Music Review: Old Crow Medicine Show – Dallas, TX – House Of Blues 7/11

Old Crow Medicine Show - Dallas, TX - House Of Blues 7/11

Like Willie did in the 70’s with the rednecks and hippies, Old Crow Medicine Show brought Affliction shirt bro-country fans and amply bearded roots-music hipsters together. Except on this sizzling Friday evening in Dallas it wasn’t the burgeoning Outlaw sound the crowd came to hear, it was a reflection of yesteryear served up with contemporary punch. Perhaps a new Outlaw sound.

The band hit the stage running promptly at 9. The moseying tale of incarcerated delight, “Brushy Mountain Conjugal Trailer,” kicked off the evening resulting in joyous hoots and hollers from the capacity House of Blues crowd.

New tunes selected from their excellent recent release “Remedy” meshed seamlessly with road tested classics from their extensive repertoire. Like the medley mash-up of Bootlegger’s Boy/8 Dogs/White Face, it all fit like a hand-made quilt albeit from your crazy Aunt Betty.

New selections also set the occasion, front-man Ketch Secor to inform the crowd that “Sweet Amarillo,” the latest collaboration between OCMS and Bob Dylan, was to be played live for the first time in the Lone Star State. This being a song about a Texas city being played in Texas that went over with great appreciation.

Many selections came from the band’s 2009 release “Tennessee Pusher.” Crowd favorites like Caroline, Alabama High-Test, , the double entendre toe-tapper Mary’s Kitchen and trailer-park party anthem “Humdinger” had the crowd singing along to every drawled syllable at lung-splitting levels. “If you’re not a folk singer we’re going to have a humdinger.” We were!

In the style of their namesake Old Crow live taps the showmanship of the crowd-beckoning horse and wagon snake oil entertainers. Except once enticed to gather, the miracle elixir the band dispenses soothes the soul and quenches the need for elusive authenticity, a characteristic most recently tied to punk rock. We hear in themes of struggle of poverty, the corrosion of war, and lure of temptation and the celebration of a good time as a live example of the twisted roots in of the common arts of punk, folk and country in all it’s DIY glory.

Showmanship didn’t mask a lack of masterful instrumentation. In true bluegrass style (except for the dreaded drum kit) of breakneck virtuoso playing and solo trade-offs did abound. There’s is no slacking in the band, no coasting. Each song is tight, even the loose ones, and executed with a rambunctiousness that makes it appear to be ready to swerve off a cliff and bust into moonshine-fueled flames.

Live the Old Crow Medicine Show makes their better-known acolytes Mumford & Sons, The Avett Brothers and The Lumineers look like greenhorns. Their recent success with Darius Rucker covering Wagon Wheel, joining the Grand ‘Ol Opry and becoming recipients of the Trailblazer Award at the Americana Honors & Awards Show makes this tour even sweeter.

And on this night Old Crow Medicine Show does what they do best. Remind is what great music sounds and looks like. And proves there’s a little hillbilly in all of us.

Set list:

Brushy Mountain Conjugal Trailer
Alabama High-Test
Caroline
Tennessee Bound
Firewater
Bootlegger’s Boy/8 Dogs/White Face
Sweet Amarillo
Mary’s Kitchen
Shit Creek
Humdinger
Ol’ Hairy Mole/Ruckus
Cumberland River
Saginaw, Michigan
C.C. Rider
People Get Ready
Tell That Woman
Warden
Dearly Departed
Carry Me Back To Virginia
Fall On My Knees/Tear It Down
Wagon Wheel
Cocaine Habit/Tell It To Me
Encore:
Long As I Can See The Light
Wreck of the Edmund Fitzgerald

Lucinda Williams To Release Double Album “Down Where The Spirit Meets The Bone” – September 30

Lucinda Williams - Down Where The Spirit Meets The Bone

Roots-music legend, and three-time Grammy Award winner Lucinda Williams is set to release her first-ever double album “Down Where The Spirit Meets The Bone” on September 30 though her very own Highway 20 Records

“Down Where The Spirit Meets The Bone” is said to be ” Williams’ most ambitious and adventurous projects to date.” It features 20 new songs, with 18 written by Williams. The album’s opening track, “Compassion”, was originally a poem by her father, the poet Miller Williams, in which she wrote the music and additional lyrics.

From the press release “This is a personal milestone for Williams as it marks the first time she has composed music for one of her father’s poems, and it is from that song that the album title was taken. ”

The album also features a cover os JJ Cale’s “Magnolia.”

“Down Where The Spirit Meets The Bone” features performances by guitarists Bill Frisell and Tony Joe White, Faces keyboardist Ian McLagan, Elvis Costello’s rhythm section of Pete Thomas (drums) and Davey Faragaher (bass) and Wallflowers guitarist Stuart Mathis. Jakob Dylan adds harmony vocals on “It’s Gonna Rain.” Williams’ longtime rhythm section of Butch Norton (drums) and David Sutton (bass) make also contribute. D”Down Where The Spirit Meets The Bone” was produced by Williams, Tom Overby and Greg Leisz.

Of the Album Williams says ” “I didn’t set out to do a whole album of country-soul, but once I started working, a stylistic thread kind of emerged,” she says. “It’s a sound I can relate to, one that’s really immediate and really timeless at the same time — kind of sad in an indefinable way. It’s like something my dad said to me many years ago, something I wrote down and included in my song “Temporary Nature (Of Any Precious Thing)” because it was so profound to me — ‘the saddest joys are the richest ones.’ I think that fits this album really well.”

EDIT: Here is the front and back covers. (The back is for the vinyl version.) The photos are by Birney Imes from his book “Juke Joint”. It is the same book that provided the cover for “Car Wheels On A Gravel Road”, as well as the photo that inspired the song “2 Kool 2 Be Forgotten”

Lucinda Williams "Down Where The Spirit Meets The Bone"

See Williams perform “Something Wicked This Way Comes” from “Down Where The Spirit Meets The Bone”

Watch Out! Old 97’s – “Let’s Get Drunk & Get It On” [VIDEO]

 Old 97's - Let's Get Drunk & Get It On

Let’s go kids as we follow a day in the life of Rhett Miller, Murry Hammond, Ken Bethea and Philip Peeples – collectively known as NorTex alt.country stalwarts The Old 97s. The video follows each member in a spilt-screen quadrants as they travel through various routines and states of consciousness (or not.) tier paths collide onstage at a hometown show in Dallas.

I can only surmise from the video that the definition of “get it on’ is put on a damn fine rock show, right guys? Right?

The Old 97’s released their recent album “Most Messed Up” in April on ATO Records.

Wait for the hilarious surprise ending. It’s worth it, believe me.

Loretta Lynn, Flaco Jiménez, Jackson Browne and Taj Mahal to Receive Americana Music Association Lifetime Achievement Awards

AMA Lifetime Achievement

Loretta Lynn, Flaco Jiménez, Jackson Browne and Taj Mahal have been selected to receive Lifetime Achievement Award winners to be presented at its 13th Annual Honors and Awards. The ceremony will take place on Wednesday, September 17 at the historic Ryman Auditorium in Nashville. The show will be taped for air on PBS later this year in the Austin City Limits time slot and titled ACL Presents: Americana Music Festival 2014.

Jackson Browne will receive the “Spirit of Americana Award, Free Speech in Music” co-presented with the First Amendment Center. The Lifetime Achievement Award for Songwriting goes to country music legend Loretta Lynn. Texas tejano accordion master Flaco Jiménez will be honored with the Lifetime Achievement Award as an Instrumentalist.
The Lifetime Achievement in Performance will go to Grammy Award-winning blues luminary Taj Mahal.

The 15th annual Americana Music Festival & Conference will take place September 17-21, 2014 in Nashville, Tenn. Tickets for the Honors & Awards are only available with the purchase of a conference registration.

Purchase here.

Listen Up! Lucero “Sweet Little Thing” [Live]

Live from Atlanta

Her’s a taste of “Live from Atlanta” the first ever Lucero formal live release.

Below you can stream a live version of “Sweet Little Thing”, a classic ballad originally from the band’s sophomore effort Tennessee.

“Live from Atlanta” spans the roots-rock band’s career. Recorded over three nights in Atlanta’s Terminal West, it’s a collection of 32 cuts mixing folk, country, soul and punk rock.

About their live performance front man Ben Nichols says “We’re each playing in a completely different band. We’re on stage and each playing in our own Lucero. I’m not sure that’s how it works for other bands.”

Pour a whiskey neat and enjoy

Americana Music Association Releases First Half of 15th Annual AmericanaFest Bill

Americanafest

The Americana Music Association continues its tradition of showcasing some of the best in Americana and roots music by it’s partial roster of Americanfest performers released today.

Though the lineup doesn’t show any groundbreaking direction, I’m fine with that. There are lots of folks on the list that have been busting their hump for years and deserve this recognition rather then inserting acts to placate outsider accusations of one thing or another. Personally I’m happy to see Casa Twang favorites Howlin’ Brothers, Jamestown Revival, John Moreland, Lera Lynn, Marah and Ben Miller Band on the bill. And Texas is well-represented by Billy Joe Shaver, Sarah Jarosz, Jason Eady and Hayes Carll

The event is celebrating its 15th as the premier Americana event by welcoming 160 performers taking the stage at 11 venues including 3rd & Lindsley, The Basement, City Winery, High Watt, Cannery, Mercy Lounge, The Rutledge, Station Inn, Music City Roots, Downtown Presbyterian Church and Musicians Corner.

Three-time Americana Group of the Year, The Avett Brothers, will headline the event at Riverfront Parl on Saturday Sept. 20. Americana’s Music Festival & Conference registrations will have access. Tickets for the general public will go on sale Friday, June 27 at 10AMat www.ticketfly.com.

Check out THE Americanafest 2014 Spotify playlist.

The first half of Americanafest’s performing artist list includes:

Allison Moorer
Amy Ray
Angaleena Presley
The Avett Brothers
The Barefoot Movement
Ben Miller Band
Billy Joe Shaver
Black Prairie
Brennen Leigh and Noel McKay
Buddy Miller
The Cactus Blossoms
Carlene Carter
Caroline Rose
Chatham County Line
Chuck Mead
Danny & The Champions of the World
The Deadly Gentleman
Del Barber
The Deslondes
Doug Seegers
The Duhks
The Dustbowl Revival
Emily Barker & the Red Clay Halo
Ethan Johns
The Fairfield Four
The Grahams
Grant-Lee Phillips
Green River Ordinance
Greensky Bluegrass
Gregory Alan Isakov
Greyhounds
The Harpoonist & the Axe Murderer
Hayes Carll
Howlin’ Brothers
Immigrant Union
Israel Nash
Jamestown Revival
Jason Eady
JD Wilkes & the Dirt Daubers
Joe Henry
Joe Pug
Joe Purdy
John Moreland
Jonah Tolchin
Jonny Two Bags
Josh Ritter
Joshua James
Lake Street Dive
Lee Ann Womack
Leo Welch
Lera Lynn
Marah Presents: Mountain Minstrelsy
Marty Stuart
Matthew Ryan
McCrary Sisters
Nathaniel Rateliff
New Country Rehab
Oh Susanna
Otis Gibbs
Parker Millsap
Paul Thorn
Pete Molinari
Quebe Sisters Band
Rhett Miller
Robbie Fulks
Robyn Hitchcock
Rodney Crowell
Ruthie Foster
Ryan Montbleau
Sam Outlaw
Sarah Jarosz
Sean Rowe
Shakey Graves
Suzy Bogguss
Todd Snider & Friends
Tom Freund
Tony Joe White
Trigger Hippy (feat. Jackie Greene, Joan Osbourne, Steve Gorman, Tom Bukovac & Nick Govrik)
Whiskey Shivers
Willie Watson

The 15th annual Americana Music Festival & Conference occurs September 17-21, 2014 in Nashville, Tenn. The 13th annual Americana Honors & Awards Show on Sept. 17 at the historic Ryman Auditorium.

Watch Out! Sturgill Simpson, ‘The Promise’ [VIDEO]

Sturgill Simpson, 'The Promise'

Sturgill Simpson’s latest video, is for his dour yet heartfelt of version of Manchester synth-pop band When In Rome’s 1988 hit “The Promise.” (also included below for reference)

Simpson sits singing looking directly at you. Aashed-out colors fill in the grey-tone frame. Colors swirl and wash until replaced by inky clouds claustrophobically closing in.

And then.. he’s gone.

“The Promise” is a cover but Simpson makes it his own and shapes one of the best songs on his excellent release “Metamodern Sounds in Country Music.”

Watch Out! Kacey Musgraves – “The Trailer Song” on The Tonight Show Starring Jimmy Fallon [VIDEO]

trailersong

Ladies and Gents great country music is alive and well and, yes, sometimes it still comes from Music Row.

GRAMMY-award winning singer/songwriter Kacey Musgraves has a response to self-rightous neighbors and it’s “The Trailer Song,” and it’s a honky-tonk delight (with an “awww haaawww’ for bonus points)

The song was written by Musgraves, and her usual partners in crime Brandy Clark and Shane McAnnally

Last week Musgraves performed “The Trailer Song” on The Tonight Show Starring Jimmy Fallon (see below.)

Purchase “The Trailer Song.” at Musgraves’ website.

Musgraves is currently on tour this summer with Willie Nelson and Alison Krauss as well as Katy Perry on her Prismatic World Tour.

Music Review: Sturgill Simpson – “Metamodern Sounds in Country Music” – High Top Mountain Records

sturgill-simpson-metamodern

On his 1962 masterpiece “Modern Sounds in Country Music” Ray Charles’ broke cultural and racial boundaries, straddled styles, grew his audience and made the charts.

Sturgill Simpson’s newest release tips a hat to that release but “Metamodern Sounds in Country Music” but it doesn’t break any boundaries that weren’t broke decade ago.

Simpson does fight against the current thinking that what’s old is bad. This is not new. Gram Parson’s did it in the 60’s and 70’s and the entire Americana genre is built on that premise. But just as Charles’ classic engaged country music as a lens to take a broader cultural view Simpson uses 70’s country gold as a review mirror to remind us what cultural beauty we’ve squandered.

Music City has always raced towards the shiniest object to gain market share and fill pockets. It’s charter is not historic preservation but cash accumulation. But that history is rich and fertile ground in the mind of Simpson, a mindful disciple that spans history and style with authenticity and a crooked smile.

That richness can be heard, and felt, in the songwriting.

The record opens as an old-timer, billed as “Dood” Fraley, announces the title album and then echoes off into infinite space.

Sunny psychedelic “Turtles All The Way Down” opens with a “Gentle On My Mind” feel with a twist “I’ve seen Jesus play with flames in a lake a fire that I was sanding in” “There’s a gateway in our mind that leads somewhere out there beyond this plane / Where reptile aliens made of light cut you open and pull out all your pain.”

“Tear in my Beer” this ain’t.

Drug use and mind expansion is not new in country music. Way before Willie and Snoop sang “Roll Me Up and Smoke When I Die.” and Kacey Musgraves , Ashley Monroe and Brandy Clark hitched a ride on the current weed bandwagon Kris Kristofferson was smoking his mind in “Sunday Morning Coming Down” (which Simpson references in “Life of Sin”) and Johnny Cash went on a murderous jag in “Cocaine Blues.”

But Simpson reflects a humanity in the mind alterations that grounds it and makes it relatable to even the straightest arrow.

Humanity is often dark, and “Life of Sin” takes a page from the book of Bakersfield and tells a leavin’ tale taht leads to drinkin’ and debauchery that raves like an prairie dust storm.

“Living the Dream” is a laid-back, Waylon-tinged cold reality lament of the futility of performing as you contemplate futility and “sit around and wait to die.”

“Long White Line” is a love song to the open road as a path away from hurt. “The Promise” is the most poignant track on the album. Simpson conjures loneliness and yearning in his softly, almost spoken, delivery as plucked guitar, drums, bass and stings build.

As you can guess this is not the feel good album of the summer. it engage human themes once prevalent in country music, misery. But not in th meost recent emo vairty of the emotion. this is misery as enlightenment. Angst as discovery.

“It Ain’t all Flowers” is a flashback kick in the teeth with “Are You Experienced”-style backtracking before giving way to a slow groover that slithers and seethes Southern sou.

Simpson’s voice is an expressive instrument in itself as if pleads and growls keening into hard-edge shapes and the occasional howl “oooHooooooo!” The band is on par with the level of excellence you’d expect from a Sturgill Simpson release. Kevin Black on bass guitar, Miles Miller on drums/percussion and backing vocal, Mike Webb on keyboards and
Dave Cobb plays. classical guitar/percussion. The stand out is Laur Joamets from Tartu, Estonia ranks up there with the finest interpreters of teh guitar I’ve had th honer of hearing.

Simpson doesn’t care to be country music’s savior but he’s willing to interpret it to make some damn fine new music an d fans are coming in droves. There’s a hunger for it.
Is “Metamodern Sounds in Country Music” groundbreaking? No.and it doesn’t need to be. It just remind us there still some gold in that there High Top Mountain

Official site

five_rate

George Strait Sets Attendance Record While Keeping It Intimate

George Strait -  The Cowboy Rides Away

That deafening roar heard from the Heart of Texas Saturday night was not a natural disaster. It was a fitting send-off for the reigning king of country music George Strait.

The last show of the two-year, cross-country Cowboy Rides Away adios tour for te fans featured a custom revolving stage set center field only used twice before, in Houston and San Antonio. The stage was dwarfed by the world’s largest high-definition LED video display looming above it.

The sound was as good as to be expected for being played at the bottom of a cavern. Lots of echoes and bouncing around.

That said, Texas legends Asleep at the Wheel was in fine form as they opened the show with a heavy dose of their inspiration and the King of Western Swing, Bob Wills.

Then it was time.

104,793 rapturous fans help set a new record for largest indoor concert in North America, putting to bed the popular myth that country music can’t have an ear to tradition and still sell tickets.

All made their voices heard as Asleep at the Wheel’s Ray Benson, like a contemporary vaudeville barker, lent his signature baritone to a lengthy list of the awards and accolades collected by Strait over his career.

None of those rewards resulted as airs as the pride of Poteet, TX (due south of San Antonio) moseyed onto the stage spotlight, blue-checked Western shirt, jeans, boots, trademark black hat and shining that warming 1000 kilowatt smile.

If Strait was daunted by the outpouring of deafening admiration it didn’t show. Appreciation certainly. After all, he was surrounded by friends.

And that what you feel like at a George Strait show. He makes you feel comfortable, right at home, take a seat. Like he’s performing right for you. Right from the opener , the 1995 classic “Check Yes or No,” you settle in and enjoy the ride.

And what a ride. Over three hours and nine guest appearances, including his son and recent song co-writer George Jr., aka Bubba. Strait treated the crowd to songs from his entire 30 plus year career. From his first 1981 hit single “Unwound” to “That’s What Breaking Hearts Do” from hi saltiest ‘Love is Everything” there was something from every era and for everyone.

Current chart toppers Jason Aldean, Eric Church and Miranda Lambert and Strait’s contemporaries Martina McBride, Alan Jackson and Vince Gill all took turns supporting Strait on his signature honky-tonk classics.

All displayed proper reverence to their host and mentor but still were able to supply unique dimensions, without showboating, to the songs.

Backed by his excellently seasoned Ace In The Hole Band, there was no stage gymnastics. No fist-pumping theatrics were needed to amp the crowd. Just a wave, a shake of the head and an occasional arm raise. Oh, and that smile.

How does a 62-year-old performer that can no longer crack hit radio format of mainstream country radio sell thousands of tickets and piles of merch? How did he garner 5 entertainer of the year awards and win a 2009 Grammy for best country album for 2009’s Troubadour while never adhering to Music Row’s rules? Rules having just been celebrated in Nashville at the CMA Awards?

By staying true to himself and his craft. If you were a Strait fan in the 80’s odds are you’re still a fan. He’s been loyal to his their expectations and those expectations play to his strengths. He’s made a career out of being who he is and dancing with those that brung him.

Like a premier pitcher, or since we’re in AT&T Stadium a premier quarterback (sorry Romo), Strait makes each nailed effort look effortless. A man, a guitar and simple stories reflecting life without breaking a sweat. And we all relate and we trust without irony or cynicism. We trust the messenger.

The realness of Strait cannot be overemphasized. He appears to become what he sings. World-weary or heartbroke. Sanguine and with a rascal spirit.

Though the vast majority of his songs are written by other people he is a master interpreter of other people’s work. His realness makes you believe.

Whether this is starts actual last show remains to be seen. Strait hasn’t said there won’t be any more concerts, just that he’s quitting touring. Odds are he’ll play the occasional gig in the Lone Star state. He’ll probably return to AT&T Stadium in April 2015 for the 50th anniversary Academy of Country Music Awards. That would be just. As far as music events AT&T Stadium is from now on Strait’s house.

Though not exactly a cowboy’s swan song it was one hell of close to a chapter of one of country music’s greats.

Check Yes or No
A Fire I Can’t Put Out
Lovebug (George Jones cover) (with Vince Gill)
Does Fort Worth Ever Cross Your Mind (with Vince Gill)
River of Love
Lead On
Fool Hearted Memory (with Jason Aldean)
Nobody In His Right Mind Would’ve Left Her (with Jason Aldean)
Arkansas Dave (with Bubba Strait)
I Saw God Today
Cowboys Like Us
(with Eric Church)
Easy Come, Easy Go (with Eric Church)
That’s What Breaking Hearts Do
Marina Del Rey
Here for a Good Time (with Sheryl Crow)
When Did You Stop Loving Me (with Sheryl Crow)
I Can Still Make Cheyenne
Drinkin’ Man
Jackson (Billy Edd Wheeler cover with Martina McBride)
Golden Ring (George Jones & Tammy Wynette cover with Martina McBride)
Give It Away
I Got a Car
A Showman’s Life
(with Faith Hill)
Let’s Fall to Pieces Together
(with Faith Hill)
I Believe
Blame It On Mexico
Amarillo By Morning (with Alan Jackson)
Murder on Music Row (with Alan Jackson)
The Chair
Give It All We Got Tonight
How ‘Bout Them Cowgirls (with Miranda Lambert)
Run (with Miranda Lambert)
You Look So Good in Love
I’ll Always Remember You
Ocean Front Property (with Kenny Chesney)
The Fireman (with Kenny Chesney)
Troubadour
Unwound

Encore:
All My Ex’s Live in Texas (with Gill, Aldean, Church, Crow, McBride, Hill, Jackson, Lambert, Chesney, and Ray Benson of AATW)
Folsom Prison Blues (Johnny Cash cover) (with Gill, Aldean, Church, Crow, McBride, Hill, Jackson, Lambert, Chesney, and Ray Benson of AATW)
The Cowboy Rides Away