John Prine Will Release New album ‘For Better, Or Worse’ This Fall

John Prine - For Better, Or Worse

The other day John Prine teased some upcoming music by posting a picture on his Facebook page of he and long-time collaborator Iris DeMent laying down some tracks in his home studio.

Now the great news is out. On September 30, Oh Boy Records will release John Prine’s latest, ‘For Better, Or Worse,’ a thematic bookend to his classic, Grammy nominated ‘In Spite of Ourselves. Produced by Jim Rooney, John performs duets with country and roots luminaries like the aforementioned Iris DeMent, as well as Alison Krauss, Miranda Lambert, Kathy Mattea, Kacey Musgraves, Fiona Prine, Amanda Shires, Morgane Stapleton, Susan Tedeschi, Holly Williams, and Lee Ann Womack.

Wow, indeed.

The classic songs on ‘For Better, Or Worse,’ originally recorded by artists such as Hank Williams, George Jones, Ernest Tubb, Buck Owens and others, are in John’s blood. “I cut my teeth on Hank Williams songs,” he says. “When I sing these songs there is a small pipeline straight from my heart to my lips.” The tracks take listeners through the universal cycle of love’s pull, love’s bend, love’s life, and love’s end.

The toe-tapping first single, “Who’s Gonna Take The Garbage Out,” originally done by Loretta Lynn with Ernest Tubb, features Iris Dement, is available now when you pre-order the new record. Hear it below.

This fall, John will celebrate both the new album and his approaching 70th birthday with two shows at Nashville’s Ryman Auditorium, Sept. 30th & Oct. 1st, where he will be joined by some of the duet partners from ‘For Better, Or Worse.’

John Prine took time to talk to NPR’s Jewly Hight about the album.

Tracklist:
John Prine/Iris DeMent – Who’s Gonna Take The Garbage Out
John Prine/Lee Ann Womack – Storms Never Last
John Prine/Alison Krauss – Falling in Love Again
John Prine/Susan Tedeschi – Color of the Blues
John Prine/Holly Williams – I’m Telling You
John Prine/Kathy Mattea – Remember Me (When Candlelights Are Gleaming)
John Prine/Morgane Stapleton – Look At Us
John Prine/Amanda Shires – Dim Lights, Thich Smoke and Loud, Loud Music
John Prine/Lee Ann Womack – Fifteen Years Ago
John Prine/Miranda Lambert – Cold, Cold Heart
John Prine/Kathy Mattea – Dreaming My Dreams With You
John Prine/Kacey Musgraves – Mental Cruelty
John Prine/Iris DeMent – Mr. & Mrs. Used to Be
John Prine/Fiona Prine – My Happiness
John Prine – Just Waitin’

Hear John Paul White’s ‘Simple Song’ From Dave Cobb’s Upcoming ‘Southern Family’

Dave Cobb's 'Southern Family'

Grammy-nominee Dave Cobb mentioned during our interview that working with Shooter Jennings was the conduit to pitting him on the path of getting back in touch with his cultural roots and the music that draws from that rich soil. One body of work in particular was part of that reawakening. The Glyn Johns produced ‘White Mansions,’ a 1978 concept album spearheaded by Shooter’s dad Waylon featuring Jennings, Jessi Colter, John Dillon and Steve Cash ( Ozark Mountain Daredevils) and Eric Clapton played guitar on several tracks showed Cobb another side of country music/ As he put it “that’s the record that really got me. There’s something about the way it felt. It came at country in a very cinematic way, it’s very powerful.”

‘Southern Family’ is Cobb’s homage to that pivital album. ‘Southern Family’ is a compilation produced and conceived by the Producer of the Year Grammy-nominee and features many of his friends and collaborators – Jason Isbell, Zac Brown, Miranda Lambert, Morgane and Chris Stapleton, Jamey Johnson, Anderson East, Holly Williams, Brent Cobb, Brandy Clark, Shooter Jennings, Rich Robinson and John Paul White. Recorded in Nashville throughout the fall of 2015, the album features ten original songs and two covers including Morgane Stapleton with Chris Stapleton’s rendition of “You Are My Sunshine.” Out lining the textures that make up the Americana sound the songs rooted in country, blues, folk and rock.

Of his vision behind the project, Cobb comments, “Somebody said, ‘You should make a concept record,’ and I kind of giggled about it for a second. But, then I thought, man, wouldn’t it be amazing to have all my friends on one record and really find a common thread? Southern Family, about their mothers, grandparents, kids, siblings, these detailed stories about how they grew up and their families and the things that make them who they are.” He adds, “This really encapsulates Nashville right now. There’s something to it. There’s something in the air. There’s a lot of great things about Nashville. There’s something here that doesn’t exist anywhere else in my lifetime. I’m sure this happened in London in the ‘60s and California in the ‘70s and maybe New York in the late ’50s or early ‘60s. But I think, right now, Nashville is the home of music.”

Of his involvement in the project, John Paul White explains, “When Dave approached me about the project, I had a pretty large ‘Keep Out’ sign in my yard. He was in the Shoals working on Anderson East’s record, and came by to say hi. We’d never formally met. I told him I was a fan of his at the Americanas earlier, but that was the extent of our conversations. He eloquently laid out his master plan and sucked me right in. I was immediately intrigued by the framework, but was ultimately sold on it by his passion. I could tell that this album really meant something to him, and that meant something to me. I’m happy to say that it’s been a pleasure creating alongside Dave. I’m incredibly flattered and thankful to be involved with a project this unique, and with the caliber of musicians and artists that Dave has brought to the table.”

Dave Cobb—will be released March 18 on Low Country Sound/Elektra Records and is now available for pre-order (iTunes.)

Southern Family Track List
1. John Paul White “Simple Song”
2. Jason Isbell “God Is A Working Man”
3. Brent Cobb “Down Home”
4. Miranda Lambert “Sweet By and By”
5. Morgane Stapleton with Chris Stapleton “You Are My Sunshine”
6. Zac Brown “Grandma’s Garden”
7. Jamey Johnson “Momma’s Table”
8. Anderson East “Learning”
9. Holly Williams “Settle Down”
10. Brandy Clark “I Cried”
11. Shooter Jennings “Can You Come Over”?
12. Rich Robinson (featuring The Settles Connection) “The Way Home”

Hear John Paul White’s ‘Simple Song’ from ‘Southern Family’ below

David Cobb – The Man Behind The Roots Music Tide

Dave Cobb

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

TN: What other producers influenced you?

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

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

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

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

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

Cream of the Crop – Twang Nation Top Americana and Roots Music Picks of 2013

Twang Nation Best of  2013

As the last days of 2013 drop away the business-as-usual music industry remains bogged in a largely self-inflicted quagmire, but don’t tell musicians this. Industry gatekeepers and financial barriers are being overrun by people with a passion for the craft, and the talent and drive of a refusal to be denied. And we, dear reader, are richer because of it.

If there’s a theme to this year’s choices it’s that women are blazing a trail between Americana and mainstream country music. Lindi Ortega, Brandy Clark, Julie Roberts, Kelly Willis, Aoife O’Donovan and Valerie June might honing their craft from different angles, but a more than cursory listening shows they are making great contemporary music drawing from a common roots music well.

2013 was also a great year for what might be called “real country music.” However you define this vague term (Jimmie Rodgers? Willie? Garth?) you’ll find much of Country Music’s Golden Eras reflected in Brandy Clark, Dale Watson, Sturgill Simpson, Robbie Fulks as well as the mighty Son Volt, who released one of the best albums of their career with “Honky Tonk.”

Also the craft of songwriting and rich, engaging narrative is alive on Jason isbell’s best solo outing yet, Southeastern. Also on the veteran Guy Clark’s “My Favorite Picture of You” and relative newcomers John Moreland and John Murry.

2013 brought us some of the most creative and daring music in the Country, Americana and Roots fields and all indicators point to 2014 being even better with releases upcoming from Roseanne Cash , The Drive-By Truckers, Jason Eady, The Ben Miller Band and many more.

And in spite of T Bone Burnett’s advice to keep their art pure and unscathed by dirty, dirty self-promotion, these folks are out there hustling to breach popular consciousness.

I hope this list helps in some small way.

it was a challenge to keep the list to just 10, so again this year I surrendered to representing excellence over some arbitrary number.

Don’t see your favorite represented? Leave it in the comments and let’s spread the twang.

20. Austin Lucas – Stay Reckless – Nobody does pedal-to-metal roots-rock like Lucas. “Stay Reckless” elevates his song to a new level.

19. Aoife O’Donovan – Fossils [Yep Roc Records] – Alison Krauss covered O’Donovan’s song “Lay My Burden Down,” O’Donovan’s album is so good you might forget that.

18. John Murry – The Graceless Age [Evangeline Recording] Dark and engaging without veraing into bleak and self-pitying. John Murry makes feeling bad sound good.

17. Dale Watson – El Rancho Azul [Red House] Watson finds his hony-tonk sweet spot and does the Lone Star State proud.

16. Julie Roberts – Good Wine & Bad Decisions [Red River Entertaintment] – Music Row’s golden girl confronts set-backs and tragedy by creating the best album of her career.

15. Caitlin Rose – The Stand-In – [ATO Records] Rose deftly proves that “pop” doesn’t have to be bad.

14.5 – Will Hoge – Never Give In – Roots rock with a hook done right. [Cumberland Recordings]

14. Bruce Robison, Kelly Willis – Cheater’s Game [Preminum Records] – Austin’s Americana power couple delivers an engaging charmer.

13. Sarah Jarosz – Build Me Up from Bones [Sugar Hill Records] Jarosz songwriting, playing and vocals hit a new level and shw her to be already beyond her young years.

12.5. Daniel Romano – Come Cry With Me – had to slip in this neo-trad gem in response to the comment reminding me of it’s badassery. Yes, I do read the comments when I agree with them.

12. Robbie Fulks – Gone Away Backward [Bloodshot] Fulks creates an excellent, heartfelt bluegrass album sans his signature wink and smirk.

11. Valerie June – Pushin’ Against A Stone [Concord] Newcomer June fuses roots and soul and shows why she’s an Americana rising star.

10. Holly Williams – The Highway [Georgiana Records] – The songwriting on “The Highway” moves Williams out of anyones shadow.

9. Son Volt – Honky Tonk [Rounder Records] – Jay Farrar takes up the pedal steel and re-discovers Son Volt’s soul.

8. Lindi Ortega – Tin Star [Last Gang Records] Ortega’s exceptional “Tin Star” moves her into the realm of Queen of Americana music.

7. Hiss Golden Messenger – Haw [Paradise of Bachelors] M.C. Taylor continues to explore life and faith and stake new roots music territories.

6. Gurf Morlix – Gurf Morlix Finds the Present Tense [Rootball] A legendary songwriter/musician gets existential and rewards us with a fantastic body of work.

5,5. Shonna Tucker and Eye Candy: A Tell All [Sweet Nector] – I foolishly omitted this pop-roots-soul gem on first pass. I now remedy that grievous oversight.

5. Guy Clark – My Favorite Picture of You [Dualtone] A master still makes it look easy. It ain’t.

4.John Moreland – In The Throes [Last Chance Records] Moreland is an accomplished student of song craft and “In The Throes” moves him into the master class.

3. Sturgill Simpson – High Top Mountain [High Top Mountain] Reluctant savior of outlaw soul creates a masterpiece in spite of expectations.

2. Jason Isbell – Southeastern [Southeastern Records] – With an already accomplished body of work Isbell surpasses himself and creates a classic.

1. Brandy Clark – 12 Stories [Slate Creek Records] – It takes guts to refuse to be a cog in the Music Row machine and create an debut this daringly country.

Americana Music Association Announces Showcase Line-up

ama final_480x476

Building on the already excellent initial lineup announcement the Nashville-based Americana Music Association has released has released the full roster of artists performing during the event.

Some of the additions that stand out to me are roots-rockers Shooter Jennings and Austin Lucas, alt.country stalwarts Bottle Rockets and Ashley Monroe who apparently has no problem working both the Americana and Music Row sides of the fence (good!) One performer I’m bummed to see missing from the roster is Jason Isbell (Though his talented better half, Amanda Shires, is on the list.) There might be scheduling conflicts with his current tour supporting the excellent “Southeastern.”

The vagueness of Americana’s boundaries allows a richness and diversity within a shared source and vision. it’s what legend, and scheduled performer, Darrell Scott describes positively as a “hard-to-define place.”

the selections show a broad range of diversity and excellence the of the genre. Great to see many Casa Twang favorites represented as well.

The AMA has created a Spotify playlist of the performers on the 2013 bill.

The 14th annual event will take place in Nashville, Sept. 18-22. I’ll be there. hope you are too!

Americana Music Festival & Conference Showcase Performing Artistt
Alanna Royale
Amanda Shires
American Aquarium
Amy Speace
Andrew Combs
Andrew Leahey & the Homestead
Aoife O’Donovan
Ashley Monroe
Austin Lucas
Band of Heathens
Bear’s Den
Ben Miller Band
Bhi Bhiman
Billy Bragg
Black Prairie
Bobby Rush
Bottle Rockets
Brian Wright
Chelsea Crowell
Claire Lynch
Daniel Romano
Darrell Scott & Tim O’Brien
Dash Rip Rock
David Bromberg
Delbert McClinton
Della Mae
Donna the Buffalo
Drew Holcomb & the Neighbors
DUGAS
Elephant Revival
Farewell Drifters
Field Report
Frank Fairfield
Hillbilly Killers
Holly Williams
Houndmouth
Howe Gelb
Howlin’ Brothers
Hurray for the Riff Raff
Infamous Stringdusters
JC Brooks & the Uptown Sound
JD McPherson
Joe Fletcher & the Wrong Reasons
Joe Nolan
John Fullbright
Jonny Fritz
Josh Rouse
Joy Kills Sorrow
Judah & the Lion
Justin Townes Earle
Kim Richey
Kruger Brothers
Laura Cantrell
Lera Lynn
Levi Lowrey
Lindi Ortega
Lisa Marie Presley
Luella & the Sun
Mandolin Orange
Matt Mays
Max Gomez
McCrary Sisters
Melody Pool
Mustered Courage
My Darling Clementine
Nicki Bluhm & the Gramblers
Nikki Lane
Noah Gunderson
Nora Jane Struthers
North Mississippi Allstars
NQ Arbuckle
Old Man Luedecke
Over The Rhine
Parker Millsap
Patrick Sweany
Paul Kelly
Peter Bruntnell
Phil Madeira
Pokey LaFarge
Randall Bramlett
Rayland Baxter
Richard Thompson
Rosanne Cash
Rose Cousins
Sam Doores, Riley Downing & the Tumbleweeds
Samantha Crain
Shakey Graves
Shannon McNally
Shel
Shooter Jennings
Sons of Fathers
Spirit Family Reunion
St. Paul and the Broken Bones
Steelism
Steep Canyon Rangers
Stewart Mann & the Statesboro Revue
Sturgill Simpson
Susan Cowsill
The Bushwackers
The Del-Lords
The Devil Makes Three
The Greencards
The Lone Bellow
The Lost Brothers
The Stray Birds
The Westbound Rangers
The White Buffalo
Tim Easton
Tommy Malone
Treetop Flyers
Two Man Gentleman Band
Uncle Lucius
Water Liars
Wheeler Brothers
Willie Sugarcaps
Willy Mason
Wood Brothers

Americana Music Association Announces Initial Showcase Line-up

Americana Conference Lineup

Nashville-based Americana Music Association has released an excellent initial artist line-up for showcase portion of the conference, festival and awards show. the selections show a broad range of diversity and excellence the of the genre. Great to see many Casa Twang favorites represented as well.

Artists include: Black Prairie, Billy Bragg, Rosanne Cash, The Devil Makes Three, Frank Fairfield, Drew Holcomb & the Neighbors, John Fullbright, JD McPherson,
The Lone Bellow, Aoife O’ Donovan, Darrell Scott & Tim O’Brien, Richard Thompson, The White Buffalo, Holly Williams and The Wood Brothers

The 14th annual event will take place in Nashville, Sept. 18-22. I’ll be there. hope you are too!

Showcase artists confirmed to perform include:

Black Prairie
Billy Bragg
Rosanne Cash
The Del-Lords
The Devil Makes Three
Sam Doores, Riley Downing & the Tumbleweeds
Frank Fairfield
Field Report
John Fullbright
Drew Holcomb & the Neighbors
Hurray for the Riff Raff
The Infamous Stringdusters
Kruger Brothers
Pokey LaFarge
Nikki Lane
The Lone Bellow
Luella & the Sun
JD McPherson
Buddy Miller & Jim Lauderdale
Aoife O’Donovan
Old Man Luedecke
Lindi Ortega
Darrell Scott & Tim O’Brien
Shakey Graves
Sturgill Simpson
Sons of Fathers
Spirit Family Reunion
Steelism
The Stray Birds
Richard Thompson
Holly Williams
The White Buffalo
The Wood Brothers

Twang Nation Podcast Episode 11 – Steve Earle, Brett Detar, Caitlin Rose

podcast

Two themes emerged unintentionally from this episode, Californian cities and the highway. Both are classic themes in country and Americana music and both are telling on his we got here and where we’re going as a community.

On Californian cities , the Son Volt song, “Bakersfield,” included tells the story of dust bowl immigrants to that Southern California town that resulted in a thriving Southern/plains working class culture there. After work visits to honky-tonk bars like The Blackboard gave performers like Wynn Stewart and Buck Owen’s a stage to shape the Bakersfield Sound. This sound contrasted against the Nashville Sound that was thriving in Music City and borrowed elements to rock music sweeping the nation.

Fusion and evolution is what created this music we love. But we wear our roots proudly. Blake Shelton might be right about Music Rows’
jettisoning it’s legacy to craft a business plan for sustained growth. But great culture never comes from a corporate marketing department and strip mine approach to culture is not what Americana is about. It’s about sustained growth for long-term benefits for everyone involved.

Regarding the highway, we are all on it. The internet is part of that analogy and the past, present and future of the genre is another. then there’s the literal hundreds of miles of highway that these performers travel every year. It’s a tough life they choose to bring us this great music and we owe it to them to see them live, buy their music and pick up a t-shirt. We owe it to ourselves because this financial investment in them allows them to bring us more great music.

As always. I hope you like this episode of the Twang Nation Podcast and thank you all for listening. If you do tell a friend and let me know here at this site, Google+ , Twitter or my Facebook.

Opening Song – “Mr. D.J” – by Dale Watson

1.Caitlin Rose – “I Was Cruel””- Album: “‘The Stand-In” (ATO Records)
2. Holly Williams – Song: “Let You Go”- Album: her third album “‘The Highway” (Georgiana Records)
3. Wayne “The Train” Hancock – Song: “Ride”- Album: “Ride” (Bloodshot Records)
4. The Law – Song: “Crazy and Lonesome”- Debut Album: “Dust And Aether” (TLB Records)
5. Brett Detar – Song: “A Soldier Burden” – available for the low price of an email address at brettdetar.com
6. Escondido – Song: “Bad Without You” – Album: debut The Ghost of Escondido
7. New American Farmers – Song: “Everywhere” – Album: Brand New Day
8. Son Volt – Song: “Bakersfield” – Album: Honky Tonk (Rounder Records)
9. Charlie Parr – Song: “Groundhog Day Blues” Album: Barnswallow
10. Dale Watson – Song: “Smokey Old Bar” Album: El Rancho Azul (Red House Records)
11. Steve Earle – Song: “Calico County” Album: The Low Highway (New West records)
12. Carrie Rodriguez – Song: “Devil in Mind” Album: Give Me All You Got (Ninth Street Opus records)

New Compilation Unheard Hank Williams Songs To Be To Be Released

Rollingstione.com posts that a compilation of unheard Hank Williams songs will be released on October 4th. The songs come from a rescued from notebooks of  lyrics and song ideas  left behind in a leather briefcase by Williams after he died in 1953 at the age of 29. These notes and fragments were then finished by the 13 artists who contributed to the disc. These artists include Americana music and rock music greats – Bob Dylan (who’s  imprint Egyptian Records is putting out the album)  Levon Helm, Alan Jackson, Lucinda Williams, Merle Haggard and, and this is where my concern arises, Jack White . Norah Jones and Sheryl Crow. What? Was Kid Rock busy?

And though William’s granddaughter Holly Williams is included where is her brother Hank Williams III? For that matter where is Bocephus?  I would have scratched the last three, who are here for sales purposes only, and added new traditionalists like Wayne Hancock and Joey Allcorn that truly reflect the spirit of ol’ Hank.

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

 

 

Music Review: Holly Williams – Here with Me (Mercury Nashville)

holly-williams-here-with-me-coverIt’s one thing to be Shooter Jennings or Justin Townes Earle, but being the Granddaughter of country music legend Hank Williams and the Daughter of the hard-living, hell raising outlaw and legend of sorts Hank Williams Jr., well that’s a whole other mountain to climb.

Like her half-brother Hank Williams III, Holly Williams takes the fundamentals laid down by her ancestors and burns her own brand on the work. Here With Me is much more a country record than her previous release for Universal South The Ones We Never Knew and perhaps the turn in style was a result of the automobile accident that nearly took the lives of her and her sister Hilary. Maybe, like Hank III, the primary motive for moving into the family business was the promise of a ready audience and cash.

Whatever the motive this is a great release that brings to mind the work of another blood kin of country music royalty, Rosanne Cash. Like Cash, Williams does great things with a modest vocal range and brings a sophistication to the songs (many of which she wrote) without completely smothering out the rustic charm with glossy productions and lazy paint by the numbers fluff reaching for a top charting radio hit.

Holly Williams is every bit the outlaw her destiny assumes she’ll be, she just prefers a level of uptown refinement to her country pedigree.

Official Site | MySpace | Buy

4_rate

[youtube]http://www.youtube.com/watch?v=ExpUM6nNxf0[/youtube]

Nitty Gritty Dirt Band to Release First New Album in Five Years

  • The legendary Nitty Gritty Dirt Band will release their first studio album in five years. The influential California country-rock  will release Speed of Life on September 22 on their own NGDB Records.
  • SheKnows.com features an exclusive interview with Holly Williams. Holly is the Granddaughter of Hank Williams, daughter of Bocephus and half-sister of Hank Williams III. Nashville Scene also has a nice article on Ms. Williams.
  • Holly Williams will also be will be performing, interviewing and signing autographs Friday, July 3 at 1:30pm at the Country Music Hall of Fame in downtown Nashville, which is included with museum admission and free to members. At 7pm she will make her Grand Ole Opry debut, which can be heard live on Nashville’s WSM,  and Sirius XM.
  • Charlie Robison is offering a chance to win a private concert that will take place in the winner’s very own living room. You can also invite up to 25 of your friends! the contest is taking place through Robison’s twitter feed.