Recently some benefactors of music row/ country music row have decided to chime in that contemporary country music is, well, less than good.
Knoxville, TN.’s Matt Woods soulful vocals have been saying that for years, Not formally but by putting out great self-penned, independent country and roots albums that draw a line in the proverbial sand. Every song just suggests “See, this is what country music is.”
With his newest video Woods’ is still teaching that lesson. The video is an intimate look at life on the road for the independent musician. Here’s hint, less luxury buses and champaign and more vans, long-necks and sleepless nights.
Deadman’s Blues” can be found on Woods’ upcoming album of the same name, out this spring.
While attending the Americana conference and Festival in Nashville I took some time to head roughly 25 miles south to Franklin TN to chat with South Carolina singer Julie Roberts. I arrive at a house in a quitter residential neighborhood ringside by farms (I know, I took a wrong turn and was lucky enough to see their beauty.) The house was a single-story pleasant homes any where any family might dwell. But as Roberts sweetly welcomes my arrival I enter a state of the art music studio with all the tech and instruments (bedroom set of as a drum room) to make a hit album.
Julie hopes her new release “Good Wine and Bad Decisions†is a hit record.
Of course the lady knows a thing or two about a hit record.
Roberts burst into the mainstream country music spotlight in 2004 with there hit “Break Down Here,” which reached #18 on the Country chart. That song was from her self-titled Mercury debut. That and the follow up, “Men & Mascara,†hit the top 10 of the Country Albums chart. Her new alum, “Good Wine and Bad Decisions” is her first release in seven years and it’s a sea change for the artist bit in style and in approach to a industry
When asked about her time on Music Row, and her albums made there, Roberts says “There was a big difference between the first record and the second record sonically. on the first one we would just come to the studio like this home studio and it; was just me and Brent (Rowan), my producer. Nobody came around until we were done. We were able to focus on our vision, on the music.
“For the second record (Men & Mascara) we worked on Music Row and people were around all the time and it was kind of nerve-racking. it’s hard not to want to please people. People pleasing is a part of my personality i’m trying to change (She laughs – Roberts laughs like she songs, full-throated and unguarded.)
“After the second record i moved to L.A. to work with Lifetime on a story of my life , around my life with my mama and our time in South Carolina. moving to Nashville. There was also the story of me working for Luke (Lewis, then the head of Mercury Nashville Records) that we thought would be a good story. So while in L.A. I was working with Tom Rickman who wrote the screenplay for Coal Miner’s Daughter for Loretta Lynn. So I had to move to L.A. so he could get to know me. After a year of living out there, and taking acting lessons, I realized I had spent all my life savings on L.A. rent!”
“I called Luke and told him I was ready to come back to Nashville and record my third record which would have some of the songs that were to be featured in the movie. The heads of Lifetime kept changing the date of the movie’s release. Luke thought the album wouldn’t be as strong without the movie so he shelved the album. Sometimes it takes a year to make a movie in Hollywood. Sometimes it takes ten. I had no idea what category I was in! Luke said he wasn’t going to release the album without the movie. So I asked him to let me go, I wanted to make music. And he said “yes.” I still owed him more records, but we had a history, we’re still friends. Leaving Universal was done on good terms.”
“The same week that I left, the Nashville flood came (May 2010) and we lost our home, everything. So the rest of that year I stayed Nashville rebuilding our lives. I live with my mom and my sister. While working on the house I started with Jason (Collum), my band leader since 2006, to release my first independent album “Alive” as well as my Christmas Album “Who Needs Mistletoe” (both in 2011.) This was really great for me because i was able to make music while dealing with rebuilding our lives.”
“Also during that time, I came out publicly that I had MS. I was diagnosed in 2005 but kept it quiet. There’s a lot of misconceptions about what that can mean and what you can do. And I was afraid.”
“I had everything I had always dreamed of. My mom with me, a happy home and a record deal in Nashville. We came from a not so happy place, My daddy was an alcoholic. That may be part of the reason I love country music. I can relate to a lot of it.”
“It was a really difficult time but I needed to be honest with my fans and tell them about my MS. they needed to know what I’m going through and that I’m doing great. I take medication, I work out, I eat right. But now I feel it’s part of my purpose to keep making music and following your dreams even in the face of adversity.”
Roberts works with the Muscular Dystrophy Association The Multiple Sclerosis Association Of America to raise awareness and money by performing at local events. She also receives letters from other folks with MS that hold her as an inspiration. “I got a letter from a single mom who read one of my Facebook posts. She said she was going back to night school to be a teacher.” I feel like this is a part of my new path.”
“I try and do what I can. Golf charity events. Wine events. I like wine! (laughs) There was an amazing wine event and we played it. We made a lot of money for the National Muscular Dystrophy Association. We work a lot with the local Nashville chapter too. I do what I can. I want people to see that MS is a part of me.”
Her destiny with the legendary Sun Records was a path of fortuitous circumstance. Sun had been working with Nashville-based Make Noise Management, licensing its expansive, extraordinary catalog for film and TV advertising. The Vice President of Sun, Collin Brace, had been leading the way for branch expansion and was searching for opportunities. Under his direction Sun has made deals with Converse, Mercedes-Benz as well as a series of Sun Sessions, live performances recorded in the famed memphis studio by musicians like Justin Townes Earle and Grace Potter.
CEO of Make Noise Management, Josh Collum, recalls discussions with Brace around bringing in a new artist (the first in decades) to reboot Sun. “We had been talking to Collin about reviving the label under a new artist instead of it just being in the business of licensing , which is good business, but it’s not brining in new talent. well, the stars aligned and Julie freed up from a few things and John (Singleton. He along with his brother, the late Shelby Singleton, have owned Sun since the late 1960s) loved her. He got behind it 110% in June, and we’ve been on a roller coaster since then getting the label turned back on. We started making the record and here we are 6 weeks out from release. ”
When asked how it feels to be the contemporary face of the label that launched the careers of Elvis Presley, Carl Perkins, Johnny Cash, Jerry Lee Lewis, B.B. King, Howlin’ Wolf and other legends Roberts doesn’t hesitate.
“It’s exciting, but there’s definitely pressure. All those great artists. And each one unique in their own music. I’m proud that this record, “Good Wine And Bad Decisions,” is my music and unique to me. I put everything I had into this record and I think it’ll stand up to their legacy.”
“I think it’s humbling. When we first went to meet John at Sun with Julie we were sitting in that office. At the end of the meeting Julie and John got up and shook hands and John said “Welcome to Sun records. At that point it go real.” Collum, whose been sitting by us, adds.
Julie remembers it a little differently. “It was a really surreal moment for me. Before the meeting I had been looking at these plaques from all these amazing artists. I was amazed. But at the end of the meeting John actually hugged me, he didn’t shake my hand (That laugh!) Which is even better! Then he said “Welcome to the Sun Records family.” It brought tears to my eyes ”
“When we were planning the record John asked me to look through the catalog to see of there was anything I wanted to use for the record. There was a lot to consider. We wanted to choose something that fit and hadn’t been covered a lot. Josh gave me a hard drive of about 10,000 songs. As I was going through them John sent me an email recommending the song “He Made a Woman Out of Me” (first cut by Rita Remington and later by Bobbie Gentry) I just loved it. I thought it fit my type and I loved that he thought of me for the song.”
Buddy Miller, Vice Gill and harmonica virtuoso Mickey Raphael all make appearances on “Good Wine And Bad Decisions.” I’ve always been a fan of Buddy. Julie Miller wrote “I Can’t Get Over You” from my first album. We had been covering Buddy’s “”Gasoline and Matches” on the road for a couple of years. When we asked him to song on it for the record he remembered my version of Julie’s song and said he loved it and would honored to sing on it.
“Vince Gill sang on two tracks on my first record and we sent him “Old Strings’ and told him I’d love for him to sing on it if he liked it. And he did.” ‘We asked Willis harmon a player, Mickey Raphael , to play “If I Were You” and he was awesome. Just knowing what he’s done. We knew he had played I’n town with Amos Lee and we figured out we reached out and asked him to play on the cut. ‘ This makes me wonder who says no to this woman. When I ask her she just laughs (!)
Julie tells me about the next song “Old Habit “I wrote the song for my Mom. She’s dated this guy since moving to Nashville, they go out on Saturday nights. One Saturday I asked if she was going on a date that night and she said “No, I think I’m going to tell hime I can’t.” She said “I never hear from him the rest of the week and I’n starting to feel like an old habit.” That was it. A song was born “Thanks mom!”
When I mention that music row and mainstream county radio will probably not be receptive to “Good Wine And Bad Decisions” more retie and soulful sound. As far as I could tell there was not one tail-gating song on the whole album! Collum says with a grin “There is a definite edge to the record. This is defiantly not a mainstream record. This is more Americana than it is Music Row. From a strategy point of view we are looking forward to kicking their ass by not playing by the rules.”
“This album is important to me. It’s very personal and I’m very proud of it. I can’t wait to take these songs on the road and share them with my fans.â€
Roberts was always too genuine to last on Music Row and I believe that “Good Wine and Bad Decisions†will be welcomed by her life-long fans, and find new fans of great, soulful roots music.
Willie Nelson, and his talented daughter Paula, duet beautifully on this languid version of the Creedance Clearwater Revival classic. You can almost imagine sitting on the porch and watching a spring shower.
Like many of his recent music videos this was one was shot at Willie Nelson’s replica western town in Luck, TX, (about a 45 minute ride from downtown Austin) for his own Luck Films. The video is shot in a rich black-and-white and features Paula looking lovely, Willie looking pensive riding a horse and looking pensive playing cards.
There’s also some pretty great family photos. Baby Paula ( I assume,) Willie’s pianist and sister Bobbie Nelson, Waylon and the Appalachian moonshiner legend, Marvin “Popcorn” Sutton
On March 13th of this year, Ryan Bingham took the stage at the historic Gruene Hall, the oldest continually run dance hall in Texas. The hall echoes the songs of Texas legends Willie Nelson, Townes Van Zandt, Doug Sahm, Lyle Lovett and others.
Captured in glorious sepia by TourGigs, this sold-out, intimate performance that features renditions of: “Tell My Mother I Miss Her So,” “Boracho Station” and “Hallelujah.”
John Murry’s life could have been a Southern tragedy penned by his second cousin William Faulkner. An addict who lost his wife. child, home and before cleaning up, almost his life. These harrowing experiences are reflected back darkly, but not bleakly, in “The Graceless Age.”
Murry’s brand of fuzzed-out pop-Americana take you through uncomfortable landscapes while not pushing to alienation. His emotional warble is reminiscent of Jay Farrar and Bruce Cockburn and it fits around the songs perfectly. The bittersweet kaleidoscope aesthetic Murry conjures recalls Elliot Smith’s introspective dark pop.
“California†is a menacing psychedelic ditty that that is hapless and hopeless as he tries to forget his ex in the city that won’t let him do it as sweet melody swirls with tense percussion and guitars. “Little Colored Balloons” recalls his near overdose “Off of 16th and Mission, i took an ambulance ride, they said I have died” as female backgrounds and piano and organ swell around his passionate build.
“Southern Sky†swings out with a xylophone (again, fuzzily) to tell a take of redemption through rebirth and renewal. “Things We Lost In The Fire,†starts simple enough with acoustic guitar and pedal steel to then crescendo into a pixies wave of wailing crunch guitar. .
The last words on The Graceless Age, sung in a dreamy falsetto, are “Maybe someday, some way.†It’s the perfect closing moment, as the guy who has suffered so much throughout the album drags himself out of the gutter to look to the stars. John Murry’s past may not be far behind, but his future as a songwriter and artist of major stature and authority is right now.
This is not an easy records, but it’s one Murry had to make and holds the characteristics of stark inevitability. this is the sound of a souls purged.
‘The Graceless Age’ might have saved Murry’s life. Is there any greater testament to music than that?
In 1956 The Grand Ole Opry invited a young country singer named George Jones to perform on their popular radio show.The 25 year-old Marine Corp veteran was already picking up momentum in his home state of Texas, where he was signed to Starday Records, where a year earlier, his song “Why Baby, Why†had become his first hit. However in his estimation, and many young country performers at the time, an appearance on the Opry was proof you had really hit the big time.
In Jone’s own words, “My success as a country singer, no matter how big it became, would always be limited unless I appeared on the Grand Ole Opry.†When that call from Nashville finally came he drove almost 800 miles from Houston, borrowed a guitar from Jimmy Dickens, and performed one song. His appearance was a success and he was quickly asked to come back and become a member.
Starday Records owners, Jack Starnes and Pappy Daily, knew they had to move quickly if their label was going to keep up with Jones’ newfound popularity. In early 1957 they released George Jones’ first album, Grand Ole Opry’s New Star, which also happened to be Starday’s first LP.
On October 15th this collectable release will be reissued in its entirety for the first time. The first 250 copies of this album will be pressed on Blue Vinyl and come with a bonus reissue of George’s only rockabilly record, an ultra-rare 45 he cut under the name ‘Thumper Jones.’
TRACKS
01. Why Baby Why
02. Seasons Of My Heart
03. It’s OK
04. Let Him Know
05. Play It Cool
06. Hold Everything
07. Boat Of Life
08. You Gotta Be My Baby
09. What Am I Worth
10. Your Heart
11. Ragged But Right
12. Yearning
13. Still Hurtin’
14. Taggin’ Along
In Texas, the surname Robison carries with it a tone of songwriter reverence. Charlie, his brother Bruce, and sister Robyn Ludwick have created a long legacy as Hill Country singer/songwriters working in the local community as well as being covered by Music City.
On his new release “High Life,” Charlie has some fun with classic and new songs. Band’s Robbie Robertson’s “Look Out Cleveland†and Bob Dylan’s “When I Paint My Masterpiece.†Robison also covers Austin legend Doug Sahm’s “Nuevo Laredo.†Of Sahm, Charlie says “My uncle was like a hippie around that time, and I remember cruising around Austin with him listening to Doug Sahm records and it was just so wild, the sounds he was getting. All that Sir Doug stuff just hit me really hard.â€
There are also a few gems by his siblings “Brand New Me†by Bruce and “Monte Carlo†and “Out of These Blues†by Ludwick. He also covers friend Bobby Bare Jr.’s rocking study on celebrity “Patty McBride.â€
Charlie seems to be having a lot more fun on this follow-up to the wonderfully introspective “Beautiful Day,” My only question is, with a title like “High Life,” (complete with Mr. Natural style cover art) where the obligatory Willie Nelson cover?
The Ryman Auditorium, the Mother Church of Country Music, was again a fit setting for the Americana Music Awards, kicking off a week-long Americana Music Conference. A ceremony that the evening’s MC, the incomparable Jim Lauderdale, set the tone by saying “The past matters, traditions matter, even when we explore ways to have those traditions extended and expanded.â€
The night’s nominees and performers were on hand to offer proof and testimony of that reflective sentiment.
Charleston SC husband and wife duo Shovels & Rope took home two awards, Emerging Artist of the Year and Song of the Year. At the podium a notably choked-up Cary Ann Hearst said, “All we ever wanted to do was make music the rest of our lives and.…propel ourselves into a normal existence.’
Hearst could have been speaking for all the nominees, presenters and many in attendance this night.
An unannounced Delbert McClinton lead things off with Hank Williams’ classic “Hey, Good Lookin.’†His granddaughter Holly Williams , and daughter Jet Williams, accepted President’s Award for Hank Williams on the day after what would have been Hank’s 90th birthday. Holly said in acceptance , “Hank would be Americana if he was alive today.†She then performed a lovely rendition of “I’m So Lonesome I Could Cry†on the same stage her grandfather stood brining Opry crowds to their feet many years ago.
Emmylou Harris and Rodney Crowell won 2 awards for duo of the year and album of the year for their collaboration on Old Yellow Moon. The veteran performers used their time onstage to congratulate the other nominees, Harris’ ex-husband and longtime producer Brian Ahern, and reminisce about their 40-year friendship.
John Fullbright and Shovels & Rope reminded that there s new generation that is carryon on tradition and shaping it in unexpected and electrifying ways by bring the house down around the capacity.
Jim Lauderdale choked back emotion as he presented the Lifetime Achievement Award in Songwriting to his mentor, collaborator and Grateful Dead lyricist Robert Hunter. Hunter then played his first public performance in almost a decade by doing the Dead’s classic “Ripple.â€
Austin was represented in great form by nominees Kelly Willis and Bruce Robison performing “Border Radio.†Richard Thompson folioed by performing “Good Things Happen To Bad People” from his Buddy Miller produced “Electric.”
The Black Keys’ Dan Auerbach presented the Lifetime Achievement Award for Performance to Louisiana’s JuJu master Dr. John. Auerbach recounted Dr. John’s extraordinary, and sometimes dangerous, career trajectory. “Songwriter, bandleader, hustler – the guy who found work for his friends when they needed it – A&R executive, keyboard player, a phenomenal guitarist”. Auerbach added that the John was: “A man whose music transcended race and cultural divides… A man who’s been in the right place at the wrong time and lived to write the songs.”
Auerbach then strapped on a guitar to accompany Dr John for ‘I Walk On Guilded Splinters’ from his 1968 debut album, ‘Gris-Gris’, accompanied by the house band of legendary session musicians, led by Buddy Miller and including Don Was, Larry Campbell, Marco Giovino, John Deaderick, Jim Hoke and the McCrary Sisters.
Emerging artists nominee John. JD McPherson followed this up with a spirited performance of his rockabilly hit “Northside Gal.â€
The ABC Nashville television drama overlapped this night as Lennon and Maisy Stella covered The Lumineers “Ho, Hey!†much like they did on an episode the show itself.
Guitar interpretive master Ry Cooder presented Jack Emerson with the Lifetime Achievement Award for Executive by recounting his many ventures south of the border to chase unique music. Following was Old Crow Medicine Show, who the devious night had been inducted in to the Grand Ole Opry fold. Naturally they played “Wagon Wheel.” Actor Ed Helms presenting Old Crow with the Trailblazer Award in the form of a WW2 era Harmony guitar with the lyrics of “Wagon Wheel†written on it.
Nicki Bluhm and Sam Bush pleasantly surprised the crowd by announcing the 2013 Artist of the Year award for the Dwight Yoakam. In response to an audible disappointment from the audience that Yoakam was on tour and not in attendance.
Sam Bush accepted the award on Dwight’s behalf and that he wore the “tightest pants I have.â€
This was followed by a performance from the golk-duo Milk Carton Kids then BBC Radio’s Bob Harris presented the Lifetime Achievement Award for Instrumentalist to Duane Eddy who then played his most famous instrumental, “Rebel Rouser.â€
The Spirit of Americana Freedom of Speech award went to Stephen Stills, who played the Buffalo Springfield classic 60s anthem “For What It’s Worth†alongside fellow Buffalo Springfield member Richie Furay and guilt-slinger Kenny Wayne Shepherd.
Dr. John led the final song, with many of the performers – Emmylou Harris, Rodney Crowell, Buddy, Jim, Old Crow’s Ketch Secor, Rosanne Cash, The Civil Wars’ Joy Williams, Shovels & Rope, Billy Bragg and Aiofe O’Donovan united to sing Rodney’s “Leaving Louisiana in the Broad Daylight.”
Then it was out into the sultry Nashville night to attends various venue showcases where the future Americana Music Award winners would be perfecting their considerable craft for us fortunate enough to be here.
Album of the Year: “Old Yellow Moon,†Emmylou Harris & Rodney Crowell
Artist of the Year: Dwight Yoakam
Duo Group of the Year: Emmylou Harris & Rodney Crowell
Song of the Year: “Birmingham,†Shovels & Rope
Emerging Artist of the Year: Shovels & Rope
Instrumentalist of the year: Larry Campbell
Trailblazer Award: Old Crow Medicine Show
Spirit of Americana / Free Speech in Music Award co-presented by the Americana Music Association and the First Amendment Center: Stephen Stills
Lifetime Achievement for Instrumentalist: Duane Eddy
Lifetime Achievement Award for Executive: Chris Strachwitz
Lifetime Achievement for Performance: Dr. John
Lifetime Achievement Award for Songwriter: Robert Hunter
President’s Award: Hank Williams
Hey Twangers! Here it is, number 15 podcast. In this special episode we feature the latest from The Civil Wars, currently residing on the top of the Billboard charts. Also excellent new music from Robbie Fulks, Valerie June, Aoife O’Donovan and Trisha Ivy. Also er feature a great cut from the master songwriter himself Guy Clark.
We finish up by featuring an older cut by Jim White that is currently enjoying popularity due to placement on a recent placement on FX’s “Breaking Bad.”
As always. I hope you like this episode of the Twang Nation Podcast and thank you all for listening. If you do tell a friend and let me know here at this site, Google+ , Twitter or my Facebook page.
1. The Civil Wars – song: I Had Me a Girl – album: The Civil Wars (Sensibility Recordings/Columbia Records)
2. Robbie Fulks – song: I’ll Trade You Money For Wine album: Gone Away Backward ( Bloodshot records)
3. Valerie June – song: Twined And Twisted – album: Pushin’ Against a Stone (Sunday Best Recordings)
4. Jason Isbell and John Paul White – song: Old Flame – album:High Cotton ( Lightning Rod Records)
5. Aoife O’Donovan – song: Briar Rose – album: Fossils (Yep Rock Records)
6. Court Yard Hounds – song: Phoebe – album: Amelita (Columbia Records)
7. Guy Clark – song: The Death Of Sis Draper – album: My Favourite Picture of You (Dualtone Records)
8. Porkchop Express – song: On My Way Down album: Skin Your Smoke Wagon (self-released)
9. Trisha Ivy – song: Talking in Your Sleep – album: Cotton Country (self-released)
10. Jim White song: Wordmule album: “Wrong-Eyed Jesus” (Luaka Bop)
