.@wsugarcapps at @grimey‘s during americanafest http://t.co/gVD63T5iza
Category: Americana Music
.@billybragg at @Grimeys at @AmericanaFest http://t.co/YJWLjnxkoc
Ben Miller Band @AmericanaFest @newwestrecords showcase in Nashville http://t.co/FjsBo3DKbB
Revisited: Merle Haggard, Buck Owens, Buddy Emmons
By Ken Paulson
Two new and notable albums celebrate country music’s heritage, successfully revisiting classic songs in a contemporary setting.
Vince Gill and premier steel guitar player Paul Franklin team up on Bakersfield to celebrate California country, specifically the recordings of Buck Owens and Merle Haggard.
It’s no surprise that the playing of these Time Jumpers bandmates is impeccable. What is surprising is just how fresh these half-century old songs sound.
The tracks alternate between those made famous by Owens and Haggard and include “Together Again,” “Foolin’ Around,” “The Bottle Let Me Down” and “I Can’t Be Myself.”
Gill and Franklin grew up on these songs and their comfort level shows, though it’s a bit disquieting to hear perennial nice guy Gill snarl about “some squirrelly guy who claims he don’t believe in fightin’” on Haggard’s “The Fightin’ Side of Me.”
Gill and Franklin show up again on The Big E – A Salute to Steel Guitarist Buddy Emmons, performing album opener “Country Boy.”
Album producer and former Hot Band steel guitarist Steve Fishell put this project together, pairing great players and singers on songs that played a significant role in Emmons’ storied career.
Duane Eddy, Emmylou Harris, Willie Nelson, Rodney Crowell, Greg Leisz and Raul Malo are among the big names here, performing songs from multiple decades.
The biggest treats include a couple of pop-oriented tunes. Albert Lee and JayDee Manness team on “Rainbows All Over Your Blues,” a song from John Sebastian’s first solo album that was transformed by Emmons’ solo. Similarly, Joanie Keller Johnson and Mike Johnson offer a fine cover of “Someday Soon,” a Judy Collins hit graced by Emmons’ licks.
The album includes reverential, detailed and sometimes technical liner notes from Fishell that make clear just how influential Emmons was. Highly recommended.
Follow Sun209 on Twitter at @Sun209com.
Preview: Sarah Jarosz’s “Build Me Up From Bones”
Sun209 – We’ve seen Sarah Jarosz’s successful career unfold over the years and really enjoyed her 2011 release Follow Me Down.
Coming Sept. 24 on Sugar Hill Records is her third album, Build Me Up From Bones.
Here’s a preview:
Follow Sun209 on Twitter at @sun209com.
Sun209: The Week in Tweets
The week in Tweets from Sun209: Tuned In’ review: Diversified Greencards still trump sounds with ‘Americana’ knoxville.com/news/2013/aug/… 24 hours ago
- Concert preview: Tim Easton’s new project is the most satisfying of his career shar.es/zGXFw via @ColumbusAlive 24 hours ago
- RT @RollingStone: Roger McGuinn weighs in on the chances of a Byrds reunion to mark their upcoming 50th anniversary: rol.st/1dbbOri 2 days ago
- RT @Chelsea__Parker: .@nashvillesymph ‘s recording project is on @kickstarter! #MusicCityUSA kck.st/1da95zh @DwntwnNashville @YPNas… 2 days ago
- RT @NormaltownRec: @LillyHiatt1 at #TheWorldFamous #AthensGA http://t.co/4grG7Aozoz 2 days ago
- RT @MaryGauthier_: “@AskMuthaHubbard: “@MaryGauthier_ wonderful shows with @raywylie & Lucas Fantastic 3 night run! #grateful”. Miss you!”… 2 days ago
- RT @MeaganNRhodes: Peter Cooper talks to on-the-rise country artist @charlieworsham – tnne.ws/1f75EoC Via @TNMusicNews 2 days ago
- Congrats to Grimey’s in Nashville – 27 Breathtaking Record Stores You Have To Shop At Before You Die buzzfeed.com/mariasherm/bes… via @mariasherm 4 days ago
- RT @nytimesmusic: Sid Bernstein, Who Helped Import the Beatles, Dies at 95 nyti.ms/13HgCSa 4 days ago
- RT @AmericanaFest: It’s Been Good to Know Yuh: Woody Guthrie Rarities Collected on New Box Set wp.me/pLF46-5JC via @TheSecondDisc 4 days ago
- A Pay-What-You-Can Music Model nyti.ms/19KaF9A 4 days ago
- RT @BreakonaCloud: Grandmaster Flash is at @AnthemNashville right now for #FlashPointWednesday! $5 until 11pm. $10 after. 4 days ago
- Sun209 review: Tim Easton’s stripped-down “Not Cool” sun209.com/?p=5941 4 days ago
- RT @SteveEarle: Great review by the Austin Chronicle of Steve’s boxset ‘The Warner Bros. Years’. Check it out here:… http://t.co/SE4mSoY7… 5 days ago
- RT @warnerblaster: Free BEER tomorrow in Nashville w/ @Tim_Easton @Grimeys @ThirtyTigers yours truly @ 6. You guys come hug our necks and a… 6 days ago
- RT @MichaelSessoms: I just backed my fellow East Nashvillian, @OtisGibbs, on his new record. Kick in a few bucks or you’ll kick yourself! h… 6 days ago
- RT @TNMusicNews: .@RickySkaggs & Bruce Hornsby’s collaboration continues with live album, @TheRyman concert – tnne.ws/16XH6M4 6 days ago
- RT @Screamin_Lefty: i’m going to visit third man records tomorrow. this will be like my trip to mecca. @thirdmanrecords 6 days ago
- Americana Music Awards tickets on sale Aug. 23, Jim Lauderdale to host. j.mp/14RmO3V 6 days ago
- RT @TNMusicNews: ICYMI: @Tennessean country music history lesson – Peter Cooper On Music: The Louvin Brothers’ last ride: http://t.co/PRVXO… 6 days ago
Reissues: Soulful pop albums from Marilyn McCoo, Billy Davis
By Ken Paulson
The summer of 1967 saw the release of one of the best (and most underrated) pop albums of the decade. With Johnny Rivers producing and Jimmy Webb contributing songs, the Fifth Dimension literally soared into the charts with Up, Up and Away and the big single of the same name.
Over the next eight years, the Fifth Dimension dominated the singles charts, drawing on great songwriters like Laura Nyro (“Sweet Blindness, “Wedding Bell Blues”) and Webb to deliver a very hip brand of mainstream pop.
In 1975, Marilyn McCoo and husband Billy Davis left the group to pursue a career as a duo, scoring immediately with “You Don’t Have to Be a Star (to be in my Show.)” The sound was a little funkier than the Fifth Dimension, but the vocals were immediately recognizable.
Unfortunately, that album was the duo’s commercial peak. Two more albums followed, but sold modestly and have been largely unavailable.
That’s changed with Real Gone Music’s release of The Two of Us (circa 1977) and Marilyn and Billy (1978.)
Both offer their own rewards, but on very different terms. The Two of Us kicks off with “Look What You’ve Done to My Heart,” an up-tempo track that briefly put the duo back on the charts. It sets the tone for the entire album, largely one song after another celebrating a really good relationship. “Wonderful,” “My Reason to Be is You” and “My Very Special Darling” are representative.
Marilyn and Billy, recorded as the pair moved to Columbia Records, is more ambitious and ultimately more satisfying. Disco was dominant and McCoo and Davis had to make their sound more contemporary. They pulled that off in part by working with producer Steve Cropper, the legendary guitarist from the MG’s. Yes, it has a disco influences, so it’s a bit dated. But the cover of Sam and Dave’s hit “I Thank You” is timeless and the vocals are strong throughout.
The Two of Us and Marilyn and Billy will be welcome additions to the collections of ‘70s pop and soul fans.
Follow Sun209 on Twitter at @Sun209com.
Reissues: Amazing Rhythm Aces’ first two albums
By Ken Paulson
The Amazing Rhythm Aces were a little ahead of their time.
1975, the year of the Aces’ debut album, was not the time for a country band that was soulful or a bluesy band with a twang. And it sure wasn’t the time for a band that embraced all of that, plus rock and jazz.
36 years ago, it was called “eclectic.” Today, it would be called “Americana.”
Now the band’s first two albums are available again on a reissue from Real Gone Records. Stacked Desk, their debut, boasted a big hit single in “Third-Rate Romance,” a genre-defying song that proved irresistible to AM radio.
That first album was fun and funky, but follow-up Too Stuffed to Jump may have been even stronger. The band-written “Typical American Boy,” “The End is Not In Sight” and “Dancing the Night Away” showed songwriting depth, while their rendition of “If I Knew What to Say” added a reflective tone.
Highly recommended.
Follow Sun209 on Twitter at @sun209com.
Review: The Band of Heathens’ “Sunday Morning Record”
By Ken Paulson
The new Band of Heathens album Sunday Morning Record is an eye-opener, packed with diverse sounds and reflective lyrics.
It comes during a period of significant change for the band, and the departure of three band members, including Colin Brooks. The album chronicles the churn and change surrounding the band.
We first saw the Band of Heathens on stage at the Ryman Auditorium in Nashville as part of the Americana Music Festival in Nashville, We loved their energy then, but they’ve clearly grown as a band, despite the personnel shifts.
This is a musically adventurous album, highly melodic with impressive harmonies. It’s folk, rock, country and pop rolled into a full and rewarding sound. “Shotgun” and “Records in Bed” are particularly compelling, intimate and ambitious at the same time.
“Miss My Life” is a free-spirited declaration that shares some musical turf with “Give Peace a Chance”, and “Texas” tips a hat to Austin even as the band heads out the door.
If we have any reservations about the album, it’s in the number of songs that focus on unrealized dreams and unsettled relationships.
Founding member Gordy Quist is quoted in the press materials: “We chronicled our trip through a strange, weird and intense time. You can hear it all here: the joy, the heartache, the disappointment, the longing and ultimately the resolution that this band has found to continue to make albums and perform shows together.”
I’m sure that every band that has endured personnel changes and a relocation from Austin can relate. But for the rest of us, piecing the songs into a thematic whole is a bit of challenge.
Still, the album resonates with fresh music and hooks. It’s the sound of a good band getting better.
Follow Sun209 on Twitter at @sun209com.
Still “Hangin’ Round:” The Monkees in Houston
By Paul T. Mueller
It’s hard to believe it’s been almost half a century since the Monkees were one of the biggest bands around. Even harder, maybe, to believe the hold their music still has on the imagination of those who grew up with it. But despite the years and the loss of singer Davy Jones in 2012, the old magic was still there at Houston’s Arena Theatre on August 1, as the onetime pop sensations kicked off the second half of their “Midsummer’s Night with The Monkees” tour.
The remaining members – Michael Nesmith, Micky Dolenz and Peter Tork – gave the audience of a couple of thousand or so what they came for – well-crafted mid-’60s pop songs, many of which were big hits. Beyond that, they gave proof, if any is still needed, that the Monkees long ago transcended their made-for-TV beginnings and turned into a real band.
Despite advancing years – around 70, give or take a year or two – the trio still had the energy, halfway through a 24-date tour, to blow through a two-hour, 29-song show, albeit one punctuated by several breaks during which recorded audio and projected video were left to carry the load. Dolenz and Tork did most of the bouncing around; Nesmith mostly stood in place, although he seemed a bit more animated when performing his own compositions.
The show’s first segment featured eight songs from the first two albums, The Monkees and More of The Monkees, starting with a lively rendition of “Last Train to Clarksville.” A little later came the sing-along favorite “I’m a Believer,” written by Neil Diamond and performed – as Dolenz pointed out for the benefit of the kids in attendance – by The Monkees long before Shrek came along. Dolenz also proved capable of bringing some proto-punk attitude to his vocal on “(I’m Not Your) Steppin’ Stone.”
The second segment featured several songs from the fine third album, Headquarters, which Tork described as the first on which The Monkees really felt like a band. Highlights included two fine Nesmith compositions, “You Just May Be the One” (the only song on which Tork played bass) and “The Girl I Knew Somewhere,” with Nesmith on lead vocal. Tork did a nice job with the wistful “Early Morning Blues and Greens.”
After another break, the band returned with slightly newer fare, including “The Door into Summer” (the first-ever live performance of the song, according to the band’s Facebook page) and “Goin’ Down,” featuring some fine jazzy vocals from Dolenz.
Yet another break was followed by several songs from Head, the band’s trippy 1968 movie. They were followed by the evening’s only real acknowledgement of the missing Monkee – a projected clip of Jones dancing in a tuxedo while singing “Daddy’s Song,” also from Head. But the show’s real emotional high point followed, when Dolenz brought an audience member onstage to help sing “Daydream Believer.” What his guest – a shortish, middle-aged man with a noticeable accent – lacked in polish, he made up for in enthusiasm, belting out the familiar lyrics with the gusto of a true fan. The applause that followed was well deserved.
The Monkees, backed throughout the show by a fine seven-member band that included one of Dolenz’s sisters and one of Nesmith’s sons, finished the main set with an excellent rendition of “What Am I Doing Hangin’ Round?” (co-written by Michael Martin Murphey). They returned after a short break for an encore consisting of “Listen to the Band” and “Pleasant Valley Sunday,” a bit of social commentary written by Gerry Goffin and Carole King.
No doubt there are plenty of people who are never going to believe that The Monkees were, are or ever will be more than “The Pre-Fab Four,” but the band provided its Houston audience ample evidence to the contrary.
Follow Sun209 on Twitter at @Sun209com.
Sun209: The week in tweets
The week in tweets from Sun209: Americana Music News:
Knockin’ on the Country’s Door – Bob Dylan and Wilco nyti.ms/16ckjh4 17 hours ago
- Pickathon: Treat Yourself to a Slice of Americana Pie eugenedailynews.com/2013/07/27/pic… via @EugeneDailyNews 7 days ago
- After 20 years, a new album from Van Dyke Parks. blogs.wsj.com/speakeasy/2013… 7 days ago
- Premiere: Tony Joe White’s ‘The Gift’ from ‘Hoodoo’ album fw.to/gwehfzY 7 days ago
- New one from the North Mississippi AllStars: World Boogie Is Coming youtu.be/7WEZI3_7iXI via @YouTube 7 days ago
- Sun209: John Fogerty tour dates announced j.mp/18JwkOO 1 week ago
- RT @BluegrassNation: Americana Music Festival Unveils Artist Lineup for 2013 bluegrassnation.org/link_type/amer… 1 week ago
- RT @jmbadlam: REVIEW: Bob Dylan, Wilco and My Morning Jacket bring Americana to @MerriweatherPP via @washingtonpost wapo.st/15gnWSb 1 week ago
- RT @AmerSongwriter: .@JasonIsbell , @crowmedicine and a cast of Americana upstarts to pay tribute to Alabama @TheAlabamaBand http://t.co/RB… 1 week ago
Follow Sun209 at @Sun209com.
Review: Phoebe Hunt’s “Live at the Cactus Cafe”
By Ken Paulson
Phoebe Hunt appears to be confident, and her new Live at the Cactus Café demonstrates that it’s well-placed.
Not many artists would make their first solo album a live recording. It takes proficiency, a strong setlist and comfort with an audience. All of those ingredients are here.
A fine violinist, Hunt honed her skills as a member of the Belleville Outfit and the Hudsons.
More than anything, the live album showcases her range. The lyrics in her songs about relationships are anything but formulaic. They sound like real conversations. “I’m not a head case, never have been” she sings in “Walk Away,” a declaration of independence.
There’s jazz, folk and country here, but also elements of sophisticated pop and even show tunes.
Occasionally the lyrically-ornate songs give way to pure fun, most notably in the raucous “I Got Love.”
Live at the Cactus Café is a fine album and a great introduction to the talents of Phoebe Hunt.
Review: Jennifer Brantley’s “It’s All Good”
By Paul T. Mueller
Jennifer Brantley’s It’s All Good is a breath of fresh air, which is a little ironic considering that a lot of it sounds like it could have been made decades ago. This is country music the way it used to be, played on real instruments, sung with skill and feeling, and with lyrics that don’t all involve beer and pickup trucks.
Brantley, currently of East Nashville, leads off with “I’m Right Here,” a you-done-me-wrong lament set to a classic Western swing melody featuring piano, fiddle and steel guitar. It’s an excellent showcase for Brantley’s fine voice, which covers a wide range with plenty of power. Her writing ability (and that of that of co-writers Gerald Smith and Lisa Shaffer) is also on display here. The same trio also penned “I’d Rather Have a Lonely Heart,” a sad ballad that features nice interplay between fiddle and piano, along with some nice harmony vocals.
Other highlights include Blind Willie Johnson’s “God Don’t Ever Change,” which gets a rocking gospel treatment fueled by soulful organ and electric guitar, and a live version of Roger Miller’s “Half a Mind,” which was a hit for Ernest Tubb. Brantley’s rendition comes from a performance on the Midnite Jamboree radio show at the Texas Troubadour Theatre in Nashville, and features Leon Rhodes, former ace guitarist with Tubb’s Texas Troubadours. Leaning a little more to the pop side is “Just Hearing a Song,” a lively tribute to the power of music and memory.
A couple of tracks sound like they might be aimed at country radio airplay, but even so they’re done with the taste that marks the rest of the album. The title track is a gentle ode to counting one’s blessings, against a backdrop of acoustic guitar and fiddle; “Somebody’s Somebody” is a sentimental tale of orphans and the elderly that would have sounded at home on a Kathy Mattea album back in the ’80s.
It’s a little hard to tell from the liner notes who’s doing what, but contributors include guitarist David Hand, who also plays harmonica and helped produce; former Box Top Swain Shaefer, who contributes keyboards; Mike Daly on steel guitar, and an unidentified fiddle player who really deserves some recognition.
There’s still some room for growth here – Brantley’s twang occasionally sounds a bit forced, and there’s a chorus or two that could be nailed down a little tighter. Nitpicking aside, It’s All Good is a fine effort. Extra points to the producers (Vaughan Lofstead and Greg Perkins are credited along with Brantley and Hand), for keeping it clean and bringing out the best in this talented bunch.
Follow Sun209 on Twitter at @Sun209com.
Americana Music Festival artists announced
Americana Music News – There’s an impressive line-up of artists booked for the 2013 Americana Music Association Festival and Conference set for Nashville Sept. 18-22.
The current list of performers:
Alanna Royale |
Amanda Shires |
American Aquarium |
Amy Speace |
Andrew Combs |
Andrew Leahey & the Homestead |
Aoife O’Donovan |
Ashley Monroe |
Austin Lucas |
Band of Heathens |
Bear’s Den |
Ben Miller Band |
Bhi Bhiman |
Billy Bragg |
Black Prairie |
Bobby Rush |
Brian Wright |
Buddy Miller & Jim Lauderdale |
Chelsea Cromwell |
Claire Lynch |
Daniel Romano |
Darrell Scott & Tim O’Brien |
Dash Rip Rock |
David Bromberg |
Delbert McClinton |
Della Mae |
Donna the Buffalo |
Drew Holcomb & the Neighbors |
DUGAS |
Elephant Revival |
Farewell Drifters |
Field Report |
Frank Fairfield |
Hillbilly Killers |
Holly Williams |
Houndmouth |
Howe Gelb |
Howlin’ Brothers |
Hurray for the Riff Raff |
JC Brooks & the Uptown Sound |
JD McPherson |
Joe Fletcher & the Wrong Reasons |
Joe Nolan |
John Fullbright |
Jonny Fritz |
Josh Rouse |
Joy Kills Sorrow |
Judah & the Lion |
Justin Townes Earle |
Kim Richey |
Kruger Brothers |
Laura Cantrell |
Lera Lynn |
Lindi Ortega |
Lisa Marie Presley |
Luella & the Sun |
Mandolin Orange |
Matt Mays |
Max Gomez |
McCrary Sisters |
Melody Pool |
Mustered Courage |
My Darling Clementine |
Nicki Bluhm & the Gramblers |
Nikki Lane |
Noah Gunderson |
Nora Jane Struthers |
North Mississippi Allstars |
NQ Arbuckle |
Old Man Luedecke |
Over The Rhine |
Parker Millsap |
Patrick Sweany |
Paul Kelly |
Peter Bruntnell |
Phil Madeira |
Pokey LaFarge |
Randall Bramlett |
Rayland Baxter |
Richard Thompson |
Rosanne Cash |
Rose Cousins |
Sam Doores, Riley Downing & the Tumbleweeds |
Samantha Crain |
Shakey Graves |
Shannon McNally |
SHEL |
Shooter Jennings |
Sons of Fathers |
Spirit Family Reunion |
St. Paul & the Broken Bones |
Steelism |
Steep Canyon Rangers |
Stewart Mann & the Statesboro Revue |
Sturgill Simpson |
Susan Cowsill |
The Bushwackers |
The Del-Lords |
The Devil Makes Three |
The Greencards |
The Infamous Stringdusters |
The Lone Bellow |
The Lost Brothers |
The Stray Birds |
The Westbound Rangers |
The White Buffalo |
The Wood Brothers |
Tim Easton |
Tommy Malone |
Treetop Flyers |
Two Man Gentleman Band |
Uncle Lucius |
Water Liars |
Wheeler Brothers |
Willie Sugarcapps |
Willy Mason |
Re-issues: Quirky, creative classics from Mason Williams
By Ken Paulson
There were a lot of reasons for the Smothers Brothers’ successful late ‘60s run on CBS TV. The show was irreverent, entertaining and featured boundary-pushing musical guests like the Who and Jefferson Airplane.
And of course, they also had Mason Williams, a terrific comedy writer and accomplished musician who wrote much of the skit material and co-wrote (with Nancy Ames) the show’s theme.
Williams also appeared on the show as an artist, performing his huge hit instrumental “Classical Gas” on three shows.
Real Gone Music has just re-issued Williams’ first two Warner Bros. albums – The Mason Williams Phonograph Record and The Mason Williams Ear Show – and both serve as a vivid reminder of just how smart and creative Williams was.
Williams embraced a wide musical landscape, alternating grand orchestration with quirky side-trips. These albums reveal him as a strange amalgam of Jimmy Webb and Roger Miller.
The ballads, period pop (“She’s Gone Away”) and playful excursions (“Cinderella-Rockefella,” Baroque-A-Nova”) hold up best. The stereotypically fey “The Prince’s Panties” is a rare misfire.
Do these four decade-old albums sound a bit dated? Sure. But they also remind us just how long it’s been since this kind of eclectic and entertaining mix appeared on major record labels. Mason Williams took risks and most of them paid off.
Follow Sun209 on Twitter at @Sun209com.
Review: Heather Lutrell’s “Possumdiva”
by Paul T. Mueller
You sometimes hear about an artist, “The CD’s OK, but you really need to see her live.” Such is the case with Atlanta singer-songwriter Heather Luttrell. Possumdiva is good enough to reveal plenty of talent and potential, but it doesn’t quite capture the energy of a Heather Luttrell gig.
Part of the problem is the CD’s slightly muddy production. Some of the vocals get a little lost in the mix, but enough comes through to show that Luttrell’s voice really is a terrific instrument – soulful and powerful when she’s belting out gritty blues tunes like “Redemption” and “Dr. Feelgood,” sweet and low on love songs and ballads such as “More Fun to Sin” and “Any Old Way.” There’s more than an occasional echo of Janis.
Luttrell, an Atlanta native who’s still based in that city and tours mostly on the East Coast, calls her music “BluesAmericanaFunkFolk.” That’s a lot of musical ground to cover, but the range of styles on Possumdiva – there’s even a new-agey instrumental, “Mera Parivar” – demonstrates that Luttrell is up to the task. She plays some fine guitar and gets capable backup from her band, which includes her father, Ralph Luttrell, on resonator, Emily Kate Boyd on banjo and bass, and Craig Henderson on drums.
Follow Sun209 on Twitter at @Sun209com.
Coming July 23: Guy Clark’s “My Favorite Picture of You”
By Ken Paulson
Like Kris Kristofferson’s recent Feeling Mortal, Guy Clark’s My Favorite Picture of You reflects the years.
On the new album, due July 23 on Dualtone, Clark’s voice is softer and weathered. But if time has taken a physical toll, it’s made the music matter more. This is Clark’s first album in four years and it was worth the wait.
The title song is the most compelling and has the best back story. Clark lost Susanna, his wife of 40 years, in 2012. It stems from a day in the ‘70s when Clark and Townes Van Zandt had way too much to drink and Susanna stormed out. Her photo was taken at that moment, and the image inspired this touching song.
“Cornmeal Waltz” is warm and nostalgic, co-written with Shawn Camp, and their “The Death of Sis Draper” concludes the mythical story of their legendary Sis.
But it’s not all reflection and reminiscence. “El Coyote” is a haunting look at illegal immigration and “Heroes” focuses on returning soldiers who “brought the war home.”
My Favorite Picture of You is touching, topical and compelling. It shouldn’t be anyone’s first Guy Clark album, but it’s a must-own for all who have been touched by Clark’s artistry.
Follow Sun209 on Twitter at @Sun209com.
Sun209: The Week in Tweets
The week in Tweets:
- RT @AmericanaFest: Via @nprmusic: Fame Studios And The Road To Nashville Songwriting Glory n.pr/13CF8Pk 59 mins ago
- RT @ThirtyTigers: First round of artists performing at @AmericanaFest 2013- what an incredible lineup! e2.ma/share/inbound/… 59 mins ago
- RT @NashvilleCream: .@Bonnaroo 2013 is sold out; festival to be streamed on live webcast: nashvillescene.com/nashvillecream… 59 mins ago
- RT @beachsidepro: RT @ChasCityPaper: David Wax Museum comes to life with Knock Knock Get Up (Tonight at @CHSPourHouse) http://t.co/2XX1rcV6… 2 hours ago
- RT @SteveForbert: UK Tour Starts June 15 | Full Band / Full Album Shows in July for the U.S.! #constantcontact conta.cc/16jT6Z5 2 hours ago
- RT @TheAutumnRoses: RT“@Matty3A: lookin’ forward to @TheAutumnRoses show tonight at @3rdandLindsley #CDrelease #Nashville” 2 hours ago
- RT @SolDrivenTrain: Enter to win a pair of tix to our 3rd annual festival — @SolSlam Music Festival on 7/19 & 7/20 at @windjammeriop! http… 2 hours ago
- RT @nprmusic: Bob Dylan’s Tribute To Medgar Evers Took On The Big Picture @todayin1963 n.pr/11wmGFk 23 hours ago
- RT @AvettNation: New Album Coming This Fall from the Avett Brothers! cbsloc.al/12Gcx0b #avett 23 hours ago
- RT @DCRoadShow: Medgar Evers was assassinated outside his home on this day in 1963. His killer is unworthy of naming. fb.me/29JnOTsiv 23 hours ago
- RT @carliandjulie: Additional Nashville shows announced on our website at cjkennedy.com …hope to see you there! #TwinsInNashvill… 23 hours ago
- RT @opry: Who better to celebrate Patty Loveless’ 25th Anniversary than @VGcom & @The_LorettaLynn? Get tickets: ow.ly/lXCwi #Lo… 23 hours ago
- RT @AmerSongwriter: The “could-have-been” story line gets a unique spin with @thecivilwars “The One That Got Away” bit.ly/11HeG8D 23 hours ago
- RT @acltv: Check out @SpoonTheBand on Austin City Limits this Saturday! Here’s a preview: ow.ly/lYwyl Check your local @PBS list… 23 hours ago
- RT @starandmicey: What’s up Toronto!? We’ll be at The Painted Lady tonight! Come on out! 23 hours ago
- RT @boxcarlilies: CD release celebration – June 15th at The Arts Block in Greenfield! – eepurl.com/ATwKv 23 hours ago
- RT @billboard: Black Sabbath Soaring to First No. 1 Album on Billboard 200 Chart blbrd.co/1a5HDyy 23 hours ago
- Sun209 review of Deborah Holland’s new “Vancouver” sun209.com/?p=5519 23 hours ago
Follow Sun209 on Twitter at @Sun209com.
Album review: Deborah Holland’s “Vancouver”
By Paul T. Mueller
Deborah Holland took that old advice about lemons and lemonade seriously. In 2010, the singer-songwriter, who’d enjoyed considerable success as a performer and had later become a professor of music at Cal State Los Angeles, pulled up roots and moved to Canada (apparently one of her sons needed schooling that, for reasons not explained, he couldn’t get in the United States). Relocated in a cold and rainy place, financial stress, romantic difficulties – for a lot of us, that’s a recipe for deep depression, but for Holland it was inspiration for the excellent songs that make up her latest CD, Vancouver.
“Songs came pouring out of me (like the rain in Vancouver),” Holland says in the liner notes. And what songs they are – funny one minute, rip-your-heart-out sad the next, full of sharp insights, skillfully written and performed. All were written by Holland except the Beatles’ “Norwegian Wood,” which, while pleasant enough, seems a bit beside the point.
Holland’s songs cover a range of topics and styles, but as you might expect, there are strong threads of alienation and broken romance throughout. Things start off funny and bouncy with “I Wanna Be a Canadian,” a tribute to Holland’s adopted country (and to some extent an indictment of her native land), but the mood sobers quickly after that. The title track deals with the sometimes depressing realities of life in an unfamiliar place, while “California” is a homesick look back at people and things left behind. The upbeat tone of “Money” contrasts with the litany of financial struggles it describes. “That Ain’t Love” is a cautionary tale about warning signs in relationships, while “Messed Up Valentine” might be one of the sadder goodbye songs ever. From all that, the CD might sound like a bummer, but Holland’s gift for finding humor even in grim situations keeps Vancouver from devolving into a complete weepfest.
There’s more, but suffice it to say that Holland’s clear, strong voice and confident delivery shine on all 12 tracks, assistant by clean production (by Holland and Steve Wight) and excellent instrumental playing. Holland plays bass on most tracks, along with acoustic guitar and accordion, while Wight handles drums and percussion and J.P. Mourão plays electric and other guitars. Guests include Patterson Barrett on various stringed instruments and keyboards, Cidny Bullens on harmonica, and Wendy Waldman on background vocals and acoustic guitar (Holland, Bullens and Waldman together make up “folk supergroup” The Refugees; Holland was also lead singer and songwriter of Animal Logic, which also included drummer Stewart Copeland of The Police and jazz bassist Stanley Clarke).
It’s been said that there’s no art without pain, and if you need evidence, you can find it on Vancouver.
Review: Eric Brace and Peter Cooper’s “Comeback Album”
By Paul T. Mueller
“We are who we are, not who we’re gonna be/ Every passing moment is ancient history,” Eric Brace and Peter Cooper sing in “Ancient History,” the first track on their latest CD, The Comeback Album. It’s a good choice for an opener, a catchy meditation on identity, impermanence and possibility that name-checks a range of people and places including Muhammad Ali, Jerry Jeff Walker, Sid Bream and the Astrodome.
It’s also a fitting start for a project by two Nashville singer-songwriters who seem to know a thing or two about personal reinvention. Brace is a former Washington Post music journalist who now runs the label that released this CD as well as fronting a band called Last Train Home; Cooper, among other jobs, is still writing about music (for The Tennessean in Nashville) as well as performing it and teaching college classes about it. As if that weren’t enough, each has a solo album scheduled for release later this year.
Comeback, their third collaboration, is marked by the kind of literate songcraft you’d expect from people who make their living with words. Brace and Cooper wrote or co-wrote nine tracks and covered three others. Best bets among the originals include “Thompson Street,” about a scruffy neighborhood in Spartanburg, S.C., and its colorful inhabitants; “She Can’t Be Herself,” a twangy and rueful goodbye song; “Nobody Knows,” a bouncy ode to life’s uncertainties, and “Boxcars,” whose upbeat tone is at odds with its theme of loss and regret.
The covers are well chosen too: Tom T. Hall’s “Mad,” a classic country tale of carousing and consequences; Karl Straub’s “Carolina,” a sweetly played ballad of alienation, and David Halley’s sad country waltz “Rain Just Falls.”
To go with their own guitars and harmonized vocals, Brace and Cooper get some great backup here, from the likes of Lloyd Green on pedal steel, Dave Jacques on bass, Jen Gunderman on keyboards, Fats Kaplin on violin and mandolin, and Rory Hoffman on a host of instruments, from clarinet and accordion to practically anything with strings. Listed as “special guests” on “Mad” are Mac Wiseman and Marty Stuart on vocals (Stuart also contributes mandolin) and Duane Eddy on guitar.
This kind of music is about the storytelling as well as the playing, and Brace and Cooper excel at both.
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