I always knew Houston’s Robert Ellis was the real deal. Now they agree with me across the pond. From The Guardian’s New Band of the Day:
“That idea of dovetailing country old and “new” – the Nudie suit-wearing good ol’ boys and the countercultural LA wannabes – is a development, of sorts, although arguably Gram Parsons was the living embodiment of both sensibilities. Robert Ellis is a hippie throwback but he also moves between periods and worlds with aplomb – at a recent party for Paste magazine he and his band, according to one onlooker, “deconstructed old bluegrass songs and borrowed as much from Radiohead as George Jones”. He alternates between country and alt.country on the two “sides” ofof (sic) his concept album Photographs.”
Aside from his appearance I don’t get the “hippie” reference, but whatever. Ellis is getting the attention he so richly deserves.
Podcast number is in the can and it might be the best one yet.
Here you’ll find great cuts from upcoming albums like Corb Lund’s swamp-guitar laced road buddy number featuring Hayes Carll “Bible On The Dash” and The Trishas bring sweet, sweet harmony in Little Sweet Cigars.
Blackberry Smoke channels 70’s era Allman Brothers in the soulful The Whippoorwill. There’s also some great cuts from newcomers Angela Perley, Shovels & Rope and The Driftwood Singers.
Finally I use the last slot to say goodbye to another legend. Susanna Clark’s “Easy From Now On,” a song she penned for Emmylou Harris’ album “Quarter Moon in a Ten Cent Town,” and album she also painted the cover for.
I hope you all enjoy the great Americana and roots music featured in this and all the podcasts, and hope you seek out the musicians and buy their music, merch and , most importantly, take all your friends and see them live. Remember you can leave requests or feedback below or email me at baron(at)twangnation(dot)com. All you feedback , good and bad, is appreciated.
1. Corb Lund – Song: “Bible On The Dash” – Album: Cabin Fever (New West Records)
2. Polecat – Song: “Fire On The Hill” – Album: Fire On The Hill (Independently released)
3. Shovels & Rope – Song: O’ Be Joyful – Album: Song: O’ Be Joyful (Dualtone Records)
4. Catherine Irwin – Song: Mockingbird – Album: Little Heater (Thrill Jockey Records )
Removed by request of Thrill Jockey Records
5. The Trishas – Song: Little Sweet Cigars – Album: High Wide & Handsome (Trisha Records)
6. Blackberry Smoke – Song: The Whippoorwill – Album: The Whippoorwill (Southern Ground Records.
7. The Driftwood Singers – Song: If I Take That Notion – Album: The Driftwood Singers (Trailer Fire Records)
8. Angela Perley and The Howlin’ Moons – Song: 18 Feet Under- Album: Nowhere is Now Here. (Vital Music USA)
9. Whitey Morgan and the 78’s – Song: I Ain’t Drunk – Album: Whitey Morgan and the 78’s (Bloodshot Records)
10. Turnpike Troubadours – Song: “Before the Devil Knows We’re Dead” – Album: Goodbye Normal Street (Bossier City Records)
11. Emmylou Harris – Song: “Easy From Now On” – Album: Quarter Moon in a Ten Cent Town (Warner Bros)
Behind every great man there is a great woman rings none more true than in the case of Guy and Susanna Clark.
Atlanta, Texas-born Susanna Clark, a former art teacher and renowned songwriter for Emmylou Harris, Kathy Mattea, Miranda Lambert, Rosanne Cash, Jerry Jeff Walker and others, died Wednesday, June 27 in Nashville. She was 73, and had reported to have been in poor health in recent years.
Susanna was key to Guy Clark quitting his job at a Houston television station and focusing on songwriting. Guy Clark, a contemporary of frequent house-guest Townes Van Zandt, would go on to pen great songs such as “L.A. Freeway” (which mentions Susanna ) , “Desperados Waiting for a Train” and “Hemingway’s Whiskey” (which was later covered by Kenny Chesney.)Clark would go on to become a member of the Nashville Songwriters Hall of Fame.
The Tennessean sites a Journal of Country Music interview where Susanna said “I just asked him what he wanted to do, and he said, ‘Music, I said, ‘Well, let’s do it.’ And he said, ‘That’s the first time a woman has ever asked me to quit a job.”
Her first Top 20 country hit was “I’ll Be Your San Antone Rose†for singer Dottsy in 1975. In 1978, she and Carlene Carter wrote “Easy From Now On” the lead track of Harris’ Quarter Moon In A Ten Cent Town. Most recently she wrote the title cut from Miranda Lambert’s 2007 “Crazy Ex-Girlfriend.” Clark also put her painting talents to work creating the album cover for Harris as well as Willie Nelson’s “Stardust.”
One of my favorite scenes from the classic film “Heartworn Highways” is the scene with Texas singer/songwriters gathered at Guy and Susanna Clark’s home for a picking session on Christmas Eve 1975. Here you see Guy and Susanna in the opening scene followed by Steve Earle, Rodney Crowell and Richard Dobson
http://www.youtube.com/watch?v=DJrVwJonlrA
Here’s a great video of Guy Clark telling a great story about Susanna and performing a song he wrote for her.
Here’s to one of the saviors of country music and the pride of Littlefield, Texas, Waylon Arnold Jenning, who would have been 75 today. Be sure to check out the local cerebrations in your town, like the first annual Waylon Jennings Birthday Bash starting today to be held in Whiteface, Texas. Featuring Shooter Jennings, Whiskey Meyers, Jackson Taylor & the Sinners, William Clark Green, Rowdy Johnson Band, Jimmy Miles, Sergio and the Outta Luck Band, and Tommy Jennings. The event will benefit the Waylon Fund for Diabetes Research at TGen.
Here’s 5 of the finest from “The Hoss.” Hoist a cup and give proper respect.
“Lonesome, On’ry And Mean” on the Cowboy jack Clement’s TV show.
Willie & Waylon – “Good Hearted Woman”
http://www.youtube.com/watch?v=sNHg_dUSeMs
Travis Tritt & Waylon Jennings – “I’ve Always Been Crazy.”
Waylon Jennings & Jessi Colter – “Storm Never Last”
Reviewing a Willie Nelson album is like describing to someone a visit you’ve made to the Grand Canyon. Sure there are the facts and impressions but the shear majesty of what you’re in the presence of something larger than life anit can bow you into awe. But here goes…
Nelson has always been a serial collaborator. The Texas Yoda has cut tracks with so many people he’s become a musical Keven Bacon. He’s shared the studio with his country contemporaries Waylon, Merle, Ray to genre-crossers Julio Iglesias and Phish, but Willie is no longer just a country artist. Like Ray Charles, another of his collaborators, he’s jettisoned his original genre and elevated himself to simply American music.
This studio gregariousness shows that Willie is not willing to sit on a laureled pedestal. He is generous with his studio and stage time and willing to lend a little Texas outlaw mojo to others. His legacy is so firmly entrenched in history he seems to feel he can work with whomever,and do do whatever, strikes his fancy. This has resulted from the inspired to the perplexing, but it’s hardly ever boring.
At nine Willie’s new album, ‘Heroes,’ ups the collaboration ante, and sometime within a single song. The count is four,including Willie, in the post-mortem ode to herb “Roll Me Up and Smoke Me When I Die.” The song’s title was was originally the album’s title until Willie put the kibosh on the inevitable Walmart boycott. Willie might be an outlaw, but he’s also always been a shrewd businessman. On the song Willie seems to be having fun performing with his brother of the weed Snoop Dogg, along with a bemused-sounding Kris Kristofferson and Jamey Johnson, this collection get’s my vote for a “High” way men tour.
A Last of the Breed mini reunion occurs with Merle Haggard on a beautifully grizzled “Horse Called Music,” originally from the criminally overlooked 1989 album of the same title. Ray Price reprises Floyd Tillman’s classic “Cold War With You” with Willie and Lukas Nelson to suave cowboy effect.
The album’s title, Heroes, is a nod to the performers on the album as well as the musical influences that Willie has always honored. One clear influence on Willie Nelson, Bob Wills and the Western Swing genre is well represented with spirited renditions of Will’s “My Window Faces The South” and “Home In San Antone.”
Amongst the crowded studio the real purpose of “Heroes” appears to be a father’s introducing his son to a larger fan-base. Lukas and his band, The Promise of the Rea,l have been opening and backing for Willie for a couple of year as they honed the craft. But this is not crass nepotism as Lukas contributes a couple of the best songs on the album with “Every Time He Drinks He Thinks of Her” and “The Sound of Your Memory,” His pleasing vocal style is somewhere between his old man’s phrasing and Jimmie Dale Gilmore keen. Also, he’s a solid guitarist and his Stratocaster flourishes provides a contemporary counterpart to Willie’s cowboy-jazz Trigger.
A contemporary theme runs through a selection of covers. An inspired, palatial version of Pearl Jam’s rumination on mortality “Just Breathe” takes on deeper level of poignancy as the song is sung with his son Lukas, and Willie approaches his 80th birthday. Tom Waits’ quasi-gospel “Come On Up To The House” features Mickey Raphael’s excellent and understated harmonica work cultivated from being with Willie for many years. The song aligns dutifully with the original and also features Lucas and the ubiquitous Sheryl Crow, who is serviceable if unnecessary. Willie’s solo turn on Coldplay’s “The Scientist,” first seen on a Chipotle Super Bowl commercial, charms me into enjoying (okay, appreciating) the song.
The Willie-penned title song is said to be about fellow outlaw Billy Joe Shaver (in some cases literally), who appears here with a contemporary rabble-rouser of sorts, Jamey Johnson. This 4/4 waltz is a sentimental reminiscence of a musician who used to be “king of the bars,” but it just as well could be a testament to the current sad state of country music.
“Heroes” is an uneven affair. Like a ramshackle late-night guitar pull fueled by intoxents both legal and not, it’s a lot of fun and done with love of music, mutual respect and a seeming sense of harmonious happenstance sorely missing image-obsessed music industry.
Through a spotty online streamed event (at least on my side) from Grammy Museum’s Clive Davis Theatre in L.A. the Nashville-based Americana Music Association announced their 2012 announced their nominees for Album of the Year, Artist of the Year, Emerging Artist of the Year, Song of the Year and Instrumentalist of the Year.
On hand was “Mr. Americana,” and the premier host of the Americana Awards program, Jim Lauderdale. Buddy Miller lead the Americana All Star quartet with Don Heffington, Greg Leisz and Don Was. Featuring excellent performances by Lauderdale, Shelby Lynne, Lucinda Williams and Texas’s own Robert Ellis.
Jed Hilly gave a gracious speech and then introduced the actor John C Reilly, and mighty fine roots musician in his own right, as M.C. for the event. Taking the stage and looking rather sheepish Reilly stated “They call this the Americana Awards but really it should be the All the Great Artists Out Right Now Awards.”
The nominees are some of the most solid since I’ve been keeping score of the AMA awards. Jason Isbell and Gillian Welch lrad nominations with 4 and 3 respectively. The Artist of the Year noms Welch, Isbell as well as Hayes Carll and Justin Townes Earle leaves me for the first time with no clear favorite to root for. There is the staple legend that released something unexceptional but still gets a nod ( Steve Earle with an Album of the Year nod for I’ll Never Get Out of this World Alive ) but overall even this category is solid (not least of which because 2 of the nominees , Jason Isbell & The 400 Unit and Gillian Welch, were on my best of 2011 list)
There appears to be some bandwagon jumping with the Emerging Artist of the Year nominees Alabama Shakes and Dawes. I could give you a list of a dozen artists I’d replace them with. (one being already on the list, the exceptional Robert Ellis.) Buddy Miller is to the AMAs what Kenny Chesney is to the CMAs, is once again on the list for Instrumentalist of the Year.
The performers and the band then ended the ceremony with a rousing rendition of the traditional spiritual “Let the Circle Be Unbroken.”
Winners will be announced at the Americana Honors and Awards program at the Ryman Auditorium in Nashville, Tenn. - Sept. 12. The ceremony is part of the Americana Music Festival and Conference, which takes place on Sept. 12-15.
Full list of nominees below:
Album of the Year
Here We Rest – Jason Isbell & The 400 Unit
I’ll Never Get Out of this World Alive – Steve Earle
The Harrow & The Harvest – Gillian Welch
This One’s For Him: A Tribute to Guy Clark – Various Artists
Artist of the Year
Gillian Welch
Hayes Carll
Jason Isbell
Justin Townes Earle
Emerging Artist of the Year
Alabama Shakes
Dawes
Deep Dark Woods
Robert Ellis
Song of the Year
“Alabama Pines†– Written by Jason Isbell and performed by Jason Isbell & The 400 Unit
“Come Around†– Written and performed by Sarah Jarosz
“I Love†– Written by Tom T. Hall and performed by Patty Griffin
“Waiting On The Sky to Fall†– Written and performed by Steve Earle
Instrumentalist of the Year
Buddy Miller
Chris Thile
Darrell Scott
Dave Rawlings
Duo/Group of the Year
Carolina Chocolate Drops
The Civil Wars
Gillian Welch & Dave Rawlings
Jason Isbell & The 400 Unit
Punch Brothers
It’s been a while but here’s Twang Nation Podcast #5 and it’s a beaut.
This episode features cuts from upcoming albums by  Ray Wylie Hubbard, Chelle Rose and Joe Pug and great cuts from The Damn Quails, The Steel Wheels , Hiss Golden Messenger and Jim White.Mr J.R. Cash concludes the episode to commemorate the year of his 80th birthday and the upcoming gospel-themed Bootleg Vol. IV: The Soul of Truth.
I hope you all enjoy the great Americana and roots music featured in this and all the podcasts and hope you seek out the musicians and buy their music, merch and , most importantly, take all your friends and see them live. Remember you can leave requests or feedback below or email me at baron(at)twangnation(dot)com.
1. Ray Wylie Hubbard – song: Coricidin Bottle album: The Grifter’s Hymnal (Bordello Records)
2. The Damn Quails – song:Â Fool’s Gold -Â album: Down The Hatch ( 598 Recordings)
3. Chelle Rose – song: Browder Holler Boy (Feat. Ray Wylie Hubbard) album: Ghost of Bowder Holler (Lil’ Damsel Records)
4. The Steel Wheels – song: Spider Wings album: Lay Down , Lay Low (independent release)
5. The Memphis Strange – song: 5 Miles or Less album: Birth of the Strange (independent release)
6. Hiss Golden Messenger – song: Jesus Shot Me In The head album: Poor Moon (Tompkins Square records)
7. Screen Door Porch – song: Devil’s Honey album: The Fate & The Fruit (Independent release)
8. Jim White– song: The Way of Alone album: Where It Hits You  (Yep Roc Records)
9. Joe Pug – song:Â Hymn #76Â album: The Great Despiser ( Lightning Rod Records)
10. Brown Bird – song: Bilgewater album: Salt For Salt (Supply and Demand Music)
11. Johnny Cash– song: Walk the Line Album: Bootleg 3: Live Around The World (Sony Legacy)
Fresh on the heels of his new album ‘Agnostic Hymns & Stoner Fables’ Todd Snider will release ‘Time As We Know It: The Songs of Jerry Jeff Walker,’ a tribute to his original musical hero(4/24.)Â “I’ve always hoped I’d stay around long enough to get to make a record of Jerry Jeff Walker songs,” Snider says. “He’s the guy I saw at 19 and decided to try to be like. His are the first songs I learned.”
Produced by Don Was (Bob Dylan, The Rolling Stones), the 14 celebratory tracks feature friends and admirers like Kix Brooks of Brooks and Dunn, Elizabeth Cook, and Amy LaVere. “We just went into a studio and played about 30 of Jerry Jeff’s songs and let the performances dictate what songs would make it,” Snider says, adding, “I could’ve done 30 more.”
Todd’s tour continues this spring, with shows at L.A.’s El Rey Theater on March 30 and a headlining show at Nashville’s Ryman Auditorium on June 2.
Track Listing:
1. Vince Triple-O Martin
2. Jaded Lover
3. Moon Child
4. Takin’ It As It Comes
5. Derby Day
6. Sangria Wine
7. Continuous Saga of the Bummer Or Is This My One Way Bus Ticket to Cleveland
8. Little Bird
9. Hill Country Rain
10. Railroad Lady
11. Laying My Life on the Line
12. Pissin’ in the Wind
13. Mr. Bojangles
14. Will There Be Any
Circumstances conspired to keep me from attending the music (and tech/film) madness that is South-By-Southwest taking place March 13-18 in my home state of Texas. In lieu of standing toe-to-toe with strangers an having beer spilled on me I will soldier on from my couch here in the Bay Area to shed light on the Americana and Roots artists tha will be sprinkled in with the indie-darling of the week bands that dominate the scene. Here’s a list of bands/musicians that I’ve collected that are playing the event. Have a listen and check them out live. Then help them out and buy a CD or t-shirt. Guitar strings and gas don’t grown on trees bud!
Justin Townes Earle
Anais Mitchell
Nikki Lane
Carrie Rodriguez
Hellbound Glory
Rachel Brooke
Ana Egge
Sons Of Fathers
The Trishas
Izzy Cox
Lost and Nameless Orchestra
MilkDrive
Shurman
Warren Hood and The Goods
Treetop Flyers
The Brothers Comatose
Brown Bird
Ghosts Along the Brazos
Joe Pug
Alejandro Escovedo and The Sensitive Boys
The Lumineers
Henry Wagons
Jack Wilson
Have Gun Will Travel
The White Horse
Jon Dee Graham
Shannon McNally
Hurray for the Riff Raff
Greensky Bluegrass
Guns of Navarone
Brett Detar
Owen Temple
Star & Micey
Andra Suchy
Sugar & the Hi Lows
Seth Walker
Carrie Elkin
Lydia Loveless
The Pines
East Cameron Folkcore
the Little Willies
Punch Brothers
Jonny Corndawg
the Gourds
HoneyHoney
Chuck Meadand His Grassy Knoll Boys
Fallon & The Bandits
Deadman
Mickey & The Motorcars
As a part of what Steve Earle called “Nashville’s great credibility scare of the mid ’80s.” Lyle Lovett, along with Earle, k.d. Lang, Dwight Yoakam and others took up the traditionalist Outlaw mantel of the 70’s and reinvigorated country music from it’s soft-rock and Urban Cowboy influence the times.
Lyle Lovett’s new album “Release me,” exhibits pun in name as well as aesthetic. The album is the last for the Curb Records, the label for his entire 26-year. 11-album, career. And in case you missed that the cover art depicts Lyle tied up head-to-ankle in a lariat.
Though Lovett continues a late career trend of including cover songs. But this adios to Curb raises the stakes as it contains only two Lovett originals among the album’s 14 tunes. You might conclude that this last release would be a weakened collection to meet contractual obligations. You would be wrong in that assessment.
Sure Lovett may not be the most prolific songwriter on the planet but he is one of the best interpreters of classic country. There is no one fit to polish Lovett’s boots when it comes close to serving as a diplomat for the eclectic music styles of the Lone Star State.
“Release me” wastes no time offering a burning interpretation of the classic instrumental breakdown of “Garfield’s Blackberry Blossom.” The number made popular in the 1930s by Fiddlin’ Arthur Smith sounds both timeless and spirited in the hands of Lovett and his band.
The title track became a hit for both Jimmy Heap and Ray Price, both in 1954. Here it’s done as a duet with Lovett and k.d. lang, who is so far down in themix her soaring vocals are lost. That quibble aside it’s a great tear-in-my-beer standard well done.
The cover of Michael Franks’ “White Boy Lost in the Blues” slinks in with the funky blues accentuated by Arnold McCuller harmony vocals.The gospel/R&B and Memphis horn-sound of “Isn’t That So” works to a rousing effect and will probably kill live.
Understand You channels beautifully the tender-hearted cowboy Lovett has portrayed many time in his career. The cover of Brown Eyed is looser that Chuck Berry’s original or the covers by covered by many including fellow Texans Buddy Holly and Waylon Jennings. But the song still carries the weight Berry intended after being inspired by witnessing a Hispanic man being arrested by a policeman.
The Ragtime-inspired “Keep It Clean” dares you not to cut a rug and William Moore’s One Way Gal is a fine-time front porch testament to a good woman.
“Dress of Laces” is an achingly lovely Daughter-Father twist on the classic murder ballad. White Freightliner Blues is one of the few up-tempo songs penned by the late, great Townes Van Zandt and Lovett plays it to it’s full open-road greatness.
The two originals Lovett contributes to the album, The first is “The Girl With the Holiday Smile” (also on his 2011 holiday EP “Songs For the Season;”) came from a real-life 1978 encounter young lady hiding out from the cops inside a Houston 7-11. This is my second favorite Christmas/hooker song (Tom Waits’ Christmas Card from a Hooker in Minneapolis being the first.) The second cut “Night’s Lullaby,” which features Nickel Creek’s Sara and Sean Watkins, was penned for a 2011 run in the Shakespeare Center Los Angeles’ production of “Much Ado About Nothing” that the three appeared in.
I look forward to the work Lovett is free to explore in his new world as a free agent and am thankful he has left us with something this great to tide us over until the nest batch of surprises comes along.
I always knew Houston’s Robert Ellis was the real deal. Now they agree with me across the pond. From The Guardian’s New Band of the Day:
