Tag Archives: Willie-Nelson

John Doe and The Sadies Collaborate for Country Club

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From JamBase – John Doe (X, The Knitters) and The Sadies join forces for Country Club, an album of classic country covers and originals due out April 14, 2009 on Yep Roc Records.

“Country Club is the result of a drunken promise or threat I made to Travis and Dallas [Good, of The Sadies] the first night we played together in Toronto. These happen all the time but it’s rare that anyone remembers them the morning after, let alone follows through and makes it a reality. I’m really glad we did,” says Doe.

By including varying yet equally beloved movements within the country music pantheon, Doe and The Sadies were able to cover their heroes while filtering the pop sensibilities of ’60s Nashville through the electric honky tonk of Bakersfield, CA.

“We’re not sure why it sounds like it’s from the sixties. Maybe that’s our favorite era of country music or maybe that’s what we listened to when we first learned how to play it,” remarks Doe. “But what was called ‘Countrypolitan’ always seemed one of the coolest hybrids of country music. But we agreed quickly and completely that there were going to be no string sections, horns or choirs. Bakersfield vs. Nashville was never a dispute . . . Bakersfield!” Dallas Good of The Sadies continues, “The songs chosen were very ambitious, and while we haven’t re-invented the wheel we have created a cohesiveness between several hit country & western singles and our own styles.”

Country Club also features guest turns from D.J. Bonebrake, Kathleen Edwards, Eric Heywood and more.

Tracklist & Credits:

1. Stop the World and Let Me Off
Songwriter: Carl Belew
Made famous by: Waylon Jennings

2. Husbands and Wives
Songwriter: Roger Miller

3. ‘Til I Get It Right
Songwriters: Red Lane, Larry Henley
Made famous by: Tammy Wynette

4. It Just Dawned on Me
Songwriters: Exene Cervenka, John Doe

5. (Now and Then) There’s a Fool Such as I
Songwriter: William Marvin Trader
Made famous by: Hank Snow

6. The Night Life
Songwriters: Paul F. Buskirk, Walter M. Breeland, Willie Nelson
Made famous by: Ray Price

7. The Sudbury Nickel
Songwriters: The Sadies

8. Before I Wake
Songwriters: The Sadies

9. I Still Miss Someone
Songwriters: Johnny Cash, Roy Cash Jr.

10. The Cold Hard Facts of Life
Songwriter: Bill Anderson
Made famous by: Porter Wagoner

11. Take These Chains from My Heart
Songwriter: Fred Rose, Hy Heath
Made famous by: Hank Williams

12. Help Me Make It Through the Night
Songwriter: Kris Kristofferson

13. Are the Good Times Really Over for Good
Songwriter: Merle Haggard

14. Detroit City
Songwriters: Danny Dill, Mel Tillis
Made famous by: Bobby Bare

15. Pink Mountain Rag
Songwriters: The Sadies

The Sadies – Flash

[youtube]http://www.youtube.com/watch?v=zcfd1kFmsqE[/youtube]

Rachel Brooke and Lonesome Wyatt to Release A Bitter Harvest

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  • According to a post on her MySpace page Rachel Brooke will be collaborating with  Lonesome Wyatt from Those Lonely Bastards. The release is entitled A Bitter Harvest, and will be released around May, and will be available on CD and vinyl.
  • Daytrotter has three new Joe Pug cuts; Bury Me Far From My Uniform, Unsophisticated Heart, The Door Was Always Open.  Seriously,  Joe’s Pub tonight!
  • Washington Post staff writer J. Freedom du Lac reviews Willie and the Wheel. A new collaberation by Willie Nelson and Western swing preservationists Asleep at the Wheel, and he like what he hears.
  • Alejandro Escovedo’s Real Animal comes out the big winner in No Depression’s Readers Poll.

PlayStation 2 Hopes to Cash In on Country

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  • Cindy Watts at the Tennessean posts about SingStar, a new Playstation 2 karaoke-type game which will include country music starts Faith Hill,  Willie Nelson and Brad Paisley….also Taylor Swift for some reason. Troy Gentry from Montgomery Gentry tried SingStar and is quoted as saying “singers could use the game to help fine-tune their vocals.” I’m just ready for Grand Theft Auto – Hazzard County, Georgia.
  • Pitchfork.com posts that there are message board and blog rumors that “Silver Jews” leader David Bermanwill call it quits and that “the band’s January 31 performance at McMinnville, Tennessee’s Cumberland Caverns (to be broadcast on Nashville’s famed WSM radio station), will be their last. “

Willie and the Wheel Website Launched

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The always knowledgable Juli Thanki gives us a history lesson of the banjo (Happy-Go-Plucking) at ther new Torch & Twang column at PopMatters.com.

Andrew Gilstrap, also at PopMatters.com reviews the excellent 2008  Kasey Chambers and Shane Nicholson release Rattlin’ Bones.

The Willie Nelson and Asleep at the Wheel collaboration Wille and the Wheel has launched thier new website. The site allows pre-orders for the CD and lists tour dates. (via stillisstillmoving.com)

Willie Nelson – The Fillmore, San Francisco, CA. – 1/17/09

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If you’ve attended a solo Willie Nelson show you know what’s coming. Just as sure as a Texas Summer is hot and that your enchiladas at El Fenix will begin with chips and salsa, the Redheaded Stranger will deliver a canon of some of the best and most loved American songs spanning his 40 year career. The Johnny Bush and Paul Stroud penned Whiskey River, Good Hearted Woman – written by Willie and his partner in outlaw brotherhood Waylon Jennings, Crazy – the Willie penned 1962 #2 country hit for Patsy Cline that was originally written for, and turned down by,  Billy Walker, Funny How Time Slips Away – a song Walker did record and had a hit, the Kris Kristofferson penned Help Me Make It Through The Night and Me And Bobby McGee (made famous by fellow Texan Janis Joplin), Blue Eyes Crying in the Rain – the Fred Rose penned song that was originally performed in 1945 by Roy Acuff , later by Hank Williams but made into a hit by Willie on his thematic masterpiece Red Headed Stranger. The list goes on but you get the idea.

Even after a reprieve in 2004 due to a bout with carpal tunnel syndrome (well not much of a reprieve, Willie wrote two current song list staples, Superman and You Don’t Think I’m Funny Anymore – during the 4 months he was supposed to take it easy) Willie still plays the weathered Martin N-20 with now defunct Baldwin pickups (aka Trigger) in his signature syncopated style that made him too jazzy for 60’s era Nashville but endeared him to an audience that weren’t typical country music fans back in Austin. Trigger bares a ragged hole in it’s body right where decades of downstrokes have landed blows – surrounded by signatures of Johnny Cash, Roger Miller, Kris Kristofferson and others this singular instrument has transcended it’s original intent. It now stands as a talisman as well as, as it’s name suggests, a trusted and loyal friend.

Very few artists have achieved the status of American icon. It’s a short and select group that have one thing in common, they transcend the level of working musician and become a representation of the music itself. 40’s pop, Frank Sinatra, Jazz, Louie Armstrong – Country Music in the minds of many Americans born in the last 40 years is Willie Nelson.

After all this time the humility is still there, thanking the audience after songs or an especially dexterous turn on Trigger. The 1000 watt smile, the twinkle in his eye, the humor, the worn bandanas tossed into an adoring crowd. Except for his well-known predilection for ganja (of which some of the Bay Area’s finest found its way on stage tossed up by a fan that abides) the man could have easily had a place in politics.

Seeing Willie is like visiting the Grand Canyon or the giant Sequoias – he’s less a musician and more like a force of nature, you’re awed to be in the presence of a national treasure and, after repeated visits, subtleties arise that are only discernible after a level of familiarity is achieved. The classics begin to expose nuances, phrasing, odd time signatures – once past the initial awe there’s a lasting beauty that emerges. The audience is enthralled and vocal – “yeehaws” and “ahh-haaas” ring out between each song. Not surprising, this is as far west we you can get without getting your boots wet.

Willie’s son Lukas and his band, the Promise of the Real, opened the show with their brand of jamband psychedelic fusion. Playing in this venue where the Grateful Dead performed so many times must have been a dream come true for these guys. I’m not particularly a fan of this style of music but one thing did stand out for me; whether fronting his own band or supporting his dad Lukas Nelson is becoming a master guitar player in his own right.

The night was topped off for me meeting Linda, a fellow blogger with #1 Willie Nelson fan site Still is Still Moving. Linda’s site is the go-to place for all thngs Willie.

And then there was the Oakland chapter of the Hells Angels in VIP seating within the security barrier right in front of us. The outlaw mojo was in full force on this cool, San Francisco night.

Willie Nelson : Stardust – The Fillmore – 1/17/09

[youtube]http://www.youtube.com/watch?v=7EOqKMlq05I[/youtube]

Album Review – Phosphorescent – To Willie (Dead Oceans)

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Part of the appeal of the Texas Yoda is his ability to musically transform himself in ways that balance his musical curiosity with a foxes eye towards expanding his market. This allows him to be the steward of this own musical journey and makes him a beacon for artists that prefer to forge their own path.

Mathew Houck aka: Phosphorescent’s sound is similar to fellow alt.folk/slowcore solo-artists-using-revolving-bands-and-alias’-with-a-partiality-toward-heaps-of-facial-hair Will Oldham aka: Bonnie “Prince” Billy and Samual Beard aka: Iron and Wine, and actual bands like The Mountain Goats, Mark Kozelek’s Red House Painters and the man I consider the granddaddy of the genre Nick Drake. Sparse, somber and wistful these bedroom troubadour’s introspection borders on emotional honesty and precious self-indulgence.

With For Willie Houck leaves these other artists in the dust. The album is done, primarily, with a palpable love for Willie and his work. The album cover art obviously alludes to Willie’s own To Lefty from Willie but Houck displays self-aware humility by not including his name in the title.  The cuts dig deep into Willie’s back catalog to uncover gems rather than  well- known tunes. This is a smart move since it allows Houck some leverage for stylistic interpretation. But Houck is no deconstructionist and the soul of the songs remain intact. Too Sick To Pray features guitar reminiscent to will gut-string hillbilly jazz style and Walkin’ is a straight-up steel driven barroom weeper. Can I Sleep In Your Arms sounds shimmers like a rodeo-angel choir lament to lost love and The Last Thing I Needed (First Thing This Morning) beautifully exposes the melancholy heart beating within the song

The album’s sparse production is reminiscent of Willie’s own criminally underrated Spirit and Daniel Lanois produced Teatro. Willie has always been too innovative to fit in the Nashville country music straight-jacket and these works might have been what bought the attention of Houck  in the first place. I would like to hear Houck  do some originals in this style and perhaps he could tuen out to be the artistic bridge between Willie Nelson and the alt.folk/slowcore territory instead of just an adroit interpreter.

Amazon | MySpace | Dead Oceans Site

Phosphorescent- Reasons to Quit

[youtube]http://www.youtube.com/watch?v=Y-XGhPrsODw[/youtube]

Naked Willie

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The fine folks at the 9513 have a couple of great posts I wanted pass along. First Vanessa Grigoriadis at Rolling Stone writes that aside from Willie Nelson’s project with Asleep at the Wheel, he has another album slated for early ‘09 titled Naked Willie. Like the Beatles 2003 release  Let It Be…Naked sans the original release’s Phil Spector “Wall of Sound” orchestral overdubs and embellishments, Naked Willie will contain Nelson’s RCA recordings from 1966 to 1970 without the original’s strings and “embellishments.” The release will be produced by Willie’s long time harmonica player Mickey Raphael.  “For the album cover,” says Raphael, “Willie took a picture of himself with his iPhone while he was in the bubble bath, and sent it to me.” (originally posted at Still Is Still Moving)

Second, after searching in vain for an original recording of Buck Owens’ 1979 duet with Emmylou Harris, “Play Together Again Again” the Whooping Llama blogger bought the original 45 online and made it available as a spacial Christmas gift to his (her?) readers.

Tom Russell – Berkley, California – 12/06/08

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My fist trip to Berkley since moving to the Bay Area was a great introduction to the town. After the beautiful, if congested, drive over the Bay Bridge at dusk, I headed to the Berkeley branch of Texas-based Half-Price Books where I purchased a used copy of Gail Folkins’ excellent Texas Dance Halls: A Two-Step Circuit. I took this as an omen.

I found the venue, The Freight & Salvage Coffee House, and parked on a nearby street. While heading to the space I had the good fortune to stumble on Everett & Jones Barbecue, where the wait is worth it and the hot sauce really is. I had the brisket plate. Then on to the show. The Freight & Salvage Coffee House has the DIY vibe of an 60’s coffee house where patrons would sit wired on Italian coffee and listen to songs about the coming revolution blowing in the wind. The capacity crowd this night might be a bit grayer and less primed for rebellion, but they still came to hear songs steeped in authenticity and passion.

At 58 Tom Russell looks like a younger version of the actor James Caan, and like his Bronx born doppelganger Russell has a workman-like delivery of his art. There are few performers more uniquely authentic than the Los Angeles native and El Paso resident. As a founder of contemporary Americana music songwriter Russell defies rigid genre boundaries to create work shaped by many sources -country, folk, Tejano – that lead to great, rather than a correctly formulated, songs. Like his contemporaries Guy Clark, Townes Van Zandt and Willie Nelson, you do a disservice to the man by applying a label to him.

Russell has true Renaissance instincts that have shaped his music as well as his life – right out of the University of California Russell taught school in Nigeria during the Biafran war, he’s has published three books and is currently showing his paintings at Austin and Marfa Texas based Yard Dog galleries.

During the two-plus hour show Russell recalled great stories about friends, lost love, musicians, beat poets, songwriting, border politics and hearing the Doors’ “People Are Strange” on a seedy Mexican cantina juke box. The bartender smile a toothy smile when he say Russell’s amusement and states  “Las puertas son las mejore!” Is it any wonder this all results in such great songs.

San Antonio’s Michael Martin provided intricately dazzling guitar and mandolin workto counter the hard tales Russell sang of illegal Mexican workers (Who’s Gonna Build Your Wall?) grappling with mortality (The Pugilist at 59) and the pain of love (Down the Rio Grande and Navajo Rug.) Many of the songs are autobiographical and the gritty roads and and tequila soaked rendezvous are all palpable. If Willie Nelson is Texas’ Django Reinhardt then Russell is the states’ adopted Jack Kerouac.

As the attentive crowd sat rapt Russell then focused on the plight of Native Americans through a selection of songs including a stirring version of Peter La Farge’s lament of the Pima Indian who was one of the five Marines and one Navy Corpsman who raised the flag on Mount Suribachi during the Battle of Iwo Jima, The Ballad of Ira Hayes.

Russell closed out the show with an encore featuring the somber prison song Blue Wing and put a fine finish on my introduction to Berkley. As learned and  unorthodox as I could have hoped for.

Tom Russell -  Gallo del Cielo – Freight and Salvage, Berkeley CA

[youtube]http://www.youtube.com/watch?v=8M6jgq3jYy0[/youtube]

Roots of Country Music and Hip-Hop

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I’ve often contended that the thematic similarities between country music and hip hop (as well as punk) – poverty, faith, community, rebellion, redemption, love, an insanely loyal fan-base – have always been there bubbling just under the superficial stylistic surface. Juli Thanki over at PopMatters.com does  a great job of fleshing out this concept in her story Who Says Country Can’t Hip-Hop?

Though I’m less impressed with the use of Kid Rock, Cowboy Troy and the Big and Rich creation, the “Muzik Mafia” as well as her “Screwed-Up Genius Who Died Before His Time” theory to tie the two genres -represented here by Tupac Shakur and Hank Williams – to be dubious, and the oversight of excellent artists that represent an appealing mix of the two cultures in their work like Ridley Bent and Buck 65 – I do applaud the article’s direction overall and the focus on House of Pain’s Everlast, the Gourds cover of Snoop Dogg’s “Gin and Juice” and Snoop’s own work with Willie Nelson and his expressed respect for the Man in Black,  Johnny Cash.

With full knowledge of the level of loyalty of both genre’s fans, Thanki anticipates much hate mail from her article. If the email assailing does come to be it will just prove that no one hates quite as hotly as close brothers.

Buck 65 – Wicked and Weird

[youtube]http://www.youtube.com/watch?v=7oFVlcXEHkI[/youtube]

Ridley Bent – The Devil And Coltrane Henry

[youtube]http://www.youtube.com/watch?v=xw0K0GviZg4[/youtube]

Colbert Christmas to Feature Willie Nelson and Toby Keith

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That bastion of righteous irony, Stephen Colbert, will celebrate the impending consumer slump this Sunday with A Colbert Christmas: The Greatest Gift Of All.

Colbert fights the “war on Christmas” with this surreal bit of spiked nog that sxews Christmas specials of the past. Think Andy Williams in a cabin in rural Michigan and the town nearby has a gas leak that’s making eveyone act strangley. The strangeness is offered by the Daily Show’s Jon Stewart, Elvis Costello, Willie Nelson, John Legend, Toby Keith, and Feist.

I have to say, I’m not a big fan of Toby Keith, but after seeing him do a send up of, well, himself singing a song about Santa dropping nukes from his sleigh on heretics who don’t believe in Jesus or Santa, who Keith explains are actually the same person, Keith might have a new fan.

[youtube]http://www.youtube.com/watch?v=uTzbm5E_qq4[/youtube]