Category Archives: Honky Tonk

Record Store Day 2019 – Americana and Roots Music Picks

Posted on by — No Comments ↓

Spring has sprung and for some antiquated reason we lose an hour of sleep, pollen lays waste to the weakest among us, people lay in fields Of bluebonnets just begging for a snake bite and the smell of vinyl hangs heavy in the air.

You might very well be asking yourself “Did I just read that right? Vinyl?”

Yes, indeed you did.

This Saturday, April 13th, is Record Store Day. That time when you drag your dead ass out of bed at the crack of dawn to stand in a line for the chance to score some choice limited-run vinyl.

The DIY movement that nearly single-handedly resuscitated a near-dead medium. New releases, obscure releases, long out-of-print re-releases, picture discs, colored discs, die-cut discs…it’s all there for a sometimes hefty price. But it’s cheaper than buying it later on eBay for 3-times the original price.

Here are a few Americana and Roots music nuggets from the list (see the full list here)

Highlights include Woody Guthrie’s first time on vinyl limited-edition 10″ “I Don’t Like The Way This World’s A-Treatin’ Me,” John and Lilly Hiatt song swap limited-edition color 7″ vinyl “You Must Go! / All Kinds Of People” and Lone Justice’s previously unreleased live performance from October 1983 at the historic live County music venue “Live at the Palomino.”

So, get to your favorite indy record early on April 13th (I’ll be at Good Records in Dallas) and share those great finds with me on Instagram and Twitter.


Allman Brothers Band – Bear’s Sonic Journals: Fillmore East. February 1970
Label: Allman Brothers Band Recording Company
Quantity: 1500
Release type: ‘RSD First’ Release
A live recording compilation drawn from three nights of shows in February 1970. Recorded by legendary Grateful Dead soundman Owsley Stanley. This special Record Store Day package includes a limited edition, numbered glow-in-the-dark poster.

In Memory of Elizabeth Reed/Hoochie Coochie Man/Stateboro Blues/Trouble No More/Outskirts of Town/Whipping Post/Mountain Jam

Bob Dylan Blood On The Tracks — Original New York Test Pressing
Label: Legacy
Quantity: 7500
Release type: RSD Exclusive Release
Months before Bob Dylan released Blood On The Tracks in early 1975, a small number of test pressings were circulated, consisting entirely of material from sessions at A&R Recording Studios in New York City. (Dylan re-recorded five of these tracks in Minneapolis for inclusion on the final album.) Those original records were soon bootlegged, and the alternate history of one of Dylan’s most acclaimed works was born. This LP is an exact duplicate of the test pressing, containing unique mixes from the New York session, available commercially for the first time.

Side One: 1. Tangled Up In Blue 2. Simple Twist of Fate 3. You’re a Big Girl Now 4. Idiot Wind 5. You’re Gonna Make Me Lonesome When You Go Side Two: 1. Meet Me In The Morning 2. Lily, Rosemary and the Jack of Hearts 3. If You See Her, Say Hello 4. Shelter from the Storm 5. Buckets of Rain

Steve Earle – El Coyote / Don’t Let The Sunshine Fool You
Label: New West Records
Quantity: 900
Release type: ‘RSD First’ Release
Steve Earle & The Dukes release their latest album, GUY on March 29.. The band holed up in Nashville and recorded the record over a six-day period. They came out those sessions with 16 songs featuring some of Guy Clarks most well known hits such as “Desperados Waiting For A Train”, “LA Freeway” and “Dublin Blues.” Steve Earle then decided to book a solo recording session with the intention of recording two more Guy Clark songs specifically for independent retail and Record Store Day. New West Records and Steve Earle are proud to present his solo recordings of “El Coyote” and “Don’t Let The Sunshine Fool You” pressed on a limited edition 7″ 45rpm record.

A – El Coyote / B – Don’t Let The Sunshine Fool You

Woody Guthrie – I Don’t Like The Way This World’s A-Treatin’ Me
Label: Omnivore Recordings
Quantity: 1500
Release type: ‘RSD First’ Release
In 1952, Guthrie wrote and recorded a song at home titled “I Don’t Like The Way This World’s A-Treatin’ Me.” The track appears on vinyl for the first time on a limited edition 10″ of the same name for Record Store Day 2019. Also found on this special release is a second version of the demo with new accompaniment from Wilco’s Jeff Tweedy, who, along with Billy Bragg and Wilco, released a series of acclaimed albums featuring their interpretations of unearthed Guthrie lyrics. Mermaid Avenue, the first in the series, was nominated for a Grammy® in 2000.

If those two tracks weren’t enough, I Don’t Like The Way This World’s A-Treatin’ Me includes two versions of “Beech Haven Ain’t My Home” (a.k.a. “Old Man Trump”), whose lyrics were discovered within the Woody Guthrie Archives and chronicle the time the Guthrie family lived under landlord Fred Trump. As two drafts of the lyrics exist, the Riot-Folk Musician’s Collective’s Ryan Harvey combined them. This release contains a version by Harvey featuring Ani DiFranco and Tom Morello (Rage Against the Machine/Audioslave), and another from Irion’s band U.S. Elevator.

Available exclusively for Record Store Day as a 10″ EP, I Don’t Like The Way This World’s A-Treatin’ Me is not only a historic but a musical document, released in conjunction and with full cooperation from the Woody Guthrie Archives. As stated in the album’s notes: “These songs were mostly written well over half a century ago, but they are songs for our times to be sure.”

It is truly time for this music to be heard.

Side One:
I Don’t Like The Way This World’s A-Treatin’ Me (1952 Home Demo) – Woody Guthrie
Old Man Trump – Ryan Harvey feat. Ani DiFranco & Tom Morello

Side Two:
I Don’t Like The Way This World’s A-Treatin’ Me – Woody Guthrie & Jeff Tweedy
Beech Haven Ain’t My Home (aka Old Man Trump) – U.S. Elevator

Emmylou Harris – The Studio Albums 1980-83
Format: 5 x LP
Label: Warner Bros
Quantity: 1000
Release type: ‘RSD First’ Release

John & Lilly Hiatt
You Must Go! / All Kinds Of People

Label: New West Records
Quantity: 450
Release type: ‘RSD First’ Release
Lilly Hiatt is the critically acclaimed daughter of singer-songwriter legend, John Hiatt. In the fall of 2018 they got together to record a version of one anothers songs. John Hiatt covered, “All Kinds Of People” from Lilly’s heavily praised album, “Trinity Lane.” Lilly took on the daunting task of picking a song from John’s vast catalog. She picked a winner with “You Must Go” from John Hiatt’s 1995 release, “Walk On.” Together these songs are pressed onto a limited edition color vinyl 7″.

SIDE A: You Must Go! SIDE B: All Kinds Of People

Lone Justice – Live at the Palomino
Label: Omnivore Recordings
Quantity: 1700
Release type: ‘RSD First’ Release
MORE INFO
Previously unissued live performance from October 1983 recorded at Los Angeles’ iconic Palomino club. Features 12 tracks from the early Lone Justice line-up consisting of Maria McKee, Ryan Hedgecock, Marvin Etzioni, and Don Willens. Songs from their yet to be issued debut are coupled with classic country covers, and songs which have appeared on various collections throughout the years—but never with this live power from this L.A. landmark.

You Are The Light
Drugstore Cowboy
How Lonesome Life Has Been
The Train
Dustbowl Depression Time
Cotton Belt
This World Is Not My Home (I’m Just A Passin’ Through)
I See It
Working Man’s Blues
The Grapes Of Wrath
Working Late
Jackson

The Mavericks / Sweet Lizzy Project
The Flower’s In The Seed
Label: Y&T Music /Mono Mundo
Quantity: 1500
Release type: RSD Exclusive Release
MORE INFO
A split 7” featuring Grammy-winning band The Mavericks on one side and The Sweet Lizzy Project on the other. The Sweet Lizzy Project is a new band from Havana, Cuba signed to the Mavericks’ new label. Both sides are produced by The Mavericks’ Raul Malo.

Mumford & Sons – Delta Acoustic Sessions | Live From Electric Lady
Format: 10″ Picture Disc
Label: Glassnote
Quantity: 3500
Release type: RSD Exclusive Release

“Delta Acoustic Sessions | Live From Electric Lady” features previously unheard acoustic recordings of four tracks from last year’s acclaimed album, “Delta”, pressed on a special 10″ Picture Disc.

SIDE A WOMAN GUIDING LIGHT
SIDE B WILD HEART IF I SAY

Leann Rimes – Live from Gruene Hall
Label: Everle Records
Quantity: 1000
Release type: ‘RSD First’ Release
MORE INFO
1. Pride and Joy 2. You Never Even Call Me By Name 3. San Antonio Rose 4. Wasted Days and Wasted Nights 5. Wonderwall 6. Nothing Better To Do 7. Blue 8. Streets of Bakersfield 9. The Bottle Let Me Down 10. Always On My Mind

Leon Russell – Live at Gilley’s
Label: Varese
Quantity: 1350
Release type: RSD Exclusive Release
Leon Live was recorded on September 17, 1981, at the world-famous Gilley’s nightclub in Pasadena, Texas, with his New Grass Revival Band. Leon was in prime shape and the band was on fire that night. The album includes excellent versions of “One More Love Song” (the steel guitar gives the song a new twist), “Cajun Love Song,” and the show-stopping bluegrass tune, “Uncle Pen.” The release also features the Leon classics “A Song For You” and “Lady Blue.”

Buddy and Julie Miller Announce Summer Release For New Album ‘Breakdown on 20th Ave. South’

Posted on by — No Comments ↓

Buddy and Julie Miller - ‘Breakdown on 20th Ave. South’

It’s said that good things come to those that wait. For patient fans of one of Americana music’s most influential artist-songwriter couples (married since 1981) that wait for something good is almost over.

The long-anticipated follow up to 2009’s Americana Music Association Album of the Year ‘Written in Chalk’ is entitled ‘Breakdown on 20th Ave. South,’ and it will be available June 21st on New West records.

New West has whetted our appetite by releasing 2 cuts from the album. “Spittin’ on Fire” and “War Child,” both tracks reflect the lo-fi aesthetics the couple has established throughout their careers. Echos of the folk and Southern Rock reared in the Mississippi Delta and the Appalachian Mountains is apparent throughout the songs.

The album’s title comes from the couple’s much-delayed home studio in Nashville. The delays stemmed from Julie’s ongoing health issues as well as demand on Buddy as a go-to sideman, producer and co-host of the Buddy & Jim Radio Show on SiriusXM with his friend Jim Lauderdale.

Once the new record was underway, Julie penned some 50-plus new songs for the pair to choose from. Recorded in the couple’s bedroom make-do studio located upstairs from Buddy’s home studio, the results are raw, immediate and honest. Buddy and Julie are scheduled to make a rare live appearance to celebrate the album’s release Nashville’s City Winery on June 26th. The performance will be recorded for later broadcast on the Buddy & Jim Radio Show.

“Breakdown on 20th Ave. South” will be available June 21st via digital retailers, on CD and vinyl, with a special “Root Beer Swirl” colored vinyl available only at independent retailers. The album is now available for pre-order.

Breakdown on 20th Ave. South track listing:

“Breakdown on 20th Ave. South
“Feast of the Dead”
“Everything Is Your Fault”
“Unused Heart”
“I’m Gonna Make You Love Me”
“Till the Stardust Comes Apart”
“Underneath the Sky”
“Spittin’ on Fire”
“Secret”
“War Child”
“Thoughts at 2am”
“Storm of Kisses”
In This Article: Buddy Miller

Preorder ‘Breakdown on 20th Ave. South.’

Ryan Bingham To Release ‘American Love Song’ in 2019. Hear the Song “Wolves.”

Posted on by — No Comments ↓

Southwestern spirit chaser Ryan Bingham will release his sixth studio album “American Love Song” on February 15th, 2019.

That will mark a four year stretch between his latest and the criminally overlooked “Fear and Saturday Night.” That’s a long time for fans, like me, to wait. Though there was a pretty sweet live album to hold me over.

Like Bingham’s last three albums “American Love Song” will be released on his own label, Axster Bingham Records. The album is co-produced by Austin music legend Charlie Sexton, fresh off his extraordinary portrayal of Townes Van Zandt in Ethan Hawke’s “Blaze.” The album was recorded at Austin’s Arlyn Studios and Public Hi-fi. Additional recording was done at Matter Music in Los Angeles.

Listen to Bingham play his ode to personal strength “Wolves” live on The Off Camera Show. (That glorious voice!) “Wolves” is available to download now with all pre-orders.

Pre-order “American Love Song” here.

Bingham is currently touring across America on a sold-out solo acoustic tour. He hits the road with a full band in March in Salt Lake City, UT. See full dates below.

Bingham has also announced his own curated music festival “The Western.” The festival looks like a winner right out of the gate featuring the Old 97s, Margo Price, Jamestown Revival, and Colter Wall already booked. The event will feature an exclusive “Campfire Jam,” highlighting an acoustic song-swap with Bingham and Price.

The festival will take place April 12th and 13th, 2019 at the storied outdoor venue Luckenbach, TX. Visit www.thewesternfestival.com for more information.

Ryan Bingham – “American Love Song” Tracklist:

1. Jingle and Go
2. Nothin Holds Me Down
3. Pontiac
4. Lover Girl
5. Beautiful and Kind
6. Situation Station
7. Got Damn Blues
8. Time for My Mind
9. What Would I’ve Become
10. Wolves
11. Blue
12. Hot House
13. Stones
14. America
15. Blues Lady

U.S Tour 2019 (Full Band)
March

19 – Salt Lake City, UT
21 – Phoenix, AZ
23 – San Diego, CA
24 – San Luis Obispo, CA
26 – Santa Cruz, CA
28 – Los Angeles, CA
29 – San Francisco, CA
30 – Petaluma, CA

April

2 – Denver, CO
3 – Lincoln, NE
4 – Springfield, IL
5 – Chicago, IL
6 – Minneapolis, MN
7 – Milwaukee, WI
9 – Kansas City, MO
12 – Luckenbach, TX – THE WESTERN
13 – Luckenbach, TX – THE WESTERN
16 – New Orleans, LA
17 – Atlanta, GA
19 – Philadelphia, PA
20 – Boston, MA
21 – Washington, DC
22 – Asbury Park, N
23 – Brooklyn, NY

Watch Out! Live Review – Roger McGuinn and Chris Hillman “Sweetheart Of The Rodeo” 50th Anniversary Tour, Dallas TX.

Posted on by — No Comments ↓

How do you tour in support of a seminal album when its main influence has been dead for 45 years?

Roger McGuinn and Chris Hillman are currently on the road trying to answer that very question.

Friday last at the lovely Majestic Theatre the Founding Byrds members came together to recreate the magic that began as a chance encounter when Hillman happened upon Gram Parsons
standing in line at a Beverly Hills bank, “Probably drawing from his trust fund” Hillman quipped alluding to Parson’s family citrus business trust fund that reportedly paid him as
much as $100,000 a year.

Though considered as a mere salaried sideman by the band’s record company, when the Byrds’ Columbia recording contract was renewed in 1968 only original members Roger McGuinn and Chris Hillman where asked to ink the deal. it was Parson’s singular obsession with country music history that charmed the other members into moving recording digs from persuading the other members to leave Los Angeles to Nashville thus guaranteeing a more straight-ahead twang affair.

The $45 t-shirt at the merch table concerned me that this could be merely a cash grab. The show soon put that fear to rest. No opener necessary, the first set served as a reminder that the Byrds flirted with country and roots music before Parson’s arrival. Joe Hayes “A Satisfied Mind,” made famous by Porter Wagoner, was a particular delight with McGuinn playing electric 12-string and Hillman picking the bass. As the show progressed McGuinn, Hillman, Stuart, Kenny Vaughn and Chris Scruggs all members took up acoustic, electric and steel guitars, bass and mandolin with equal aplomb. Vocal duties were also shared as McGuinn sang “Mr. Spaceman,” Hillman “Old John Robertson” and Stuart took the lead on Haggard’s “Sing Me Back Home.” The harmonies were sublime on with Stuart and drummer Harry Stinson adding backing behind Hillman and McGuinn.

As can be expected at a 50th-anniversary show, reminiscing abound. McGuinn recounted that famous two=song set at the Opry. On March 15th 1968, the band were invited to appear on the Grand Ole Opry, which was then still at the Ryman Auditorium in downtown Nashville. Singer-songwriter future outlaw country pioneer Tompall Glaser introduced the group, who were scheduled to play a Merle Haggard cover and a track from the upcoming album. After performing Sweetheart’s opening track, Bob Dylan’s “You Ain’t Goin’ Nowhere,” which featured the iconic Lloyd Green on steel guitar, Gram Parsons broke decorum and announced that instead of the planned “Sing Me Back Home,” they were going to play yet another track from the LP. He then dedicated their performance of “Hickory Wind” to his grandmother.

After an intermission, the second set began with Stuart and His Fabulous Superlatives doing two songs, “Country Boy Rock And Roll” and “Time Don’ Wait.” Choosing Stuart and the Superlatives as a backing band was a shrewd move. Few bands have the pedigree and the chops to pull off such a monumental occasion.

Though Parson’s absence was most profound with songs like Hickory Wind and The Louvin Brothers’ The Christian Life the croed didn’t seem to mind as they smiled, whooped and toe-tapped along. Things change, life moves forward and people come and go. With timeless music like this, it makes the sadness a bit easier to endure. Continue reading Watch Out! Live Review – Roger McGuinn and Chris Hillman “Sweetheart Of The Rodeo” 50th Anniversary Tour, Dallas TX.→

5 Things You May Not Know About The Byrds’ ‘Sweetheart of the Rodeo’

Posted on by — No Comments ↓

Sweetheart of the Rodeo

In the late 60s, the American rock band the Byrds were ripe for a change. The band’s fifth LP, The Notorious Byrd Brothers proved to be another sterling example of the band’s established psychedelic experimentation, but it also incorporated jazz, pop and the roots music leanings of folk and country rock. This stylistic elasticity made the band a perfect vessel for genre experimentation. The departures of band members David Crosby and Michael Clarke from the group in late 1967 left a directional void that was happily filled by their newest member Gram Parsons, and his trad country sensibilities.

Though Sweetheart of the Rodeo had disappointing sales on release (see below) the record proved to be highly influential on subsequent generations of musicians. Kind of like an Americana version of the VU debut ‘The Velvet Underground & Nico. ‘

Among those who took the contemporary take on the traditional sound heart was Marty Stuart, then a teenage bluegrass prodigy and later a hitmaking country star. Stuart owns the 1954 Fender Telecaster that previously belonged to the late Clarence White, who played guitar on the “Sweetheart” album; Stuart will play that guitar on the celebratory tour.

Founding Byrds members Roger McGuinn and Chris Hillman are currently on the road with Stuart and the Fabulous Superlatives — guitarist Kenny Vaughan, bassist Chris Scruggs and drummer Harry Stinson – to celebrate the 50th anniversary of “Sweetheart of the Rodeo.”

Below are 5 things you may not know about the historic album.

1. Roger McGuinn floated the idea of including “experimental synthesizer music” on the album.

Chris Hillman revealed to journalist Richie Unterberger in 2000 that fellow band member Roger McGuinn
“…had thoughts of making the album after Notorious Byrd Brothers a double album that would cover everything from traditional folk to electronic synthesizer music.” But Hillman admits he doesn’t regret the decision not to include it on the album as it would “…make no sense.”

“It would have been an interesting separate project, but like I said earlier, either I didn’t understand what he (McGuinn) was doing, or I just didn’t like it. And he had that Moog synthesizer, of course, then, it was like owning a computer in 1955. It took up the whole room. It made a lot of noise. It wasn’t really musical. It was like a toy, a gadget. But it was interesting, I respect him. He was following something that intrigued him, and he likes electronics.”

2. The cover of the Sweetheart of the Rodeo was not an original work done for the album.

The exquisite folk-art album cover was made up of images from a 1932 Joseph Jacinto Mora poster, The American Cowboy Rodeo created for a 1940s California Rodeo Travel Poster.

3. The record was a flop when it was originally released in 1968.

Despite receiving generally favorable reviews from the critics, and regular play on underground FM stations, the country-rock style of Sweetheart of the Rodeo was such a radical departure from the band’s previous sound that large sections of the group’s counterculture audience alienation by the traditional style, resulting in the lowest sales of any Byrds album up to that point.

In an email from Roger McGuinn to Rick Campbell in 2008 “Our rock audience felt betrayed and the country community was wary of ‘hippies’ infiltrating their territory. I remember seeing the ‘Sweetheart of the Rodeo’ cover on a bulletin board at a country radio station in Los Angeles. I was overjoyed . . . until I got closer and saw written in red DO NOT PLAY – THIS IS NOT COUNTRY.”

4. SotR was not the first time The Byrds had delved into country music on an album.

On their second album “Turn! Turn! Turn!” the band included a cover of Red Hayes, Jack Rhodes’ “Satisfied Mind”, a 1955 country and western hit for Porter Wagoner, which had been suggested by The Byrds’ bass player, Chris Hillman.

In an email from Roger McGuinn to Rick Campbell in 2008 “The Byrds had experimented with country music as early as our second album ‘Turn! Turn! Turn! with tracks like ‘Time Between, ‘Satisfied Mind’ and ‘Girl With No Name’, but it wasn’t until Chris Hillman met Gram Parsons at a bank in Beverly Hills and brought him over to our rehearsal studio that we decided to go to Nashville and record an entire album of country material. We were in love with the genre and as sincere as we could possibly have been, in recording those songs.

5. Skeeter Davis supported the band after a “rebellious” Opry performance.

While in Nashville recording SotR, the Byrds were invited to appear on the Grand Ole Opry, at the Mother Church of Country Music, the Ryman Auditorium on March 15th, 1968. Singer-songwriter Tompall Glaser, who would become part of the “outlaw” moment the following decade, introduced the group, who were scheduled to play a Merle Haggard cover and a track from the upcoming album Sweetheart of the Rodeo. The band broke with the Opry’s history of strict bands playing approved setlists by instead performing Bob Dylan’s “You Ain’t Goin’ Nowhere,” which featured the iconic Lloyd Green on steel guitar and would be the opening track on Sweetheart of the Rodeo, Gram Parsons announced that instead of the planned “Sing Me Back Home,” they were going to play yet another track from the LP. He then dedicated their performance of “Hickory Wind” to his grandmother.

After their relatively rebellious performance and a chorus of boos from a visibly upset audience, they had one supporter, singer Skeeter Davis.

Roger McGuinn remembers “We walked out the back door with our tails between our legs, and Skeeter (Davis) caught up with us and said, “You Byrds don’t be afraid of these people: they’re just not caught up yet.” I told her later, “You were the only one who stood up for us. You were there for us, and I’ll never forget you for that.”

Sweetheart Of The Rodeo Tour Dates

Sept. 9 /// Folly Theatre /// Kansas City, MO
Sept. 12 /// Historic Gillioz Theatre /// Springfield , MO
Sept. 17 /// Albany, NY /// Hart Theater @ The Egg
Sept. 18 /// Albany, NY /// Hart Theater @ The Egg [Sold Out]
Sept. 20 /// Hopewell, VA /// Beacon Theatre [Sold Out]
Sept. 23 /// New York, NY /// Town Hall
Sept. 24 /// New York, NY /// Town Hall [Sold Out]
Sept. 26 /// Boston, MA /// The Emerson Colonial Theatre
Oct. 1 /// Louisville, KY /// Brown Theatre
Oct. 3 /// Akron, OH /// Akron Civic
Oct. 8 /// Nashville, TN /// The Ryman Auditorium
Oct. 10 /// Roanoke, VA /// The Jefferson Center
Oct. 15 /// Durham Performing Arts Center /// Durham, NC
Oct. 21 /// Byers Theatre /// Atlanta, GA
Oct. 23 /// EKU Center For The Arts/// Richmond, KY
Oct. 30 /// Carnegie Music Hall Of Homestead /// Munhall, PA
Nov. 9 /// Majestic Theatre /// Dallas, TX
Nov. 10 /// Austin City Limits Live at The Moody Theater /// Austin, TX

Colter Wall Readies New Album Coming This Autumn – Hear Two New Songs – Announces Extensive Tour

Posted on by — No Comments ↓
Colter Wall - Songs of the Plains, October 12
Photo credit: Little Jack Films

The only downside to hearing a work as stunningly perfect as Colter Wall’s eponymous 2017 debut is the dread that the proverbial sophomore slump will strike down any hopes of experiencing that satisfaction the next time around.

Well if the two released cuts off WaLL’s highly-anticipated forthcoming release “Songs of the Plains’ (October 12 – Young Mary’s Record Co.) is any indication of the flavor of the remainder of the album you can put those apprehensions to rest. The timeless simple beauty of the arrangements are there transporting Wall’s deep baritone across country music’s golden years.

The first is ‘Plain to See Plainsman’ a delicate 4/4 strummer paying tribute to his Swift Current home in the prairies in a new-traditional style reminiscent of Marty Robbin’ “El Paso” and “Big Iron period. The song has an extra layer of beauty as Mickey Raphael’s signature harmonica wails in the distance like a midnight train.

https://www.youtube.com/watch?v=rlinDMsUOcQ&t=8s

The second cut is a version of ‘Calgary Round-Up’ by real-life Alberta cowpuncher and Canadian Country Music Hall of Fame / Nashville Songwriters Hall of Fame member Wilf Carter, better known in the lower 48 as Montana Slim, 1961 release. Though much more toned-down and missing the original’s signature yodeling, you can close your eyes and still get the sense of the prairies winds coming off the plains accompanied by the cry of Lloyd Green’s pedal steel.

https://www.youtube.com/watch?v=NnVxeeZlE2M

Colter Wall - Songs of the Plains

Recorded at Nashville’s RCA Studio A with Dave Cobb (Sturgill Simpson, Jason Isbell, Chris Stapleton, Lori McKenna), the album features 11 songs, seven original songs written by Wall as well as versions of Billy Don Burns’ “Wild Dogs,” the aforementioned Wilf Carter’s “Calgary Round-Up” and two cowboy traditional songs, “Night Herding Song” and “Tying Knots in the Devil’s Tail.”

In addition to Wall (vocals, acoustic guitar), the album also features Cobb (acoustic guitar), Lloyd Green (pedal steel), Chris Powell (drums, spoons), Jason Simpson (bass), Mickey Raphael (harmonica), Blake Berglund (vocals) and Corb Lund (vocals).

Pre-order “Songs of the Plains’ here.

The track list is:
1. “Plain to See Plainsman” (written by Colter Wall)
2. “Saskatchewan In 1881” (written by Colter Wall)
3. “John Beyers (Camaro Song)” (written by Colter Wall)
4. “Wild Dogs” (written by Billy Don Burns)
5. “Calgary Round-Up” (written by Wilf Carter)
6. “Night Herding Song” (Cowboy Traditional)
7. “Wild Bill Hickok” (written by Colter Wall)
8. “The Trains are Gone” (written by Colter Wall)
9. “Thinkin’ on a Woman” (written by Colter Wall)
10. “Manitoba Man” (written by Colter Wall)
11. “Tying Knots in the Devil’s Tail” (Cowboy Traditional)

Wall also announced a series of new tour dates starting in October. His full schedule is:
July 28 – Newport, RI-Newport Folk Festival
Aug. 3-4-Happy Valley, OR-Pickathon
Aug. 18-Fort Worth, TX-Cody Jinks’ Loud and Heavy Festival
Aug. 24-Tonder, Denmark-Tonder Festival
Aug. 29-London, U.K. -Scala
Aug. 30-Manchester, U.K. -Gorilla
Sept. 1-Salisbury, U.K. -End of the Road Festival
Sept. 2-Stradbally, Ireland-Electric Picnic
Sept. 14-15-Athens, Ontario-Festival of Small Halls
Sept. 16-Lansdowne Park, Ottawa-City Folk
Sept. 23-Indianapolis, IN-Holler on the Hill Festival
Oct. 13-Saskatoon, Saskatchewan-O’Brian’s Event Centre
Oct. 16-Regina, Saskatchewan-Conexus Convention Hall
Oct. 18-Edmonton, Alberta-Union Hall
Oct. 19-Calgary, Alberta-Macewan Hall Ballroom
Oct. 21-Missoula, MT-Top Hat
Oct. 22-Bozeman, MT-The Rialto
Oct. 23-Billings, MT-Pub Station Taproom
Oct. 25-Omaha, NE-The Waiting Room
Oct. 26-Des Moines, IA-Wooly’s
Oct. 27-Maquoketa, IA-Codfish Hollow Barn
Oct. 28-Detroit, MI-Majestic Theatre
Oct. 30-Columbus, OH-A&R Music Bar
Oct. 31-Pittsburgh, PA-Club AE
Nov. 2-Somerville, MA-Somerville Theater
Nov. 3-South Burlington, VT-Higher Ground Ballroom
Nov. 5-New York, NY-Irving Plaza
Nov. 8-Charlotte, NC-Neighborhood Theatre
Nov. 9-Richmond, VA-Capital Ale House
Nov. 11-Carrboro, NC-Cats Cradle
Nov. 14-15-Nashville, TN-The Basement East
Nov. 16-Asheville, NC-The Grey Eagle
Nov. 17-Atlanta, GA-Variety Playhouse
Nov. 18-Charleston, SC-Charleston Music Hall
Nov. 24-Toronto, Ontario-Opera House
Nov. 28-Washington, D.C. -9:30 Club
Dec. 1-Madison, WI-Majestic Theatre
Dec. 2-Columbia, MO-The Blue Note
Dec. 10-Santa Fe, NM-Meow Wolf
Dec. 12-Solana Beach, CA-Belly Up
Dec. 14-Los Angeles, CA-El Rey Theatre
Jan. 19-Vancouver, British Columbia-Commodore Ballroom
Jan. 20-Seattle, WA-The Showbox @ The Market

‘King of the Road’ Roger Miller Tribute Recruits Alison Krauss, Kacey Musgraves, Willie Nelson

Posted on by — No Comments ↓

Roger Miller

Few people these days are aware of the gENius of Roger Miller. If he’s known at all it’s for his deceptively goofy sons like ‘Dang Me’ and Z”You Can’t Rollerskate In A Buffalo Herd.” He was also the one of the greatest songwriters to ever work the country music genre snagging 11 Grammy Awards, a Tony Award for writing the music and lyrics for the Broadway play “Big River’ and was voted into the Nashville Songwriters Hall of Fame in 1973 and the Country Music Hall of Fame in 1995. He performed, and was friends with greats like Willie Nelson and Kris Kristofferson.

Speaking of Kris Kristofferson, Miller was also the to record and commercially release his “Me and Bobby McGee” a full year before Janis Joplin made it a classic.

Now his friends and new blood that owe him a debt have come together to pay tribute. ‘King of the Road: A Tribute to Roger Miller,’ out Aug. 31 via BMG, pays long overdue respects to one of American music’s premier entertainers and songwriters. The two-disc collection contains new renditions of Miller’s songs by Ringo Starr, Dolly Parton, Eric Church, Loretta Lynn, John Goodman and more than two dozen others, including Willie Nelson, Kris Kristofferson and Merle Haggard on one track. Produced by Miller’s son, Dean Miller, and Colby Barnum Wright, ‘King of the Road’ offers a fresh look at the work of a creative giant who has been gone 26 years but whose genius continues to shape contemporary music in ways both overt and subtle.

Read more about the project in a new interview at The Tennessean: https://tnne.ws/2toJY7B

Before Miller’s premature death of cancer at age 56, the Country Music Hall of Famer had 31 Top 40 Billboard country hits (10 of which crossed over to the pop chart), including his signature songs “Dang Me” and “King of the Road.” He held the record for most GRAMMY wins in a single night until Michael Jackson and ‘Thriller’ broke it in 1984. Miller wrote songs and voiced a character for Walt Disney’s 1973 Robin Hood film. He also wrote the music and lyrics for the Tony-winning Big River, helping launch the career of actor John Goodman, who reprises the musical’s “Guv’ment” on ‘King of the Road.’ As Dean Miller writes in liner notes accompanying ‘King of the Road,’ “Roger Miller was too gigantic to be contained by genres and definitions.”

‘King of the Road’ includes versions of Miller’s biggest ’60s hits, like “Chug-A-Lug” (Asleep at the Wheel ft. Huey Lewis) and “England Swings” (Lyle Lovett), and lesser-known treasures from a catalog full of gems. As with Miller’s own output, the album contains plenty of unexpected turns — country superstar Eric Church’s playful take on Robin Hood’s “Oo De Lally,” for instance, or Starr’s selection of “Hey, Would You Hold It Down?,” a song from Miller’s long-out-of-print 1979 ‘Making a Name for Myself’ album. By any standard of measurement, Miller was “one of the greatest songwriters that ever lived” — even if he did say so himself. And he did, in the first of a handful of the album’s live-performance interstitials that capture the spontaneous wit of a mind that operated at a breakneck pace.

There is a television event in the works, more information coming soon.

The scope of material and performances on ‘King of the Road’ both capture Miller’s personality and convey an astonishing legacy that’s still felt today. “Roger Miller didn’t have to say much,” Dean writes in the liners. “You were simply drawn to him. He had a magnetic smile, and electric wit and a passion for life and music that transcended generations.”

‘King of the Road: A Tribute to Roger Miller’ Tracklist:

Disc One
Greatest Songwriter (Banter)
Chug-a-Lug – Asleep at the Wheel ft. Huey Lewis (!)
Dang Me – Brad Paisley
Leavin’s Not the Only Way to Go – The Stellas/Lennon and Maisy
Kansas City Star – Kacey Musgraves
World So Full of Love – Rodney Crowell
Old Friends (Banter)
Old Friends – Willie Nelson, Kris Kristofferson, Merle Haggard
Lock Stock and Teardrops – Mandy Barnett
You Oughta Be Here With Me – Alison Krauss ft. The Cox Family
The Crossing – Ronnie Dunn, The Blind Boys of Alabama
In the Summertime – The Earls of Leicester ft. Shawn Camp
Fiddle (Banter)
England Swings – Lyle Lovett
You Can’t Rollerskate in a Buffalo Herd – Various Artists
Half a Mind – Loretta Lynn
Invitation to the Blues – Shooter Jennings, Jessi Colter
It Only Hurts Me When I Cry (Live) – Dwight Yoakam

Disc Two
Hey, Would You Hold It Down? – Ringo Starr
Engine, Engine #9 – Emerson Hart ft. Jon Randall
When Two Worlds Collide – Flatt Lonesome
Oo De Lally – Eric Church
You Can’t Do Me This Way and Get By With It – Dean Miller ft. The McCrary Sisters
Chicken S#$! (Banter)
Nothing Can Stop Me – Toad the Wet Sprocket
Husbands and Wives – Jamey Johnson ft. Emmylou Harris
I Believe in the Sunshine – Lily Meola
Guv’ment – John Goodman
Old Songwriters Never Die (Banter)
The Last Word in Lonesome Is Me – Dolly Parton ft. Alison Krauss
I’d Come Back to Me – Radney Foster ft. Tawnya Reynolds
Reincarnation – Cake
One Dying and a Burying – The Dead South
Do Wacka Do – Robert Earl Keen, Jr.
King of the Road – Various Artists

Johnny Cash Museum Unveils ‘I Walk the Line’ Gold Record On Anniversary

Posted on by — No Comments ↓
Cash’s first #1 I Walk the Line
Sun Records Sam Phillips presenting Johnny Cash with his first Gold Record for I Walk the Line – Credit: Johnny Cash Museum Archive

The Johnny Cash Museum premiered a special artifact today that has never previously been on public display despite being presented to Johnny Cash more than six decades ago.

Johnny Cash’s very first gold record to commemorate Cash’s first #1 I Walk the Line on what is the anniversary of the song’s release on Sun Records on May 1, 1956. Johnny’s siblings Tommy Cash and Joanne Cash-Yates joined Sam Phillips’ son Jerry Phillips on the site of the museum today as the award finally found a permanent home on exhibition at the museum, which is celebrating its fifth anniversary this year.

I Walk the Line remained on the Billboard charts for 43 weeks. Cash was inspired to write the melody of the song after hearing a reel-to-reel tape record during his Air Force days in Germany with what he thought were interesting chord changes. It turned out the reel had gotten turned around and all the chords were being played backwards. The strange, haunting sound inspired the melody to “I Walk the Line” which Cash wrote several years later, backstage before a show in Texas in 1956.

The song would become an American music standard and be credited with numerous accolades:

Recording Industry Association of America and the National Endowment for the Arts selected it among the 365 titles chosen as“Songs of the Century.”
In 2000, NPR ranked it among the 100 most important American musical works of the 20th Century.
CMT included the recording in its list of the “100 Greatest Songs of Country Music.
In 2014, Rolling Stone ranks it as #1 on its list of the “100 Greatest Country Songs of All Time”
RIAA Double Platinum selling single with more than 2 million copies sold

Fans can view the article on display at the museum which is open daily from 9 AM to 6 PM CT.

Johnny Cash at Town Hall Party in 1958 singing “I Walk The Line”

Lucinda Williams, Steve Earle, Dwight Yoakam Announce Summer ‘LSD Tour’

Posted on by — No Comments ↓

Lucinda Williams, Steve Earle and Dwight Yoakam - LSD Tour

This summer Lucinda Williams, Steve Earle and Dwight Yoakam will come together for what is being called the “LSD Tour” (get it?) These three prominent singer/songwriters made names for themselves as pioneers of the wave that evolved the genre of country music by fusing it with the rock and punk of the day. This new vibrancy, along with electrifying live shows, resulted in a disruptive effect on Music Row’s stranglehold on the genre and drew a sharp contrast to the safe, sterile, industrialized cultural product they profited from much like The Outlaw movement had done a generation before.

This contrast between the old guard and these neo-traditional upstarts was struck most star key when Earle insightfully described the movement at the time as the“Great Credibility Threat of the ’80s”

I was lucky to see Williams and Earle share the stage at New York City’s Town Hall on the “Car Wheels on a Gravel Road” portion of her tour playing her albums in full, but this is the first time Williams, Earle and Yoakam have shared the stage together so I would describe this as pretty badass.

SiriusXM will present the tour and recently announced a 24/7 channel curated by Dwight launching in late April titled “Dwight Yoakam and Bakersfield Beat – Where Country Went Mod “ featuring music from Yoakam’s extensive career and celebrates the Bakersfield sound.

The summer tour starts at Blue Hills Bank Pavilion in Boston on June 12, continues a run on the East coast, jumps to the West on August 1st play on The Masonic in San Francisco then concludes this leg with a Midwest swing through Chicago; Rochester, Michigan and Indianapolis. Hopefully there will be more dates added including a stop near me in North Texas.

Tickets go on sale to the general public Friday, March 30 at 10 a.m. local.

The LSD Tour:
June 12 – Boston, MA @ Blue Hills Bank Pavilion
June 13 – New York, NY @ Beacon Theatre
June 15 – Bethel, NY @ Bethel Woods Center for the Arts
June 16 – Gilford, NH @ Bank of NH Pavilion
June 17 – National Harbor, MD @ MGM National Harbor
June 19 – Baltimore, MD @ Pier Six Pavilion
June 20 – Cincinnati, OH @ PNC Pavilion at Riverbend Music Center
June 21 – Kansas City, MO @ Starlight Theatre
August 1 – San Francisco, CA @ The Masonic
August 3 – San Diego, CA @ Open Air Theatre
August 4 – Phoenix, AZ @ Comerica Theatre
August 10 – Raleigh, NC @ Red Hat Amphitheater
August 11 – Charlotte, NC @ Charlotte Metro Credit Union Amphitheatre
August 12 – Nashville, TN @ Ascend Amphitheater
August 14 – Morrison, CO @ Red Rocks Amphitheatre
August 16 – Chicago, IL @ Chicago Theatre
August 17 – Rochester, MI @ Meadow Brook Amphitheatre
August 18 – Indianapolis, IN @ Farm Bureau Insurance Lawn

Buck Owens’ ‘The Complete Capitol Singles: 1967–1970’ To Be Released

Posted on by — 2 Comments ↓

Buck Owens and the Buckaroos

Few Musicians have helped redefine the image of country musicians from country bumpkins to savvy sonic shape-shifter and entrepreneur than Sherman Texas’ own Alvis Edgar (Buck) Owens Jr. From adapting country’s style to appeal to the growing rock and roll market with his uptempo Bakersfield sound, to his business savvy buying several radio stations in the sixties to increase his take of the pie, to becoming a household name sharing the stage with the great Roy Clark on Hee Haw from the beginning of the series in 1969 until he left the cast in 1986, few artists have had the reach and influence as Buck Owens, his guitarist Don Rich and the rest of Buckaroos.

On May 11 Omnivore records, in conjunction with the Buck Owens Estate, will release a newly remastered ‘Buck Owens and the Buckaroos’ The Complete Capitol Singles: 1967–1970’ CD and Digital format (what? No vinyl?!)

From the presser:

According to Owens: “The reason my Capitol records sounded the way they did — real heavy on the treble — was because I knew most people were going to be listening to ’em on their AM car radios. At the time, nobody else was doing anything like that, but it just seemed like common sense to me. And it was one more reason that you knew it was a Buck Owens record as soon as it came on the radio — because it just didn’t sound like those other records.”

Annotator Bomar from the liner notes: “The latter part of the 1960s represents Buck Owens’ second act. His recordings from that era are brief snapshots of a man in transition. Buck and his Buckaroos had undeniably found a winning formula, but he was growing concerned that his signature sound was in danger of growing stale and predictable. For the rest of the decade he would boldly venture into new territory that likely stretched the boundaries of what some fans might have expected.”

Preorder here.

Track Listing:
Disc One
1. Sam’s Place
2. Don’t Ever Tell Me Goodbye
3. Your Tender Loving Care
4. What A Liar I Am
5. It Takes People Like You (To Make People Like Me)
6. You Left Her Lonely Too Long
7. How Long Will My Baby Be Gone
8. Everybody Needs Somebody
9. Sweet Rosie Jones
10. Happy Times Are Here Again
11. Let The World Keep On A Turnin’ – Buck Owens & Buddy Alan
12. I’ll Love You Forever And Ever – Buck Owens & Buddy Alan
13. I’ve Got You On My Mind Again
14. That’s All Right With Me (If It’s All Right With You)
15. Christmas Shopping
16. One Of Everything You Got
17. Things I Saw Happening At The Fountain On The Plaza When I Was Visiting Rome Or Amore
18. Turkish Holiday
Disc Two
1. Who’s Gonna Mow Your Grass
2. There’s Gotta Be Some Changes Made
3. Johnny B. Goode
4. Maybe If I Close My Eyes (It’ll Go Away)
5. Tall Dark Stranger
6. Sing That Kind Of Song
7. Big In Vegas
8. White Satin Bed
9. We’re Gonna Get Together – Buck Owens & Susan Raye
10. Everybody Needs Somebody – Buck Owens & Susan Raye
11. Togetherness – Buck Owens & Susan Raye
12. Fallin’ For You – Buck Owens & Susan Raye
13. The Kansas City Song
14. I’d Love To Be Your Man
15. The Great White Horse – Buck Owens & Susan Raye
16. Your Tender Loving Care – Buck Owens & Susan Raye
17. I Wouldn’t Live In New York City (If They Gave Me The Whole Dang Town)
18. No Milk And Honey In Baltimore