The extraordinary Elizabeth Cook talks to the Utne Reader about her irreverent career, influences and her upcoming Don Was produced album Welder.
Jim Lauderdale takes time from his South-By-Southwest appearance talk to Spinner.com about, well, his career, influences and her upcoming album Patchwork River, which was produced by longtime production partner Tim Coates and Doug Lancio,. Lauderdale also answers the timless question, “Beatles or Stones?”, in a diplomatic fashion that shows why he’s Mr.Americana.
South-By-Southwest has some great showcases, but I want to highlight three that I would love to attend.The
I’m baaaack. So if you’ve been keeping up with my tweets, or just reading the news, you know the 10th Annual Americana Association Conference and Festival in Nashville last week was quite a shin-dig. I missed goodBBQ and that laid-back Southern charm and although the conference attendance seemed to be down a bit (well, a lot actually), if my Shiner fogged memory serves me, the showcases were better than ever.
There were a number of memorable nuggets that I wanted to quickly share. For one thing, there must be an aging painting in Jim Lauderdale’s attic becuase the man that is ubiquitous not only at the AMA event but in Americana music in general, still beams with youthful charm.
The performance that made my biggest impression was a serendipitous discovery. A friend’s showcase Friday afternoon at BB Kings brought Dallas’ Somebody’s Darlng to my radar. I should be ashamed of not knowing about them earlier since they hail from my home town and they rocked my ass with a their roots-rock soul sound.
Then there was the two great guitar pulls. The Douglas Corner Cafe featured The Americana Renegades Show with excellent performance by Irene Kelley, Roger Saloom, Joe Whyte and Stoll Vaughan. The club was like a Blue Bird Cafe II with a reverent and attentive audience. Then I lucked into getting out of the rain and a long line at the Station Inn to see Nanci Griffith, Mary Gauthier & Elizabeth Cook in their own audience hushing performance was a great treat.
Seeing Bearfoot do their short set at the Compass records’ notorious Hillbilly Central open house was also a nice surprise. I was not familiar with this newgrass band but they held the packed audience in spellbound attention with their performance and did musch less cocaine than the former Hillbilly Central residents.
There was the spellbinding rustic winsomeness of Amanda Shires. The leather-tough gold-hearted girl – Angela Easterling (w. Will Kimbrough), and the omnipresence of Austin Texas with The Gourds, Cross Canadian Ragweed, Asleep at the Wheel, Reckless Kelly, Radney Foster and Charlie Robison.
Then there was standing near the stage to behold the wonder that is John Fogerty (along with Buddy Miller) at his semi-secret show at the Cannery. Wow…wow…
It was old-school alt-country at the closing night at the Basement with the ex-singer of Nashville super group BR549, Chuck Mead, and the only band that rivals the Drive By Truckers for a live performance, the Bottle Rockets, sending the whole thing off to a booming, bitter-sweet end.
Then there were the artists, radio, writers, fellow bloggers and general soldiers that, like myself, champion this music each and every day out of love more than riches (Ha!)
You can’t be everywhere all the time, and the four performance spaces for the AMA festival are a considerable distance from each other, so there are tough choices to be made and many show I wish I could have attended. But with a little logistics and a dash of serendipitous happenstance this trip to Nashville was a great party with wonderful memories (from what I can remember!)
Anybody that’s read this blog for more than five minutes knows that the style of country music that I champion is typically not represented on the flavor of the week “country” charts. I’m not in the business of puffing up entertainers that have more in common with REO Speedwagon than Hank Williams and my M.O., my brand if you will, has always been cream doesn’t necessarily rise to the top, sometimes it’s found around the edges.
George Strait is the type of rare bird that can sit on last week’s #1 Billboard 200 and Country Chart spot and yet finds it’s place in my heart. It’s not that I hate popular country music per se, it’s just that most popular country music is made for, and consumed by, people that wouldn’t be caught dead with a Merle Haggard or Loretta Lynne CD in their collection and their idea of classic country is Alabama or Kenny Rogers. George Strait is an neo-traditional alchemist that can please both the arena-filling masses and the discerning and grumpy critics like myself.
Maybe it’s his residence in Texas and his perceptible love of his (and my) home state’s regional flavor and away from the syrup factory of Music City, maybe it’s his sharp instincts for picking just the right songs to cover, whatever it is it’s been like a sound as a classic truck for over three multi-platinum decades.
Twang is Strait’s 25th studio album and his follow up to 2008’s excellent Troubadour and as subdued that earlier release was Twang is more like a celebration. The boisterous Bakersfield vibe of the Kendall Marvel, Jimmy Ritchey and Mr. Americana Jim Lauderdale penned title song comes right from the Buck Owens school of songwriting and lets it be known that Strait is not about to shy away from some hillbilly hell raising. Where Have I Been All My Life and Living For The Night are pure coming of age and heartache schmaltz (complete with string section), but Strait’s authentic delivery drives it right to the heart.
On Twang Strait steps up to the songwriting plate again for three songs co-written with his son, George “Bubba” Strait, Jr. The aforementioned beer-soaked bawler Living for the Night,” the Ray Price-style crooner Out of Sight, Out of Mind and the frothy-lament He’s Got That Something Special. On his own Bubba penned the excellent Marty Robbins-style tale of the outlaw and gunfighter Dave Rudabaugh, Arkansas Dave.
Strait pays tribute to Texas’ neighbors with both the rollicking Gordon Bradberry and Tony Ramey penned Hot Grease and Zydeco and the José Alfredo Jiménez classic ranchera song El Ray that he does completely in Spanish.
Once again Strait proves that he’s the most consistent talent going and the current King of Country Music.
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