Record Store Day Black Friday 2018 Americana and Roots Recommendations

Record Store Day's Black Friday

Just as the weather turns crisp and the Halloween candy gluts the store isles you know that Record Store Day Black Friday event is right around the corner. The event, that results in indy record store around the world making a good chunk of their yearly take, has been expanded to take place over two days, Black Friday (November 23) and Small Business Saturday (November 24).

Among the vinyl delights offered is a Legacy Edition of The Byrds – landmark “Sweetheart of the Rodeo” with lots of goodies to top off the album’s 50th anniversary. Also offered is Lone Justice – The Western Tapes 1983, early Marvin Etzioni produced demos of these alt.country pioneers.

Check the full list at the Record Store Day site. I’ll be buying a stack from the good people at Dallas’ own Good Records. Remember to tweet a pic of your bounty to my twitter account and I’ll share it with those foolish enough to stay home.

The Byrds – Sweetheart of the Rodeo (Legacy Edition) – 4 x LP

By the time Sweetheart Of The Rodeo was released in 1968, The Byrds had already changed the sound of rock music twice; from jangling folk-rock to experimental acid-rock, they constantly sought to push the boundaries of what rock music could be. The 1967 departure of David Crosby left a creative void filled quickly by country music-loving Gram Parsons, whose addition led Roger McGuinn, Chris Hillman and company to record an album comprised mostly of authentic country material in Nashville, with the aid of local session aces (including future Byrd Clarence White). For the first time on vinyl—and on the heels of a 50th anniversary tour of the album by original members McGuinn and Hillman—this Legacy Edition of Sweetheart Of The Rodeo showcases this country-rock masterpiece alongside 28 bonus tracks, including demos, outtakes, rehearsal versions and tracks by Parsons’ pre-Byrds outfit, The International Submarine Band.

Bobbie Gentry – Ode To Billie Joe – LP

Ode to Billie Joe is the 1967 classic debut album by singer-songwriter Bobbie Gentry. The album peaked at #1 on the Billboard charts, and was the album that displaced the Beatles’ Sgt. Pepper’s Lonely Hearts Club Band from its 15-week reign at the top. This deluxe 180g LP reissue on Elemental Music was cut and mastered by the renowned audiophile mastering engineer Kevin Gray direct from the original tapes, with packaging that includes all original artwork and liner notes.

SIDE A 01 Mississippi Delta (3:05) 02 I Saw An Angel Die (2:56) 03 Chickasaw County Child (2:45) 04 Sunday Best (2:50) 05 Niki Hoeky (2:45)
SIDE B 01 Papa, Woncha Let Me Go To Town With You (2:30) 02 Bugs (2:05) 03 Hurry, Tuesday Child (4:52) 04 Lazy Willie (2:36) 05 Ode To Billie Joe (4:15)

Robert Johnson – Cross Road Blues/Ramblin’ On My Mind – 10″ Vinyl

Eric Clapton is quoted as saying that “Robert Johnson to me is the most important blues musician who ever lived”. A special 2018 Black Friday offering of Robert Johnson’s iconic 1936 recordings of “Cross Road Blues” / “Ramblin’ On My Mind” reproduced on the Vocalion label with sleeve as a 10″ single.

Blind Lemon Jefferson – Black Snake Moan/Matchbox Blues – 10″ Vinyl

Blind Lemon Jefferson, “The Father of Texas Blues,” was the best-selling malevblues artist of the 1920’s, recording 92 sides for Paramount Records and one released 78 for Okeh Records: “Black Snake Moan / Matchbox Blues”. Jefferson produced an original, driving, unpredictably advanced guitar style and a distinctive booming high-pitched, two-octave voice that no one could imitate. Legends of his prowess as a bluesman abound among the musicians who heard him, and sightings of Jefferson in different regions of the United States are plentiful. B.B. King stated, “His touch is different from anybody on the guitar—still is. He was majestic and played just a regular little six-string guitar with a little round hole. It was unbelievable to hear him play. And the way he played with his rhythm patterns, he was way before his time, in my opinion. Blind Lemon was my idol.” A special 2018 Black Friday offering of Blind Lemon Jefferson’s 1927 Okeh recording of “Black Snake Moan” / “Matchbox Blues” is reproduced on the original label with an Okeh sleeve as a 10-inch 78 single.

Ray LaMontagne – Spotify Singles – 7″ Vinyl

Limited edition glow in the dark 7” vinyl of Ray LaMontagne’s Spotify Singles session recorded at Sound Stage Studios. Features live recordings of “Such A Simple Thing” and a cover of “Blue Canadian Rockies” originally performed by Gene Autry

“Such A Simple Thing” and “Blue Canadian Rockies” recorded at Sound Stage Studios Nashville

Lake Street Dive – Freak Yourself Out – LP

A new EP of five songs recorded during the Free Yourself Up sessions!
1. Daryl 2. Young Boy 3. Jameson 4. Angioplast 5. Who Do You Think You Are

Lone Justice – The Western Tapes 1983 – 12″ Vinyl

Musician and producer Marvin Etzioni first saw Maria McKee and Ryan Hedgecock in a club in 1982, playing George Jones and Hank Williams covers. He convinced them they needed original material. After working and writing, the band added Dave Harrington (bass) and Don Willens (drums), the band worked up material with Etzioni and cut 5 of the 6 tracks at the famed Record Plant. An earlier session provides the 6th track. The Western Tapes: 1983 exhibits the genesis of this highly-infl uential band. While the original demo version of “Drugstore Cowboy” has appeared on various compilations, the remainder of the other tracks from the sessions have remained in the can. Two of the tracks appear in their earliest demo form and wound up landing on the classic 1988 Lone Justice debut, “Working Late” and “Don’t Toss Us Away” (written by Maria’s half-brother, Bryan MacLean of the classic band, Love) which would eventually become a top 5 smash for Country superstar Patty Loveless. Released in conjunction with the band, the EP was mastered by Bernie Grundman (who also cut the 45 RPM lacquers). It’s a look into where they started and foretells where they would go.
As Etzioni (who would later join the band) says in his liner notes: “With countless hours together, it was a fun and innocent time. I believed we were creating a 21st century country band.”
They created much, much more. PLAY LOUD AT 45 RPM!

Side 1: 1. working late 2:45 2. don’t toss us away 4:29 3. drugstore cowboy 2:54
Side 2: 4. i see it 2:22 5. train song 2:55 6. how lonesome life has been 2:06

Kacey Musgraves – High Horse Remixes

High Horse Remixes (not available on any physical configuration)

SIDE A: High Horse (Kue Remix)- DJ Kue
SIDE B: High Horse (Violets Remix)- Violents

Hank Williams – The First Recordings, 1938 – 7″ Vinyl

The first EVER recordings made by the legendary Hank Williams. This Record Store Day Black Friday 7″ red vinyl single celebrates the 80th anniversary of their recording, and the labels duplicate the labels on the original acetate.

Side A “Fan It” (F. Jaxon) – Hank Williams
Side B “Alexander’s Ragtime Band” (I. Berlin) – Hank Williams & Pee Week Moultrie

Jaason Isbell Leads Americana Music Award Nominees

Americana Music Award Nominees
(L-R) Ethan Jodziewicz, Sierra Hull, Kenneth Pattengale, Lucinda Williams, Joey Ryan, Margo Price, Jed Hilly.
Photo by Sarah Como

The nominees for the 15th annual Americana Music Awards and Honors was announced yesterday from the historic Mansion on O Street in Washington, D.C. Aside from the odd elitism that an event from a ballroom of the luxury hotel symbolizes (the Mansion? I wonder if it’s on a hill?) it was an entertaining and fun event.

The event was streamed via Facebook’s new ‘Live’ feature exclusively through NPR Music’s Facebook page. The Milk Carton Kids — Kenneth Pattengale and Joey Ryan – were their usual droll elves. Ryan once making he connection between the event’s DC location and his vow to “Make Americana great again.” While donning a bright red cap emblazoned with that motto. It was huuuuuge.

Stellar performances by Lucinda Williams, Margo Price and Sierra Hull (who should be a nominee next year) with Ethan Jodziewicz put the spotlight on the purpose of the event – exceptional music by extraordinary musicians.

Alabama troubadour Jason Isbell continues his much-deserved success by leading the nominees with 3 nods for Album of the Year, Artist of the Year and Song of the Year. Lucinda Williams, Chris Stapleton and newcomer Margo Price each nominated for two apiece. Mainstream country crossover is reflected not only by Stapleton but also by Texan Kacey Musgraves

The 2016 Americana Music Association Festival and Conference is scheduled for September 20-25, with the awards ceremony being held at the historic Ryman Auditorium on Wednesday, September 21. Americana Music Association honors additional distinguished members of the music community with Lifetime Achievement Awards, which will be announced leading up to the event.

Jim Lauderdale is a natural as the proceedings host and Buddy Miller fronts the always exemplary house band.

Can’t make to to the event? Understandable, as it has sold out in recent years. But do not despair, the Americana Honors and Awards show will shown live on AXS TV and an edited version will show up on PBS at a later date. It will also be broadcast via SiriusXM Radio, BBC2, WSM and Voice of America.

South Carolina newcomers Shovels and Rope will lead the field with four nominations, followed by legendary Emmylou Harris and Buddy Miller each with three nods. I’m happy to report that a few of my choices made it on the list this year(Kelly Willis & Bruce Robison, YES!) and John Fullbright is up for Emerging Artist of the Year. Well if being nominated for the Americana Album of the year Grammy, as Fullbright was before losing to Bonnie Raitt, isn’t emerging the I don’t know what is. Dwight Yoakam’s dominance of the Americana charts earlier this year with his new release Three Pears (my review) also garnered him an Artist of the Year nod.

Here is the full list of the 2013 Americana Music Award nominees. Are your choices here?

ALBUM OF THE YEAR
Something More Than Free – Jason Isbell
The Ghosts of Highway 20 – Lucinda Williams
The Very Last Day – Parker Millsap
Traveller – Chris Stapleton

ARTIST OF THE YEAR
Jason Isbell
Bonnie Raitt
Chris Stapleton
Lucinda Williams

EMERGING ARTIST OF THE YEAR
Leon Bridges
John Moreland
Margo Price
Nathaniel Rateliff & the Night Sweats

SONG OF THE YEAR
“24 Frames” Jason Isbell
“Dime Store Cowgirl” Kacey Musgraves
“Hands Of Time” Margo Price
“S.O.B.” Nathaniel Rateliff & The Nightsweats

DUO/GROUP OF THE YEAR
Alabama Shakes
Emmylou Harris & Rodney Crowell
Lake Street Dive
The Milk Carton Kids
Tedeschi Trucks Band

INSTRUMENTALIST OF THE YEAR
Cindy Cashdollar
Stuart Duncan
Jedd Hughes
Sara Watkins

Wanted! – Notable Americana and Roots Music Releases for 2016

Ghosts of Highway 20 - Lucinda Williams

2015 was another bumper crop year for Americana and roots music, and 2016 show vast signs that the great music will continue to come. As our Cream of the Crop favorites from 2015 makes plain we might be experiencing a new golden age of roots music as a growing influence on our contemporary culture and as a sustainable , and viable, business for young and old artists alike.

That last part is crucial as it provides seed corn for the future of this music we truly love.

The list below is a collection of 2016 notable Americana / roots releases. Some anticipated releases from artists like Sturgill Simpson, Elizabeth Cook, Robbie Fulks, Lydia Loveless, Al Scorch and Brandy Clark have no release dates yet, but when I’m aware of them and others I will be updating the list through the year and will send word through my twitter account

If you know of a release not listed leave it in the comments and I might add it.

Look for new things coming in the 2016 at Twang Nation. With your help it’s going to be a great year folks.

January 11th
Keegan McInroe – “Uncouth Pilgrims”

January 15th
Dylan LeBlanc – ‘Cautionary Tale’
Randy Rogers Band – “Nothing Shines Like Neon”
Hank Williams Jr. – “It’s About Time”
Dawn Landes And Piers Faccini – ‘Desert Songs’

January 22nd
The Cactus Blossoms – ‘You’re Dreaming’
Simon Linsteadt – Self-Titled
Aoife O’Donovan – “In the Magic Hour”

January 24th
Michael Chapman – ‘Fish”

January 26th
Brad Armstrong – “Empire”

January 29th
Buddy Miller and Friends – ‘Cayamo Sessions at Sea’
Sierra Hull – ‘Weighted Mind’
Aubrie Sellers – ‘City Blues’
Miranda Lee Richards – “First Light of Winter”

February 5th
Lucinda Williams – “The Ghosts of Highway 20”
Dori Freeman – ‘Dori Freeman’
Luther Dickinson – ‘Blues & Ballads (A Folksinger’s Songbook: Volumes I & II)’
The Infamous Stringdusters – ‘Ladies & Gentleman’
Freakwater – ‘Scheherazade’
The O’s – ‘Honeycomb’

February 12th
Vince Gill – “Down to My Last Bad Habit”
Wynonna Judd – “Wynonna & the Big Noise”
Lorrie Morgan – ‘Letting Go … Slow’
Joey + Rory – “Hymns That Are Important To Us”
Malcolm Holcombe – ‘Another Black Hole’
Wheeler Walker Jr. ‘Redneck Shit’
Alex Dezen – ‘Alex Dezen’
Matt Patershuk – ‘I Was So Fond of You”
Applewood Road (Emily Barker, Amber Rebirth and Amy Speace) – ‘Applewood Road’

February 19th
Lake Street Dive – ‘Side Pony’
Austin Lucas – ‘Between The Moon and the Midwest”
Mike June – ‘Poor Man’s Bible’

February 26th
Shooter Jennings – ‘Countach (For Giorgio)’
Waco Brothers – ‘Going Down in History’
Kathryn Legendre – ‘Don’t Give A Damn’
Michael Daves – ‘Orchids and Violence’
Jane Kramer – ‘Carnival of Hopes’
Paul Burch – ‘Meredian Rising’
Bonnie Raitt – ‎’Dig In Deep’‬
Caleb Caudle – ‘Carolina Ghost”
Jen Lane – ‘This Life of Mine’
Ashley Monroe – ‘Live At Third Man Records”

March 4th
Loretta Lynne – ‘Full Circle’
Chris King – ‘Animal’
Anielle Reid – ‘Love Song’
Dead Tongues – ‘Montana’

March 11th
Lukas Nelson & Promise of the Real – ‘Something Real’
Waylon Jennings – ‘Return of the Outlaw: The Abbott, Texas, Broadcast 1973’

March 18th
Various – Dave Cobb’s ‘Southern Family
Grant Lee Phillips – ‘The Narrows’
Sean Watkins – “What To Fear”
The Roosevelts – ”The Greatest Thing You’ll Ever Learn’

March 25th
Parker Millsap – ‘The Very Last Day’
Margo Price – ‘Midwest Farmer’s Daughter’

April 1st
Elephant Revival – ‘Petals’
Robbie Fulks – ‘Upland Stories’
Teddy Thompson and Kelly Jones – ‘Little Windows’
Left Arm Tan – ‘Lorene’

April 8th
Hayes Carll – “Lovers and Leavers”
Tim McNary – ‘Above the Trees’ EP

April 15th
Hackensaw Boys – “Charismo”
Pauline Andres – “The Heart Breaks”
The Lowest Pair – ‘Fern Girl and Ice Man’ / ‘Uncertain As It Is Uneven’

April 19th
Crow Moses – “Nightshades”

April 22nd
Nate Leavitt – “Someone Send a Signal”
Derek Hoke – ‘Southern Moon’

April 29th
Larry Hooper – ‘No Turning Back’

May 3rd
Robert Ellis – ‘Robert Ellis’
Jeremy Nail – ‘My Mountain’

May 6th
Mary Chapin Carpenter – ‘The Things That We Are Made Of”
Jimbo Mathus – ‘Band of Storms’ EP
Vaudeville Etiquette – ‘Aura Vista Motel’

May 20th
Crystal Yates – ‘The Other Side’

May 27th
The Lowest Pair – ‘Fern Girl and Ice Man’ and ‘Uncertain As It Is Uneven’
Bonnie Bishop – ‘Ain’t Who I Was’

June 17
Sarah Jarosz – ‘Undercurrent’
Kris Kristofferson – ‘Cedar Creek Sessions’

June 24
The Felice Brothers – “Life in the Dark,”

July 1
Sara Watkins – ‘Young In All The Wrong Ways’

July 4
James Scott Bullard – “Box of Letters”

July 8
Mark Chesnutt – ‘Tradition Lives On’
Rob Ickes & Trey Hensley – ‘The Country Blues’

July 15
The Earls Of Leicester – ‘Rattle & Roar,’

July 22
High Bar Gang – ‘Someday the Heart Will Trouble the Mind’

August 5
Chelle Rose – ‘Blue Ridge Blood’
Summer Dean – ‘Unladylike’

August 12
Kelsey Waldon – ‘I’ve Got a Way on’
Boo Ray – ‘Sea of Lights’

August 19
Lydia Loveless – ‘Real’
John Paul White – ‘Belah’

August 26
The Devil Makes Three – ‘Redemption & Ruin”
Dietrich Strause – “How Cruel That Hunger Binds”
Waiting for Henry – ‘Town Called Patience’

September 9
Blue Highway – ‘Original Traditional’

September 16
Amanda Shires – “My Piece Of Land”
Jesse Dayton – ‘The Revealer’
The Buffalo Ruckus – ‘Peace & Cornbread’

September 30
Drive-By Truckers – ‘American Band’
Jim Lauderdale – ‘This Changes Everything’

October 7
Shovels and Rope – ‘Little Seeds’
Hiss Golden Messenger – ‘Heart Like a Levee’
The Dexateens – ‘Teenage Hallelujah’

October 28
Aaron Lee Tasjan – “Silver Tears”
Various Artists – ‘Highway Prayer – Tribute to Adam Carroll”
Jasmine Rodgers – ‘Blood Red Sun’

November 4
Kent Eugene Goolsby – ‘Temper Of The Times’

November 18
Miranda Lambert – “The Weight of These Wings”

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.

Listen Up! Chris Smither – ‘Drive You Home Again’ From ‘Signature Sounds 20th Anniversary Collection: Favorite and Rarities from the Second Decade’

20th-SIGSOUNDS-COMPILATION-300x300

Signature Sounds Recordings is an well-repected independent label specializing in singer-songwriter, Americana, and modern folk music. Jim Olsen and Mark Thayer founded the label in 1995 to promote the acoustic artists playing in the Northampton, Massachusetts music scene. The label has grown slowly to signing just 1-2 artists a year and developing them over years. This approach has worked well as the label has served as a home for Lake Street Dive and Zoe Muth and provided a career launching pad for the likes of Josh Ritter, Erin McKeown, Mary Gauthier & Lori McKenna.

On March 3, Signature Sounds will celebrate its 20 years of cultivating great talent with a special compilation ‘Signature Sounds 20th Anniversary Collection: Rarities From The Second Decade.’ The album will feature thirteen unreleased tracks plus eighteen songs in total from Crooked Still, Eilen Jewell, Lake Street Dive, Chris Smither and others.

‘Drive You Home Again,’ a Chris Smither’s unreleased track from the collection, exudes a timeless ramshackle and moody darkness that well reflects Signature Sounds spirit of quality.

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.

Americana Honors & Awards 2014 Nominees Announced – Rosanne Cash, Robert Ellis and Jason Isbell Lead The Way

americana music association

The nominees were announced today in Nashville by the Americana Music Association, and what a great list of talent it is!

Rosanne Cash, Robert Ellis and Jason Isbell each had three nominations in the same categories of Album of the Year, Artist of the Year and Song of the Year.

Cash, Ellis and Isbell are nominated for Artist of the Year, along with Rodney Crowell. Cash’s “A Feather’s Not a Bird,” Ellis’ “Only Lies” and Isbell’s “Cover Me Up” along with Patty Griffin’s “Ohio” are up for Song of the Year.

Cash’s album “The River and the Thread” is up for Album of the Year against Ellis’ “The Lights From the Chemical Plant,” Isbell’s “Southeastern” and Sarah Jarosz’s “Build Me Up From Bones.”

While watching the nomination event online on the Music City Roots Livestream Ellis chimed in from Houston As his name was called once, twice, three times he responded on the messaging thread with genuine surprise and humility “Wow!” “Thank you all!” he typed.

Rosanne Cash tweeted that she was “Thrilled!!” yo learn of her nominations.

The other Americana Honors & Awards categories, Lake Street Dive , the Avett Brothers, the Devil Makes Three, Hard Working Americans, and the Milk Carton Kids are up for Duo/Group of the Year. Hurray for the Riff Raff, Parker Millsap, St. Paul & the Broken Bones, Sturgill Simpson and Valerie June are in the vying for Emerging Act of the Year; and Larry Campbell, Buddy Miller, Fats Kaplin and Bryan Sutton are the nominees for Instrumentalist of the Year.

The awards will be handed out Sept. 17 at the Ryman Auditorium as part of the Americana Music Festival and Conference, happening Sept. 17-21 in Nashville. Jim Lauderdale will host the awards show, and Miller will lead the house an all-star band.

2014 AMERICANA HONORS & AWARDS NOMINEES

ALBUM OF THE YEAR
Build Me Up From Bones, Sarah Jarosz
The Lights From The Chemical Plant, Robert Ellis
The River And The Thread, Rosanne Cash
Southeastern, Jason Isbell

ARTIST OF THE YEAR
Rosanne Cash
Rodney Crowell
Robert Ellis
Jason Isbell

DUO/GROUP OF THE YEAR
The Avett Brothers
The Devil Makes Three
Hard Working Americans
Lake Street Dive
The Milk Carton Kids

SONG OF THE YEAR
“Cover Me Up”, Jason Isbell
“A Feather’s Not A Bird”, Rosanne Cash
“Ohio”, Patty Griffin
“Only Lies”, Robert Ellis

EMERGING ACT OF THE YEAR
Hurray For The Riff Raff
Parker Millsap
St. Paul & The Broken Bones
Sturgill Simpson
Valerie June

INSTRUMENTALIST OF THE YEAR
Larry Campbell
Fats Kaplin
Buddy Miller
Bryan Sutton

Record Store Day 2014 – Americana and Roots Music Picks

Gram Parsons - Alternate Takes from GP and Grievous Angel

It’s that time again twangers. Yes, Record Store Day 2014 is upon us. The annual celebration of local record stores that leaves behind clowns and balloons and replaced them with long lines and limited edition slabs of vinyl.

This year’s RSD2013 releases offer some great selections from the roots and Americana side of the fence. Steve Earle townes album stripped back to it’s solo guitar base? Yes! Alternate Takes from Gram Parsons’ pivotal GP and Grievous Angel albums? Oh yes! Unreleased Hank Williams from the 1950 The Garden radio spot programs? Hells yes!

Head to your local indy record store on April 19th early and scoop up some of these limited edition goodies below.

Check the RSD14 full list and remember to tweet a pic of your bounty to my twitter account and I’ll share it with those that dared to stay home.

Print

Big Mama Thornton – Sassy Mama
Format: 12″ Vinyl
Label: Vanguard
– A scorching 1975 live set from Big Mama including “Rolling Stone,” “Lost City,” and “Mr. Cool.”

Joan Baez – “Blessed Are”
Format: 12″ Vinyl
Label: Vanguard
Baez’s seminal 1971 double album is presented here in an ‘exact replica’ gatefold package. Included are “Blessed Are,” “The Night They Drove Old Dixie Down,” “Salt of the Earth,” and many more.

The Allman Brothers – “Selections from: Play All Night: Live at the Beacon Theatre 1992”
Format: 12″ Vinyl
Label: Legacy
Double vinyl release of live songs previously only available on DVD.

Dave Alvin & Phil Alvin – Songs from Common Ground
Format: 12″ Vinyl
Label: Yep Roc
Four song 12″ featuring the Alvin Brothers playing the songs of Bill Broonzy

Blue Rodeo – “Diamond Mine”
Label: Rhino
Release type: RSD Limited Run / Regional Focus Release
25th anniversary reissue, first time on blue and green colored vinyl

Neko Case & Jason Lytle – “Satellite of Love”
Format: 7″ Vinyl
Label: Brink
Take a trip into space with musicians Howe Gelb, Neko Case, Victoria Williams, John Covertino (Calexico), and many more in this limited edition 7 inch vinyl. Includes songs Satellite of Love, Mars Cassette Waltz, and Untethered Space Walk from the award winning animation comedy film Mars (Starring Mark Duplass of The League and Safety Not Guaranteed).

Johnny Cash – With His Hot and Blue Guitar
Format: 12″ Blue Vinyl
Label: ORG Music
Release type: ‘RSD First’ Release
More Info:
Johnny Cash with His Hot and Blue Guitar is the debut album of country singer Johnny Cash. Released in 1957, it was the first LP ever issued on Sam Phillips’ Sun Records label. Currently out of print, the album is being remastered and reissued on an exclusive blue color vinyl for Record Store Day. This limited edition pressing of 3,000 units will be numbered with a foil stamp on each jacket.

CENTRO-MATIC – Redo The Stacks
Format: 12″ Vinyl
Label: Navigational Transmissions
Reissue of the band’s first album, originally released in 1996. This version is remastered and artwork has been redone and hand painted to match the original version.

The Civil Wars – Live at Eddie’s Attic
Format: 12″ Vinyl
Label: Columbia
Nine songs recorded live in Decatur, Georgia in April 2009.

Court Yard Hounds – Amelita
Format: 12″ Vinyl
Label: New West Records
12″ vinyl of the new record with bonus 7″

Drive-By Truckers – Dragon Pants EP
Format: 10″ Vinyl
Label: ATO
B-Sides and outtakes from the new album English Oceans

Steve Earle – Townes: The Basics
Format: 12″ Vinyl
Label: New West Records
Release type: RSD Exclusive Release
In 2009 Steve Earle released an album of Townes Van Zandt songs. It began as solo guitar and vocal tracks recorded in October 2008 in New York City. Other instruments were added later in subsequent sessions for the album in New York, Nashville and Los Angeles. Those original recordings – The Basics – were released on a limited edition bonus CD with the Townes album and are available here for the first time on vinyl.; HAND NUMBERED

The Everly Brothers – Roots
Format: 12″ Vinyl
Label: Rhino
Release type: RSD Exclusive Release
“Roots” showcases the harmonies of the Everlys with covers of songs by performers who had been influential on the duo’s career. Songs by Jimmie Rodgers, George Jones, Randy Newman and Merle Haggard plus traditional standards offer laid-back, tasteful, acoustic-oriented arrangements with superb vocals that convey qualities of innocence tempered by experience. Originally released in 1968, “Roots” is one of the finest early country-rock albums.

Mary Gauthier/Sam Baker – When A Woman Goes Cold/Ditch
Format: 7″ Vinyl
Release type: RSD Limited Run / Regional Focus Release

Gram Parsons – 180 Gram: Alternate Takes from GP and Grievous Angel
Label: Rhino
2LP vinyl release of audio sourced from “The Complete Reprise Sessions” released in 2005. Contains a postcard insert at the request of Gram’s daughter, Polly Parsons, for the Hickory Wind Ranch Recovery Community. Foil numbering.

TRACK LISTING: SIDE ONE: “She (Alternative Version)”, “That’s All It Took (Alternative Version)”, “Still Feeling Blue (Alternative Version)”, “Kiss The Children (Alternative Version)”, “Streets of Baltimore (Alternative Version)” SIDE TWO: We’ll Sweep Out The Ashes In The Morning (Alternative Version)”, “The New Soft Shoe (Alternative Version)”, “Return of the Grievous Angel #1 (Alternative Version)”, “In My Hour of Darkness (Alternative Version)”, “In My Hour of Darkness (Alternative Version)”, “Ooh Las Vegas (Alternative Version) SIDE THREE: “I Can’t Dance (Alternative Version)”, “Sleepless Nights (Alternative Version)”, “Love Hurts (Alternative Version)”, “Brass Buttons (Alternative Version)”, “Hickory Wind (Alternative Version)” SIDE FOUR: “Brand New Heartache”, “Sleepless Nights”, “The Angels Rejoiced Last Night”

Waylon Jennings/Sanford Clark – Zia Records Presents: Audio Recorders Archive Vol. 1
Format: 7″ 45 – Limited to 500 copies on “GOLD” wax for Record Store Day
Label: Zia Records
Release type: RSD Limited Run / Regional Focus Release

Lake Street Dive – What I’m Doing Here/Wedding Band
Format: 7″ Vinyl
Label: Signature Sounds
Single 45 in a picutre sleeve, unreleased tracks

Ray Lamontagne – “Supernova”/”Pick Up A Gun”
Format: 7″ Vinyl
Label: RCA
First single from the album Supernova coming May 6th. Produced by Dan Auerbach.

Jon Langford & Skull Orchard – “Days & Nights”/”Here’s What We Have”
Format: 7″ Vinyl
Label: In De Goot Records
Release type: RSD Limited Run / Regional Focus Release

Langhorne Slim & The Law – “Animal”/”Space Girl”
Format: 7″ Vinyl
Label: Ramseur Records
Release type: RSD Exclusive Release

Lydia Loveless – “Mile High”/”Blind”
Format: 7″ Limited edition on colored vinyl. B-side is exclusive Ke$ha cover.
Label: Bloodshot
Release type: RSD Limited Run / Regional Focus Release

Jessica Lea Mayfield – “Make My Head Sing”
Format: Pink Cassette of the full album
Label: ATO Records
Release type: RSD Limited Run / Regional Focus Release

Doug Paisley – “Growin Souls/”Lies Lead To Lies”
Format: 7″ Vinyl
Label: No Quarter
Release type: RSD Limited Run / Regional Focus Release

Dolly Parton – “Blue Smoke”/”Home”
Format: Blue 7″ Vinyl
Label: Masterworks
Tracks from the forthcoming Dolly Parton record

Ramblin’ Jack Elliott – “Jack Elliott”
Format: 12″ Vinyl
Label: Vanguard
Ramblin’ Jack’s Vanguard debut, notable also for the appearance of Bob Dylan (credited as Tedham Porterhouse) on harmonica. It includes such staples as “Roving Gambler,” “Diamond Joe,” and “Black Snake Moan.”

Songs: Ohia – Journey On: Collected Singles
Format: 12″ Vinyl
Label: Secretly Canadian
Release type: ‘RSD First’ Release
More Info:
Almost 20 years after Jason Molina’s voice first rang out from Ohio, in this brave new world of streaming, the discussion surrounding the resurgence of vinyl rarely includes the 7”.

Southern Culture On The Skids – Party at my Trouse
Format: 7″ Vinyl – SCOTS collaboration with B-52s frontman Fred Schnieder
Label: Yep Roc
Release type: RSD Limited Run / Regional Focus Release

Various Artists – The Folk Box 50th Anniversary
Label: Rhino
Release type: RSD Exclusive Release
50th Anniversary Edition of the Elektra Records (in cooperation with Folkway Records) Vinyl Box Set 4-LP set containing 83 tracks featuring artists such as Pete Seeger, Dave Van Ronk, Phil Ochs, Tom Paxton and Judy Collins and many more. Vinyl cut from the original 1964 master tapes. Limited edition with foil stamp numbering. Bonus exclusive 7″ Vinyl included featuring Judy Collins’ rare version of Bob Dylan’s “I’ll Keep It with Mine” backed with Tom Paxton’s recording of “The Last Thing on My Mind” for Record Store Day only. Includes a 48 Page booklet including Forewords from legendary Producer Jac Holzman and Co-Producer Ted Olson. Out of print for over 40 years.

Various Artists – The Newport Folk Festival 1963–The Evening Concerts, Vol. 1
Format: 12″ Vinyl
Label: Vanguard
Fans at RecordStoreDay.com and VanguardRecords.com voted for this re-issue of Newport’s 1963 installment, remastered from the original tapes by David Glasser at Airshow Mastering and features performances from Mississppi John Hurt, Joan Baez, Ramblin’ Jack Elliott and, yes, Bob Dylan. Presented in ‘exact replica’ package.

“The Barnyard Song” (Sam Hinton), “Must I Go Bound” (Sam Hinton), “The Arkansas Traveller (Sam Hinton), “C.C.Rider” (Mississippi John Hurt/Pete Seeger), “Stagolee” (Mississippi John Hurt), “Spike Driver Blues (Mississippi John Hurt), “Coffee Blues (Mississippi John Hurt), “Diamond Joe” (Ramblin’ Jack Elliott), “Walk Right In” (Rooftop Singers), “Un Canadian Errant” (Ian and Sylvia), “Woke Up This Morning” (The Freedom Singers), “Oh, Freedom” (Joan Baez/Theodore Bikel), “Te Adore, Ate Amanha” (Joan Baez), “Wagoner’s Lad” (Joan Baez), “Blowin’ In The Wind” (Bob Dylan), “We Shall Overcome” (The Freedom Singers)

“Doc Watson – Southbound”
Format: 12″ Vinyl
Label: Vanguard
Release type: RSD Exclusive Release
Fans at RecordStoreDay.com and VanguardRecords.com voted for this re-issue of Doc’s classic 1966 album, remastered from the original tapes by David Glasser at Airshow Mastering. Presented in ‘exact replica’ package.

“Walk On Boy”, “Blue Railroad Train”, “Sweet Georgia Brown”, “Alberta”, “Southbound”, “Windy and Warm”, “Call of the Road”, “Tennessee Stud”, “That Was The Last Thing On My Mind”, “Little Darling Pal of Mine”, “Nothing To It”, “Riddle Song”, “Never No More Blues”, “Nashville Picking”

The Wild Feathers – “Got It Wrong/Marie”
Format: 7″ Vinyl
Label: Warner Bros.

Hank Williams – The Garden Spot Programs, 1950–Extended Play
Format: 10″ Vinyl
Label: Omnivore Recordings
Release type: RSD Exclusive Release
All recordings previously unreleased! From a 1950 radio show sponsored by Texas’ Naughton Farms Nursery, and brought to brown 10″ vinyl with the help of Williams’ daughter Jett.

SIDE ONE: “The Garden Spot Jingle” (Show 4), “I Don’t Care (If Tomorrow Never Comes) (Show 10), “Lovesick Blues” (Show 4), “Closing/Oh Susanna” (Show 10) SIDE TWO: “Farther Along” (Show 10), “Mind Your Own Business” (Show 9), “Fiddle Tune” (Show 4), “Closing/Oh Susanna” (Show 11)

Bob Wills And His Texas Playboys – Transcriptions
Format: 12″ Vinyl
Label: Real Gone Music
Release type: RSD Limited Run / Regional Focus Release
More Info:

Ten sides from Bob Wills’ legendary Tiffany Transcriptions, which were recordings made available only to radio stations in the late ’40s. The Tiffany Transcriptions are generally considered to be the best recordings that the King of Western Swing ever made, as the lack of commercial restrictions allowed his incredible band–and vocalist Tommy Duncan–to stretch out. Wills made over 300 transcription sides for Tiffany; only about half of them have been reissued on vinyl or compact disc. This 10-track album not only includes ten songs that have never been heard or seen anywhere since they appeared on the transcription discs some 65 years ago, but also features packaging designed to mimic the look of the original transcriptions, with a cutaway hole in front to show the vintage Tiffany logo on the vinyl, which is pressed in red as some Tiffany transcriptions did come in red vinyl. The back cover also includes vintage graphics from the period.

“I’m an Old Cowhand”, “Long Eared Mule”, “Put Another Chair at the Table”, “I’m Thinking Tonight of My Blue Eyes”, “Don’t Fence Me In”, “Don’t Be Ashamed of Your Age”, “Black and Blue Rag”, “Have I Stayed Away Too Long”, “Moonlight on the Ganges”, “What Is Life Without Love”

T Bone Burnett Recording Unfinished Dylan Tunes with Elvis Costello, Jim James, Marcus Mumford [VIDEO]

New Basement Tapes

If there was ever an Americana and roots music watershed recording the Basement Tapes 1967 sessions from Bob Dylan and The band was one.

Now there’s official word that that mainstay of Americana, T Bone Burnett, is working on a project “Lost On The River: The New Basement Tapes.” The project has a solid (and marketable) roster – Elvis Costello, Rhiannon Giddens (Carolina Chocolate Drops), Taylor Goldsmith (Dawes), Jim James (My Morning Jacket) and Marcus Mumford (Mumford & Sons.)

The event focuses on two-dozen recently discovered lyrics written by Dylan during the 1967 period that generated original legendary Basement Tapes release.

Recording is nearly complete on the project which will be released later this year by Electromagnetic Recordings/Harvest Records. The album will be accompanied by a Showtime documentary titled Lost Songs: The Basement Tapes Continued, directed by Sam Jones (the Wilco documentary, I Am Trying To Break Your Heart)

I can imagine the germ of this endeavor occurred during the “Another Day, Another Time: Celebrating the Music of “Inside Llewyn Davis,” held at New York City’s Town Hall last September. That one-night event featured Mumford and Giddens as well as Joan Baez, Patti Smith, Jack White, The Avett Brothers, Punch Brothers, Gillian Welch, Dave Rawlings Machine, Willie Watson, The Milk Carton Kids, Colin Meloy and Lake Street Dive. (see below)

Truth is I’m ambivalent about this. A sequel to The New Basement Tapes is like a sequel to Casablanca. Is it necessary and will it ever have a chance to even come close to the genius of the original. And as much as i respect the artists involved, they are hardly the contemporary versions of Dylan and The Band.

If this was Ryan Adams and the Felice Brothers I still think it would fall short, but damn it would be interesting.

Here’s to being proven wrong.

You can sign up for updates at on the project at the official site.

Lost On The River: The New Basement Tapes” will be released Nov. 11. Pre-order here.

“Another Day/Another Time” Celebrates the Music of “Inside Llewyn Davis” to Air on Showtime

Another Day/Another Time

“Another Day/Another Time,” a concert inspired by the Coen Brothers’ film “Inside Llewyn Davis”, which itself was inspired by the 60’s New York folk movement, took place at Town Hall
Sun, September 29, 2013.

Luckily Showtime set up some cameras.

The concert features performances of songs from the early 1960s in addition to live renditions of the film’s folk music.

The performances include The Avett Brothers, Marcus Mumford, Jack White, Gillian Welch, Joan Baez, Dave Rawlings Machine, Rhiannon Giddens, Lake Street Dive, Colin Meloy, The Milk Carton Kids, Punch Brothers, Patti Smith, Willie Watson, and the film’s lead Oscar Isaac.

“Another Day/Another Time” will will air December 13 at 10:00 PM on Showtime.