Watch Out! Sturgill Simpson: “Turtles All the Way Down” on The Tonight Show with Jimmy Fallon

sturgill-on-fallon

Last night Sturgill Simpson performed his trad-country, psychedelic-tinged song about chemical enlightenment. As always, the man and his fantastic band, nailed it.

With appearances on David Letterman and Conan it’s becomes a of late night talk-show gauntlet by the reluctant savior of country music. It won’t be long before Sturgill Simpson is a household name.

With the money and the fame that’s sure to follow I’m sure Music Row will be (has been) whispering in his ear to join the big circus. And sponsors. There’s a beer and Wranglers rep out there just licking their lips to hitch their wagon to a shooting star.

I trust Simpson’s instincts and his focus on the music that’s brought his this far. He’s not a hit machine serving to print money for some label. He’s making music that matters, hits deep, and endures.

That makes Simpson an oddity. Turtles?! No hits?! No stylist?! The man is barely competent on social media! How is he showing up on the mainstream radar?

One thing that ties Letterman, Conan and Fallon together is their appreciation and championing of great music with little consideration to the flavor of the week.

Simpson has his eye on the long game.

The sound might ring of tradition, but the spirit of following your path is something that is timeless and takes guts and talent.

So Simpson shows up and plays ‘Turtles All the Way Down,’ ‘Living the Dream’ or ‘Life of Sin.” People hear something they probably haven’t heard on the radio or knew still existed.

Some wonder “Huh, There still is country music being made. Why haven’t I heard this guy?” or “Where’s the beats and the rock? This twangy shit sucks.”

Either way, like Neo in the Matrix, the curtain is lifted and reality is exposed. People are made aware. There is a choice to be made.

Red or blue pill?

if a listener or artist is unsure and unaware they are pliable. They listen to others and live in fear of what others think. It takes them away from the reason you started listening and playing music to begin with.

Simpson’s sets his camp right in his own territory and he scraps and fights with every song’s worth and beauty.

And we’re all fortunate that we’re there to share it with him.

So the money and salesmen are inevitable. But my faith is firm that Simpson will stay true to that spirit and personal vision. And he’ll show young musicians that you can trust your instincts, blaze a path, make a living and leave a mark.

I might not be “outlaw,” but’s it’s sure badass.

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?’

Omnivore Recordings To Release Expanded 20th-Anniversary of Old 97’s debut ‘Hitchhike to Rhome,’ November 17

Old 97's debut ‘Hitchhike to Rhome.’

When discussing the pioneers and legacy of the alt.country movement Dallas’ Old 97s have to be on the short list of most influential, and enduring, roots rockers to ever till that field.

The band’s indy debut, ‘Hitchhike to Rhome,’ blasted onto the scene in 1994. Already cooked in was the roots-rock with a dash of pop ingredients that has served the band well over their 20-year career. Rhett Miller, already a solo veteran, displayed a deft hand at smart and catchy phrasing on songs like “St. Ignatius,” “If My Heart Was a Car,” and the album’s standout “Stoned,” that has made one of the most charismatic, and generous, front men going.

To celebrate the 20th anniversary of ‘Hitchhike to Rhome’ the excellent Omnivore Recordings continues their support of the Old 97s catalog (they released the ‘Too Far To Care’ reissue complete with demos (also available separately on vinyl as They Made A Monster), and the band’s sessions with Waylon Jennings) by reissuing the album as an expanded 2-CD and digital release. But wait there’s more! The album will also be released as on double vinyl LP for the first time with a limited edition first pressing on translucent orange vinyl!

From the presser:

“When band member and set co-producer Ken Bethea was revisiting the original tapes for this reissue, he discovered a treasure trove of eight extra tracks cut at the album sessions — many of which the band hadn’t even remembered recording. It seemed the perfect time to bring those previously unissued songs to light and add the tracks from their first four-song demo cassette to round out the early picture of the 97’s.

The 2-CD version of Hitchhike To Rhome contains the original album, coupled with a second disc of those 12 rare and unreleased tracks, many mixed from the original multi-tracks for the first time by longtime Old 97’s engineer Rip Rowan. The double LP features the LP on three sides with six of the recently unearthed tracks on Side 4. The download card included gives the buyer the complete 2-CD program. Both formats include rare photos, memorabilia and notes from Bethea.

Street date is November 17, 2014.

Pre-order here.

CD TRACK LIST:

Disc One
St. Ignatius
504
Drowning In The Days
Miss Molly
Dancing With Tears
4 Leaf Clover
Wish The Worst
Old 97’s Theme
Doreen
Hands Off
Mama Tried
Stoned
If My Heart Was A Car
Desperate Times
Ken’s Polka Thing
Tupelo County Jail
Disc Two
St. Ignatius (demo cassette version)
Drowning In The Days (demo cassette version)
Making Love With You (demo cassette version)

Stoned (demo cassette version)
Dancing With Tears (demo)*
Ivy (demo)*

Eyes For You*

Crying Drunk*

Victoria*

Old 97’s Theme Spgeddi*
Alright By Me*

Desperate Times*

LP TRACK LIST:
Side One
St. Ignatius
504
Drowning In The Days
Miss Molly
Dancing With Tears
Side Two
4 Leaf Clover
Wish The Worst
Old 97’s Theme
Tupelo County Jail
Doreen
Hands Off
Side Three
Mama Tried
Stoned

If My Heart Was A Car
Desperate Times
Ken’s Polka Thing
Tupelo County Jail
Side Four
Crying Drunk*

Dancing With Tears (demo)
Ivy (demo)*

Victoria*

Eyes For You*
Old 97’s Theme Spgeddi*
* Previously unissued

Music Review – Lucinda Williams – “Where The Spirit Meets The Bone” [Highway 20 Records]

Lucinda Williams - "Where The Spirit Meets The Bone"

It seems with every Lucinda Williams release there is a cry of “her most personal album so far.” Allow me to carry on a tradition. Williams’ latest, her 11th studio album and the first for her own label Highway 20 Records, at least appears to be Lu’s most personal to date. Or at least her most personal album she could release that reflects where she finds herself in life

Of course if you’ve been following Lu for any length of time you’re used to her pentiant for starkly honest, take-no-prisoners songs. Much like the cover of “Down Where the Spirit Meets the Bone’ each release is like a slice from her heart as it takes it’s own unique journey.

“Down Where the Spirit Meets the Bone’ stretches across two bruised and battered discs/albums, delving deeply, and with clear-eyed gaze, into the human psyche, A place that few songwriters are brave enough, or wise enough, to travel. Little on to document and share.

But this is where the good stuff is.

If there’s a theme, no overt one but a wide marking, reflected in Williams’ adaptation of a poem by her father, Miller Williams. It comes in the sparse Spanish-guitar opener “Compassion.” Williams’ voice bares the marks of a hard truths. The gliding tempo frames a simple, earthly parable – In spite of perceptions have compassion for everyone you meet, because “you do not know what wars are going on/ Down there where the spirit meets the bone.”

Other stand outs are “Protection,” a swampy-soul plea for refuge against encroaching menace. SImilar steamy style saturates the territorial tales of “West Memphis .”

‘Cold Day in Hell’ is a lovely cut from the POV of a scorned lovers’ lament of lessons learned that stops just short of the damage of bitter resentment.

Burning Bridges , with it’s jaunty beat and shimmery guitars, kicks off like a Steely Dan- style FM radio staple as a tale of regret gives way to resignation and a wash of roaring guitars.

“Wrong Number” is a sort of doo-wop book-end to her “Change The Locks” and her version of J.J. Cale’s ‘Magnolia’ gives an extra dimension of longing and carries Lu’s love of New Orleans.

‘Down Where the Spirit Meets the Bone’ is a result of a singer/songwriter crafting songs wrought from their life, not following a formula towards sales and charting. It’s an honest and sometimes brutal work, but it’s never dour as Williams describes much of the pain as a wizened observer setting markers and warnings created by a life lived.

Of course people being what they are all warnings and advice will be ignored and forgotten. And Lu will be right there with more great songs to beautifully, soulfully, remind us of what we already know.

Official site | Down Where the Spirit Meets the Bone

four-half-rate

Review: Kacey Musgraves — The Granada Theater – Dallas, Texas [SOLD OUT]

Kacey Musgraves -- The Granada Theater - Dallas, Texas

“This is my hometown show!” Kacey Musgraves exclaimed from the stage near the start of her performance.

Though she had been on her current tour for several days in Texas this as close as Musgraves had come to her hometown. Musgraves cut her honky-tonk teeth in Golden TX. which lay a little more than 96 miles West of Dallas and many friends and family had come to see her at this special homecoming to celebrate a top-selling, Grammy-winning, chart-landing big-label debut and a tour of the world to support it.

Musgraves and her family were joined by a long-ago sold-out crowd of fans that formed a line that snaked around the side of the venue hours before doors were announced to open. Good ol’ boys, tattooed young gals and middle-age couples all stood boot-to-boot to catch country music’s newest star.

Credit Musgraves or her team for picking the Granada, and it’s capacity for roughly 800, for an intimate homecoming. She had recently rolled off an opening slot for pop-goddess Katy Perry, where the audience was treated to “Fire and dancing cats” and they were “shocked that we were a country band,” but the KatyCats eventually warmed up to them.

It’s easy to see why.

Though deeply steeped in country music’s traditional forms Musgraves has done what her predecessors like Dolly Parton and The Dixie Chicks had done years before. Worked traditional country music forms, and their strengths of storytelling, to build connections blended with contemporary sounds and dialect to appeal to a wider audience. All this without diluting the original spirit. This is no small task.

The 800 plus venue faced a stage that appeared set for a set for a larger production and might very well have been as much was probably used on the bigger venues she’s recently played.

The signature “acid western” motif of dusky western sky backdrop and neon cacti were on display to add just the right amount of kitschy fun. And her band’s Nudie style matching suits festooned with Christmas lights sealed the deal.

And a big show it was. Not big in the contemporary KISS-style circus definition of the word, but big in talent and heart.

From the opener “Silver Lining,” from her Grammy-winning 4th studio release ” Same Trailer Different Park,” she had the crowd enchanted. Donning a short skirt (she warned the front row to be careful with those phone cameras) cowboy boots, checked cotton shirt and fringed rhinestone wrist cuffs, she had the room as background accompaniment with the opening verse.

Woke up on the right side of rock bottom
You’re all out of pennies, and the well it done run dry
Light ’em up and smoke ’em if you had ’em,
But you just ain’t got ’em
Ain’t we always looking for a bluer sky

And it went that way the whole hour-plus show. Musgraves and her excellent band played ” Same Trailer…” nearly in it’s entirety as well as some choice covers and new songs at the encore.

Highlights were “Blowin’ Smoke,” which had the crowd answering back with the “Hey yeah” that gives the song it’s bluesy swagger. The non album track “The Trailer Song” which she premiered earlier this year ( “You might not have lived in a trailer, but I bet you has a nosey neighbor.”) was also a highlight as well as “Merry Go ‘Round” as Musgraves asked the crowd to use their cell phone lights to create a wonderful starry effect.

The covers were inspired as Dolly Parton’s “Here You Come Again ” fit her pop leanings and the Roger Cook, John Prine penned “Dance With You,” made famous by Texas legend George Strait shows she has a keen sense of great songs.

Her reggae-flavored working of “Step Off” folded nicely into Bob Marley’s positive vibe of “3 Lil’ Birds” to the crowd’s roaring delight and her version of Nancy Sinatra and Lee Hazlewood “These Boots Are Made For Walkin” brought the show to a steamy, rocking boil.

The finale has Musgrames and the boys circled around a single mic for an accapella version of Roy Rogers “Happy Trails.”

Years of playing live and penning quality songs for the likes of Gretchen Wilson, Miranda Lambert, Martina McBride and ABC’s Nashville have honed Musgraves into a sharp songwriter with an eye for common themes told in uncommon ways. Her “aw shucks” demeanor never come off as false or forced.

Will she have the staying power of loretta, Dolly or the pre-scandal Dixie Chicks? Time will tell. But one thing for sure, Kacey Musgraves is off to a hell of a start.

Set List:
Silver Lining
Stupid
Blowin’ Smoke
I Miss You
High Time
Here You Come Again (Dolly Parton cover)
The Trailer Song
Keep It To Yourself
Back on the Map
Mama’s Broken Heart (Miranda Lambert)
No Scrubs (TLC cover)
It Is What It Is
Dance With You – (George Strait cover)

    Step Off / 3 Lil’ Birds (Bob Marley & The Wailers cover)
    Merry Go ‘Round
    My House

    Encore:
    Biscuits (new song – solo acoustic)
    Cup of Tea (new song – solo acoustic)
    These Boots Are Made For Walkin’ (Nancy Sinatra /Lee Hazlewood cover)
    Follow Your Arrow
    Happy Trails (Roy Rogers cover)

Willie Nelson to Release New Album “December Day” – Due Out In December

Willie Nelson - December Day

Fresh on the heels of his June-released, chart-topping Band of Brothers June, Willie is preparing a new FALL RELEASE.
Collaborating with Sister Bobbie, and performed with his regular band, Willie release an album of original songs “December Day” set for a December release (naturally.)

Willie told Billboard.com he has “about eight or nine originals” including “Back To Earth” and “I’ll Take You Home Again, Kathleen” as well a version of Irving Berlin’s “Alexander’s Ragtime Band.”

“I’ve been waiting to put one out with me and the band for a long time,” Nelson says. “These are songs we’ve been playing for a long time. I really like working with the guys we had for (‘Band of Brothers’) and anyone else I record with, but I really wanted to do something with my band, too.”

The title , “December Day” comes from a song featured on Willie Nelson’s 1971 release “Yesterday’s Wine.”

AmericanaFest 2014 – All the roots put together

Loretta Lynn - Americana Awards

It was fitting that on the eve of AmericanaFest 15 I should run into Rob Bleetstein.

Let me explain. Bleetstein is man partially responsible for “Americana” being used as a qualifier for “music.”

As editor at the esteemed Gavin Report Bleetstein informed the radio trade publication that they were missing category of mongrel music he, and others, had been programing while employed at KFAT in Gilroy, California. The result was the first Americana radio chart being published on January 20, 1995.

So of course I asked him what Americana was.

As we joked at the seemingly endless consternation his vague creation had unleashed on geeks like me a capacity crowd streamed out of The Basement around us. They had just witnessed vets Phil Madeira and Will Kimbrough swap songs with the sassy third of the Pistol Annie’s Angaleena Presley and dazzlingly edgy newcomer Caroline Rose. More folks packed in behind them to catch he steamy roots soul/gospel of Mike Ferris & the Roseland Rhythm Revue. The music surrounding us, the fans buzzing about the days of sleepless nights to come. Endless squabbling about genre borders seems irrelevant.

Then Bleetstein mentioned he had read a Rolling Stone where Eric Clapton had given a definition when discussing his newly released project The Breeze: An Appreciation of JJ Cale. Clapton said “In Europe, we heard JJ as Americana, all the roots put together.”

All the roots put together. An imperfect definition for an imperfect form.

Let’s go with that.

Musicians, fans and industry types – figuring how they are still relevant in the cultural value chain – descended on Nashville for the Americana Music Conference, Festival and Awards to witness some of the best, nay THE best, music going. Fueled by BBQ, hot chicken, local beer, bourbon and a variety of caffeine there were endless pow-wows, parties, pre-parties, listening parties, post- parties tet-de-tets and random run-ins.

And yes I did squeeze some music in on occasion.

I say some because there was so many band across multiple venues you had to plan out your evenings in advance. I did. Then I mostly abandoned them for convenience, air conditioning and parking.

First the Awards. I never get over the thrill of walking into the Ryman Auditorium. It is a hallowed place full of ghosts and echoes and, as overwhelming as it is to sit in those church pews I can’t imagine what it’s like to perform on that stage.
But many did on that night and they did it with the passion and reverence due.

Reverence was also what Kacey Musgraves and Angaleena Presley displayed when presenting the Lifetime Achievement Award for Songwriting to legend and pioneer Loretta Lynn. Lynn accepted the award 54 years to the day that she first appeared on the Ryman stage, making her Grand Ole Opry debut. Presley introduced Lynn as “a woman who raised up six children and 70-odd hit singles but, just as importantly, raised everyone’s idea of what a country song could talk about it.” A standing ovation rightly greeted Lynn as she entered the stage in her signature flowing gown. “When they told me I was going to get this award, I said, ‘Naw, you got the wrong one. But it was right, and I was so proud.”‘

Then she sang Coal Miner’s Daughter. on The Ryman stage. Damn.

“Happy birthday to Hank Williams,” Jason Isbell said as he accepted one of the three awards in three categories he won that night for his stellar release of his newest Southeastern . “If it wasn’t for that guy, we’d be doing this in some burned-out Kmart in Murfreesboro.”

While picking up his hand-crafted trophy for song of the year “Cover Me Up” Isbell said “I wrote this song for my wife.” Referring to Amanda Shires Texas singer/songwriter who accompanied him that night on a rousing performance that brought the crowd to it’s feet. “This was probably the hardest song I ever had to write because I wrote it for her and then I played it for her. It was very difficult. Do the things that scare you. That’s the good stuff.”

I’m very happy that Isbell was able to put himself in a place that allowed him to do some of the best work he’s ever produced, and that recognition has rightly followed.

The emerging artist category was the tightest, and best, I has ever remembered it to be. Between Parker Millsap, St. Paul & The Broken Bones, Sturgill Simpson and Hurray For The Riff Raff, all whom performed live, it was a tough call. It was anyone’s game. That is until it was Simpson’s as he headed to the podium with a characteristically terse “This is for my family.” Enough said, hoss.

Country music legend and historical memorabilia collector Marty Stuart honored to Jimmie Rodgers posthumously awarding the The Father of Country Music the Presidents Award. Then he and his Fabulous Superlatives
tore through a spirited “No Hard Times” with Stuart and guitarist Kenny Vaughan giving the song a contemporary flair with blazing tandem electric guitars.

Guitarist extraordinaire Ry Cooder sat in with Buddy Miller and the band for the night’s events. His dexterity on the guitar is matched by his ability to move through, or completely around musical styles, tying them together in the process. He took time away from his supporting duties to award his longtime collaborator norteño accordion pioneer Flaco Jimenez with a Lifetime Achievement as an Instrumentalist. They then performed a lovely version of the Spanish-language traditional “Ingrato Amor.” Cooder also teamed up with Artist of the year nominee Rodney Crowell for a delicate version of careful rendition of “God I’m Missing You,” from Crowell’s latest ‘Tarpaper Sky.’

Rosanne Cash brought a sophisticated air to her performance of her “A Feather’s Not a Bird,” and a gritty-folk menace surrounded Patty Griffin as she was joined by Robert Plant to perform “Ohio.”
Emerging artist nominee Hurray For The Riff Raff performed a transfixing version of their murder ballad “Body Electric” while vocalist Alynda Lee Segarra shimmered in a Nudie-style suit. Robert Ellis showed himslef to be one of the industries most creative and astute songwriters as he performed his nominated “Only Lies.”

At the Country Music Museum and Hall Of Fame’s Ford Theatre Outlaw legend Billy Joe Shaver give a brief (but candid) interview about his life’s tribulations. He then rose to perform, with simple acoustic accompaniment,
songs rendered from those hardships. Hardships he assured us made easier early with whiskey and later with Jesus.

Then it was upstairs to a new, beautiful, portion of the Country Music Hall of Fame’s CMA Theater to catch “Honky Tonkin’: Twenty Years on Lower Broad” celebration/showcase of bands that featured Greg Garing, Paul Burch and R.B. Morris and BR549. Performers that helped reenergize Nashville’s Lower Broadway after the Opry moved out of the Ryman and to the burbs. Before performing, upright bassist “Smilin” Jay McDowell walked to the front of the stage and placed a tip jar as a tribute to the days when the band survived on such monetary generosities. Singer Chuck Mead , bedecked in his Nudie Suit best with his cherry-red Gretsch electric guitar and co-frontman Gary Bennett, toned down in jeans and western shirt, then showed hoe their tight harmonies gloriously transported all those that had been there those many years ago. Veteran Lower Broad singer and mentor John Shepherd, attending with wife and singing partner Lois Shepherd, continues tradition as he headed slowly to the stage and dropped the first dollar tip, prompting laughs and applause.

Lee Ann Womack had some shows during the event. I was lucky to catch a song swap with her, Hayes Carll, Bobby Bare Jr. and the legendary songwriter Bobby Braddock high atop the SiriusXM Outlaw theatre. Hosted by Mojo Nixon (outLAAAAAAW country) Carll and Bare shared a laugh on their collaboration “My Baby Took My Baby Away” and , later, Carll looked on with shyness and awe as Womack hushed the crowd with his “Chances Are” which she oncluded on het newest release. The real highlight though was Braddock singing his classics “He Stopped Loving Her Today,” “Golden Ring” and everyone joining in on the closer “We’re Not The Jet Set.”

But the real gold is the showcases. Stand-outs were Angel Snow (her real name, I asked) playing at a sparsely attended Americana for Movies and Shows. I only caught once song but that’s all it took to render me speechless. Alabamian Mathew Mayfield followed with his brand of rough-hewn catchy folk. The i wa shocked to see bluegrass/folk stalwart Tim O’Brien take the stage. I felt bad that there were so few people but lucky I was one of those few.

A trip to Jack White’s odd Third Man performance space was bathed in calm, blue lighting as a mounted elephant head loomed above the crowd. On the bill was Madisen Ward and the Mama Bear. The mother and son act perform seated, strumming acoustic guitars and singing deep-roots songs that reach far into blues and folks misty past. In the same space on another night Jonah Tolchin hold a folk-jam clinic that surprised many expecting the genteel folk-blues style from his latest “Clover Lane.”

Caroline Rose commanded attention of the crowd with her school-girl outfit and her manically focused folk-rock set that had them screaming for more. While trying to escape the heat of the Mercy Lounge I found myself in the cooler High Watt space watching a performance of Aaron Lee Tasjan. Exhibiting the droll but sharp humor of Todd Snider but the delicate songcraft of Townes Van Zandt the Nashville resident defied all expectations.

How could any of that fit in one neat marketing package? I feel for the marketing rep that handles any of these artists and is asked “What kind of music is it?”

All the roots put together. Let’s go with that.

https://www.youtube.com/watch?v=pUvE-GTiKiY

Bloodshot Records Announces 20th Anniversary “While No One Was Looking” Compilation – November 18, 2014

Bloodshot Records Announces 20th Anniversary  "While No One Was Looking"

Chicago’s mighty Bloodshot Records has quietly been hoisting the roots rock and alt.country flag for, well as long as those words came into mainstream use.

Hard to believe that it’s been 20 years since the intrepid indy released it’s inaugural compilation ‘A Life of Sin: A Compilation of Insurgent Chicago Country.’

The music industry has gone through some pretty rough changes in the last two decades but Bloodshot has blasted along releasing some of the best the genre has to offer.

This November 18 you’ve got one more item to add to your Christmas wish-list. ‘While No One Was Looking: Toasting 20 Years of Bloodshot Records,’ a collection of 38 reinterpretations from the label’s catalog will be released.
Blitzen Trapper, Andrew Bird and Nora O’Connor, Ben Kweller, Mike Watt, Nicki Bluhm and the Gramblers, Shakey Graves, Chuck Ragan, Superchunk, and many others cover current and former acts such as Justin Townes Earle, Ryan Adams, Neko Case, Scott H. Biram, Ha Ha Tonka, Lydia Loveless, Old 97’s, Murder By Death, Robbie Fulks, Cory Branan, and more.

Personally I’m looking forward to hearing Into It. Over It cover Neko Case’s “Deep Red Bells” and Kevin “Shinyribs” Russell covering Lydia Loveless’ “All the Time.” Yowzaa!

Pre-order (limited ed. blood-red vinyl is the way to go) and track listing are below.

Preorder “While No One Was Looking”

Full Album Track Listing:

Disc 1:

1. Blitzen Trapper – “To Be Young (Is to Be Sad, Is to be High)”
Originally performed by Ryan Adams on BS071 Heartbreaker (2000)

2. Chris Shiflett & The Dead Peasants – “Look the Other Way”
Originally performed by Justin Townes Earle on BS193 Nothing’s Gonna Change the Way You Feel About Me Now (2012)

3. Samantha Crain – “Cold Forgiver”
Originally performed by Ha Ha Tonka on BS207 Lessons (2013)

4. Chuck Prophet – “Dirt”
Originally performed by Andre Williams on BS185 Hoods & Shades (2012)

5. Hiss Golden Messenger – “Where I Fell”
Originally performed by Robbie Fulks on BS211 Gone Away Backward (2013)

6. Dave Davison (of Maps & Atlases) – “Things I Didn’t Say”
Previously performed by Bobby Bare, Jr.’s Young Criminals’ Starvation League on BS110 From the End of Your Leash (2004)

7. Ted Leo – “Dragging My Own Tombstone”
Originally performed by Waco Brothers on BS054 Electric Waco Chair (2000)

8. Into It. Over It. – “Deep Red Bells”
Originally performed by Neko Case on BS099 Blacklisted (2002)

9. Split Single – “My Backyard”
Originally performed by Nora O’Connor on BS116 Til the Dawn (2004)

10. Limbeck – “Sound of Running”
Originally performed by Old 97’s on BS066 Early Tracks (1995, 2000)

11. Tim Kasher – “Aspidistra”
Originally performed by The Scotland Yard Gospel Choir on BS148 The Scotland Yard Gospel Choir (2007)

12. Shakey Graves – “Happy Birthday Julie”
Originally performed by Wayne Hancock on BS080 A-Town Blues (2001)

13. Ivan & Alyosha – “My Winding Wheel”
Originally performed by Ryan Adams on BS071 Heartbreaker (2000)

14. Chuck Ragan – “Survivor Blues”
Originally performed by Cory Branan on BS195 MUTT (2012)

15. The Minus 5 – “Cherokee Grove”
Originally performed by Mark Pickerel and His Praying Hands on BS146 Cody’s Dream (2008)

16. Carolyn Mark – “Last to Know”
Previously performed by Alejandro Escovedo on BS027 More Miles Than Money (1998)

17. Daniel Romano – “Strange Birds”
Originally performed by Jon Langford & The Sadies on BS092 Mayors of the Moon (2003)

18. Charlie Parr – “Manifold”
Originally performed by Devil in a Woodpile on BS065 Division Street (2000)

19. The Reverend Peyton’s Big Damn Band – “St. Nick on the Fourth in a Fervor”
Originally performed by Ha Ha Tonka on BS145 Buckle In The Bible Belt (2007)

20. Possessed By Paul James – “I Came Around”
Originally performed by Murder By Death on BS200 Bitter Drink, Bitter Moon (2012)

Disc 2:

1. Andrew Bird and Nora O’Connor – “I’ll Trade You Money for Wine”
Originally performed by Robbie Fulks on BS211 Gone Away Backward (2013)

2. Ben Kweller – “2:00 AM”
Originally performed by The Meat Purveyors on BS091 All Relationships Are Doomed to Fail (2002)

3. Frank Turner – “The Corner”
Originally performed by Cory Branan on BS195 MUTT (2012)

4. Superchunk – “Come Pick Me Up”
Originally performed by Ryan Adams on BS071 Heartbreaker (2000)

5. KOJI – “East Jefferson”
Originally performed by Ben Weaver on BS173 Mirepoix & Smoke (2010)

6. The Great Crusades – “Fake Out Jesus” (Live)
Originally performed by The Blacks on BS 063 Just Like Home (2000)

7. Mike Watt & The Missingmen – “Up to My Neck In This”
Originally performed by Jon Langford & The Sadies on BS092 Mayors of the Moon (2003)

8. Nicki Bluhm & the Gramblers – “Oh My Sweet Carolina”
Originally performed by Ryan Adams on BS071 Heartbreaker (2000)

9. Jerry David DeCicca – “Broken Bottle”
Previously performed by Alejandro Escovedo on BS027 More Miles Than Money (1998)

10. The Handsome Family – “1000 Dollar Car”
Originally performed by The Bottle Rockets on BS212 The Brooklyn Side (1994, 2013)

11. Warm Soda – “All Grown Up”
Previously performed by Gore Gore Girls on BS142 Get the Gore (2007)

12. James Leg (of Black Diamond Heavies) – “Is That You in the Blue?”
Originally performed by Dex Romweber Duo on BS186 Is That You in the Blue? (2011)

13. Two Gallants – “Truck Driver”
Originally performed by Scott H. Biram on BS122 The Dirty Old One Man Band (2005)

14. Diarrhea Planet – “Dry Land”
Originally performed by Waco Brothers on BS015 Cowboy in Flames (1997)

15. Kevin “Shinyribs” Russell – “All the Time”
Originally performed by Lydia Loveless on BS214 Boy Crazy (2013)

16. The North Carolina Music Love Army (featuring Caitlin Cary, Chip Robinson, and Kenny Roby) – “Stick to the Plan”
Originally performed by Graham Parker on BS140 Don’t Tell Columbus (2007)

17. William Elliott Whitmore – “I Wish I Was the Moon”
Originally performed by Neko Case on BS099 Blacklisted (2002)

18. Samuel Fogarino (of Interpol) – “Liked It a Lot”
Originally performed by Charlie Pickett on BS 154 Bar Band Americanus (1984, 2008)

Americanafest Video Round-Up

Americana Awards Finale

There’s just way too much to see when visiting Americanafest. That’s why God created smart phones. Here’s some great videos that fans uploaded.

I heard that Robert Ellis held an epic classic country rich performance at the legendary Robert’s Western Wear. Of course I heard about it the day after it happened. Good thing somebody tipped off Hayes Carll, J.P. Harris, Shelly Colvin, Josh Hedley, Johnny Fritz and Jim Lauderdale.

Sam Outlaw proved that classic country can still thrive in L.A.

The Avett Brothers show you never can get so big that you can’t bring it back to the basics.

Sturgill Simpson’s performance at the not quite opened City Winery was a hard get with a capacity RSVP list.
https://www.youtube.com/watch?v=pUvE-GTiKiY

Plant and Griffin reunite (well, musically) for the Americana Awards.

It was Loretta Lynn’s night (rightly so) as he swept his categories.

Loretta Lynn. Nuff said.
https://www.youtube.com/watch?v=QoA0y9aCgxU

The closing of the Americana Awards with Ry Cooder, Rosanne Cash, Jason Isbell, Jim Lauderdale, Buddy Miller and others.

Johnny Cash / Carter Family Exhibits Open at Musical Instrument Museum in Phoenix

The Musical Instrument Museum  Carter Family and Johnny Cash exhibits

The Musical Instrument Museum (MIM) in Phoenix recently unveiled an exhibit honoring the Carter Family and Johnny Cash. Located in MIM’s Artist Gallery, the exhibit provides guests with an overview of the musical careers of the artists and their historical impact.

Items on display in the Carter Family and Johnny Cash exhibits have never before been displayed for the public and come to MIM on loan from John Carter Cash, son of Johnny Cash and June Carter Cash, and Dale Jett, grandson of A.P. Carter. The items will be on display through April 2016.

“When I first visited MIM, I was excited by its inimitable beauty and scale. It has been a wondrous blessing to work with the staff there and help bring about the Carter Family / Johnny Cash display,” said John Carter Cash. “I feel it is inspired and shows a unique view into the history of country music that cannot be seen anywhere else.”

The music of the Carters (A.P., Sara and Maybelle Carter) has been celebrated for nearly a century. The trio, which recorded more than 250 songs, is widely recognized for helping launch country music’s commercial beginnings and for inspiring many artists in later genres including bluegrass and rock.

Items on display in the Carter Family and Johnny Cash exhibits include:

· A.P. Carter’s 1929 Martin 00-28 guitar, played by the original Carter Family
· June Carter Cash’s custom Orthey autoharp and fingerpicks
· Johnny Cash’s black Manuel Cuevas stage suit which was worn in concert and features embroidered acorns and oak leaves
· Johnny Cash’s black Martin D-42JC signature guitar which was played in concert and on several of his “American” albums
· Johnny Cash’s 1936 Martin 5-18 guitar which was played by Cash, family and friends in Cash’s home and inlaid in the early 1970s with acorns and oak leaves
· Johnny Cash’s 2002 Grammy award for “Give My Love to Rose,” Best Male Country Vocal Performance

The exhibits also feature photographs from the Grand Ole Opry Archives and performance footage from several sources.

“It would be difficult to overstate the significance of these artists in American music,” said MIM curator for North America, Dr. Cullen Strawn. “It’s an honor to share their objects, songs and stories with our guests.”

The Carter Family and Johnny Cash exhibits join the ranks of other country music-focused exhibits at MIM. MIM’s Artist Galley features instruments played by Elvis Presley, Roy Orbison, and the Nitty Gritty Dirt Band. In MIM’s United States/Canada Gallery, the Country exhibit displays items belonging to Marty Robbins, Buck Owens, Kix Brooks and others.

Entrance to MIM’s Artist Gallery is included with general museum admission.

The Musical Instrument Museum is located at 4725 E. Mayo Boulevard in Phoenix (corner of Tatum and Mayo Boulevards, just south of Loop 101). For general museum information and a full schedule of events, visit MIM.org or call 480.478.6000.