
– ‘The Rise & Fall Of Paramount Records, Volume One (1917-27)’
Scott Blackwood, album notes writer (Various Artists) Label: Third Man Records/Revenant Records

Best Historical Album
– ‘Black Europe: The Sounds And Images Of Black People In Europe Pre-1927’ Jeffrey Green, Ranier E. Lotz & Howard Rye, compilation producers; Christian Zwarg, mastering engineer (Various Artists) Label: Bear Family
‘The Garden Spot Programs, 1950’ Colin Escott & Cheryl Pawelski, compilation producers; Michael Graves, mastering engineer (Hank Williams) Label: Omnivore Recordings
– ‘Happy: The 1920 Rainbo Orchestra Sides’ Meagan Hennessey & Richard Martin, compilation producers; Richard Martin, mastering engineer (Isham Jones Rainbo Orchestra) Label: Archeophone Records
– ‘Longing For The Past: The 78 RPM Era In Southeast Asia’ Steven Lance Ledbetter & David Murray, compilation producers; Michael Graves, mastering engineer (Various Artists)
Label: Dust-To-Digital
– ‘There’s A Dream I’ve Been Saving: Lee Hazlewood Industries 1966 – 1971 (Deluxe Edition)’ Hunter Lea, Patrick McCarthy & Matt Sullivan, compilation producers; John Baldwin, mastering engineer (Various Artists) Label: Light In The Attic Records

Watch Out! Willie Nelson, Bobbie Nelson – ‘Who’ll Buy My Memories’ [VIDEO]

Willie Nelson, Bobbie Nelson - 'Who'll Buy My Memories'

It’s a bumper year for Willie Nelson fans. The best selling ‘Band of Brothers” was released over the summer and as reported earlier, his second album of 2014, December Day, a collection cut with his sister and longtime musical partner Bobbie Nelson will be released next week .

Nelson has just releases a video for an updated version of his song “Who’ll Buy My Memories,” from his 1992 ‘IRS Tapes’ which helped pay of his well-publicized tax debt at the time.

The video is a quiet and intimate look at the Nelson siblings doing what they’ve been doing for over 40 years. Playing in beautiful harmony.

The Last Waltz -Reflections and Alternate Footage

On November 25th, 1976, Thanksgiving Day, San Francisco’s Winterland Ballroom was the setting for the end of an era. One that had started seventeen years earlier when Rick Danko, Levon Helm, Garth Hudson, Richard Manuel, and Robbie Robertson aligned as The Hawks, a backing band for rockabilly pioneer Ronnie Hawkins.

The concert most famously known as ‘The Last Waltz,’ from the Martin Scorsese documentary and resulting best-selling soundtrack, was part fan’s, friend’s and peer’s celebration of a legendary band and a grand and final statement mandated by Robertson, who unilaterally wanted to end The Band as a touring entity.

Through Scorsese’s studied gaze, and his love of music, the film delivers an intimate and exuberant slice of music history But off-screen business maneuvering, lawyers and a fair amount of paranoia and hubris tainted the celebration and drove a wedge between Levon Helm and Robbie Robertson that time, and lawyers, never remedied.

As Helm recalled in his book ‘This Wheel’s on Fire’ Robertson “… was saying he was sick of it all. He wanted to keep on recording with us, but not go on the road. ‘We’re not learning anything, man. It’s not doing anything for us, and in fact it feels dangerous to me. Look what’s happening, Levon. I’m getting superstitious. Look at Dayton Stratton (a friend and associate of The Band who had died in an air crash). Every time I get on the plane I’m thinking about this stuff. The whole thing just isn’t healthy anymore.’

Set designer Boris Leven lent a deft hand in creating a cozy yet grand stage aesthetic. Using stored props from Opera Company of San Francisco’s production of Verdi’s opera ‘La Traviata’ – columns, chandeliers, crimson wall hangings – Leven grandly melded lavish pomp with living room comfort to set a fitting au revoir.

Contrast this with the ‘Cocteau Room.’ A backstage space painted white walls to ceiling, with white carpeting. Also furnished was a glass table strewn with razor blades for the express purpose of cocaine use for the gathered guests. Helm remembers Scorsese being so wired that “he talked so fast I barely understood a word he said.”

Though there’s no denying the talent and magic of some of the performances, I’m left wondering if this was a bit of thunder stealing. After a spirited full set by The Band, complete with horns arranged by Allen Toussaint, the latter portion of the bill relinquished The Band to back-up positions. Not only of their former frontmen Ronnie Hawkins and Bob Dylan but also for Eric Clapton, Joni Mitchell, Neil Young, Muddy Waters, Van Morrison and others who performed their own songs.

Though this no doubt broadened the marketing potential for the movie and soundtrack I personally believe it was taking the spotlight from its proper focus, The Band and their musical legacy. Wouldn’t it have been more fitting, and appropriate if these artists were brought on to support the group in their own songs and them maybe then given one of their own? I believe so.

But it’s all history now, and the music remains. This was even more poignant to me after I happened across this great raw footage of the event. Footage that shows the performances like the crowd that night experienced it.

Let us give thanks that The Band was with us, no matter how briefly, and left a rich musical trail-blazing legacy still followed, and celebrated today.

https://www.youtube.com/watch?v=YiEWeaM-D78

Merle Haggard / Marty Stuart Deliver a Powerful Double-Shot – Bass Hall, Ft. Worth 11/12/14

Merle Haggard / Marty Stuart A Powerful One, Two Punch - Bass Hall, FT. Worth 11/12/14

On a North Texas night chilled by an early winter snap Merle Haggard and Marty Stuart brought a welcome reprieve by turning up the heat.

“I hope you didn’t come looking for some fancy show. If you did you just wasted your money!” Stuart grinned, making a reference to the lavish Ft. Worth venue typically showcasing symphonies, ballets, operas and musicals.

But not tonight. This cold night the capacity-filled Bass hall had been transformed into a rowdy roadhouse, though a tad highfalutin one.

No chairs or longnecks were thrown (and no chicken wire across the stage required) during Stuart’s set but the atmosphere created was just that. Stuart is the consummate showman – in tight leather pants and silver rooster comb of hair – as he worked the crowd into a frenzy. Well, the crowd was largely equally as sliver, so let’s say a tizzy. He and his always extraordinary band, the Fabulous Superlatives – Kenny Vaughan on guitar, Harry Stinson on drums and Paul Martin on bass, – brought a level of bluegrass-level virtuosity that Start had honed personally from his many years in country music, including his start with Lester Flatt. The majority of the brief but satisfying set was from their just-released double album, “Saturday Night/Sunday Morning.” Honky-tonk barn-burners mixed with Gospel pew-kneelers set toes-tapping and hands-clapping.

And in the case of Stuart’s astonishing mandolin solo, jaws dropping.

As Merle Haggard said later in the program “Marty likes to work in Nashville, I DON’T! But he keeps that town alive.”

Stuart introduced the 77-year-old Haggard as he strolled out on stage as nonchalantly as a living legend might.

Decked in Blacks slacks, boosts and a black jacket with brown leather trim (my bets a Manual exclusive) a fedora/cowboy hybrid chapéu and dark sunglasses, The Hag wasted no time launching into “Big City.”

The classics kept coming, his own hits like “Twinkle, Twinkle Lucky Star,” Silver Wings,” “I Think I’ll Just Stay Here and Drink” and others including Johnny Cash’s “Folsom Prison Blues,” Blaze Foley’s “If I Could Only Fly,” and the Townes Van Zandt he and Willie made into a radio staple “Pancho and Lefty.”

A hush fell over the crowd during his reverent rendition of “Are the Good Times Really Over.” As the song reminiscences simpler times, and better music, without resorting to saccharin tropes of as he asks teh question most of us ask whe watching a oucntry awards program, “Are the good times really over for good?”

Not as long as Haggard and Stuart walk this earth.

Haggard appeared to be a bit winded and he mentioned several times about “Being out of breath” and feeling like he was having an “asthma attack.” Given hsi recent history with health issue there was palpable concern and calls of encouragement as he sipped some hot tea a delivered on-stage by a background singer.

The one soap-box moment of the night came when Haggard asked the audience who was in favor for legalization of marijuana? He then asked “Who’s against it?” Following rhetorically with, “Why?” (video below)

Are the good times really over for good? Not as long as Haggard and Stuart walk this earth.

Merle Haggard’s set list: “Big City,” “Twinkle, Twinkle Lucky Star,” Silver Wings,” “Folsom Prison Blues,” “I Think I’ll Just Stay Here and Drink,” “If I Could Only Fly,” “I’m a Lonesome Fugitive,” “Mama Tried,” “The Bottle Let Me Down,” “If We Make It Through December,” “Are the Good Times Really Over,” “Pancho and Lefty,” “Footlights,” “Train of Life,” “San Antonio Rose,” “Old Fashioned Love,” “Working in Tennessee” (with Marty Stuart) and “Okie From Muskogee” (with Marty Stuart) No encore.

GhostTunes Contest

GhostTunes

The headlines are full of performers not happy with the current market conditions for their music. Few have the will (or the clout) to build their own marketplace to take on the establishment.

Garth Brooks has used his massive comeback, releasing ‘Man Against Machine, his first album in 13 years along with a string of sold-out shows, to shine a light on these economic conditions and his own full-service music platform , which goes live today.

From the press release “GhostTunes focuses on providing the best music experience for both artists and the fans that love their music. Fans are able to listen to their music immediately upon purchase from the GhostTunes platform, without having to download the content to their device. Fans can also download their purchased content to play with the audio player of their choice on a phone, tablet or computer.”

Will this change things? Perhaps. For now it’s changed the conversation.

Leave a comment below for chance to win a $12.99 gift card and judge for yourself.

A winner will be chosen at random this evening at 7pm CST.

Good luck!

Loretta Lynn Signs With Sony Legacy, New Album In The Works For Next Year

Loretta Lynn

LynnThe reining Queen of Country Music inked her fist new record deal in more than a decade.

Following Willie Nelson to Sony Legend the new agreement covers “several albums of new material,” produced by Lynn’s daughter Patsy L Russell and John Carter Cash, recorded over the past seven years at the Cash Cabin Studio in Hendersonville, Tenn.

The first title is plannned for release in 2015 and will be the artist’s first collection of new recordings since 2004’s Grammy-winning Jack White collaberation “Van Lear Rose,”

Lynn, Russell and Cash have beenworking togather at Cash Cabin Studio sice 2007. The materian “explores Lynn’s musical history spanning Appalachian folk songs and gospel music she learned as a child, to new interpretations of her classic hits and country standards, to songs newly-written for the project.

Drawing inspiration from personal memories and connections to American music, Lynn’s new recordings “capture the essence of these songs in intimate new performances, the way they might’ve sounded growing up in the 1930’s and 40’s in Butchers Hollow, Ky.”

Lynn appeared on the Country Music Awards last night, signing “You’re Looking at Country” with diciple Kacey Musgraves.

https://www.youtube.com/watch?v=0M7E_UGE4h0

Emmylou Harris To Be Honored By Roots Peers at Washington Event

THE LIFE & SONGS OF EMMYLOU HARRIS

It is my opinion that Emmylou Harris can’t have enough tributes or be handed enough awards for her contribution to American music.

On January 10th, 2015 an impressive ensemble of roots and country performers will rightly come together to honor her in “The Life and Songs of Emmylou Harris.” The concert will take place in Washington DC’s DAR Constitution Hall, and will feature performances by Kris Kristofferson, Sheryl Crow, Mary Chapin Carpenter,Mavis Staples, Martina McBride, John Hiatt, Lucinda Williams, Trampled By Turtles, Steve Earle, Patty Griffin, Rodney Crowell, Iron & Wine, Shawn Colvin, Shovels & Rope, Joan Baez, Sara Watkins and The Milk Carton Kids. Harris will take the stage to perform with a number of special guests throughout the night. Additional performers will be announced in the coming weeks.\\\\

Grammy Award-winners Don Was and Buddy Miller will serve as music directors that will lead an all-star band backing the performers at this incredible concert event taping. Keith Wortman is the creator and executive producer of the show along with Harris’ manager Ken Levitan. Was and Wortman’s recent work together includes extraordinary concert events honoring music icons such as Johnny Cash, Levon Helm and Gregg Allman, amongst others.

“Emmylou Harris and her songs have inspired music fans and musicians all over the world,” said Was. Miller added, “I have been blessed to be both a dear friend and music partner of Emmy’s, and look forward to an extraordinary night of music.” “I am privileged to produce a concert event of this magnitude that honors an artist as special and important as Emmylou Harris. This will be one of those nights where every fan wishes they were in the building,” said Wortman.

The event will be taped but there is no mention of streaming live or dates for when event might be aired/released.

Tickets go on sale at November 7 at 10am

For more info head to songsofemmylou.com

Tompkins Square To Release ‘When I Reach That Heavenly Shore : Unearthly Black Gospel, 1926-1936’ 3CD/3LP Set, December 9th

'When I Reach That Heavenly Shore : Unearthly Black Gospel, 1926-1936',

Grammy winner Christopher King ( Charlie Patton: Screamin’ and Hollerin’ the Blues) has produced ‘When I Reach That Heavenly Shore : Unearthly Black Gospel, 1926-1936.’ The box set will be released December 9th on Tompkins Square Records.

from the presser:

“Among the most powerful music to be captured on 78 rpm in America during the 1920s & 1930s are those recordings of black sanctified and gospel singing. Ranging from plaintive mourning to unbridled ecstasy, the sacred music from this time period represents a flowering of diverse and idiosyncratic rural songs styles. At no time was there a wider panorama of religious songs in America.

Selected exclusively from Christopher King’s private collection, the 78s included here represent the most unhinged, the most compelling survey of pre-war black gospel. Of the 42 tracks in this 3CD/3LP collection, 34 have never been reissued until now. The complete recorded output of the Primitive Baptist Choir of North Carolina is also included in this collection for the first time. Several rare & previously unissued photographs are also contained within. Lovingly and respectfully designed by Susan Archie and firmly grounded in Scripture by Christopher King.”

Stream ‘Let That Lie Alone’ – Edward W. Clayborn- from the release below.

Track Listing:
On Jordan’s Stormy Bank We Stand – Seventh Day Adventists Choir
Glory! Glory! Hallelelujeh – McCollum’s Sanctified Singers
Fight On Your Time Ain’t Long – Primitive Baptist Choir Of North Carolina
Let Jesus Lead You – Jubilee Gospel Team
Preaching With Singing – Elder Oscar Saunders & Congregation
I’ll Be Rested (When The Roll Is Called) -Roosevelt Graves & Brother
Hiding Behind The Stuff – Rev. A. W. Nix
Let That Lie Alone – Edward W. Clayborn- “The Guitar Evangelist
The Devil Is A Fisherman – Rev. T.E. Weems
Oh Lord I’m Your Child – McCollum’s Sanctified Singers
Abraham Have Mercy On Me – Rev. William Ransom
Father I Stretch My Hands Up To Thee – Primitive Baptist Choir Of North Carolina
I Wish My Mother Was On That Train – Blind Joe & Emma Taggart
Dead Cat On The Line – Rev. J.M. Gates
You Gotta Live Your Religion Every Day – Laurel (Mississippi) Fireman’s Quartette
Rejoicing On The Way – Fa Sol La Singers
Canaan’s Land – Blind Gussie Nesbit
Everybody Will Be Happy Over There – Elder Oscar Saunders & Congregation
Jesus Will Make It All Right – Edward W. Clayborn- “The Guitar Evangelist
Heaven Belongs To You – Primitive Baptist Choir of North Carolina
Lord I’m The True Vine – Eddie Head & His Family
Jonah In The Wilderness – Henry Thomas
Angels Rolled The Stone Away – Rev. D.C. Rice
Pure Religion – Blind Gussie Nesbit
I Love Thy Church O Lord- Primitive Baptist Choir of North Carolina
Stations Will Be Changed – Jubilee Gospel Team
When I Take My Vacation In Heaven – Mother McCollum
What The Men Wanted The Women Was Sitting On- Rev. Emmet Dickinson
Train Your Child – Washington Phillips
He Shall Speak For Himself – Rev. William Ransom
I Heard The Angels Singing – Edward W. Clayborn- “The Guitar Evangelist”
The Day Is Past And Gone – Primitive Baptist Choir Of North Carolina
I Know The Lord Has Laid His Hands On Me – Jubilee Gospel Team
Jesus Of Nazareth, King Of The Jews – Rev. J.C. Burnett
I Won’t Have To Cross Jordan Alone – Laurel (Mississippi) Fireman’s Quartette
I’ll Be Satisfied – Blind Joe & Emma Taggart
Blessed Be The Tie That Binds – Primitive Baptist Choir Of North Carolina
I Shall Not Be Moved – Edward W. Clayborn- “The Guitar Evangelist
Don’t Know When Old Death Will Call For Me – Jubilee Gospel Team
Great Day Of His Wrath Has Come – Rev. J.C. Burnett
I Want To See Him – Mother McCollum
Going To Hell & Who Cares – Rev. A. W. Nix

2014 Americana Album of the Year Grammys Predictions

grammy

Grammy nominations are a few months away but the topic of performers that might be up for an Americana Album of the year nomination – meaning releases between Oct. 1, 2013 and September 30, 2014 to be awarded on Feb. 8, 201 – has been a topic on my twitter feed lately. So I’ve decided to bring the speculation here.

First thing is not to get too nuts. Yes Sturgill Simpson and The Drive-By Truckers came out with excellent releases within the qualifying dates, but they are not known names in the mainstream, therefore not on a typical GRAMMY voters radar.Sure there have been some new artists that have broken through the national media consciousness, most notably The Civil Wars and Mumford and Sons, but these are the exceptions.

Granted there have been Americana AOTY nominees that have been welcome surprises. But nods towards promising new blood like John Fullbright (2013) or out-of-nowhere nominee like Linda Chorney are rare and , so far, have yet to snag the big prize.

No, the Recording Academy Voting Members like their Americana artists like their nominees they like they like their pre-awards restaurant, known and well-respected . Risk is a four-letter word in business and the GRAMMYS are about the business of music. Sure the organization does great work in the periphery to ensure music grows and is protected as a national treasure and heritage. The GRAMMYs telecast is a cultural trade show. Only the best are on display. And in the subjective world of music “best” means “sales.”

Of course sales in the Americana world is a rain drop compared to something like a Taylor Swift deluge, but there are charts for sales and airplay available if you dig a little. And for those not willing to dig the “best” defaults to “well known.” this is not a dig, it’s the artist’s responsibility to break through the din of music sameness to gain the attention of the voter if a GRAMMY is something they desire. And really, in the world of unit sales doesn’t “known” almost always results in ‘best?”

But sometimes the “best” in our little world doesn’t make it up to the big boys. Consider the lack of a nomination for Jason Isbell’s “Southeastern.” An album that made all the Americana, and many mainstream country, year-end lists last year. I was still hearing about that major oversight at Americanafest last month.

Luckily the known entities of Americana are still a cut above most genres and therefore often have some of the best music of the year.

Below are my picks for the 5 potential nominees with my pick for winner. There are a few dark horses I believe deserve to be in the running. Again, I do not vote for the GRAMMYS, just cover the event. I have no insider knowledge and will know the nominees and winners as you do.

Rodney Crowell – ‘Tarpaper Sky’ – This is the easiest pick of the bunch, As a 2013 Americana AOTY co-winner, along with Emmylou, Harris, Crowell already has the hearts and, more importantly, the attention of the Recording Academy Voting Members.

Carlene Carter – ‘Carter Girl’ – Nominated once in 1991 for the Best Female Country Vocal Performance GRAMMY for her throwback rendition of “I Fell in Love.” Carter has recently been working hard in support of her latest including a well-received stop at a GRAMMY Museum showcase.

Willie Nelson – ‘Band Of Brothers’ – It’s hard to ignore one of Willie’s best, and best selling, releases in years. With 11 GRAMMYs under his belt and a 2010 nomination for this category, alongside Asleep at the Wheel for ‘Willie and the Wheel,’ Willie has the gravitas and the goods to snag a nomination.

Jim Lauderdale – ‘I’m A Song’ – Lauderdale personifies Americana it it’s popular form as a representative of the Americana Music Association and as the acclaimed MC of their awards ceremony. He along with his musical and SiriusXM Outlaw Country co-host Buddy Miller, were nominated for this category last year for their collective release ‘ Buddy and Jim.’ He’s won 2 GRAMMYs first in 2002 with Dr. Ralph Stanley for “Lost in the Lonesome Pines” and his second for his “The Bluegrass Diaries” –

Rosanne Cash – ‘The River & The Thread’ – Cash released, what I consider, is the finest record of her career and was instantly heralded as a genre favorite. Critics from USA Today to this blog loved it. Radio loved it and, more importantly, fans loved it. Twelve GRAMMY nomination and one win for Best Female Country Vocal Performance for “I Don’t Know Why You Don’t Want Me” (1985) She’s well-known and respected in the hearts of the voters. Look for this one to win.

https://www.youtube.com/watch?v=bjMzrMeLJxw

DARK HORSE PICK

Sturgill Simpson – ‘Metamodern Sounds in Country Music’ – If there were a Nobel Prize for talent and genuineness in music Sturgill Simpson would get it for his latest. It’s a favorite across the Americana community and has perked up the ears of mainstream country music fans and blogs as well. Ideally ‘Metamodern Sounds in Country Music’ should win the GRAMMY for Country Album OTY. Hell, if Kacey Musgraves can do it why not?

Parker Millsap – ‘Parker Millsap’ – There’s no denying the buzz around this young Oklahoman. His performance at Americanafest resulted in a waiting line to squeeze in to a packed room and screaming on a Beatlemania level. And the hype lives up to the talent. Let;s hear it for the young bloods with old souls!

Nickel Creek – ‘A Dotted Line’ – Okay, Nickel Creek isn’t much of a dark horse. But after a seven-year hiatus (as a band, not as individual performers) will voters still recall their obvious greatness as they did when tehy received 4 GRAMMY nominations and won for Best Contemporary Folk Album for 2003’s ‘This Side?’