Cream of the Crop – Twang Nation Top Americana and Roots Music Picks of 2019

2019 continued to be a stellar year for Americana and roots music, but with the genre’s growing popularity it’s getting harder to find off the beaten path talent. Since starting this blog finding great music has moved from rutting through a forest of the mundane to dig up occasional tasty sonic truffles to having mounds of music arrive in my inbox.

This is a good problem to have but it’s a growing concern that I’ve probably missed something great out on the fringes. I hope to continue to look for those artists in the upcoming new year.

Below are the albums that have stuck with me for a variety of reasons. Winnowing down to only 10 is getting harder each year for reasons outlined above and I’m sure my list will not reflect the subjective preferences of all.

Criteria – Calendar year 2019. 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.

Mike and the Moonpies – Cheap Silver & Solid Country Gold [artist site | buy]
Kendell Marvel – Solid Gold Sounds [artist site | buy]
John Paul White – The Hurting Kind [artist site | buy]
Kelsey Waldon – White Noise/White Lines [artist site | buy]
Vandoliers – Forever [artist site | buy]
Molly Tuttle – When You’re Ready [artist site | buy]
Hayes Carll – What It Is [artist site | buy]
Cody Jinx – After the Fire and The Wanting [artist site | buy]
Boo Ray – Tennessee Alabama Fireworks [artist site | buy]
Chris Knight – Almost Daylight [artist site | buy]

Sony Music Nashville CEO Gary Overton is Right (And So What?)

GaryOverton

When Sony Music Nashville CEO Gary Overton told the Tennessean, “If you’re not on country radio, you don’t exist.” it caused a minor kerfuffle between country music bloggers and country artists, like Aaron Watson and Charlie Robison, that felt they , and country msuic’s integrity, were in his contemptuous crosshairs.

I even took it apon myself to decry Overton’s statement on Twitter and retweet links to essays taking him to task.

But after some reflection, I am willing to concede that Overton is correct in his statement.

First context.

Overton made his incendiary remarks while attending the annual Country Radio Seminar in Nashville, where 2,424 attendees, exhibitors, panelists and sponsors came to discuss the future of the industry. That’s the Country Radio industry. Not the roots americana industry. Not the historical preservation of country music.

As with any trade convention quality was not the focus, unless there is a direct line between it and profits.

It’s about return on investment. Period.

No more clear symbol of this was the surprise appearance of Garth Brooks to announced the year’s Country Radio Hall of Fame inductees in both the Radio and On-Air categories.

Whether you like Brooks’ music, or believe he’s the beginning of genre cross-over hell and the end of everything that was good about country music (he wasn’t), with 8 Academy of Country Music awards and a RIAA (Recording Industry Association of America) listing of as the best-selling solo album artist of all-time (surpassing Elvis Presley) with 135 million units sold, he is the the gold standard by which radio play, record sales and concert attendance is measured.

Jimmy Rodgers mights be the father of country music, but Garth is it’s first superstar.

This is the ontological existence of which Overton refers. The world made possible by Garth.

When your music is no longer a nuanced craft and becomes a replicable commodity, you exist. If your personality and looks are a marketers dream, you exist. If your income far exceeds the label’s output, you exist. If you’re willing to run that gilded hamster wheel ad infinitum until the end of your short days, you exist.

If you’re willing to use your talents to grease the music row production machine, to achieve potential fame and admiration of millions, you exist.

Short of that piss off.

It’s not all gloom. When an industry behemoth refuses to adapt to customer tastes and industry trends alternatives spring up.

The Nashville Sound led to Buck, Merle , Willie and Waylon. The Urban Cowboy fab resulted in Dwight Yoakam, Steve Earle, Lyle Lovett and kd Lang.

Though these rebels were never fully integrated into the machine itself they did send waves into record sales and radio execs had take notice.

Now the so-called Bro-Country fad has Kacey Musgraves, Brandy Clark, Sturgill Simpson and Jason Isbell rocking the mainstream country boat.

But like McDonalds facing a healthier eating public, or Budweiser facing a less people willing to swill their sun-par product, Music Row can only partially assimilate. The assimilation will also lead to the application of the Garth standard of success, of existence, so songs will be optioned and the same flavorless production sauce will be slathered over extraordinary songs rendering them worthy of mainstream radio play and consumptions of an always shifting, faceless and fickle demographic.

So Overton is correct. By the Garth standard of rendering cultural artifacts into mass consumption radio fodder, most musicians don’t matter. Thier work or image doesn’t fit into the already prefabbed sonic and stylized containers.

But luckily the Garth standard is not the only one that counts.

There the already mentioned Bakersfield /Outlaw standard of creatively seeing untapped opportunities and bucking (hehe) conventional (and played out) trends.

There’s the model of artists like Buddy Miller, Jim Lauderdale, Gretchen Peters, Vince Gill, Chris Knight, Guy Clark and others that straddle the commercial and artistry territories without compromise.

There’s the vibrant and thriving Americana model that cultivates and champions the best of country music, and country music sourced genres , new and older talents. And has created a thriving , and lucrative, community.

And then there’s the Hank III model of giving the finger to Music Row and bringing in a whole new demographic from the ground up, to build a loyal, enthusiastic and sustainable fan base.

Some say the Garth standard of mega sales, and celebrity status, is dead, or dying, in a music industry in transition.

I certainly have no crystal ball telling me where all this is headed. But I take comfort is knowing that Overton and his ilk are on their heels as their concept of existence crumbles beneath them.

Or as singer/songwriter, and one-time potential Voice contestant, Jason Isbell so eloquently tweeted:

“Of course major-label execs are saying crazy things these days. Have you ever heard the kinds of things people say when they’re dying? ”

Music Review : Lee Ann Womack – “The Way I’m Livin’ “ [Sugar Hill Records]

 Lee Ann Womack - “The Way I’m Livin’

I knew when Lee Ann Womack was up to something great when she was hanging around Americanafest in 2012. Appearing in a all-request showcase with Buddy Miller she held the Mercy Lounge stage as she has all those packed arenas shows she played not not long ago.

But playing arena shows means playing by a narrow set of rules that (hopefully) lands you on mainstream country radio. Womack has worked the system like a pro, resulting in having four of her six studio albums reach Gold and selling over 6 million albums worldwide

I hope her new release “The Way I’m Livin’ “ hits the charts and makes her gobs of money. But if it does it’ll do so by breaking the current rules of country music, and without compromise.

Womack’s seventh studio album, produced by her husband Frank Liddell (Miranda Lambert, Chris Knight, Pistol Annies) and her first effort for stalwart Americana label Sugar Hill Records, was recording live in the studio with the band. The 13 tracks has her wrapping Her warm-honey vocals around classic country themes of hardship, temptation and salvation, and she’s keeping mighty fine company on the journey.

Her version of Hayes Carll’s jukebox weeper “Chances Are” is pure jukebox greatness. Womack really brings out a new and longing characteristic of the song’s melancholy soul. The title song is a gospel stomper of swampy guitars and sonic salvation that heats up and leaves you wondering if your being taken to the Pearly Gates or Dark Underworld. Either way, the soundtrack’s excellent.

“Send It on Down” is a the other side of the salvation coin. No brashness in this last-ditch plea for mercy and a bus ticket written by Chris Knight. Bruce Robison is represented in a coupe of cuts, “Nightwind” is a beautiful bluegrass-style call to an nocturnal call to a lost love. Lost love is also the theme of “Not Forgotten You” though the up-tempo accompaniment might through you off it’s heart-broken trail.

Womack retains Roger Miller’s rollicking tempo on “Tomorrow Night in Baltimore” but turns it up slightly to a humps it up a bit with blazing electric and steel guitar. Lost love and regret is given emotional gravity as Womack breaths life into Brennen Leigh’s lovely honky-tonk lament “Sleeping with the Devil.”

There’s a sense of freedom and love of music throughout “The Way I’m Livin’ “ Womack, Liddell and the extraordinary supporting musicians have produced a contemporary version of a country gold.

I don’t know what challenges that might have been awaiting Womack had she chosen to mount the gilded running-wheel of Music Row instead of jumping the Americana fence. But I’m certain had she done so “The Way I’m Livin’ “ would have been a very different album. Thanks goodness she didn’t as the freedom to pursue her heart and vision has resulted in one of the best, and most honest, albums of her career.

Official Site | Buy

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Americana Music Awards Nomination Oversights – Son Volt, The Trishas, Lindi Ortega, Delta Rae

lindi-ortega

Every autumn for the past 11 years the Americana Music Association honors Americana and roots music. Members of the association (of which I am one) get’s an email in early spring and are asked to submit up to 10 nominees for each of six categories – Album of the Year, Song of the Year, Artist of the Year Emerging Artist of the Year, Duo/Group of the Year and Instrumentalist of the Year. The eligibility period for the nominees runs from April 1, 2012 through March 31, 2013.

The numbers are tallied up and the 5 nominees for each category have just been announced last Tuesday. Though some have stated that the Americana music Association is playing it safe and should do more to grow the base.

But all they did was count the votes. The good portion of their dues paying voters are members of the music industry with a stake in the game and this list reflects, with a few glaring exceptions (which I will dress at the bottom), the Americana chart for the time criteria.

As a blogger, with no direct stake in promotion of any one artist over another, I’m bound only by my own subjective opinion. i voted for artists who I believed were the best of the best and some ended up on the final nominee list. Many did not. Here are a few glaring omissions that me, and some of my community on Facebook and twitter have, noticed.

Got your own? List ’em in the comments below.

The first oversight is the most glaring. How is Lindi Ortega, one of the freshest voices in Americana, not up for Emerging Artist Of The Year? Seriously?!

Is there a better singer/songwriter in roots and Americana music than Chris knight? Little Victories was my top album of 2012 and it should be up for Album of the Year. Andd it’s high-time Knight be shown some Artist of the Year love. The man’s a damn legend!

Another fantastic new talent hitting her stride in American, root and pop is Caitlin Rose. Emerging Artist Of The Year and Album of the Year.

Jake Smith (aka The White Buffalo) is also an exciting newcomer in the Americana and roots field. Emerging Artist Of The Year and Album of the Year for How the West Was Won.

A legend, and one of the finest voices in roots music, comes out with her first of new material in sixteen-years on Sing The Delta and it doesn’t get a Album of the Year nod?!

https://www.youtube.com/watch?v=_Suq8KSwrS0

alt.country legends, Son Volt, reach back to the classic country that’s always been a part of their DNA to make one of the best albums of their career and they’re passed over/ They should be up for for Album of the Year for Honky Tonk and I’d argue that Jay Farrar should be up for Artist Of The Year.

Ray Wylie Hubbard’s Grifter’s Hymnal is the legend at his gritty, greasy Texas best. Album of the Year.

https://www.youtube.com/watch?v=r92RkIKm6Wc

Carrie Rodriguez has been around for a a while and deserves some Artist of the Year and Album of the Year love for her Give Me All You Got.

The Turnpike Troubadours are one of the best young bands that I saw at last year’s Americana Conference showcases. Album of the Year for their Goodbye Normal Street and Duo/Group of the Year.

The Trishas were also a highlight of last year’s Americana Conference and have put in their time. They earned nods for High, Wide and Handsome for Album of the Year and Duo/Group of the Year.

ON EDIT: When it comes to pop-Americana the Lumineers can’t hold a candle to Durham’s Delta Rae. I would nominate Delta Rae for Duo/Group of the Year and Bottom of the River for Song of the Year.

Twang Nation Podcast Episode 10 – Chris Knight, Buddy Miller,Jim Lauderdale, John Fullbright, Gurf Morlix

podcastEpisode #10 (alright double digits!) of Twang Nation Podcast pulls from my first 10 of a list of 21, Cream of the Crop selections from 2012. It’s been a great year for Americana and roots music. T Bone Burnett has done a fine job of sliding roots artists like Lindi Ortega and Shovels and Rope within a Music Row soap opera with ABC’s Nashville. The Americana Music Association continues to burnish the brand and their conference and wards show set attendance and submission records. Even that bastion of Music Row glitz, CMT, saw crossover potential and launched CMT Edge which has featured artists like Jason Isbell and Justin Townes Earle.

2013 shows no signs of slowing down with upcoming releases from Kris Kristofferson, Dale Watson as well as joint releases from Kelly Willis and her hubby Bruce Robison and Emmylou Harris and ex Hot Band member and legendary songwriter Rodney Crowell.

As the Americana music culture and industry grows and becomes more of a mainstream staple, with bands like Mumford and Sons and the Avett Brothers leading the way, I applaud the advantages and the opportunities for musicians and we who cover them. As I’ve said, I want the performers I cover to get more prestigious gigs, better recording facilities, more gear and to leave their touring vans behind and be bale to afford the relative comfort of a touring bus. I don’t believe musicians should suffer for tier craft (much!) Here’s to mutually rising boats.

In the new year I resolve to do my best not to follow the hyped path most traveled and do what I’ve always done, follow my heart and my ear to places more interesting and authentic for the love of music. I hope you come with me in and enjoy what I discover.

Thanks you for reading the site, following on twiiter , Facebook, Google+ and my work over at Grammy.com.

Happy holidays and a safe and happy New year to you all.

Opening Song – “Mr. D.J” – by Dale Watson
1.Chris Knight– song:”Little Victories”- Album: “Little Victories” (Drifter’s Church Productions)
2.Malcolm Holcolmbe – song: “Gone Away at Last”- Album: “Down the River” (GypsyeyesMusic – out now )
3.Darrell Scott – Song: Hopskinville – Album: Long Ride Home (Full Light Records)
4.Corb Lund – song: Gettin’ Down on the Mountain Album: Cabin Fever (New West Records)
5. Buddy Miller and Jim Lauderdale That’s Not Even Why I Love You. – Album: Buddy and Jim (New West Records)
6.Iris DeMent – song:Sing The Delta- Album:Sing The Delta (Flariella Records)
7.Dwight Yoakam – song:A Heart Like Mine- Album:3 Pears (Warner Bros. Records)
8.Turnpike Troubadours Song: Gin, Smoke and Lies- Album:Goodbye Normal Street (Bossier City Records)
9.John Fullbright song:Satan and St. Paul- Album:From The Ground Up (Bossier City Records)
10. Shovels & Rope– song:Fire On The Hill- Album:O’ Be Joyful (Dualtone Records)
11. Gurf Morlix – song:Present Tense- Album: Gurf Morlix Finds the Present Tense – Out March 5, 2013)
12.Robert Earl Keen– song:Merry Christmas from the Family- Album: Gringo Honeymoon

Cream of the Crop – Twang Nation Top Americana and Roots Music Picks of 2012

TNtoppicks2012It seems like I say it every year – so here goes, another bumper year for Americana releases blah blah. but it’s true!
I’ve been sitting on a list of about 50 releases all of which could easily be included in a top 10 list of the best of 2012
until the last final minute of the deadline i set for myself to keep from crapping up my holidays. i had to make a stand.
Here it is.

I finally threw the arbitrary “Top 10” structure out the window and doubled down and made it a top 20 21. The selections are lasted in arbitrary order and are not most best to least best. They all stand on their own as some of this year’s. or any year’s, finest examples of songwriting and performance excellence.

A quick word on the exclusion of mainstream heavyweights like Mumford and Sons, The Avett Brothers and their upstart competitors the Lumineers didn’t make the cut. Cards on the table, for all my rooting for mainstream acceptance of the genre I’m still a music snob. Like most other genres, I genuinely think that once a person mines the Americana field below the mainstream examples that is where they will discover the real riches lie. This is my opinion. Your mileage may vary.

Here’s a a happy, healthy and twangny 2013! thanks to all of you for reading, following,commenting. And to all the great musicians that reward us every day with riches that I personally am unworthy of.

Chris Knight – Little Victories
Malcolm Holcombe – Down the River
Darrell Scott – Long Ride Home
Corb Lund – Cabin Fever
Buddy Miller and Jim Lauderdale – Buddy and Jim
Iris Dement – Sing The Delta
Dwight Yoakam – 3 Pears
Turnpike Troubadours – Goodbye Normal Street
John Fullbright – From the Ground Up
Shovels & Rope – O’ Be Joyful
The White Buffalo – Once Upon a Time in the West
Justin Townes Earle – Nothing’s Going to Change The Way You Feel About Me Now
The Trishas – High Wide & Handsome
Gretchen peters – Hello Cruel World
Lindi Ortega – Cigarettes & Truckstops
Patterson Hood – Heat Lightning Rumbles in the Distance
Chelle Rose – Ghost of Browder Holler
Derek Hoke – Waiting All Night
Shooter Jennings – Family Man
BlackBerry Smoke – The Whippoorwill
Nick Cave / The Bootleggers / Warren Ellis – Lawless (Original Motion Picture Soundtrack)

Music Review – Mat D’s: Plank Road Drag [self-released]

Country and blues music has always mined the life’s mundane moments and extracted nuggets of domestic mythology shimmering with love, lust, booze, blood, tears, asphalt and diesel fuel.  With these elements masters like Hank Williams Sr., Neil Young, Townes Van Zandt and Bob Dylan – and latter day troubadours like Bruce Springsteen, Steve Earle and Chris Knight – transcend whatever genre they are bridled with and forge minor pedestrian masterpieces.

This second solo release from Sioux City, IA’s Mat D (Mat deRiso) draws from the same humanistic sources. Assuming a more Americana tone than the country-rock his Profane Saints offers, Plank Road Drag works a well-worn sonic landscape but still manages to uncover many dusty gems.

Resurrection Cadillac, the album opener is bathed in the sanctified blues of Leadbelly and Lightnin’ Hopkins as it lurches forward like a revved-up version of Led Zeppelin’s back-porch stomper Black Country Woman.

Street souls collide in Ford Marriage. Mat D colorfully throws his Born to Run-style tramps toward a ramshackle wedding  – “I’ll trade a fan belt and a hub cap for a suit-coat and a tie, we’ll use her panties a a veil and wrap an old rag around her thigh and make a bouquet out of tumbleweeds and hold on ‘til we die, my my.” – until passion’s heat burns away all that’s left is matrimonial ash – ”Turns out a house of love don’t run on truck-stop grease and gasoline.”

Doomed romance continues with Cannonball as family plight and hardship runs as rough as their path toward Texas. Three A.M. refuels the dirt-floor romance, gliding like a fever-dream vision of trailer-part trysts. 40 Watt Moon is the fever aftermath recounting beautiful memories and empty bottles.

Ribbon of Dirt uses the hard-bluegrass of Steve Earle’s Copperhead Road to tell another hard tale of the road’s siren call and Motorbelle is a beautiful, moody white-trash serenade “she was silver and gold from the trailer, she was sequins and jewels from the trash, she was flesh, she was blood,she was lonely, spilling out of old strapless dress with her big hair all pinned up and perfect all that Tammy Faye make-up a mess.”

The album closes with the bluegrass-tinted title song, where Mat d uses hillbilly poetry that could easily be inspired by watching the Coen brothers’ O Brother, Where Art Thou? with the sound down and Guy Clark on the turntable turned way up high.

Mat D’s Plank Road Drag is an ambitious record that hits on all cylinders to set a high water mark for any other contender for this year’s album of the year.

Official site | MySpace | Facebook | Buy

[youtube]http://www.youtube.com/watch?v=ewROFZPZMco[/youtube]

News Round Up: Merlefest Line Up Announced

  • The Austin Chronicle’s Audra Schroeder reviews Texas’ own honky angel  Rosie Flores  new Bloodshot Records release Girl of the Century. Rosie is backed by the Pine Valley Cosmonauts led by the Mekons and Waco Brothers’ front man Jon Langford. Rosie and the Pine Valley Cosmonauts recently performed at San Francisco’s Hardly Strictly Bluegrass festival, and they sounded great!
  • Te lineup for Doc Watson’s annual MerleFest has been released. The 23rd year of the excellent Americana and roots festival will again take place in Wilkesboro, NC, on the campus of Wilkes Community College. Some of the performers will be The Avett Brothers (and their dad Jim Avett), Bearfoot, Dallas’ Brave Combo, Elvis Costello, Jim Lauderdale, Little Feat and many more.
  • Tom Russell’s newest blog post discusses taping Letterman during the “controversy” and the ongoing tour supporting his newest excellent release, Blood and Candle Smoke.
  • Speaking of excellent albums , PopMatters.com’s Andrew Gilstrap reviews the recent release by Chris Knight, Trailer II.

Festival News: MusicFest Lineup (so far)

Add this to your awesome festivals to attend list! The annul MusicFest (now approaching its 25th year) features some of the finest Americana and roots music to the world-class ski resort of Steamboat, Colorado for 6 days (January 4-11th) of snowy fun. Performers already booked for the next MusicFest are: Robert Earl Keen, Randy Rogers Band, Band of Heathens, Reckless Kelly, Charlie Robison, Kevin Welch, Cross Canadian Ragweed, Lee Ann Womack, Jamie Wilson, Todd Snider, Jason Eady and The Wayward Apostles, Billy Joe Shaver, Matt Skinner, Jack Ingram, Dean Dillion, Bonnie Bishop, Chris Knight, Walt Wilkins, Midnight River Choir, Jonathan Tyler and The Northern Lights, Kevin Fowler, Modern Day Drifters, Hayes Carll, Ben Smith, Jason Boland and The Stragglers, Josh Abbott, Cory Morrow, Ray Wylie Hubbard, The Trishas, Wade Bowen, The Doug Moreland Show, Stoney LaRue, Tina Wilkins, Roger Creager, Lucas Hubbard, Sean McConnell, Johnny and The Footlights…and more on the way!

Music Review: Chris Knight – Trailer Tapes II [Drifters Church]

It’s Labor Day and I just finished watching Billy Bob Thorton’s contemporary Southern Gothic film Slingblade, so I believe I’m in the perfect frame of mind to review a Chris Knight album.

Knight storytelling style reflects John Prine (who he studied when learning the craft of songwriting) and Steve Earle (who he’s most often inaccurately compared to.)  His narrative thumbnail sketches are small-towns inhabited by country folks swinging from grinding poverty, break-breaking work and menacing fun and lawlessness (and sometimes all in the same song.)

Knight is writing his life. Growing up in the western Kentucky mining town of Slaughters he was able to stay out of the mines by getting a degree in agriculture from Western Kentucky University. But he did end up spending time on the business side by working nearly ten years as a mine reclamation inspector and as a miner’s consultant.

The Trailer Tapes II is a 44 minute companion to 2007’s The Trailer Tapes. The full session was recorded as stripped down kitchen table demos in 1996 with just Knight and his acoustic guitar, two years before Knight’s Decca debut, by producer Frank Liddell in the singer/songwriter’s single-wide trailer in Kentucky. Unlike its predecessor Trailer Tapes II is mostly comprised of songs that later appeared on official Knight studio releases, but the similarities between the two is the like raw emotion of the performances by a man thta doesn’t need any fancy studio wizardry to spin gold.

Old Man, which turned up on 2006’s Enough Rope, is Knight’s version of Cats in the Cradle. A son’s life journey turns back toward his land as well as toward his checkered and violent heritage. It Ain’t Easy Being Me, later on 1998’s self-titled debut, has Knight crooning forcefully of   self-loathing but never self-pity.

Highway Junkie, later on 2001’s A Pretty Good Guy is a raucous road song and Knight spits gravel befitting the story. The excellent Love and a .45  sounds better stripped down then the already well performed verion on the self-titled debut.

Fans will be familiar with the rest of the cuts. Bring the Harvest Home, Summer of ’75, and The River’s Own from the self-titled debut. Send a Boat from A Pretty Good Guy, all benefit from the less-is-more approach, along with the unreleased I’ll Be There and Speeding Train and Till My Leavin’s Through.

The first time I saw Knight perform it was a cold December night and he played in the basement performance space of New York City’s Knitting Factory. A man with only his acoustic Gibson guitar, and one man backing on guitar, spun dark gems and kept the city crowd rapt in silence for nearly two hours. This is that man in all his brilliant, simple, glory. (release September 15)

Official Site | MySpace | Buy

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Chris Knight – Highway Junkie.mp3

Chris Knight -  Blame Me.mp3