“Blackland Farmer” is a wonderful reverb drenched stomp-blues rock number by Hard Working Americans featuring Todd Snider, Dave Schools (Widespread Panic), Neal Casal (Chris Robinson Brotherhood), Chad Staehly (Great American Taxi) and Duane Trucks. The roots-music supergroup’s self-titled debut has done well on Americana Radio and received high praise from no less than Rolling Stone, Huffington Post, Mother Jones, USA Today, Relix, Magnet, American Songwriter, NPR’s Fresh Air. The band has been also been nominated for the Americana Music Association’s 2014 Duo / Group of the Year award.
Not too shabby at all.
The new video for “Blackland Farmer” is a contemporary twist on Frankie Miller’s 1959 hit’s narrative about working-class perseverance. The debut video from award-winning rock photographer, journalist Andy Tennille vividly depicts a small farmer facing another grueling day providing for his family. Necessity begets ingenuity as the farmer takes a risk, reacts to changing attitudes and market directions, and pursues a fail-safe cash crop.
Hard Working Americans and Melvin Records will release a special limited edition 12 inch single for “Blackland Farmer.†Side A will feature the original album version of Frankie Miller’s 1959 hit, while Side B will feature a live concert recording of the song. The single package will contain a pack of custom Hard Working Americans rolling papers and a 25% off coupon towards a purchase at the LoDo Wellness Center in Denver, CO, a marijuana dispensary that is open to the public. The final item in the package will be a download card for the new video for “Blackland Farmerâ€.
The limited edition singles will only be available at the band’s shows this summer and here.
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.
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.
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.â€
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
At the 1975 Country Music Association awards in Nashville reigning Entertainer of Year recipient made a statement still talked about today, but now available on YouTube (for now)
The “Silver Fox” had won the honor the year before and obligated to announce the winner of the category the current year.
A visibly buzzed Rich made his way to the stage and proceeded to milk the moment or effect and, apparently, torture the nominees
“I know the people that are up for it are suffering right now.”
As he reads the list of nominees – John Denver, Waylon Jennings, Loretta Lynn (who he proceeds to ask on a date in front of her husband, Mooney) Ronnie Milsap and Conway Twitty.
The audible scattered laughter from the crowd when John Denver’s name was read told you what you needed to know about the attitude in the room to the pop-folk newcomer.
The winning envelope is torn (annihilated) open and the winners name is announced. “My friend, John Denver.” Just after setting the naming card afire.
Talk about an outlaw move.
But Rich was anything but an outlaw. He tore up the charts with singles like “Behind Closed Doors” and “The Most Beautiful Girl.” Pop-country fair that was key in moving country music into cross-genre audience expansion.
Denver was a natural extension of Rich, Eddie Arnold and Glenn Campbell to fuse pop and jazz elements into country, softening it’s edges and filtering out the twang that alienated a coveted uptown audience.
Whether Rich was joking or not is only known by him. Whether he was making some great gesture or just trying to get attention in a drunken stpor has been fodder for speculation for years.
Rich stayed publicly mum on the controversial event. But many in the tight-knit industry took his insubordination seriously and his career suffered as he found it increasingly hard to find work afterword.
The world the Rich and Denver shaped now dominates the industry, airwaves and filled arenas across the nation. There’s not enough lighters in the world to change that fact.
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
Elizabeth Cook appeared on the Americana-friendly David Letterman Show last night to perform a song requested by Letterman himself. The song was a stirring, bluegrass-tinged version of the Velvet Underground classic “Pale Blue Eyes.” She premiered the song live on the Grand Old Opry last month.
Cook is quite the VU fan having covered the pivotal band on her “Balls” (“Sunday Morning”) and Gospel Plaw (Jesus) releases.
Attention all Outlaw Country fans. I mean the REAL deal type.
On August 5 the legendary Billy Joe Shaver will release Long in the Tooth on Lightning Rod Records. The album will be release just before his 75th birthday on August 16. Of the album Shaver says it’s “the best album I’ve ever done.â€
“Each song is different with different beats and different kinds of music,†he says. “I even have one rap song. The titles are all so catchy like ‘It’s Hard to Be an Outlaw’ and ‘The Git Go.’ Those are pretty hard to beat. Songwriting is gut wrenching, but if you dig down and write real honest you’ll find something real great. I believe everybody should write. It’s the cheapest psychiatrist there is and, God knows, I still need one.â€
“I’ve written a lot of great songs and I’m still writing great songs, but I felt neglected. I have been, actually. The reluctance to play old people’s music is as bad as it was to play young people’s music. I think it should level out where everyone can hear good art, but it seems like radio doesn’t play older people’s music. Man, it’s like throwing out the Mona Lisa. I don’t understand, but I’m just so proud of Long in the Tooth. This record will be a gigantic step.â€
As lauded a songwriter as Shaver is, he needed some convincing by none other than Todd Snider into making Long in the Tooth. “I didn’t think I had another hope in the world of doing another studio album,†Shaver says. “Then Todd Snider encouraged me to come up to Nashville and I listened. I knew if I didn’t come out with new songs, it wouldn’t be right. I’ve promised hundreds of critics that I would. So, I just buckled down and got the new songs together. Sure enough, it turned out great.â€
I’ve seen Shaver live a few times over the past few years and I’m here to tell you he’s lost none of his fire and wit.
Long in the Tooth. is produced by Ray Kennedy and Gary Nicholson, and features appearances by WIllie Nelson, Leon Russell, Tony Joe White, Shawn Camp, Jedd Hughes, Joel Guzman and others.
Rolling Stone premiered the Billy Joe Shaver and Willie Nelson duet, “Hard to Be an Outlaw” (hear it below) The song is both a nostalgic lament and a swipe at Music Row pop-country. “Some superstars now days get too far off the ground, They sing about the back roads that they’ve never even been down. They go and call it country but that’s not how it sounds. It’s enough to make renegade want to terrorize the town.”
It’s not much of a stretch to imagine the town these texans imagine terrorizing would be Nashville.
Has anyone reached the heights of entertainer as completely as Dolly Parton. Her beginnings as the platinum buxom female talent on the Porter Wagoner show to an international superstar, actress and entertainment entrepreneur Parton is still releasing music and doing loads of media and touring behind it.
Her latest, Blue Smoke is her 42nd studio album. the release doesn’t play it safe. Besides great new cuts are duet with Kenny Rogers and Willie Nelson as well as covers of Bob Dylan (!) and Bon Jovi (!!)
In celebration of this great performer here are some of her most memorable songs from her extraordinary career.
The nominees were announced today in Nashville by the Americana Music Association, and what a great list of talent it is!
Rosanne Cash, Robert Ellis and Jason Isbell each had three nominations in the same categories of Album of the Year, Artist of the Year and Song of the Year.
Cash, Ellis and Isbell are nominated for Artist of the Year, along with Rodney Crowell. Cash’s “A Feather’s Not a Bird,†Ellis’ “Only Lies†and Isbell’s “Cover Me Up†along with Patty Griffin’s “Ohio†are up for Song of the Year.
Cash’s album “The River and the Thread†is up for Album of the Year against Ellis’ “The Lights From the Chemical Plant,†Isbell’s “Southeastern†and Sarah Jarosz’s “Build Me Up From Bones.â€
While watching the nomination event online on the Music City Roots Livestream Ellis chimed in from Houston As his name was called once, twice, three times he responded on the messaging thread with genuine surprise and humility “Wow!” “Thank you all!” he typed.
Rosanne Cash tweeted that she was “Thrilled!!” yo learn of her nominations.
The other Americana Honors & Awards categories, Lake Street Dive , the Avett Brothers, the Devil Makes Three, Hard Working Americans, and the Milk Carton Kids are up for Duo/Group of the Year. Hurray for the Riff Raff, Parker Millsap, St. Paul & the Broken Bones, Sturgill Simpson and Valerie June are in the vying for Emerging Act of the Year; and Larry Campbell, Buddy Miller, Fats Kaplin and Bryan Sutton are the nominees for Instrumentalist of the Year.
The awards will be handed out Sept. 17 at the Ryman Auditorium as part of the Americana Music Festival and Conference, happening Sept. 17-21 in Nashville. Jim Lauderdale will host the awards show, and Miller will lead the house an all-star band.
2014 AMERICANA HONORS & AWARDS NOMINEES
ALBUM OF THE YEAR
Build Me Up From Bones, Sarah Jarosz
The Lights From The Chemical Plant, Robert Ellis
The River And The Thread, Rosanne Cash
Southeastern, Jason Isbell
ARTIST OF THE YEAR
Rosanne Cash
Rodney Crowell
Robert Ellis
Jason Isbell
DUO/GROUP OF THE YEAR
The Avett Brothers
The Devil Makes Three
Hard Working Americans
Lake Street Dive
The Milk Carton Kids
SONG OF THE YEAR
“Cover Me Up”, Jason Isbell
“A Feather’s Not A Bird”, Rosanne Cash
“Ohio”, Patty Griffin
“Only Lies”, Robert Ellis
EMERGING ACT OF THE YEAR
Hurray For The Riff Raff
Parker Millsap
St. Paul & The Broken Bones
Sturgill Simpson
Valerie June
INSTRUMENTALIST OF THE YEAR
Larry Campbell
Fats Kaplin
Buddy Miller
Bryan Sutton
is her 42nd studio album. the release doesn’t play it safe. Besides great new cuts are duet with Kenny Rogers and Willie Nelson as well as covers of Bob Dylan (!) and Bon Jovi (!!) 