• The Rick Rubin produced American recording done by Johnny Cash near the end of his life featured some inspired covers (most famous being the cover of Trent Reznor’s Hurt on 2002′s album, American IV: The Man Comes Around) Paste.com lists 10 songs they wished  Cash had lived to cover featuring works by Joe Strummer, The Silver Jews and  Ryan Adams. Though I’m sure a list like this could go on and on I have to take exception to a couple of the entries on the Paste list; Bob by the Drive By Truckers could be their worst song and I doubt that the mighty Cash could make it better (and there are tons of better DBT songs for him to cover; Cottonseed perhaps?)  and Death Cab For Cutie?! Really?! (via the 9513.com)

• Past.com also featured Patterson Hood from the Drive By Truckers performing Depression Era, his Academy Award nominated song for the Scott Teems directed film That Evening Sun.

• Aquarium Drunkard posts a fine ode to the greatness that is Jerry Jeff  Walker.

• Legendary Austin musician Roky Erickson returns on April 20th with his Anti Record’s release True Love Cast Out All Evil, his first new album in fourteen years. Producing the release is Will Sheff and his band, Okkervil River, backs Erickson.

• Dolly Parton will be on hand for the 75th Anniversary Rededication of Great Smoky Mountains National Park on September 2nd, joining Tennessee Governor Phil Bredesen, North Carolina Governor Bev Perdue and several other dignitaries. Dolly serves as Ambassador for the Park’s 75th Anniversary,  she is a Sevierville, Tennessee native and donated the first year profits from her album, Sha-Kon-O-Hey (Land of Blue Smoke) to the organization, “Friends of the Smokies”.

• On her new album, The List,  Roseann Cash will cover 12 classic songs culled from a list given to her by her legendary father, Johnny, gave her in 1973, and interpreted through her own unique style. Produced and arranged by Grammy Award winner John Leventhal (Cash’s husband), the album includes Cash’s covers of songs written and/or recorded by The Carter Family, Hank Williams, Jimmie Rodgers, Hank Cochran/Patsy Cline, Merle Haggard and Bob Dylan. (via Country Standard Time)

• Washingtoncitypaper.com features a Q&A with Ray Benson from Austin’s Alseep at the Wheel. Benson discusses the Wheels’ role as Texas dignitaries and whether they will be playing the White House again.

• Norah Jone’s may be less boring on her new release (they don’t call her Snorah for nothing, people!) After bonding with producer Jacquire King (Kings of Leon, Modest Mouse) for engineering one of Jone’s favorite records of all time, Tom Waits’ ‘Mule Variations (!) she hired him on for her new release. She will also feature songwriting contributions from Ryan Adams, Will Sheff of Okkervil River.

Ah, love is in the air -  But if you’re a fan of country music then you know dysfunction litters the alleyways in the heart of classic narratives. Cheating, lying , drinking, throwing heavy objects, crying, more drinking – some of the best country songs contain some, if not all, of these elements. Alt.country/roots rock…whatever takes things in more interesting places but many of the same themes remain from the source. In celebration, and protest, to Valentines day here is the official Twang Nation list of best Alt.Country love songs.

In no particular order:

Gram Parsons – A Song For You
Caitlin Cary & Thad Cockrell – Please Break My Heart
Lucinda Williams – Still I Long For Your Kiss
Steve Earle – Valentine’s Day
Steve Earle – Goodbye
Townes Van Zandt – I’ll Be Here in the Morning
Neko Case – Favorite
Son Volt – Tear Stained Eye
Ryan Adams – Come Pick Me Up
Drive By Truckers- Marry Me
Old 97s – Big Brown Eyes
Bottle Rockets – I’ll Be Coming Around

Disagree? Add your own!

Caitlin Cary Thad Cockrell -  “Please Break My Heart”

• It Burns When I Pee, the only podcast covering the cutting edge and proud tradition of country music, will be streaming their show live tonight (7:30pm CST) and showing us how the sausage is made. And yes, that is a lewd comment directed towards Norma Jean. The final gussied up and edited edition will be available  on Jan 23rd which will feature an interview and music by Bob Wayne.

• George Clinton, leader of the psychedelic funk music collective Parliament Funkadelic, is one of the celebrities participating in this season ofCMT’s  Gone Country 3.  Says Clinton: “I wanted to do Gone Country because I wanted to learn how to write country songs. I’ve written a lot of songs before, but I’ve never been validated as country, not even to myself. I’m country. I am a country boy. Johnny Cash, I like his songwriting. I used to watch Roy Clark and all them all the time — Chet Atkins and all those guys are really good songwriters. The lyrics for country songs are miles and miles ahead of almost anybody else’s lyrics. I guess everybody would agree there’s no comparison to it. I’m pretty sure I’ve got to do something that’s pretty challenging. I try not to imagine what it is, so when it happens I’ll just say I don’t have no time to do nothing but get off my ass and do it. I’m funky about doing whatever it takes.” I might have to actually watch it this season in spite of the homophobic midget host John Rich.

• Mercury Nashville is set to release an LP version of Jamey Johnson‘s Grammy nominated album That Lonesome Song on January 27.  Since That Lonesome Song was released, it has spent 8 weeks in the Top 10 on Billboard’s Top Country Albums Chart and has appeared on numerous 2008 Top-10 lists (including mine.)

• Ryan Adams has announced a musical hiatus citing health issues and “narcissistic over-indulgent behaviour” as the reason. Really!? Who knew? In all seriousness, I hope Adams finds peace of mind in his reprieve.  (guardian.co.uk)

• Shooter Jennings talks about to NPR World Cafe host David Dye about Waylon Forever, a collection of songs Shooter recorded with his dad Waylon Jennings in 1995. Shooter then revisited the material with his backing band, The .357s.

• Joe Whyte is back with his band at the Rockwood on inauguration Tuesday. Aang great show will be had by all: Rockwood Music Hall
  196 Allen St., NYC – 8pm – FREE

• New York blues guitarist Popa Chubby is readying his foray into country music entitled Vicious Country. The release features his wife Galea on bass. Below is a video shot at New York’s Rodeo Bar of Popa Chubby covering Hank Williams III‘s song Straight to Hell.

• Pitchfork.com reviews legendary country singer Charlie Louvin‘s two recent Tompkins Square releases, the Grammy nominated Steps to Heaven and Charlie Louvin Sings Murder Ballads and Disaster Songs. The 81-year-old Louvin will start a Spring tour starting at Los Angeles’ Spaceland on Feruary 7th.

• PopMatters.com asks 20 questions of roots/jazz fiddler Casey Driessen where Driessen recounts taking his fist sip of beer, furnished by his then Berklee College of music roommate and fellow fiddler Carrie Rodriguez at the tender age of 21.

• Roots singer/songwriter Patty Griffin was spotted at the Nashville’s Downtown Presbyterian Church working on her Buddy Miller produced new release which is expected soemtime in 2009. (The Tennessean)

• It appears that Canadian Bryan Adams played  his first show at the legendary Ryman Auditorium in Nashville last Sunday . I wonder if anyone in the audience yelled out for him to play “”Wonderwall?” (CMT blog)

• Hot on the heels of her new release “Little Honey” Lucinda Williams will release “Lu in 08,” a digital-only EP of protest songs just before the presidential elections (Oct. 28.) The EP will feature four live tracks, three of which are covers: Bob Dylan’s “Masters of War,” Buffalo Springfield’s “For What It’s Worth,” and the Thievery Corporation/Wayne Coyne collaboration “Marching the Hate Machines Into the Sun.” The fourth cut is the Williams original “Bone of Contention,” which was originally intended for inclusion on “Little Honey.” Williams is currently on the road in support of “Little Honey.”
• Sure Ryan Adams can be a pretentious dick (I hate, HATE, country music), but he’s an undeniable talent especially live. Ryan Adams and the Cardinals will play a hometown Halloween show Oct. 31 at New York’s Apollo Theatre. The groups next Lost Highway album, “Cardinology,” will arrive Oct. 28. Fans who pre-order through iTunes will receive an immediate download of first single “Fix It.”

Much of my wayward youth was spent journeying through various musical genres. Like the geographical type, musical travel helps impede bigotry, in this case musical bigotry. This experience has helped me to look at the music I hear more fully and not to reflexively dismiss something just because it doesn’t for some rigid idea of what I should like.

One genre (sub-genre really) I still love is, for lack of a better term, World electronica. Old world sounds mixed with laptop beats that meld into a surprisingly great thing. One artists that did this melding particularly well was the tango/electronica focused Gotan Project stewarded by  dj, producer and Frenchman Philippe Cohen.

If you mentioned to me that this Parisian was now not only jumping genres by another border altogether by packing up his laptop and heading to Nashville I would have told you it was a recipe for disaster, and I would have been dead wrong.

Cohen had solid instincts to hire some of Nashville and Texas’ best – Jim Lauderdale, David Olney, Sam bush, Melonie Cannon and Rosie Flores to name a few – and to hire Bucky Baxter (Bob Dylan, Ryan Adams) to co-produce. Like with the Gotan Project works, the songs here are lush and custom made for early morning brunch or relaxing late night listening, but the soul is still intact and beauty undeniable. Atmosphere is scattered throughput the songs in the form of musicians chewing fat, crickets and distance dog barking and train whistles. What could have easily been ham-handed is an outsiders’ loving snapshot of country music and culture.

From the pedal steel and banjo flecked opener of Jim Lauderdale sung “The Academy of Trust” to the unlikely covers of
Abbas “Dancing Queen” (featuring Melonie Cannon) and the Sex Pistols “Pretty Vacant” (featuring the amazing Rosie Flores.) All this with the warm, organic production of a front-porch guitar pull with the slightest tinge of electronic wizardry.

Cohen has proven himself to be a true connoisseur of sound and annihilator of boundaries with this fine release.

Moonshine Sessions Main Site |  MySpace

The Moonshine Sessions – Luna’s Song

- Chet Flippo at CMT’s Nashville Skyline features thoughts on the new Wilie Nelson bio “Willie Nelson: An Epic Life” by Joe Nick Patoski. From the post:

Patsoki has ascribed his fascination with Nelson to his own decades-long quest to discover a way to write the real Texas book, the one that finally captures the giant sprawling state and its larger-than-life characters. He says he finally realized the answer lay right before him in the form of a Texas superstar he had already interviewed many times before. Willie Nelson was Texas.

- Ryan Adams has written on his blog that the Ryman Auditorium is a “shit hole in Nashville”and that he hates, HATES country music. And always has. And he “references” it when he makes music that sounds like that, the way a director would use water as a backdrop for a svcene (sic) with a shark in it.

And here I thought that sobriety would make Ryan less of a sniveling self-absorbed prick.

- Plans were announced today for this year’s 25th Annual International Country Music Conference.

“The International Country Music Conference is the premier academic event for those studying and writing about country music,” stated conference co-chair Don Cusic. “It is appropriate that ICMC is held at Nashville’s Belmont University.”

This year the conference is set for May 22 to 24, 2008.

Stacy Chandler at Hickory Wind has posted her husband Geoffrey’s matrix of a vision of an alt-country video game detailing artists, settings and powers. A sample:

Artist: Ryan Adams

Setting: A back alley behind Quizno’s at 4 a.m. or The Austin City Limits stage

Powers: Two fighting modes – “Greasy dopemups mode” where he can just sit there and take all kinds of damage

–or-

“Rage filled dopemups mode” where he gets a phone and the opponent is suddenly holding an answering machine to be the target of a blistering verbal assault

Hilarious!

Aquarium Drunkard recently commented – Grieving Angel (or, What Happened to alt.Country) – on the demise of No Depression magazine as a sign on the wall that alt.country, and all its various strains is headed for a well deserved dirt nap.

Everybody wants to be Nietzsche and be the one to get the “God Is Dead” headline. So Jeff Tweedy decided to chase the hipsters and ape Radiohead and Al Green instead of pursuing his inner Jimmie Rogers. Good riddance. His work in Uncle Tupelo will always be respected but making Tweedy the canary in the alt.country coal mine a like holding up John Lydon as the torchbearer for punk. Public Image Ltd.? Punk is dead! Artist champion then abandon, or simply just cross for a spell, genres every day with questionable intentions and to mixed success. Their movement across genres doesn’t leave the genre left dead.

Yes, No Depression magazine was the go to messenger for the genre and its many branches, but their demise seems to be more a reflection on external forces – the economy, paper prices – and internal business opportunities not pursued – changing editorial direction, overlooking the power of advertising on the web – rather than a symbol of a genre’s demise. If Rolling Stone magazine pulled the plug tomorrow would people assume rock is dead? Hardly. We’d think that somebody at Rolling Stone really screwed up.

Some see the embodiment of the genres extinction in its commodification and acceptance by the mainstream. Abercrombie and the Gap start selling pearl snap western shirts. Urban Outfitters starts to sell John Deere caps for $30. the same ones you could once get for free with two bags of feed at the local supply store. Bullshit. When leather jackets with safety pins turned up in the windows of Macy’s New York store and Hot Topic sprang up in malls across the Nation many beat the drum of punks demise. Punk didn’t give a shit what they said and gave us Green Day, the Offspring and Rancid.

And as far as the acceptance of the mainstream, this is still music with folk and country in its DNA. It is made to be appealing and to be related to by all people living a workaday life. With troubles and families and simple joys. It is made to be accessible so mainstream acceptance is a sign of success. This isn’t alt.rock where where the rules appear to be when there is mainstream acceptance it’s a sign for the hipster herd to move on.

This is America, The sincerest form of flattery in our hyper-capitalist culture is to be co-opted by trend-spotters and sold to middle America by the yard. So what? For every Flying Burrito Brothers there will be an Eagles. There are plenty of thrift shops and seedy bars for those that know the real, better thing from the Plexiglas replica. A genre that is so rarefied and precious as to wilt at the first sign of filthy lucre was never a legitimate genre anyway. It was just a gleam in some PR agents eye that once obtained was cashed in and abandoned. Grunge anyone?

It used to be that sub-genres were prohibited by physical space to thrive. Tower and Peaches only had so many shelves to hold album, cassettes and CDs and a minimum wage staff that know nothing about music didn’t help to perpetuate the hidden gems. But that hurdle didn’t stop indy boutiques from filling the void by bringing expertise and products that could not be found at the big box music stores. Now the rules and economics have all changed and physical space for product is not an issue. Online retail can adapt and support genres and sub-genres as they establish themselves to be financially viable. Amazon offers an alt.country and Americana section featuring the likes of Tift Merrit, Neko Case and the Drive By Truckers and iTunes offers an essentials alt.country play list featuring Ryan Adams and Johnny Cash. For those that prefer the boutiques expertise and selection can head over to Miles Of Music.

The whole argument might just be moot. Country music as a singular entity is really just a newfangled marketing artifice. What we have come to think of as country music is a mongrel beast of Celtic tunes, sea shanties, blues and gospel music. Hell, what we know as country and rock music today cross pollinated in the 50′s at a little studio at 706 Union Avenue in Memphis, Tennessee and changed the music world forever.

People that argue that alt.country and its cousins Americana and roots music is some way diluting “true” country music ignore the genres history as already existing and enduring sub-genres Honky Tonk, Bakersfield Sound, Bluegrass Traditional Country, Yodeling, Country Boogie, Country Rock, Close Harmony, Square Dance, Jug Band, High Lonesome Sound and Western Swing. Like the English only crowd, they ignore the history of cultural evolution in an attempt to erect a legislative dam to keep the genre pure. I say put on the Rolling Stones “Sticky Fingers” and watch their heads explode.

Livestock breeders often practice inbreeding to “fix” desirable characteristics within a population. However, they must then cull unfit offspring, especially when trying to establish the new and desirable trait in their stock. Alt.country, roots, Americana are the unfit offspring of the Nashville and corporate play list cultural breeders. These castoffs, misfits and outlaws make their own way in places across the globe. They make American music healthy and thrive by allowing a level of flexibility and brave experimentation that evolves the art and lays the groundwork to be culturally relevant to a new generation of fans.

Every day I’m contacted by new artists like the Dexateens, Twilight Hotel and the Whipsaws or their representatives that are taking alt.country, Americana, roots and Country music in exciting and sometimes unusual directions. Are they representative of country music? No, not in the officially sanctioned Nashville and mainstream radio sense, but there they are, listening to Johnny Cash and Kris Kristofferson and playing in their bedrooms and down at the the local bar. The are putting up a MySpace and Facebook page to allow people all over the world to discover them, refer the bands to their friends, and the artists can accumulate a list of fans so that they can serve them directly going forward. These artists have much to say and prove. Alt.country in and of itself is a merely a label that is only useful if representing a thing. Judging by my email, mailbox and experiences with local performances and conversations with artists and fans there is certainly a thing thriving out there that will not be denied, not matter what Nashville or cultural critics (me included) thinks.

I have to concur with the Twin-Cities country music critic Jack Sparks when he said “It’s important that I end this thought by saying everyone leading up to this, and everyone after, who writes an article about how “alt country” is dead, is a fucking moron.” Amen partner, amen.

Uncle Tupelo – Chickamauga