Choice Moments From The CMA Awards

CMA Awards

I can’t remember the last time I sat through an entire broadcast and the 53rd CMA Awards was no exception. Besides the unnecessary exclusion of long-time host Brad Paisley (to, ironically, virtue signal inclusivity) there’s the typical celebration of mundane Music City product. I admit fully that I take a protective view of country music that this glitter-choked spectacle is fully willing to eject in pursuit of mass appeal and the riches that come with it.

But somebody running this circus must remember that it’s about the music because interspersed between the spectacle there are moments that are truly sublime.

Willie Nelson and Kacey Musgraves – “Rainbow Connection” – Willie sounded a bit worse for wear but given the Texas Yoda’s age (87) and grueling tour schedule, it’s a miracle that he can perform at all. This Muppets classic never fails to draw the waterworks.

https://www.youtube.com/watch?v=4juzFaW12j0

Reba McEntire – “Fancy.” Reba is pure fire and I’ll fight anyone that says otherwise!

https://www.youtube.com/watch?v=jsjw2g80gj8

Where’s Kris? The Country Music Association honored iconic songwriter Kris Kristofferson with the Willie Nelson Lifetime Achievement Award. Kristofferson honored the CMAs by skipping their brazen attempt to grift credibility by throwing a shiny bone to the living legends by playing a previously booked gig at the Adler Theatre in Davenport, Iowa.

Americana Music Association Announces Second Round of 2017 Americanafest Showcases

AmericanaFest  Announces Second Round of of 2017 Americanafest Showcases
Photo: (L-R) Top Row: Yola Carter, Drive-By Truckers, Iron & Wine
Bottom Row: Lukas Nelson, The Secret Sisters, Amanda Shires

Following the already stellar first round line-up announcement the Americana Music Association turned the yearly roots music showcase greatness meter firmly to 11.

The second round list of almost 300 artists slated to perform at the 18th Annual Americanafest roots music festival & conference plumbs deeper into the depths of Americana’s excellence than any other shocase of it’s type. Aside from stalwarts like Buddy Miller you get the new tradiitionalist like Elizabeth Cook and Hayes Carll as well as exciting young guns like Jade Jackson and Sammy Brue. Then there are my personal favorites Boo Ray, Angaleena Presley, Doug Seegers, Quaker City Night Hawks, The Secret Sisters, The Texas Gentlemen and don’t miss live performance by Whiskey Shivers. It’s also cool to see legendary folkers Iron & Wine’s Sam Beam on the list for the first time.

Conspicuously missing from the full list isthe most popular representatives of the genre – Chris Stapleton, Sturgill Simpson and Jason Isbell, though Amanda Shires is on the list and Jason’s been known to show up as a guest.

With the list of the 84 performers announced can be found below, bringing the current line-up to 187 artists, which can be viewed here.

Resister for the full six-day festival here, or get festival showcase wristbands here.

AMERICANAFESTâ„  Conference Registrations (currently $299 for members/$399 for non-members) offer priority admission into all showcase venues, sanctioned parties and events, daytime educational panels, and can be purchased here. At this time, only Conference Registrants may purchase Honors & Awards show tickets. If you’re just interested in the nightly showcases, a festival wristband will be your most suitable option at the wallet-friendly price of $75. Available on their website, a festival wristband grants admission into all showcase venues as well as select sanctioned parties and special events.

Second Round of Artists Confirmed to Play AMERICANAFESTâ„ :
The Accidentals
Amanda Shires
Angaleena Presley
Becky Warren
Ben Smith & Jimmy Brewer
Birdtalker
Bonnie Whitmore and Her Band
Boo Ray
Boy Named Banjo
Buddy Miller
The Cactus Blossoms
Cary Morin
Charly Markwart
Cody Canada & The Departed
Colin Hay
Cory Branan
Cris Jacobs
Dalton Domino
Darling West
Darrin Bradbury
David Ramirez
The Dead South
Dean Owens
Doug Seegers
Drive-by Truckers
Dustbowl Revival
Elijah Ocean
Elizabeth Cook
Emily Barker
Flatland Cavalry
Great American Canyon Band
Hayes Carll
Humming House
Iron & Wine
J.P. Harris
Jade Jackson
Joan Osborne
John Hiatt & the Goners
Joshua Hedley
Kaitlin Butts
The Kernal
Larry Campbell & Teresa Williams
The Last Bandoleros
Lee Roy Parnell
Lilly Hiatt
Lori McKenna
LUCETTE
Lukas Nelson
Marc Broussard
Mark O’Connor featuring the O’Connor Band
Matthew Ryan
The Mavericks & Friends
Michigan Rattlers
Nicole Atkins
Noam Pikelny
Nora Jane Struthers
North Mississippi Allstars
Phoebe Hunt
Quaker City Night Hawks
Robert Cray & Hi Rhythm
Rogue + Jaye
Romantica
Sammy Brue
The Secret Sisters
Shannon McNally
Steelism
The Steel Wheels
Suzanne Santo
SZLACHETKA
The Texas Gentlemen
The Tillers
Timmy The Teeth
Tom Brosseau
Tommy Womack
Travis Linville
Twisted Pine
Whiskey Shivers
Whitney Rose
The Wild Reeds
Willie Nile
The Wood Brothers
Wood & Wire
Woody Pines
Yola Carter

(EDIT) –FINAL ROUND ADDITION–

A.J. Croce
Amelia White and The Blue Souvenirs
Amy Black
Belle Plaine
Big Star’s Third Live
Billy Strings
Blackfoot Gypsies
Blair Crimmins and The Hookers
Bonnie Bishop
Brigitte DeMeyer
Caitlyn Smith
Cale Tyson
Carson McHone
Carter Sampson
Cat Clyde
Cereus Bright
Charlie Mars
Christian Lopez
Colin Hay
Colter Wall
Danni Nicholls
Danny Burns
Darling West
Dave Alvin
David Mayfield Parade
David Myles
Don Gallardo
Early James & the Latest
Eddie Berman
Escondido
Falls
Faustina Masigat
Front Country
Gill Landry
Grant-Lee Phillips
Harrow Fair
High Plains Jamboree
India Ramey
Jack Ingram
Jamie Kent
Jamtown
Jason Wilber
Jesse Dayton
Jimmy Lumpkin and the Revival
Joana Serrat
Joey Kneiser
Jon Langford
Joseph Huber
K Phillips
Kaia Kater
Kamara Thomas
Korby Lenker
Kristina Murray
Lee Ann Womack & Friends
Leyla McCalla
Liz Cooper & The Stampede
Lucie Silvas
Mark Erelli
Mary Bragg
Max Gomez
Me And My Brother
Motel Radio
Muddy Ruckus
Natalie Hemby
Old Sea Brigade
Otis Gibbs
Parsonsfield
Rachel Baiman
Rayna Gellert with Kieran Kane
Reckless Kelly
Reuben Bidez
Robby Hecht
Robyn Hitchcock
Ryan Tanner
Sam Outlaw
Sarah Shook & the Disarmers
Shane Nicholson
Shelby Lynne & Allison Moorer
Shelly Fairchild
Skyway Man
Taasha Coates
Tattletale Saints
Ted Russell Kamp
The Americans
The Lowest Pair
The Mulligan Brothers
The Steel Woods
The Stray Birds
Tony Joe White
Trout Steak Revival
Vikesh Kapoor
Webb Wilder
Wild Ponies
Will Hoge
Will Kimbrough
Zach Schmidt
Zephaniah O’Hora

Sturgill Simpson Is Right, and Rightous

sturgill-simpson

Sturgill Simpson is not known for pulling punches. Though he’s been absent or toned down on social media in recent times  when he was active there were plenty of criticisms on the music industry.

So the recent dust up should not be a surprise. Except it’s surprising that there’s anyone in the media spotlight that still gives a damn for country music.

Though he names Nashville, I don’t believe ire is not with the Athens of the South. Nashville is not the city Merle and Willie left behind. And, though it’s more than to market it, the city is not the mainstream music industry. These days you’re just as likely to catch your favorite Americana act at the 5 Stop than the hat acts whooping the tourists at Tootsie’s.

Music Row, the self-appointed monopoly of Country Musicâ„¢ has been exploiting, but not reflecting, the legacy of passing legends, many of which wouldn’t receive a return phone call from the executives when they were alive, for decades.
Not enough units in it, don’t you know.

From Buck to Waylon to Cash hollow post-mortem accolades has been a reality for years. the crass, commercial canonization will continue when the next wave of greying Outlaws head off to the great honky-tonk in the sky. This is be expected for an institution bereft of even the thinnest reverence for the legacy they’ve built their sprawling Central Tennessee ranches on. An industry so risk intolerant and money focused (i.e greedy) that they graft whatever popular trend onto what’s left of the country music corpse just to wring out a few more hard-earned dollars from their audience.

If anyone mainstream deserves an award named after Merle Haggard, Miranda Lambert would be one of a select few. Tabloid drama aside her music has trended toward the gritty, sassy and independent side is the country music tracks her entire career.

But part of me thinks that of Lambert, or anyone else deserving of an award bearing The Hag’s name, would just tell the American Country Music Association thanks but no thanks.

I’d bet Merle would approve.

Whether you agree with him or not Simpson did something that Music Row has never done. Put the legacy of country music above personal commercial interest. He writes offhandedly in his post that he will be “blackballed” from that side of the industry. Unless he was willing to change everything about his songwriting and suddenly became enamored with celebrity, I’m not sure there was the risk of his name being included on that list. As I’ve said Music Row has a reluctance toward artist bent on self-determination.

Sturgill spoke out because he felt a mentor, a friend’s, legacy was being exploited in a cynical way. This bothered him personally and he took time from his current successful tour to express that sentiment at length. This doesn’t have the markings of a PR stunt (though the media has since run with it) and is very much in line with the Sturgill I’ve spent time with on a number of occasions. Warm, thoughtful, direct and fiercely loyal to his ideals.

The new rank of outlaws, and I use that term in the way established by Willie and Waylon – artists that take their own road to establishing their carriers – are here to bear witness to the Giants that came before and the profound debt owed. By them, by us, and by an industry that helped create.

Luckily Music Row isn’t the only game in town.

Americana and the thriving roots music movement where Simpson’s early career thrived has provided a creative vehicle for the new as well as the old guard that  couldn’t, nor would want to, get a meeting  on music row. 

Screw ’em. There’s a force of artists and fans hungry to create, and financially support those taking an independent road.
Read the original post here.

Merle-Haggard-and-Sturgill-Simpson

David Cobb – The Man Behind The Roots Music Tide

Dave Cobb

Being a great record producer means striking a delicate balance between passion for music and staking out an objective distance. One tip toward the former and a heavy hand can interfere in an artist’s true voice. Tip to the latter and there’s a technical hollowing resulting in a bloodless product.

David Cobb is a man that walks that line with his attention to detail and courage to take risks to capture sonic lightning in a bottle.

With a rock and roll heart he moved to L.A. to pursue a musician’s life. But through happenstance, his love for classic records, as well as the call of his Southern roots and love of family and friends, he has found himself one of the most in-demand producers in Nashville.

His journey to find the beating heart in the body of the process has led him to helping create in his home studio – or sometimes his kitchen in the case of Jason Isbell’s “Southeastern” – some of the most acclaimed records by contemporary roots artists. Folks like Shooter Jennings, Jamey Johnson, Chris Stapleton, Sturgill Simpson, Corb Lund, Lindi Ortega as well as upcoming releases by Holly Williams, Lake Street Dive and Amanda Shires – have found in him a kindred spirit. Incredibly talented people that he sees as more than clients, but as collaborators, friends and makers of sonic magic.

That’s what sets Cobb apart from other producers. Sure his first-hand knowledge comes from sitting where the musician sits and it buys him a good deal of credibility in the studio. But it’s his wide-eyed wonder, his true sincerity, his love of the art and faith in the artist that connects him in a way that few have done.

That also makes him a very busy man. Cobb took time from that busy schedule to talk to me from his home in Nashville.

TN: How long have you been in Nashville and what led you to move from L.A?

DC: I’ve been out here just over four years. Whenever I would travel out here the city was alive. This was the best music scene I’ve ever seen. There’s just an incredible amount of talent. The songwriting out here is insane.

TN: The city certainly has changed in the last few decades. It’s no longer just all about Music Row.

DC: Not at all. There’s such a great rock and outsider country scene. It’s alive, man. Everywhere you go.

TN: Your timing certainly seems right for where you wanted to take your career.

DC: It’s funny. What prompted me to move to Nashville was I was working with a band in L.A. and one of the guys in the band put on the song ‘Outfit” by the Drive-By Truckers. When I heard that song it really made me homesick. It reminded me of exactly how I grew up and the way it is in the Southeast. I suddenly felt a desire to come this way. I was in L.A. working with rock bands but now have a daughter and a move made sense. But hearing that song was a real pivotal thing. It’s funny how a lyric can rock you to the core like that. Then I chased that dude (Jason Isbell) down ever since to make a record.

TN: The Drive-By Truckers were one of the band that brought those same homesick feelings in me while riding the subway to work each day while living in New York City. Their sound was key in me starting this blog and begin discovering other bands in that vein.

DC: Absolutely, that’s the real sound of the South that I grew up with. Growing up in Georgia there was always a country music scene but this is beyond that. There’s this big lyrical , real songwriter thing. People playing in bars and writing great songs. This affects me much more than the typical country stuff. A little country and a little rock with a little folk. It hit me more than most of the stuff I’d been into.

TN: It’s refreshing and exciting to hear Southern songwriters grapple with our history while forging a new culture and new sounds toward the future.

DC: With the line “Don’t Tell ’em your Bigger Than Jesus, Don’t Give It Away” is pure Southern frankness and the swipe at John Lennon’s famous quote is excellent. The Southern idea that you’re suppose to keep yourself in check. You’re to know your place and never get cocky and not stray too far from home.

TN: Part of it is cultural and steeped in tradition but then there’s the economic part that if the next generation leaves where is the workforce for the mine or plant. A lot of great music deals with these themes of hardship and trying to get out.

DC: Absolutely. I remember after moving to California I would come back to visit my grandparents in Savannah and everyone would call you hollywood. You’d get teased pretty bad. It’s part of the Southeastern culture is there’s a culture of sticking it out. I actually enjoyed being a Southerner in L.A. I thought it was fun. Nobody ever moves there from Georgia. There’s lots of Texans and folks from the Mid-West but not from Georgia, it’s too far away.

TN; I’ve enjoyed L.A. the few times I’ve been there. I usually end up in some bar with Shooter (Jennings) As a matter of fact he’s the first person I remember bringing your name up.

DC: I just worked with Shooter again a few weeks ago in New York for the first time in years and we had a blast. I love that guy. I owe Shooter a lot and I would not be in Nashville today if it wasn’t for him. The first time I ever came to Nashville was to work on his ‘Electric Rodeo.’ He introduced me to great country music. Growing up my parents listed to Kenny Rogers and Barbara Mandrell, that sort of stuff. All I wanted to listen to was AC/DC (laughs.) My parents didn’t have Waylon or Don Williams records. Shooter turned me on to the good stuff. There was one record in particular called ‘White Mansions,’ ( by Waylon Jennings, Jessi Colter, John Dillon and Steve Cash) that’s the record that really got me. There’s something about the way it felt. It came at country in a very cinematic way, it’s very powerful.

TN: Tell me about the first time you met Shooter.

DC: I had this stupid idea when I moved to L.A. that I was going to buy a ’69 Dodge Charger and paint it like the General Lee and drive it around town. So I had these business cards made up with ’01’ printed on it. My manager set up a meeting with Shooter and I and I’m trying to hide my business card. Then we end up working together and doing stuff for the Dukes Of Hazard. L.A. is crazy like that. Shooter is one of the most humble and kind people I know. He’s the real deal.

TN: Few producers have had as much influence in contemporary roots music as you have. Part of the master plan?

DC: (Laughs) It’s definitely not part of a master plan. I moved to L.A. to do rock records. After my work with Shooter I did some songs with Jamey Johnson on ‘That Lonesome Song’ I started to get the country calls and that’s when I started coming to Nashville pretty regularly. One of the acts that called was the Oak Ridge Boys, one of my dad’s favorite bands. While working with them I had in the back of my head, my grandmother was a Pentecostal minister, and she used to tell my “Honey, you have to make music for the Lord,” she had the Oak Ridge Quartet records, she didn’t have a T.V. but she had those records. It was the first time my work connected with my past. That was exactly where I came from and the people I was surrounded with. You get this feeling that just feels like home.

I did a lot of research on that Oak Ridge Boys project. I started digging way back in old Gospel albums, stuff from the turn if the century. The music kept coming in and it started to mean more to me than the Led Zeppelin and The Beatles and Stones I grew up on. Then you realize that’s where they got it from.

TN: Why do you think Americana and roots music has become so commercially successful?

DC: My take, and it’s probably totally off, but with all the streaming and stealing music has no monetary value any more. But I think true artistry does. When Jason Isbell or Sturgill or Stapleton write records to…not be on the charts, not trying to make top 10 singles…it’s just making something personal. I think people are willing to put up money when they feel people are putting in the effort, making art. You want to buy the album, you want to go to the show and buy a t-shirt. It becomes more of a lifestyle instead of a commodity. There’s a loyalty instilled that you don’t get with pop. Theses fans will stick with them. Maybe real art is the only thing that defeats music piracy.

TN: When I saw Sturgill and Isbell early in their careers they were playing to small venues and giving it as much as if they were playing a large hall. They were giving people their moneys worth.

DC: I just think that’s who they are. I remember in rock bands growing up and there was “put on your stage costume.” These guys wear what they always wear , it’s who they are. They play these small clubs and they give it 110% it’s who they are no matter where they are because they love it. Money is not the motivation for these guys, I know them. I’m just happy that people are supporting them, it’s a very special time when people are craving something real.

TN: As someone helping to define the genre how would you define Americana?

DC: Man, I just see Americana is another word for honest. Call it what you want I’m just happy people are out supporting it. I thought it was great when Jason’s record went #1 on the folk, country and rock chart. That means they couldn’t figure out what it was so they had to spread it across categories. That’s great and really funny.

When I worked with Chris Stapleton at the big label Mercury they let him make the album he wanted with no pressure for singles. They got it. They let him make an honest record and they supported him down the line. I even see Nashville embracing real art, they are feeling the influences. For example I recently cut a song with Brandy Clark, she’s got one of the best voices I’ve ever heard. She’s amazing. I think things are changing for the best. I think a lot of mainstream artist might prefer to make a more honest album.

TN: How was it to work with Jason Isbell on his most acclaimed albums?

DC: He just writes these devastating songs. My job was to clear things out of the way of the lyrics. When he and I first met , and couple of weeks before we did ‘Southeastern,’ I played him one of my favorite records Simon and Garfunkel’s ‘Bridge Over Trouble Water.’ There’s a song on that record called ‘The Only Living Boy in New York,’ to me it’s a masterpiece if an album and I think the production is brilliant. It’s an acoustic feeling record that’s not acoustic at all. That’s the approach we wanted to take with Southeastern.’ It’s like he’s on an acoustic guitar singing directly to you but there’s a lot more going on. The way I work is I think vocals are the most important element for emotional communication. Especially when you have artists like Jason that write such great lyrics, my job is to hear that and clear the space and let that emotion through.

When we did the Isbell records we never listened to the songs before we go into the studio, He walks in and says “Here’s a song” and it’s like “Great let’s do it.” When he did “Elephant” from “Southeastern” it was one of those moments “I can’t believe this is coming through the speakers.” Like hearing a record you’ve always owned but are hearing for the first time. You know?

If I have a technique in the studio it’s to fly by the seat of my pants. I love when an artists vision is fresh and they nail it. To me that’s the best it’s ever going to be. You just have to believe in talented people.

TN: Is there a specific sound your chasing in these sessions?

DC: I don’t think I have a sound. Jason’s album doesn’t sound like Sturgill’s. They don’t sound like Stapleton. I never wanted to be that guy. I’m a huge fan of Nigel Godrich (Radiohead, Beck, Atoms of Peace) and you know when he’s made an album. I’d rather be a chameleon on that front. I guess if there’s a common theme it’s making sure the voice is primary. Make sure the singer is carrying the band. I cut everything live, all together, often in one room, but when the vocals great that’s the track. In modern records people go in and put everybody in booths and then once the instruments are done the singer cuts 50 passes of vocals then they mix it together and tune it. I prefer they way the Beatles or Stones did it, live and vocal leads the track.

TN: How did you end up working with George Jones for the Suidbillies theme?

DC: I met some folks at xx tigers doing by working with Nikki Lane in L.A., I was just then moving to Nashville, and I got a call from Cartoon Network to work with George. The writers of Squidbillies really know their country music. I was referred by the good people at 38 Tigers because they knew I loved classic country music. Next thing you know I’m in the studio working with George Jones! For me George Jones is the greatest country singer of all time. His runs and his whole feel, there’s something about him..when my daughter was young I put on a George Jones and Merle Haggard record where they were singing each other’s songs. I would play it for here so, even though she was born in L.A., she had a feeling of the South. That session was a blast. He’s one of the funniest human beings I’ve ever met. He did Donald Duck impressions the whole time. We brought in Hargus “Pig” Robbins to play piano, Pig had played on Jone’s ‘White Lightening,” it was awesome. I tried to make that session, that one song, emblematic of his career. I tried to make it sound like a late 50s George Jones record. He made this great video for my daughter talking like Donald Duck. He was just a wonderful human being.

TN: What other producers influenced you?

DC: I really love Glyn Johns work, especially with his 70’s work with The Who, Led Zeppelin and The Rolling Stones. I love the way ‘Sticky Fingers’ and ‘Let It Bleed’ feel. Other influence would be Stax and Muscle Shoals, I love the way those records feel too. The rawness comes from not seeing perfection as the outcome..the goal. I don’t like to let people think about stuff too much. I think it ruins records when you get neurotic. The rough edges are the absence of neurosis. I let people hear Otis Redding’s ‘I’ve Been Loving You Too Long’ If you listen to his vocal it’s sharp and flat and the guitar is rushing, but it’s perfect, It’s so perfect. With technology it’s so easy to tune and tweak you’d lose the whole feel of that song.

TN: Technology is a double-edged sword. It allows the next George Jones or Elliot Smith to record a masterpiece on a laptop and that masterpiece can then be processed to death.

DC: I’m not anti technology, but you have to be carful with the problems you’re trying to solve. Sometimes they’re not problems at all.

TN: One more question, I was told I need to ask you about your fake Greenland rock band.

DC: (laughs) I’ll probably get into trouble talking about this. I love the P.T. Barnham aspect of the music industry. It’s fun. I was working with an artist that was late to a session so me and the session drummer started messing around on some sill prog-rock track. I had the English singer from my old band come in and sing on it. I wanted it to be from a country nobody knows about. So, Greenland! Nobody ever knows anybody from Greenland. So I call this industry person and say “Hey there’s this band from Greenland you need to check out.” So I took the track down and played it for them, and they were loving it. And they said “We have to sign this band.” That’s when I told them that it was me and some friends goofing off. They said “I don’t care.” They took it to the head of a major label and played it for them and they said “I love it! I love it! We need to fly the band in from Greenland to do a showcase!” About a week later it all settled down but I got embarrass because it went too high so fast. I wanted it to be fake bands in monk robes that you can’t see their face, one on tour in the U.K. And one in America at the same time so you never know if you’re seeing the real band. I loved that we made a record where nobody knows who you are, there were no rules. It was really freeing. You could have anyone join the band, a revolving membership. It’d be fun.