Cream of the Crop – Twang Nation Top Americana and Roots Music Picks of 2017

Cream of the Crop – Twang Nation Top Americana and Roots Music Picks of 2017

Over that last 11 years of running this blog, roots and Americana has embedded itself as a fully realized and respected genre of cultural influence around the world. Bands and festivals from the UK, Australia, Japan and the Middle East are strapping on guitars, name dropping Townes Van Zandt and finding their inner hillbilly.

Though like most Best Of album lists around I’ve focused primarily on the cradle of Americana, the U.S., although the global influence cannot be underestimated. Traveling American artists find themselves with a ready and widening foreign market (oftentimes bigger than that at home) and visiting artists to The States face an open, if passionate and discerning, fanbase.

This global influence cannot be overemphasized, and I will address global Americana and roots bands in an upcoming post. Suffice to say, as might Ron Burgundy, globaly Americana is kind of a big deal.

The stylistic range and creative hunger embodies in these 10 following selections prove why the global appeal is occuring. Focus on songcraft and musicianship over studio trickery and hype alone is the lifeblood. Authenticity is a slippery concept bandied around to describe forms of music from hip-hop to punk where fakery and exploitation os trends is called out loud and mercilessly. And rightly so.

As our world slips further into digital version of the Greek myth of Narcissus, with the smartphone display as a glassy reflecting pool we longingly gaze into, we suffer a kind of cultural sickness. A sickness that ironically great song, itself a kind of Narcissism, can remind us of a shared yet isolated identity that happens when we hear it.

This crafting of shared narratives can slip from description of our journey tp prescriptive of our route. The current division within the U.S. (also largely fueled by technology) builds walls from our precious ideas separating us from understanding and, quite possibly, a change in perspective.

Whether you’re Billy Bragg or Ted Nugent, there’s a professional risk in wearing your ideology on your guitar strap. I applaud the professional stakes in the effort , but “This Land is Your Land” and “Blowin’ in the Wind’ are treasures precisely because they are the rare example of allegory over sermon that can move people.

The current charged political climate might compel artists to stretch their populist wings and create more topical songs. But many, even those that tenuously reflect my contradictory views, are little more than soapbox serenade slumming under the window of simple-minded politics, that constricts the mind instead of opening it.

2017 was another year of lost legends – Gregg Allman, Chuck Berry, Butch Trucks, Greg Trooper, guitarist Bob Wooton, Jimmy LaFave, Glen Campbell, Don Williams, Mel Tillis, Richard Dobson and others remind us how daunting their talent was and how
fleeting life is. Let’s hope for a calmer 2018.

Criteria – Calendar year 2017. No EPs, live, covers or re-release albums no matter how awesome.

Don’t see your favorite represented? Leave it in the comments, and here’s to a new year of Twang.

Zephaniah OHora – ‘This Highway’buy
If Zephaniah OHora didn’t exist he would have to be created. The mustache, slicked do, Man-in-Black wardrobe and a name right out of the Old Testament makes OHora gives the impression of a man right out of Country music central casting. But his full-length debut leaves no doubt that he’s a disciple of the classic era of Nashville Sound and Bakersfield honky-tonk and he’s here to testify to its righteousness. Songs like “I Do Believe I’ve Had Enough,” “I Can’t Let Go (Even Though I Set You Free)” and “She’s Leaving In The Morning,” evoke dark and smokey bars where tears poor like the tap beer. Is he putting us on? Perhaps, but I’m a believer.

Colter Wall – self-titled – buy
This sparse full-length debut from the man from Swift Current, Saskatchewan belies his 22 years on this planet. Produced by the hillbilly whisperer Dave Cobb songs like “Thirteen Silver Dollars” and ‘Motorcycle’ offer up a busted lip smile to world-weary vocals. Transistor radio static and train whistles intersperse with deft finger-picking across 11 dusty gems that pushes and pulls at the boundaries of Country and folk casting the mind back to a mythological romance of cowboy laments and hobo serenades.

Angaleena Presley – ‘Wrangled’ – buy
For her second solo venture the extraordinary Ms. Presley invited Pistol Annies co-conspirators Miranda Lambert, Ashley Monroe as well as Chris Stapleton, Queen of Rockabilly Wanda Jackson, Vanessa Olivarez as well as legendary Texas singer/songwriter Guy Clark on what would prove to be his final completed song ( “Cheer Up Little Darling.”) The result is a deft collection of sonic vignettes tracking the unique female narrative of broken dreams, busted hearts, babies having babies and kicking against the small-town hairsprayed Harpies bent on tearing her down. Presley has provided a perfect example of female fortitude, not by penning platitudes of empowerment, but by creating a compelling album that pushes Country music forward while paying respects to the past and celebrates the mess that is life.

Sunny Sweeney – ‘Trophy’ – buy
Texas singer/songwriter Sunny Sweeney has sometimes danced closely to becoming another country music blonde hell-bent to get a foothold in the mainstream country radio badlands. Good thing she didn’t break big or her fourth studio album ‘Trophy’ might not have been made. (Though I’m sure at this point she’d prefer being on the road in a tour bus headed to one of her many shows she plays each year) Barroom laments that save a stool for misery like ‘Pass the Pain’ or as songs starkly confessional Lori McKenna co-write “Bottle By My Bed” have no place on the good-timing party seeping from contemporary Country speakers. Not to suggest all is dour here, the barn-burner ‘Better Bad Idea’ and the slinkily, smoldering title cut has the same depth but with wry smile and plenty of fuel to get those boots tapping. The chops Sweeney picked up in Nashville is in display but done in compelling and a way that feels as real as it does entertaining.

Nicole Atkins – ‘Goodnight Rhonda Lee’ – buy
New Jersey’s Nicole Atkins’ fourth album, Goodnight Rhonda Lee is a fantastic study in facing adversity and embedding it in adult roots pop in the vein of Patsy Cline era Nashville Sound and Dusty Springfield’s ‘….in Memphis’ era. The songs are deeper, more sophisticated yet more playful than her earlier work. The brilliant opening track, “A Little Crazy,” is a torchy little gem co-written with fellow neo-trad afficiend Chris Isaak pulls your heart out through the speakers as Atkins’ voice soars along with a string section and pedal steel. The title track is a reverb drenched down old Mexico way that evokes Marty Robbins best-known El Paso. ‘Goodnight Rhonda Lee’ at its heart might be retro but to stop there would be unfair to this daunting effort.

Whiskey Shivers – ‘Some Part of Something’ – buy
Texas junkyard bluegrass outfit Whiskey Shivers kicked my ass when I saw them live. ‘Some Part of Something’ comes damn near to that ass-kicking moment. The opener ‘Cluck Ol’ Hen’ is a slinking slice of Southern gothic greatness that could easily come from the book of Brooklyn’s O Death. The bluegrass heat gets turnt up high on ‘Like A Stone’ and ‘Long Gone’ careening down a one-lane road with a rock slide of melody on one side and an open ledge of potential peril on the other. Fans of Split Lip Rayfield and The Meat Purveyors rejoice

Tyler Childers – ‘Purgatory’ – buy
Yes, yes you’ve heard that Tyler Childers’ ‘Purgatory’ was co-produced by Sturgill Simpson, but that’s the least interesting this about this starting debut. Like the best of the mongrel form known as Americana it’s hard to draw a hard line where 70’s Country music Gold , folk and Bluegrass reside. And that’s just in the album opener ‘I Swear (To God)’ that contains enough drug references that would make Hank III look for the local 12-step program.’Whitehouse Road’ is another tale of hard times and hard living with a Waylon-esque confidence and what I noticed was a distinct sound of a Jew’s harp. Childers’ ‘Purgatory’ take on the darkness of drug addiction, poverty, and murder is are lived-in tales of biting sincerity and musical aplomb that casts an eye to the legacy of roots music as it blazes its own trail.

Ray Wylie Hubbard – “Tell the Devil I’m Getting There as Fast as I Can.” – buy
On his 16th studio album Hubbard stays firmly in the groove he’s made since 2006’s ‘Snake Farm.’ Like fellow traveler Lucinda Williams (who makes an appearance on the title song) Hubbard has found a late-career sonic refuge in the blues. “Tell the Devil…’ is more tales of women, reptiles, voodoo, grease and tube amps – the stuff of life on the road he knows well. The Big Guy is is busy in the opener ‘God Looked Around’ that’s a tremolo tale that owes as much to the book of Lightnin’ Hopkins as it does the Book of Genesis. In my opinion Hubbard is Texas own Poet Laureate and the words that build “Tell the Devil…’ prove it’s so.

Lillie Mae – ‘Forever and Then Some’ – buy
Lillie Mae might have been Jack White’s go-to fiddle and mandolin player but on her debut she’s firmly placed herself as a formidable talent. The glorious roots-rock opener ‘Over the Hill and Through the Woods’ is like a lost cu from mid-70’s Neil Young and ‘Honky Tonks and Taverns’ is a stright-up two-stepper with Mae vocal pitching change remiecent of a yodel. LAike White, who produced ‘Forever and Then Some’ Lillie Mae carries an appreciation for past forms while not being slavishly dogmatic in her work.

Malcolm Holcombe – ‘Pretty Little Troubles’ – buy
Malcolm Holcombe 12th release of new music has him working with long-time co-conspirator in roots music Darrell Scott as producer and the results is nothing short of breathtaking. Holcombe’s backroad gravel vocals is the perfect vehicle for these sparse reflections on the world. On the album opener ‘Crippled Point O’ View’ b’s lyrics are indirect sketches of a troubled world and the imperfections of a human vehicle observing it
‘my tongue is quick to tangle speed, and douse the lights within, and burn my self respect to death, and warm my hands again. ‘Pretty Little Troubles’ is an organic gritty glory of listening pleasure of roots music and great songwriting from a master.

Angaleena Presley Gets ‘Wrangled’ With Chris Stapleton, Miranda Lambert, Ashley Monroe, Wanda Jackson and Guy Clark

Angaleena Presley - 'Wrangled'

On April 21 honky-tonk songstress, and one-third of the country super-group Pistol Annies, Angaleena Presley will release her sophomore solo album ‘Wrangled’ April 21 on Mining Light/Thirty Tigers records.

‘Wrangled’ ‘s the 12-track has Presley once again at the co-production helm with Oran Thornton (Eric Church, David Nail) and was recording at famed “Ronnie’s Place” in Nashville.

There’s also an impressive list of co-writers on ‘Wrangled.’

From the press release:

One of the album’s many highlights is “Cheer Up Little Darling” — which Angaleena co-wrote with her dear friend Guy Clark. This is the last song completed by Guy before his death and features Shawn Camp playing Guy’s No. 10 guitar, which was used to write the song with Guy, and Guy’s mandola, which he had been learning to play during the last year of his life.

Another spotlight track is “Dreams Don’t Come True,” written with Pistol Annie sisters, Miranda Lambert and Ashley Monroe.

“Only Blood” was written with fellow East Kentuckian, Chris Stapleton and features Morgane Stapleton’s unmistakable vocals, while “Good Girl Down” yielded unforgettable moments with the legendary Wanda Jackson.

Of ‘Wrangled’ Presley says:

“Wrangled is an explicitly forthright journey through my experience in the business of Country Music. I tried to tackle uncomfortable realities like the discrimination against female artists at the height of Bro-Country, the high school mentality of Music Row and the pain that’s just beneath the surface of the road to stardom,” says Angaleena.

“Covered in elbow grease and sacrifice, I set out to shed the skin of my ‘dream’ Nashville by painting a musical picture of loss, surrender, resurrection, redemption, and connection with real people who make and support honest music.”

Angaleena will debut many of these new songs on the road, including during the Cayamo Cruise, Feb. 19-26, and will announce tour dates for the Spring and Summer in coming weeks.

Check out a liver performance of ‘Dreams Don’t Come True’ below.

The Wrangled track listing is below, with songwriters in parenthesis.

1. Dreams Don’t Come True (Angaleena Presley, Miranda Lambert, Ashley Monroe)
2. High School (Angaleena Presley, Ivy Walker, Sophie Walker)
3. Only Blood (Featuring Morgane Stapleton) / (Angaleena Presley, Chris Stapleton )
4. Country (Featuring Yelawolf) / (Angaleena Presley, Michael Wayne Atha)
5. Wrangled (Angaleena Presley)
6. Bless My Heart (Angaleena Presley)
7. Outlaw (Angaleena Presley)
8. Mama I Tried (Angaleena Presley, Oran Thornton)
9. Cheer Up Little Darling (Angaleena Presley, Guy Clark)
10. Groundswell (Angaleena Presley, Ian Fitchuk)
11. Good Girl Down (Angaleena Presley, Wanda Jackson, Vanessa Olavarez)
12. Motel Bible (Angaleena Presley, Oran Thornton, Trevor Thornton)

 Wanted! – Notable Americana and Roots Music Releases for 2017

Wanted! - Notable Americana and Roots Music Releases for 2017

2016 was another great year for Americana and roots music, and 2017 shows signs that the great music will continue to come our way. As our Cream of the Crop favorites from last year makes plain we might be experiencing a new golden age of roots music/ Both as a growing influence on our contemporary culture and also as a viable, business for young and old artists to sustain themselves and thrive.

That last part is crucial as it provides economic and influential seed corn for the future ‘Cream of the Crop’ year-end best of collections.

The list below is a collection of known 2017 notable Americana / roots releases. Some anticipated releases from artists like Ray Wylie Hubbard, Chris Stapleton, Jason Isbell and The Secret Sisters have no release dates yet, but when I become aware of them and others I will be updating the list throughout the year and will send word through my twitter account when I do.

If you know of a release not listed yet please leave it in the comments.

One thing is for sure, it’s going to be a great year folks.

January 13th –
The Band of Heathens – ‘Duende’
Blackie and the Rodeo Kings – ‘Kings and Kings’
Otis Gibbs – ‘Mount Renraw’

January 20th –
Kasey Chambers – ‘Dragonfly’
The Show Ponies – How It All Goes Down’
Rayna Gellert – ‘Workin’s Too Hard’

January 27th –
Delbert McClinton – ‘Prick Of The Litter’
Tift Merritt – ‘Stitch of the World’
Valerie June – ‘The Order of Time’
Bankesters – ‘Nightbird’
Dead Man Winter – ‘Furnace’

February 3rd –
Ags Connolly – ‘Nothin’ Unexpected’
Gurf Morlix – ‘The Soul & The Heal’
Mitch Dean –‘Suburban Speakeasy’
Rose Cousins – ‘Natural Conclusion’
Caroline Spence – ‘Spades & Roses’

February 10th –
Kris Kristofferson – The Austin Sessions (Expanded Edition)

February 17th –
Alison Krauss – ‘Windy City’
Nikki Lane – ‘Highway Queen’
Pegi Young & The Survivors – ‘Raw’
Son Volt – ‘Notes Of Blue’
Son of the Velvet Rat – ‘Dorado’
Blair Crimmins – ‘You Gotta Sell Something’
The Gibson Brothers – “In The Ground”

February 24th –
Curtis McMurtry – ‘The Hornet’s Nest’
Rhiannon Giddens – ‘Freedom Highway’
Old 97s – ‘Graveyard Whistling’
Scott H. Biram – “The Bad Testament”
Shinyribs – “I Got Your Medicine”
Aaron Watson – “Vaquero”

March 3rd –
Grandaddy – ‘Last Place’
Beth Bombara – ‘Map With No Direction ‘

March 10th –
Sunny Sweeney – “Trophy’
Pieta Brown – “Postcards”

March 24th –
Jessi Colter – ‘The Psalms’
Samantha Crain – ‘You Had Me At Goodbye’

March 31st –
Rodney Crowell – ‘Close Ties”
David Olney – “Don’t Try To Fight It”
Dead Soldiers – “The Great Emptiness”
Shoddy Blacktooth — “Don’t Forget To Die”

April 7th
Malcolm Holcombe – ‘Pretty Little Troubles’
Andrew Combs – “Canyons Of My Mind”

April 14th
Evening Darling – “Evening Darling’

April 21st –
Angaleena Presley – ‘Wrangled’

May 5th
Chris Stapleton – ‘From a Room: Volume 1’

May 19th
Builders and the Butchers – ‘The Spark’
Pokey LaFarge – ‘Manic Revelations’
Tom Russell – ‘Play One More: The Songs Of Ian And Sylvia’

May 26th
Justin Townes Earle – ‘Kids in the Street’

June 2nd –
Bobby Osborne – ‘Original’

June 9th –
The Secret Sisters – ‘You Don’t Own Me Anymore’
Shannon McNally – ‘Black Irish’

June 16th –
Sammy Brue – ‘I Am Nice’

June 23rd –
The Deslondes – ‘Hurry Home’
Slaid Cleaves – ‘Ghost on the Car Radio’

July 7th –
Randall Bramblett – ‘Juke Joint At The Edge Of The World’

July 14th –
Cale Tyson – ‘Careless Soul’

July 21st –
Whiskey Shivers – ‘Some Part of Something”

August 4th
Tyler Childers – ‘Purgatory’

August 18th
Loretta Lynn – ‘Wouldn’t It Be Great’ POSTPONED
Ray Wylie Hubbard – ‘Tell the Devil I’m Getting There as Fast as I Can’

September 8th
Caroline Reese – ‘Two Horses’ EP

September 15th
Willie Watson – ‘Folksinger Vol. 2’
The Lone Bellow – ‘Walk Into A Storm’

September 22nd
Steve Martin & Steep Canyon Rangers – “The Long-Awaited Album”
Billy Strings – ‘Turmoil & Tinfoil’

September 29th
Anna Tivel – “Small Believer”

October 6th
Whitney Rose – ‘Rule 62’
JD McPherson – ‘Undivided Heart and Soul’
Becca Mancari – ‘Good Woman’

October 13th
Hellbound Glory – ‘Pinball’
Caleb Cladry – ‘Invincible Things’

October 16th
Gill Landry – ‘Love Rides A Dark Horse’

October 20th
Turnpike Troubadours – ‘A Long Way From Your Heart’
Dori Freeman – ‘Letters Never Read’

October 27th
Lee Ann Womack – ‘The Lonely, The Lonesome & The Gone’
Ronnie Fauss – ‘Last of the True’
The Wailin’ Jennys – ‘Fifteen’
The Deep Dark Woods – ‘Yarrow’

October 31st
Year of October – ‘Trouble Comes’

November 3rd
Samantha Fish – ‘Belle of the West’
Anna St. Louis – “First Songs’
Scott Miller – ‘Ladies Auxiliary’

November 17th
Mavis Staples – ‘If All I Was Was Black’

December
Chris Stapleton – ‘From a Room: Volume 2’

December 8th
Robert Ellis and Courtney Hartman – ‘Dear John’

Cream of the Crop – Twang Nation Top Americana and Roots Music Picks of 2014

TNCream2014

It defies all marketing logic.

Take thoughtful, and oftentimes uncomfortable, music built unapologetically (and more importantly, without irony) from instrumentation and melodies that reflect the past and drag it into the present.

Brazen sentimentality in the face of a blase world and lack of absolute style and ideological boundaries allows Americana to attract strange cultural bedfellows, Reminiscent of the 70’s when Saints Willie and Waylon brought the rednecks and hippies together under the tin roof of Austin’s Armadillo World Headquarters, this music hits us at the human core. Good music strips away the bullshit, shows our humanity, and can make us whole.

This is why it’s the greatest music being created today. That’s why it’ll last as fashions fall and technology and cultural isolation encroaches.

But it’s shit for mapping out a contemporary music career. So how does this great stuff keep happening?

With no apparent thought to charts, hit singles, karaoke reality shows or clutching at the greased pig of contemporary music taste people believe so deeply and completely that they sit in a van for 200 plus days a year, in freezing snow and burning summer heat, to play barely filled rooms at a level like they’re playing the Ryman or Beacon. Because that girl near the stage, with the band logo tattoo, is singing every word to every song. In spite of increasingly remote odds of economic sustainability they keeping lining up and enduring.

They have no choice, the spirit fills them. And we are moved by it. It affects us all.

And that extraordinary music is not just culturally and stylistically satisfying, there’s a viable market. Jason Isbell and Sturgill Simpson have gone from tight quarter vans and half-full seedy clubs to spacious buses and sold-out theatres. Movies and TV shows are using more and more roots music to set a mood. The genre is snowballing in fans and new music and the influence is felt everywhere. It’s no longer our little secret.

This is good, it’s evolution. It’s is growth. The risk of commercial popularity resulting in diminitionment of quality is assured. But just as Americana is not fed from one influence it is also not any one band. There is a wealth of choice. some of which I hope I’ve been able to list below.

2014 leaves us in turmoil and cultural upheaval. Roots music has historically been a cultural channel to discuss injustices from the point of view of those most affected. From Woody to Dylan to Alynda Lee Segarra roots music provides a poetic reflection of where society and humanity are and where we’d like to be.

But it’s not all topical earnestness. There’s plenty of toe-tapping tomfoolery and easy fun to melt away your troubles and woes and sing at the top of your lungs.

We cry, we laugh, we get drunk and do both simultaneously. No airs, no regrets, no AutoTune.

Lists are subjective, and no more so than my own. But each year I hope to place a loose marker around where I feel we are, and where we’re headed as disciples of this mongrel aesthetic.

This year we can be assured that country music has finally been saved, so enough of that. Roots music continues to make inroads in the mainstream without losing it’s way (or soul.) As happened so music last year, many mainstream media best of country music year-end lists to purloin from the rootsier side (like this and this – http://www.rollingstone.com/music/lists/40-best-country-albums-of-2014-20141210 ). I applaud this. Bro-country’s foe is not the same tepid, lazy style wrapped in a dress. It’s better music without boundaries and gatekeepers.

2015 shows no sign of waning in output or fan interest. New releases from Steve Earle, Allison Moorer, Ryan Bingham, James McMurtry, Caitlin Canty, American Aquarium, JD McPherson, another from Justin Townes Earle, Rhiannon Giddens, The Lone Bellow, Whitehorse, Robert Earl Keen’s bluegrass album, and possibly a new Emmylou Harris and Rodney Crowell collaboration has the new year is looking rosy.

Criteria – Calendar year 2014. No EPs, live, covers or re-release albums no matter how awesome.

Don’t see your favorite represented? Leave it in the comments and here’s to a new year of twang

26. Mary Gauthier – ‘Trouble & Love’
The only way to best your demons is to look them in the eye. Gauthier does just that on ‘Trouble & Love’ With her wonderfully roughewn voice to inner struggle in the wake of love lost (or, more appropriately, taken) Misery loves company and Gauthier keeps some of
Nashville’s finest – Guthrie Trapp, Viktor Krauss, Lynn Williams, Beth Nielsen Chapman, The McCrary Sisters, Darrell Scott, Ashley Cleveland. Catharsis rarely sounds this good.

25. Old 97s – ‘Most Messed Up’
Remember alt.country? I sure do. And so does Rhett Miller. The Dorian Gray of roots rock and his faithful compadres Ken Bethea, Philip Peeples and Murry Hammond still bring the heat to their blend of Tex-power pop in even the most road-weary, blase’ moments. This is a work of fury, fun and not giving a damn. here’s to that!

24. Angaleena Presley – ‘American Middle Class’
Presley steps out of the shadow of her super group Pistol Annies and digs deep into her history to deliver an album deeply steeped in country music traditions. Presley writes songs of hardship that rings true and is too busy making a living to sing hands and despair.

23. Sunny Sweeney – ‘Provoked’
Who needs bro-country when you have Sunny Sweeney. Her voice is your afternoon sweet sun tea but her wit is the bourbon you stir in. ‘Provoked’ is Sweeney’s true voice and it twangs true and kicks some serious ass.

22. Billy Joe Shaver – ‘Long in the Tooth’
Billy Joe Shaver is not about to sit on his long and prestigious laurels. No sir, not if Todd Snider has anything to say about it (Todd prodded Shave into this) Shaver takes aim at Music Row ( ‘Hard To Be An Outlaw’) love (“I’ll Love You as Much as I Can”) and teh absurdity of life ( “The Git Go”) God bless Billy Joe Shaver and everything he represents!

21. Rodney Crowell – Tarpaper Sky
Following his Grammy-winning collaboration with Emmylou Harris ‘Tarpaper Sky’ finds Crowell relaxin into a zone of a craft he’s spent 40 years refining. Songs from the rearview (“The Long Journey Home”, “The Flyboy & the Kid”) , heart-busters sit beside cajun frolick (“Fever on the Bayou”) to create a satisfying release.

20. Kelsey Waldon – ‘The Goldmine’
Great country music is rooted in the blood, sweat, and the threadbare hope of those just out of the reach of the American Dream. Kelsey Waldo’s songs richly reflects a lives hobbled by hard decisions and opportunities never given. While ‘The Goldmine’ reflects a hard realism, Waldon smartly ensures that it is never devoid of hope.

19. Doug Seegers – ‘ Going Down to the River’
A story too absurd to be true. Swedish documentary features homeless Nashville busker leading to a number 1 single on Swedish iTunes Charts for 12 consecutive days and a Will Kimbrough produced full-length featuring collaborations with Emmylou Harris and ex-tour mate Buddy Miller. But it’s true, and ‘ Going Down to the River’ is deep with truth.

18. Robert Ellis – ‘The Lights From the Chemical Plant’
Ellis moved to and works in Nashville. But he’s still got the heart if a Texas musician, wandering and unbridled. His love for George Jones is as much a part of him as his love for Jimmy Webb. ‘The Lights From the Chemical Plant’ reflects not only his versatility on the fretboard but his command of the songwriting craft. He reflects multiple styles, sometimes within the same song, and makes it behave. And across it all his voice glides across each with its own high lonesome.

17. The Bones of J.R. Jones – ‘Dark was the Yearling’
Brooklynite J.R. Jones, aka Jonathon Linaberry travels even further down his moody roots road with his second effort ‘Dark was the Yearling.’ Fitting comfortably with with moody-folkies like Lincoln Durham and Possessed By Paul James, sparse production ‘s soulful croon, haunting blues picking and percussive stomp make Darkness Was the Yearling is a galvanization of Linaberry both as a songwriter and a producer.

16. Marah – ‘Mountain Minstrelsy of Pennsylvania’
Pennsylvanian folklorist Henry Shoemaker long-ago cache of American song lyrics are discovered and interpreted by Marah’s David Bielanko and Christine Smith performing live around a single microphone in a ready-made studio set up in an old church, doors open to allow local performers and the generally curious to gather and join along. The result is a startlingly cohesive work driven by a ramshackle spirit. ‘Mountain Minstrelsy of Pennsylvania’ opens a contemporary channel to the restless, rustic ghosts of Big Pink more authentically than the recent T Bone Burnett helmed effort.

15. The Secret Sisters – ‘Put Your Needle Down’
Shedding the gingham shell that encased their debut The Secret Sisters , Lydia and Laura Rogers, apply their exquisite sibling harmony to push their songwriting chops and build a testament to contemporary roots music. I’m looking forward to riding along with the Rogers as they take us from the past toward a brave musical adventure.

14. Lee Ann Womack – ‘The Way I’m Livin’ ‘
Music Row superstar hangs out with motley Americana crew and ends up making a spectacular roots album? ANd it’s up for the Country Album of the Year Grammy?! Bask in genre confusion and the beauty of great songs performed by a master.

13. Hurray for the Riff Raff – ‘Small Town Heroes’
Few bands have the roots chops of Alynda Lee Segarra and her Hurray for the Riff Raff. Social-minded tunes performed with poetry over preachiness strikes a delicate balance most of the Guthrie-inspired falter. Segarra and crew prove you win hearts and minds my tapping toes and shaking asses on the dancefloor.

12. Lera Lynn – ‘The Avenues’
Lynn’s warm honey voice might lure you like a Siren, but the smart songwriting will truly wreck your ship. No, no this is a good thing! Stripped down guitar, drums and doghouse bass and cause you to sit on shore amongst the wreckage and let bask in ‘The Avenues’ glint and shimmer.

11. Cory Branan – ‘No Hit Wonder’
I defy you to find a better contemporary songwriter that is as deft and studied at the craft as Cory Branan (DEFY YOU!!) As evidence I submit to you “The No-Hit Wonder.” a work expansive yet grounded in the classic folk and country styles. That’s a fancy way of saying it’s badass.

10. Shovels & Rope – ‘Swimmin’ Time’
This follow-up to their 2012 acclaimed ‘O’ Be Joyful,’ has Michael Trent and Cary Ann Hearst has a tighter focus and arrangement of songs. This can sometimes come off as too eager to please. But when their indy-rock-meets-Carter-Family spirit overtakes, like in “Mary Ann and One Eyed Dan,” it hits on all cylinders and transcend crowd-pleasing.

9. Karen Jonas – ‘Oklahoma Lottery’
Small town character studies have always been a staple of country music. Karen Jonas builds scenes with her breathy drawl that make you feel like you lived through the desperation, danger and loneliness and litters the landscape of this excellent release.

8. Nikki Lane – ‘All Or Nothin’ ‘
Every night is Saturday night on Nikki Lane’s ‘All Or Nothin’ ‘ The Black Key’s Auerbach sets the mood and get’s out of the way as Lane fuses SMART SONGS, 60’s B-movie pop and country music gold to make her mark. So hang on, hold on and have the time of your life. But bring bail money and, be assured, there’ll be a broken heart…and a scar.

7. Hiss Golden Messenger – ‘Lateness of Dancers’
M.C. Taylor is a wandering soul. His fourth full-length as the moniker Hiss Golden Messenger continues his (hiss) quest across a troubling yet hopeful human landscape. This time the pat taken is in the form of his usual folk and country traditions with scenic asides in rock and R&B resulting in his best so far.

6. Old Crow Medicine Show – ‘Remedy’
From buskers to roots music ambassadors Old Crow Medicine Show has shown great songs and keen instrumentation does have a place in the mainstream. The band faces their newfound fame by doing what they know best, Delivering a solid ‘Remedy’ that appeals to long-times fans and garners new ones that wouldn’t be caught dead at a bluegrass festival.

5. Ben Miller Band – ‘Any Way, Shape Or Form’
If you’re looking for a band that mashes old forms with new look no further than Ben Miller Band’s latest ‘Any Way, Shape Or Form.’ The traditional folk chestnut “The Cuckoo” is taken to a tribal-drum psychedelic level. “Any Way, Shape or Form” pushes the Ben Miller Band form just another string band toward something vibrant and a forceful.

4. The Felice Brothers – ‘Favorite Waitress’
On their new release the Felice Brothers have returned from their sonic diversion in “Celebration, Florida” to their usual rustic terrain where Big Pink meets Brooklyn (with a little Velvet Underground thrown in) Gliding nimbly from ramshackle folk to smokey piano ballads to unbridled zydeco ‘Favorite Waitress’ is a fine stylistically homecoming to their splayed and gangly jams.

3. Marty Stuart & His Fabulous Superlatives – ‘Saturday Night/Sunday Morning’
Country music. like life, has always been steeped in the struggle between the light and the darkness, sin and salvation. This double album takes us on a boxcar across the dark
(‘Jailhouse, ‘Geraldine’) and the light (‘Uncloudy Day,’ ‘Boogie Woogie Down the Jericho Road’) Stuart was there when Country and Americana music was the same thing. Thank goodness he’s still on his game and cares to remind us.

2. Caroline Rose – ‘Will Not Be Afraid’
This sonic offspring of Chrissie Hynde and Wanda Jackson debut release is everything that’s great about music. It grabs you by the throat immediately with ‘Blood on your Bootheels,’ a cut on racism and violence void of sanctimony that hits like a topical bomb. ‘Tightrope Walker’ is a jaunty roots-rocker with spooky organ line as Rose lyrically juxtaposes two Americas and exposes us to be without a without net. Rose bends, shapes and fires words in a way that would make Dylan envious. This is a daring debut is the kind of record that will make you remember where you were when you heard it.

1. Sturgill Simpson – ‘Metamodern Sounds in Country Music’
Shocking, right? But sometimes the hype does reflect reality. Simpson will surely be all over Americana and mainstream country best of lists (the latter showed a tendency to reach over the fence last year when Jason Isbell sat alongside Tim McGraw and Band Perry), and rightly so. The Kentuckian’s success is more than a bro-country backlash. The praise from NPR Music to UK’S Telegraph speaks to than a more than a mere clerance of Music Row’s current low bar. Simpson channels 70’s hard outlaw country, spiked with bluegrass dexterity into songs that feel genuine. His topics are a contemporary a Kristoffersonion introspection of spirituality, identity and mind-altering substances. Simpson isn’t saving country music, he’s just reminding a us all that there’s a hunger for vibrant music that is vibrant, thriving, and unrepentantly ornery.

Watch Out! Angaleena Presley – “Pain Pills” [VIDEO]

Angaleena Presley - "Pain Pills"

There’s a ferocity to Angaleena Presley’s song ‘Pain Pills.’ It’s theme of working class addiction and hypocrisy is not new, but Presley puts her unflinching spin on it with a driving hillbilly meets metal sound that is striking and fits the theme of mortality to a tee.

“A little bit of hurt surely gonna kill a lot of good people in these here hills. Lord, won’t you save us from these old pain pills”

The video shows Presley singing among quick cuts of doctors satchels, Día de Muertos make-up, grave diggers and a man that might be Dr. Brown or, perhaps, el diablo himself.

“I started [that song] as I was on my way home from a funeral,” she told Radio.com. “A friend of mine from high school OD’d [and] at the funeral the mom was walking in going, ‘Oh they had a heart problem. It was a heart issue.’ We knew what was going on. This is when I realized, this is starting to become a problem.”

“Pain Pills” is available on the album “American Middle Class”

Buy

AmericanaFest 2014 – All the roots put together

Loretta Lynn - Americana Awards

It was fitting that on the eve of AmericanaFest 15 I should run into Rob Bleetstein.

Let me explain. Bleetstein is man partially responsible for “Americana” being used as a qualifier for “music.”

As editor at the esteemed Gavin Report Bleetstein informed the radio trade publication that they were missing category of mongrel music he, and others, had been programing while employed at KFAT in Gilroy, California. The result was the first Americana radio chart being published on January 20, 1995.

So of course I asked him what Americana was.

As we joked at the seemingly endless consternation his vague creation had unleashed on geeks like me a capacity crowd streamed out of The Basement around us. They had just witnessed vets Phil Madeira and Will Kimbrough swap songs with the sassy third of the Pistol Annie’s Angaleena Presley and dazzlingly edgy newcomer Caroline Rose. More folks packed in behind them to catch he steamy roots soul/gospel of Mike Ferris & the Roseland Rhythm Revue. The music surrounding us, the fans buzzing about the days of sleepless nights to come. Endless squabbling about genre borders seems irrelevant.

Then Bleetstein mentioned he had read a Rolling Stone where Eric Clapton had given a definition when discussing his newly released project The Breeze: An Appreciation of JJ Cale. Clapton said “In Europe, we heard JJ as Americana, all the roots put together.”

All the roots put together. An imperfect definition for an imperfect form.

Let’s go with that.

Musicians, fans and industry types – figuring how they are still relevant in the cultural value chain – descended on Nashville for the Americana Music Conference, Festival and Awards to witness some of the best, nay THE best, music going. Fueled by BBQ, hot chicken, local beer, bourbon and a variety of caffeine there were endless pow-wows, parties, pre-parties, listening parties, post- parties tet-de-tets and random run-ins.

And yes I did squeeze some music in on occasion.

I say some because there was so many band across multiple venues you had to plan out your evenings in advance. I did. Then I mostly abandoned them for convenience, air conditioning and parking.

First the Awards. I never get over the thrill of walking into the Ryman Auditorium. It is a hallowed place full of ghosts and echoes and, as overwhelming as it is to sit in those church pews I can’t imagine what it’s like to perform on that stage.
But many did on that night and they did it with the passion and reverence due.

Reverence was also what Kacey Musgraves and Angaleena Presley displayed when presenting the Lifetime Achievement Award for Songwriting to legend and pioneer Loretta Lynn. Lynn accepted the award 54 years to the day that she first appeared on the Ryman stage, making her Grand Ole Opry debut. Presley introduced Lynn as “a woman who raised up six children and 70-odd hit singles but, just as importantly, raised everyone’s idea of what a country song could talk about it.” A standing ovation rightly greeted Lynn as she entered the stage in her signature flowing gown. “When they told me I was going to get this award, I said, ‘Naw, you got the wrong one. But it was right, and I was so proud.”‘

Then she sang Coal Miner’s Daughter. on The Ryman stage. Damn.

“Happy birthday to Hank Williams,” Jason Isbell said as he accepted one of the three awards in three categories he won that night for his stellar release of his newest Southeastern . “If it wasn’t for that guy, we’d be doing this in some burned-out Kmart in Murfreesboro.”

While picking up his hand-crafted trophy for song of the year “Cover Me Up” Isbell said “I wrote this song for my wife.” Referring to Amanda Shires Texas singer/songwriter who accompanied him that night on a rousing performance that brought the crowd to it’s feet. “This was probably the hardest song I ever had to write because I wrote it for her and then I played it for her. It was very difficult. Do the things that scare you. That’s the good stuff.”

I’m very happy that Isbell was able to put himself in a place that allowed him to do some of the best work he’s ever produced, and that recognition has rightly followed.

The emerging artist category was the tightest, and best, I has ever remembered it to be. Between Parker Millsap, St. Paul & The Broken Bones, Sturgill Simpson and Hurray For The Riff Raff, all whom performed live, it was a tough call. It was anyone’s game. That is until it was Simpson’s as he headed to the podium with a characteristically terse “This is for my family.” Enough said, hoss.

Country music legend and historical memorabilia collector Marty Stuart honored to Jimmie Rodgers posthumously awarding the The Father of Country Music the Presidents Award. Then he and his Fabulous Superlatives
tore through a spirited “No Hard Times” with Stuart and guitarist Kenny Vaughan giving the song a contemporary flair with blazing tandem electric guitars.

Guitarist extraordinaire Ry Cooder sat in with Buddy Miller and the band for the night’s events. His dexterity on the guitar is matched by his ability to move through, or completely around musical styles, tying them together in the process. He took time away from his supporting duties to award his longtime collaborator norteño accordion pioneer Flaco Jimenez with a Lifetime Achievement as an Instrumentalist. They then performed a lovely version of the Spanish-language traditional “Ingrato Amor.” Cooder also teamed up with Artist of the year nominee Rodney Crowell for a delicate version of careful rendition of “God I’m Missing You,” from Crowell’s latest ‘Tarpaper Sky.’

Rosanne Cash brought a sophisticated air to her performance of her “A Feather’s Not a Bird,” and a gritty-folk menace surrounded Patty Griffin as she was joined by Robert Plant to perform “Ohio.”
Emerging artist nominee Hurray For The Riff Raff performed a transfixing version of their murder ballad “Body Electric” while vocalist Alynda Lee Segarra shimmered in a Nudie-style suit. Robert Ellis showed himslef to be one of the industries most creative and astute songwriters as he performed his nominated “Only Lies.”

At the Country Music Museum and Hall Of Fame’s Ford Theatre Outlaw legend Billy Joe Shaver give a brief (but candid) interview about his life’s tribulations. He then rose to perform, with simple acoustic accompaniment,
songs rendered from those hardships. Hardships he assured us made easier early with whiskey and later with Jesus.

Then it was upstairs to a new, beautiful, portion of the Country Music Hall of Fame’s CMA Theater to catch “Honky Tonkin’: Twenty Years on Lower Broad” celebration/showcase of bands that featured Greg Garing, Paul Burch and R.B. Morris and BR549. Performers that helped reenergize Nashville’s Lower Broadway after the Opry moved out of the Ryman and to the burbs. Before performing, upright bassist “Smilin” Jay McDowell walked to the front of the stage and placed a tip jar as a tribute to the days when the band survived on such monetary generosities. Singer Chuck Mead , bedecked in his Nudie Suit best with his cherry-red Gretsch electric guitar and co-frontman Gary Bennett, toned down in jeans and western shirt, then showed hoe their tight harmonies gloriously transported all those that had been there those many years ago. Veteran Lower Broad singer and mentor John Shepherd, attending with wife and singing partner Lois Shepherd, continues tradition as he headed slowly to the stage and dropped the first dollar tip, prompting laughs and applause.

Lee Ann Womack had some shows during the event. I was lucky to catch a song swap with her, Hayes Carll, Bobby Bare Jr. and the legendary songwriter Bobby Braddock high atop the SiriusXM Outlaw theatre. Hosted by Mojo Nixon (outLAAAAAAW country) Carll and Bare shared a laugh on their collaboration “My Baby Took My Baby Away” and , later, Carll looked on with shyness and awe as Womack hushed the crowd with his “Chances Are” which she oncluded on het newest release. The real highlight though was Braddock singing his classics “He Stopped Loving Her Today,” “Golden Ring” and everyone joining in on the closer “We’re Not The Jet Set.”

But the real gold is the showcases. Stand-outs were Angel Snow (her real name, I asked) playing at a sparsely attended Americana for Movies and Shows. I only caught once song but that’s all it took to render me speechless. Alabamian Mathew Mayfield followed with his brand of rough-hewn catchy folk. The i wa shocked to see bluegrass/folk stalwart Tim O’Brien take the stage. I felt bad that there were so few people but lucky I was one of those few.

A trip to Jack White’s odd Third Man performance space was bathed in calm, blue lighting as a mounted elephant head loomed above the crowd. On the bill was Madisen Ward and the Mama Bear. The mother and son act perform seated, strumming acoustic guitars and singing deep-roots songs that reach far into blues and folks misty past. In the same space on another night Jonah Tolchin hold a folk-jam clinic that surprised many expecting the genteel folk-blues style from his latest “Clover Lane.”

Caroline Rose commanded attention of the crowd with her school-girl outfit and her manically focused folk-rock set that had them screaming for more. While trying to escape the heat of the Mercy Lounge I found myself in the cooler High Watt space watching a performance of Aaron Lee Tasjan. Exhibiting the droll but sharp humor of Todd Snider but the delicate songcraft of Townes Van Zandt the Nashville resident defied all expectations.

How could any of that fit in one neat marketing package? I feel for the marketing rep that handles any of these artists and is asked “What kind of music is it?”

All the roots put together. Let’s go with that.

https://www.youtube.com/watch?v=pUvE-GTiKiY

Americana Music Association Releases First Half of 15th Annual AmericanaFest Bill

Americanafest

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.

Check out THE Americanafest 2014 Spotify playlist.

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.

Listen to Pistol Annies “Run Daddy Run” from Hunger Games Soundtrack

Singer/songwriter/producer and Americana stalwart T Bone Burnett seems to be practicing a sort of genre alchemy  with the upcoming Hunger Games soundtrack (March 20.)

Mr. Burnett seems to be taking poetic license with Suzanne Collins’ trilogy which follows the heroine, whose home in District 12 that encompasses current-day Appalachia, an region Burnett knows something about. The setting of the books is a sort of future version of the old frontier which also plays to Burnett’s wheelhouse.

Burnett excels  in making neo-rustic music that would appeal more to Hunger Game readers parents. The young women that are the primary demographic for the books are more likely to be fans of indy rock, pop or country pop.

Burnett displays his craft to fuse his world to the new audience adeptly on the  Taylor Swift and Civil Wars track “Safe and Sound.” Now he’s done the same for the same for the Pistol Annies’ cut Run Daddy Run. The song is sung by the group, which consists of Miranda Lambert, Ashley Monroe and Angaleena Presley, and sounds more akin to O Brother’s Didn’t Leave Nobody but the Baby sung by Emmylou Harris, Alison Krauss and Gillian Welch. This is a different sound than the sassy country found on the recent Pistol Annies debut.

Check out the track below and let me know what you think.

http://www.youtube.com/watch?v=rYhvKabzUZ4&feature=player_embedded