Category: Reviews

Kiefer Sutherland is “Reckless” in Houston

By Paul T. Mueller

If Kiefer Sutherland’s August 11 performance in Houston is any guide, the actor/musician’s forthcoming second album is likely to be a little more upbeat than his 2016 debut, Down In a Hole. Backed by a capable four-piece band, Sutherland treated a near-capacity audience at Miller Outdoor Theatre to about 90 minutes’ worth of songs, including several new ones and a few covers, and some stories about his recent turn to musical performance after years of songwriting.

The music might best be described as pop/rock with some twang, given a little more edge by the band’s two guitarists and taking on an even harder tone during a mid-set stretch when Sutherland put down his acoustic guitar in favor of a Telecaster. Some of the singer’s wardrobe choices (white sport coat and matching Panama hat) and stage mannerisms might have seemed more at home on a Broadway stage than in a honky-tonk, but his guitar skills were up to the task and his gravelly voice was well suited to his material.

Song titles weren’t always announced, but Sutherland introduced one that might have been “Something You Love” by explaining its theme as “Life’s too short to spend doing things you don’t love.” He described “Reckless and Me” as either a reference to the name of his horse during his rodeo days or a description of his personality (apparently the new album will be titled Reckless). He acknowledged being surprised at realizing how many songs in his catalog dealt with drinking; several showed up in the set, including “This Is How It’s Done,” “Agave” and “Tonight the Bottle Let Me Down,” delivered as a tribute to Merle Haggard. The theme was underscored by the bottle of Scotch that was more than an onstage prop. Sutherland also sang a nice rendition of “Open Road,” a highway ballad by singer-songwriter Jude Cole, a friend and frequent co-writer.

The show was a free one, part of the venue’s annual concert series, and it’s a fair guess that many in attendance were there out of familiarity with Sutherland’s acting career rather than as fans of his music. Still, at several points he expressed his gratitude that people had come out to hear him perform music they probably weren’t familiar with. He and the band were rewarded with a standing ovation when they wrapped up. They returned after a few minutes; Sutherland told some entertaining stories from his and his twin sister’s childhood with their dad, actor Donald Sutherland, and the band closed with a fine take on Dylan’s “Knockin’ on Heaven’s Door.”

Footage from an earlier show on the tour:

New: Michael Kelsh’s “Harmony Sovereign”

Americana Music News – Michael Kelsh takes his time and gets things right. The Nashville songwriter first came to our attention in 2001 with the release of his excellent “Well of Mercy.” A mere 16 years later, we have “Harmony Sovereign,” a compelling new collection. Little wonder that the album contains 16 beautifully crafted songs.

The songs cover an array of subjects, from the longing of “Better with Goodbye” to the quiet nostalgia of “House on 16th Avenue” and the striking “Death Penalty.” They’re unified by Kelsh’s intimate and reflective approach.

Kelsh is joined by talented Nashville neighbors, including Jack Sundrud,  Siobhan Kennedy, Tammy Rogers, Paul Griffith and John Cowan.

If it takes this long to write and record something this good, so be it.

 

Parker Millsap makes “Other Arrangements”

By Paul T. Mueller

Parker MillsapParker Millsap’s new album, “Other Arrangements”, runs only 34 minutes. But the Oklahoma native packs a lot of goodness into the 12-song collection, his fourth release. It’s the work of a quickly maturing but still energetic artist, blessed with formidable writing and performing skills.

The sometimes raw potential of a few years ago has turned into solid accomplishment; Millsap’s voice is a little deeper and richer these days (although he can still yowl with the best of them), his guitar playing continues to improve, and his writing is still capable of eliciting laughter and tears, sometimes in the space of a single line. One gets the sense that none of this is going to change anytime soon.

The first brash notes of electric guitar in “Fine Line,” the album’s opener, serve notice that Millsap is ready to rock. “You better look out, look out, look out, I’m about to start swerving,” he shouts, later acknowledging, “All right, so I might be slightly unnerving/Honey, I don’t bite, I’m just a little bloodthirsty.” The title track is at once a declaration of romantic commitment and a plea for the same, and a fine showcase for violinist Daniel Foulks. Bassist Michael Rose and drummer Paddy Ryan shine on the jazzy/bluesy “Tell Me.” Millsap’s might be the only name on the cover, but this is very much a band effort.

Faith has long been an undercurrent in Millsap’s music, and it’s revealed here in the lyrics of several songs that could be addressing either earthly lovers or higher powers. “Singing to Me” features a hymn-like melody and lyrics of gratitude (“You’ve been singing to me all along/You kept on singing when everything went wrong”); the gentle “Your Water” gives thanks for salvation (“Your water/Your water/It floods my memory/And it quenches my soul”), and “Gotta Get to You” name-checks both Moses and one of the Earnhardts in its description of a journey that might be literal and might be something more.

Millsap channels a bygone era on the New Wave-ish “Some People,” a jagged rip at bad drivers (“They got their Tonka trucks/They got their Texas plates/They’re gonna cut you off/They’re gonna slam the brakes”) as well as haters, greedy people and those who are “just so bad’ and “just no fun.” And he throws in a little blue-eyed soul on “She” before closing with the gentle ache of “Come Back When You Can’t Stay,” a duet with singer-songwriter Jillette Johnson, who co-wrote the song and has been opening for Millsap on his current tour.

Between the powerful words and fine playing, Other Arrangements leaves the impression of an artist at ease with himself, exercising and developing his powers, and having a great time doing it.

Out today: John Wesley Harding’s “Greatest Other People’s Hits”

John Wesley HardingBy Ken Paulson

It’s the rare album cover that makes me laugh out loud, but the new release from John Wesley Harding perfectly mimics ABBA’s “Gold” record. Given that “Greatest Other People’s Hits” is a covers record, it raises hope for a version of “Waterloo.” Its absence is the only disappointment in a collection of Odds and Sods (ancient Who reference) that manages to be both a lot of fun and genuinely moving.

Much of the album is derived from earlier recordings made for tribute albums and anthologies. The range is remarkable, including Madonna’s “Like A Prayer,” Conway Twitty’s “It’s Only Make Believe.” Phil Och’s “Another Age” and George Harrison’s “Wah Wah.”

The jaunty cover of “Star” from Stealer’s Wheel” is a special track, as are the two Bruce Springsteen covers “Jackson Cage” and “Wreck on the Highway,” with Bruce on harmony.

Highly recommended.

Chris Hillman’s formative solo years

Chris Hillman’s career has come full circle. A founding member of the Byrds, he helped bring an Americana sensibility to that legendary band.  And now his recent ” Bidin’ My Time” is seeing widespread acceptance by Americana radio.

Omnivore Records offers a glimpse into Hillman’s formative ’70s work with “The Asylum Years,” collecting 20 tracks from that era. There’s plenty of good work, though we’ll have to admit there’s the same search for a comfortable and cohesive sound we heard on the Byrds’ “reunion” album and the later McGuinn, Clark and Hillman records.

The title track from “Slippin’ Away:”

 

 

The Rolling Stones’ “Exhibitionism” opens in Nashville


By Ken Paulson

I thought I had witnessed the final Rolling Stones appearance in the U.S. back in October 2005. The band was wrapping up the American tour in support of the “Bigger Bang” album and there was the usual conjecture that these aging icons couldn’t keep this up. Silly us.

They’ve just announced a summer tour through Europe and the band appears to want to perform as long as they’re upright. That may bode well for “Exhibitionism: The Rolling Stones’ Exhibitionism,” a multi-media presentation now on its own world tour.

The exhibit has just opened in Nashville at the Musicians Hall of Fame and will run through June 30 before being shipped overseas. It’s quite the spectacle, packed with memorabilia, stage costumes, vintage gear, posters and videos. It’s a full two-hour experience for the fan, which it needs to be to justify the adult admission fee of $39.50.

We had the chance to visit with Jay McDowell, the museum’s multimedia curator and former bass player with BR-549 about the Rolling Stones’ ties to country music. Here’s his take:

 

 

McDowell wouldn’t name his favorite part of the exhibit, so we’ll share our own. Our five favorite elements of “Exhibitionism:”

    1. The apartment: There’s a recreation of the filthy apartment the Rolling Stones shared at the beginning of their career. There are no photos and it’s based entirely on 50-year-old memories, so I’m not confident of its authenticity, but it is fun.

Rolling Stones' apartment2.The jumpsuits: There’s an astonishing array of loud and tacky outfits Mick Jagger wore on stage. Some will bring back memories; others may induce nightmares. He wore them all with confidence.

3.The sets: There are models of several of the band’s tour stages from Steel Wheels on. They’re fascinating and presumably were used in the construction of the real thing. I would have traded any of my train sets for these.

4.The Lips: At the entrance to the exhibit is a constantly looping, wildly creative image of the Rolling Stones’ lips logo. You’ll take a dozen photos before you even step into the exhibit.

5.The video: The exhibit begins with a multiple-screen history of the band, running quickly through every chapter, including Brian Jones’ death and the tragedy at Altamont. It effectively foreshadows much of what you’ll see in the rest of the exhibit.

 

 

 

Review: Michelle Malone’s “Slings & Arrows”

By Paul T. Mueller

Georgia singer-songwriter Michelle Malone puts forth another fine effort with the wide-ranging Slings & Arrows. As always, she’s equally at home with quiet, folky material and flat-out rockers, and this 10-song collection adds other musical flavors, notably funk and soul, to the mix. Lyrical themes include perseverance (“Just Getting Started,” which name-checks Moses and Dr. Martin Luther King Jr., among others); tolerance and self-respect (“Love Yourself”), and defiance (“Civil War” and “Boxing Gloves”).

A couple of songs co-written with fellow Georgian Eliot Bronson explore different aspects of romance – earthier in the Motown-ish “Sugar on My Tongue” and more ethereal in the sweet ballad “The Flame.” Malone enlists another veteran of the Georgia folk-rock scene, Shawn Mullins, as her duet partner on Otis Redding’s “I’ve Been Loving You Too Long.” Their performances dance on the fine line between passionate and over-the-top, but in a fun way.

Malone handles most of the vocals here, as well as extensive work on guitars, mandolin and harmonica. Her singing and playing combine power and finesse, and in her role as producer she gets the most out of her own performances and those of her bandmates. Other contributors include Doug Kees and Peter Stroud (electric guitar), Robby Handley (bass), Christopher Burroughs (drums) and Trish Land (percussion.) Land, a prolific visual artist, also created the CD’s cover art.

Detroit bluegrass: Escaping Pavement at the Americana in Houston

Escaping Pavement

Escaping Pavement

 

By Paul T. Mueller

Unfamiliar performers and a rainy weekend can make for a small crowd, even on a Saturday night in a big city. Such was the case when Michigan-based folk-bluegrass duo Escaping Pavement played Houston listening room The Americana on Feb. 24. But guitarist Emily Burns and guitarist-mandolinist Aaron Markovitz, both veterans of what they described as a thriving Detroit bluegrass scene, were undeterred by the sparse turnout, playing three enthusiastic sets that showcased their strong vocals and instrumental skills.

Burns, on acoustic and electric guitars, and Markovitz, alternating between guitar and mandolin, are fine singers, both separately and together. On many songs, they alternated singing verses and harmonizing on the choruses. They featured several songs from their recent EP, The Night Owl, among them the folkie-sounding “Wanderers,” the more uptempo “Fuel the Fire” and the slow and sweet “Dumb Luck,” featuring some intricate interplay between Burns’ acoustic guitar and Markovitz’s mandolin.

They demonstrated what they called their “Southern Michigan rock” chops on “Burn This Bridge” and showed off their bluegrass abilities on “Boll Weevil,” “Old Daingerfield” and “Angel Band.” Other highlights included “Hetch Hetchy,” a tribute to a Northern California valley that was controversially flooded in 1923 to form a reservoir to supply the San Francisco Bay area, and “What Will We Do Then?,” which they recorded last year as a benefit for Earth Day.

The duo also offered interesting interpretations of songs by a diverse group of fellow singer-songwriters, including The Civil Wars (“From This Valley”), Bruce Springsteen (“Atlantic City”), the Rolling Stones (“Wild Horses”), Bob Dylan (“Girl from the North Country”) and Lady Gaga (“You and I”). They regretfully declined an audience request for Leonard Cohen’s “Hallelujah,” even though it was accompanied by an offer to pay their bar tab.

Escaping Pavement’s Southwest Tour continues next month with several dates in Texas and New Mexico; their schedule for the rest of the year shows gigs in the upper Midwest and across the country, mostly in smaller venues from Florida to California. This is music worth hearing, from musicians worth watching.

Reissues: The Choir’s “Artifact – The Unreleased Album”

By Ken Paulson
Here’s an album I’ve always wanted, but never knew existed.
I’ve always loved the near-perfect power pop of the Raspberries, and I knew their roots were in the Choir, where band members Wally Bryson, Jim Bonfanti and Dave Smalley honed their skills.
There have been re-issues of their early stuff, most notably “Choir Practice” and their single “Baby It’s Cold Outside.”
But it turns out that in 1969, after the departure of Bryson and Smalley, drummer Bonfanti soldiered on with a new line-up and recorded the album that’s just been released by Omnivore Recordings.
The “Artifact” title is apt. The music is ambitious, uneven and sometimes just odd, but as a document of the era, it’s remarkable.
Opening tracks “Anyway I Can” and “If These Are Men” reflect the band’s British invasion influences, and bring to mind both the Nazz and the soon-to-arrive Big Star. There’s also a faithful and energetic take on the Kinks’ “David Watts.”
But from there, the album is all over the board. In 1969, bands didn’t just make albums; they made statements. Blame psychedelia for the band’s bizarre “Lady Bug” and these lyrics: “Lady Bug, Lady Bug, Please do me no harm.” Yes, be sure to look out for killer lady bugs.
It gets stranger. The final track is a jaunty tribute to a Mummer Band: “I love rock ‘n’ roll and rhythm ‘n’ blues, but oh that Mummer Band.” Oh indeed.
But give credit where due. This was the band that inspired Eric Carmen to pursue rock and these final recordings bridged the gap to the Raspberries. Omnivore has unearthed an important final chapter.

Cayamo 2018 review – A week of high points

 

By Paul T. Mueller 

Lee Ann Womack, Buddy Miller and Patty Griffin

Any weeklong music festival tends to turn into a blur of overlapping shows, and this year’s Cayamo festival-at-sea was no exception. The annual charter cruise, held aboard Norwegian Cruise Line’s Pearl and produced by NCL subsidiary Sixthman, featured 40-plus performers and something like 100 shows over the course of six days and seven nights. The ambitious schedule made it pretty much impossible to see everything, so what follows is a highly subjective list of a dozen notable sets from the week.

Sunday: The evening sailaway show, as the Pearl departed New Orleans for the Gulf of Mexico and points south, was an all-star tribute to the great John Prine, who led off with “All the Best” and then turned the stage over to emcee Jim Lauderdale. Highlight performances included “Angel from Mongomery” by Richard Thompson and Brandi Carlile, “Illegal Smile” by Margo Price, and “Sam Stone” by Brian Wright and Joe Purdy. Prine was spotted high above, watching from outside his customary top-of-the-ship quarters, as Aaron Lee Tasjan and his band performed “Lake Marie.” The 18-song set ended with an all-hands-on-deck rendition of “Paradise.”

Windy, chilly conditions made for a relatively small crowd at Margo Price’s Sunday night pool deck show, but those who toughed it out were rewarded with an energetic set of Price’s traditional country with a rocking edge. Selections included several songs from her most recent album, All American Made, notably “Don’t Say It” and “Cocaine Cowboys.” She and her capable band also did right by a few covers (Guy Clark’s “New Cut Road,” Rodney Crowell’s “Leaving Louisiana in the Broad Daylight”) before closing with the geographically appropriate “Proud Mary.”

Monday: John Prine, backed by longtime bandmates Jason Wilber on guitar and Dave Jacques on bass, plus drummer Ken Blevins and multi-instrumentalist Fats Kaplin, played a set of songs requested in advance by fans. Of the 49 songs requested, Prine performed 16, including such favorites as “The Glory of True Love,” “Far From Me” and “Angel from Montgomery.” On his closer, “Paradise,” he got vocal assistance from his wife, Fiona Whelan, as well as Joe Purdy, Amber Rubarth and John Paul White.

Richard Thompson on Cayamo 18

Tuesday: Fans packed the Stardust Theater, the Pearl’s largest venue, for a solo show by the legendary Richard Thompson. Thompson poked fun at himself, noting that he’s capable of playing fast miserable songs as well as depressing fare at slow and medium tempos. But there was no denying the emotional power of a beautiful rendition of Sandy Denny’s “Who Knows Where the Time Goes?,” followed by his own “1952 Vincent Black Lightning” and “Persuasion.” He also performed, at the request of an audience member, the traditional English ballad “Matty Groves,” recorded by his former band Fairport Convention among others.

Wednesday: Chicago-based singer-songwriter Michael McDermott, in his second Cayamo appearance, held back nothing in a well-attended set on the Bar City stage. Accompanied by his wife and musical partner, Heather Horton, on vocals and violin, McDermott delivered an intense performance of songs drawn largely from his troubled past and his years of sobriety since. Songs such as “Eleven Nights of Whiskey,” “Butterfly” and “20 Miles South of Nowhere” recounted the dark days; more upbeat fare included a fine cover of Tom Petty’s “The Waiting.” McDermott’s moving tribute to his late father, “Shadow in the Window,” left many audience members in tears. He closed with a rousing rendition of “A Wall I Must Climb,” a perennial favorite from his 1991 debut album.

Thursday: One of the week’s biggest crowds turned out for a Tom Petty tribute show on the pool deck, as the Pearl departed Harvest Caye off the coast of Belize. Band of Heathens filled in capably for Petty’s Heartbreakers, backing an excellent cast of singers on well-loved Petty songs. The Austin-based rockers led off with “You Wreck Me,” followed by, among others, B.J. Barham doing “Listen to Her Heart,” Steve Poltz with “Wildflowers” and Buddy Miller with “It’ll All Work Out.” A sudden thunderstorm put an end to the show, but Aaron Lee Tasjan and Patty Griffin finished their a capella duet on “Insider” as the crew hastily covered equipment in the rain. The show was completed on Friday; highlights included a powerful reading of “Southern Accents” by John Paul White and an all-star closing rendition of the anthemic “I Won’t Back Down.”

Things can get a bit somber on a cruise populated by Serious Singer-Songwriters, so the Thursday night Spinnaker Lounge set by Traveller – a somewhat ad hoc trio consisting of Cayamo veteran Robert Ellis and newcomers Jonny Fritz and Cory Chisel – provided some welcome comic relief. The three, obviously having a great time, performed funny songs with titles like “15 Passenger Van,” “Christmas Eve at Kroger” and “Get Me Out of the South.” And then there was “Stadium Inn,” an ode to a dubious hotel in Nashville that had the audience howling. Fritz’s dancing and Ellis’ raucous laughter completed the picture. Maybe it’s more than coincidence that Fritz, who seemed to be the ringleader of this outfit, bears a passing resemblance to the late, great Steve Goodman. Along the way there was more serious fare, notably Ellis’ “Elephant” and Chisel’s “Southern Arms”; the closer was Ellis’ powerful “Sing Along.”

Friday: Max Gomez, a singer-songwriter from New Mexico making his second Cayamo appearance, put on a low-key but charming morning show in the Spinnaker, drawing from his first album, Rule the World, and his recent EP, Me and Joe. He was joined for much of the set by what he called Max’s Morning Band – percussionist Michael Jerome and bassist Taras Prodaniuk, of Richard Thompson’s trio, plus accordion ace Radoslav Lorković, who also backed many other performers during the week. Highlights included “Make It Me” and a new song about a young couple who open an antiques store, only to find that it’s not the ideal venture they expected, and several covers, notably John Hartford’s “In Tall Buildings.”

 

Tanya Trotter and John Paul White on Cayamo 2018.

Tanya Trotter and John Paul White on Cayamo 2018.

First-timers The War and Treaty – married couple Michael Trotter Jr. and Tanya Trotter – brought a powerful blend of folk, soul and rock to the Spinnaker stage. Backed by Buddy Miller’s band, the duo tore through songs including “Mother’s Child,” “Are You Ready to Love Me, Baby?” and “Maryland,” which included a verse of “Proud Mary.” In the middle of a between-songs thank-you to John Paul White – whom the couple had credited with much of their success – White himself showed up, taking a seat on the stage with a big grin. Michael Trotter and much of the audience ended up in tears after “Dear Martha,” a tribute to his late commanding officer in Iraq, where he served two tours in the Army and eventually was assigned to write songs about fallen soldiers and perform them at memorials. The War and Treaty’s potent blend of emotional material and sweet harmonies made them a big hit with fans all week.

Scott Miller returned to Cayamo after a seven-year absence, playing a brilliant set in an unusually quiet Atrium. High points included the funny and moving “Lo Siento, Spanishburg, West Virginia” and the very funny “Mother-in-Law,” both from Miller’s recent Ladies Auxiliary album, as well as older songs such as “People Who Rule” (featuring the week’s outstanding performance on kazoo) and the rocking “Freedom’s A Stranger.” The show was especially impressive considering that Miller had been involved in a serious wreck on the way to New Orleans, rolling his van after skidding on ice not far from his Virginia home.

The McCrarys on Cayamo 2018

Saturday: The end-of-the-cruise gospel show has become a Cayamo mainstay in the past few years. This year’s edition, hosted on the pool deck stage by Drew and Ellie Holcomb, was more explicitly gospel than some in past years.  Performers included the Holcombs (“Everywhere I Go I See You”), Devon Gilfillian (“Down by the Riverside”), Paul Thorn (“Will the Circle Be Unbroken?”), the McCrary Sisters (“I’ll Fly Away,” “I Saw the Light,” “Amazing Grace” and “Let It Go”) and Joe Purdy (“He Walks With Me”). At the end, most of the artists joined in on “I Shall Be Released” and a lovely a capella rendition of Bill Withers’ “Lean on Me.”

The Stardust Theater was the setting for a fine set by Buddy Miller, Lee Ann Womack and Patty Griffin. Numerous highlights included performances of Richard Thompson’s “Time to Ring Some Changes,” Neil Young’s “Out on the Weekend” (with Womack taking the lead vocal), and the Grateful Dead’s “Brokedown Palace.” Womack and Miller teamed for an excellent duet on “After the Fire is Gone,” while Miller and Griffin shared the vocals on “I’ll Be With You Always.” The emotional high point came with Womack’s slow, dramatic take on the classic “Long Black Veil,” a great showcase for her tremendous vocal abilities.

Lagniappe: Cayamo 2018 featured too many excellent performances to recount here, but not least among them were Saturday night’s rocking “Tas-Jam” in the Atrium, featuring Aaron Lee Tasjan and his fine band backing a cast of guests, and the week’s final event, a honky-tonk dance party in the intimate Bliss Lounge, hosted by Robert Ellis.

About  Americana News: We’re in our seventh year covering Americana, roots, country and folk music from our base in Nashville. We’ve just launched a new Americana Music News podcast, available free of charge through all the leading podcast providers, including iTunes. And  please join our 23,000 Twitter followers to continue the conversation.



Joe Ely and Terry Allen, with Jo Harvey Allen at the Heights Theater

 

By Paul T. Mueller – Fans who bought tickets to the Jan. 26 show by Joe Ely and Terry Allen at Houston’s Heights Theater might have expected an entertaining song swap. They got that, and so much more. When the lights went down in the restored historic venue, the two veteran singer-songwriters were joined by a third, previously unannounced performer – Allen’s wife, Jo Harvey Allen, a writer, actress and artist.

For the next 40 minutes, the trio performed selections from “Chippy,” the Allens’ 1993 play about a Depression-era prostitute in West Texas, as well as other songs from their expansive canons. Ely, accompanying himself on guitar, and Terry Allen, on keyboard, took turns singing; between songs, Jo Harvey Allen read selections from the play and from the diaries of the real-life Chippy. It added up to an impressive display by three accomplished artists, whose performing skills were fully matched by their appreciation for each other and for their audience. First-set highlights included Ely’s “Cold Black Hammer” and “Wind’s Gonna Blow You Away” and Allen’s “Lubbock Tornado” and “Gimme a Ride to Heaven.” The two teamed up on “Fate with a Capital F” and Ely finished the set with his “Goodnight Dear Diary” from the play.

 After an intermission, the show continued minus Jo Harvey Allen. Ely opened with a nice rendition of Jimmie Dale Gilmore’s “Dallas,” drawing laughter with his “Pick it, Joe!” aside after a brief solo. Allen matched him with “Beautiful Waitress,” maybe the funniest song ever about loneliness. More brilliance ensued until Ely closed the second set with “All Just to Get to You.” The two left the stage to thunderous applause and returned after a few minutes, opening the encore with Allen’s “New Delhi Freight Train,” punctuated by Ely’s harmonica.

 “I don’t know about you, but I’m feeling Guy Clark in this room,” Ely told Allen, before launching into a quietly dramatic take on the late Americana icon’s “Magdalene.” The two closed their evening of musical magic in the most appropriate way possible – a heartfelt (and heart-rending) rendition of Clark’s classic “Old Friends.”

 This venue enforces strict limits on photography, but the visuals of this show were almost worth the price of admission. With his black vest, white hair and big smile, Ely looked every bit the musical royalty he is. Allen projected a more diffident demeanor; with his craggy features, gray hair and cowboy shirt, he could easily pass for a West Texas rancher or oilman. Each sipped occasionally from a glass of brown liquid while ignoring nearby bottles of water, and both were clearly having a great time.




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Review: Brian Pounds’ “Southern Writer”

By Paul T. Mueller – Brian Pounds says he’s not interested in trying to compete in the pop arena with others who are better at crafting upbeat songs. “My goal in life,” he has said of his affinity for the darker side, “is to write your ‘Break in case of emergency’ album.”

Pounds’ recent collection, Southern Writer, stakes a credible claim to that ambition. The Austin-based singer-songwriter, whose credits include a finalist slot in the Kerrville Folk Festival’s New Folk songwriting contest and an appearance on “The Voice” a few years ago, leans more toward country than folk on the nine-song set.

He deals with themes including old age and lost love (“Rattling My Bones”), loneliness (“I Swear I’m Losing You,” “Chandelier”), and the loss of an old friend (“The Death of Me”). Pounds backs up his thoughtful lyrics with fine guitar skills and an expressive voice, equally convincing on a powerful soul lament (“Falling to Pieces”), a straight-up country ballad (“Mississippi Highway”) and a gentle lullaby for his baby daughter (“Darling, I’ll Be Here”). The self-produced Southern Writer is short on amenities such as packaging and documentation, and could have benefited from a bit more vocal clarity, but the music hints at better things ahead.

Bill Lloyd interview: “It’s Happening Now”

By Ken Paulson
Bill Lloyd of power pop and Foster and Lloyd fame has a new album out this week and it’s a musical departure. Rather than the Beatles/Byrds-infused sounds of “Set to Pop” and “Standing on the Shoulders of Giants,” “It’s Happening Now” is a refreshing collection of quieter, well-crafted compositions, long on melody and wry observations. We had the chance to catch up with Bill right before a performance in Nashville on Saturday to talk about his career, musical heroes and his new songs, including the only-in-Nashville “Pedal Tavern Girl.” As he notes in the interview, if you’ve liked Bill’s past work, you’ll enjoy “It’s Happening Now” as well. Highly recommended.

Lucinda Williams revisits “This Sweet Old World”

By Paul T. Mueller

Why would an artist remake a widely praised and much-loved album from early in her career? In the case of This Sweet Old World, Lucinda Williams’ fresh take on her Sweet Old World from 1992, only Williams really knows. But the new album can speak for itself as an ambitious project that mostly succeeds, while leaving a few things to be desired.

The remake resembles the original in several respects. It includes the original 12 tracks, in slightly different order (one of them, “He Never Got Enough Love,” is retitled as “Drivin’ Down a Dead End Street” and features additional verses and a different chorus). The instrumental backing is similar, featuring two guitars, drums and a bass. Williams’ current touring band – Buick 6, consisting of guitarist Stuart Mathis, bassist David Sutton and drummer Butch Norton – provides the basis this time, assisted by Greg Leisz on guitar and lap steel and engineer and mixer David Bianco on organ.

The most noticeable difference, at least on first listen, is Williams’ singing. In 1992 she sounded like a poetic singer-songwriter, grounded in folk and blues but still exploring her place in the music world – a little bit shy, a little bit uncertain. A quarter century on, the diffident vocals have been replaced by a confident but weathered version with a smaller range, both acoustic and emotional, than Willliams’ younger voice.

The feelings are still there – the pain of unrequited love (“Six Blocks Away”), the longing for connection (“Something About What Happens When We Talk”), the joy of real love (“Lines Around Your Eyes”), the shock of suicide (“Pineola”) – but at times they feel muted. Maybe that’s down to the wear and tear of 25 years in the music business, or the sheer number of times Williams has sung many of these songs, or the inevitable temporal disconnect between the woman who wrote the songs and the woman she’s become. In any case, with Williams having co-produced the album, it’s clear that this is how she wants to present these songs today.

On the plus side, and without taking anything away from the original, it’s hard to say enough good things about the playing on the new album. The interaction between Mathis, who seemingly can do anything he wants to with an electric guitar, and the equally virtuosic Leisz is nothing short of sublime. Their parts soar above the solid rhythmic foundation provided by Sutton and Norton, with Bianco adding keyboard flourishes as needed.

The album includes four bonus tracks – Williams’ excellent country blues tune “Dark Side of Life,” the traditional “Factory Blues,” the cryptic “What You Don’t Know,” by Americana icons Jim Lauderdale and John Leventhal, and John Scott Sherrill ‘s “Wild and Blue,” which was a 1982 hit for John Anderson.

 

Radney Foster showcases new book, album

By Paul T. Mueller

Radney Foster can now add “author” to his already impressive résumé. The Nashville-based singer-songwriter recently published For You to See the Stars, a collection of short stories related in some way to lyrics from his songs. He simultaneously released a CD with the same title, on which some of the 11 songs share their titles with stories from the book. Foster featured songs and a story in an in-store appearance at Houston’s Cactus Music on Sept. 30, in the middle of a two-night stand at the nearby McGonigel’s Mucky Duck.

Strumming an acoustic six-string, with impressive accompaniment from Eddie Heinzelman on electric guitar, Foster kicked off the event with “For You to See the Stars,” a reflection on adversity and our response to it (note to self: when writing a song, hope to include a line as good as “rock bottom is just solid ground to start again”). Next came a nice rendition of “Raining on Sunday,” an older song, co-written with Darrell Scott, that became a hit for Keith Urban.

The literary part of the show consisted of Foster’s reading of “Bridge Club,” a funny coming-of-age story of sorts. He noted that the story, which revolves around a memorable day for a young boy and his mother’s bridge club, is fiction, although the dark twist at the end involves an event that was all too real.

Two more songs followed: “Greatest Show on Earth,” a lively account of Foster’s introduction to music via family music parties, and “Howlin’,” about the way a generation of young people was introduced to rock ‘n’ roll in the early ’60s by DJ Wolfman Jack, who broadcast over a powerful “border blaster” radio station across the Mexican border from Foster’s hometown of Del Rio, Texas.

Radney Foster stuck around for quite awhile after the music ended, signing autographs and chatting with enthusiastic fans.

Concert review: Mystery Loves Company

By Paul T. Mueller

There are a lot of bands with a pretty familiar configuration – a couple of guitarists, a bassist, a drummer, maybe a fiddle or a steel guitar. Nothing wrong with that, but sometimes it’s refreshing to see a band exploring the possibilities of a different instrumental mix. One such is Mystery Loves Company, which played a couple of sets at The Americana in northwest Houston on Friday, September 8. MLC sometimes includes a drummer, but for this gig the lineup comprised one guitar, an electric cello, a bass and a clarinet. That was more than enough to produce richly textured support for the young band’s thoughtful adult pop, which MLC calls “chamber rock.” The sound blends folk and rock with a bit of blues and jazz, with a vocal approach that at times recalls the progressive rock of the ’70s.

Guitarist Carlos Machado and cellist Madeline Herdeman shared vocal duties, sometimes alternating and often harmonizing on lyrics with themes that touched on such themes as spirituality (“If Heaven”), cultural dislocation (“Aliens”), family connections (“Sister When”) and love and loss (“The Silence”). The band also threw in some interesting covers, ranging from the Partridge Family (“I Think I Love You”) to Pearl Jam (“Better Man”) to the Beatles (“Eleanor Rigby”) to the Righteous Brothers (“You’ve Lost That Loving Feeling”), all imaginatively reworked and skillfully played.

Herdeman’s cello and the clarinet of Alauna Rubin carried most of the melodic duties, while Machado’s guitar lent rhythmic support and Jeremy Dudman’s bass underpinned it all with a solid foundation.

Mystery Loves Company’s members are still working day jobs and playing at night and on weekends, so the band’s touring for now seems mostly restricted to Greater Houston and nearby areas. Those within range of a gig may well find attending is worth the effort.

Review: The Mastersons’ “Transient Lullaby”

By Paul T. Mueller–
Transient Lullaby, the most recent album by The Mastersons – singer/guitarist Chris Masterson and singer/multi-instrumentalist Eleanor Whitmore – reads as an account of the couple’s musical and personal lives. Marked by well-crafted lyrics and beautiful harmonies, these songs form an insightful look at the highs and lows of a life of almost constant togetherness, on and off the stage. They’re backed by Masterson’s excellent guitar playing and Whitmore’s fine performance on pretty much anything with strings, including but not limited to guitars, violin, cello and mandolin.

The album’s sequence seems to track the arc of a relationship; the 11 tracks cover a lot of emotional ground, and easy answers are in short supply. The first track, “Perfect,” sums up the beginning of a relationship, with a mix of wariness – “You seem like a great find/But I’m broken, so please be kind” – and optimism – “We’re not perfect, but we’ll turn these tears to gold.” Conflict surfaces in the title track, in the struggle between personal bonds and professional demands: “It’s time to go/It’s been great, but I can’t stay long.”

Several of the songs that follow explore, with sometimes painful honesty, the everyday conflicts that challenge relationships. The titles hold clues: “You Could Be Wrong,” “Fight,” “Don’t Tell Me to Smile,” “This Isn’t How It Was Supposed to Go.” But it’s not all darkness. “You are my light,” the couple sings on “Shine On.” “We’re gonna shine on/Gonna shine on.”

By the end of the album, restlessness seems to have won out. “The time has come for us to part ways,” Masterson sings on “Happy When I’m Movin’,”the last “official” track. “ ’Cause we both know/I’m happy when I’m movin’.” That would make for a sad ending if not for the bonus track, “Anchor,” which closes a lyrical circle by echoing a line in the opening track – “Can’t you feel me? I’m your anchor” – with a similarly upbeat sentiment. “ ‘Cause I want to be right by your side,” they sing. “I promise you/In a world untied, you’re my anchor.”

Instrumental support comes from Andrew Pressman and the late George Reiff on bass, David Boyle on keyboards, and Falcon Valdez, Cully Symington and Conrad Choucroun on drums.

Review: Mathew Sweet, Tommy Keene in concert

By Ken Paulson —
I’ve only seen Matthew Sweet perform once before, on a double-bill with the Bangles at the 30A Songwriters Festival. The show was fine, but couldn’t compare with tonight’s performance in front of an audience of fans, all of whom apparently own a copy of Girlfriend.
That raised both the adoration and energy levels at the City Winery in Nashville  and Sweet delivered. He played a remarkably balanced set, with a handful of tracks from his new Tomorrow Forever album, and a generous mix of past successes. The new material went over well and “Music For Love” was a highlight. Sweet saved a familiar trifecta to close out his main set, including vibrant versions of “Girlfriend,” “I’ve Been Waiting” and “Sick of Myself.”

Opening the show was Tommy Keene, a revered figure in power pop circles. He played solo, first acoustically and then with an electric guitar. He delivered a solid set, but it made you really want to see him with a band.

Highlights included his classic “Places That Are Gone,” “Deep Six Saturday” and a cover of Alex Chilton’s “Nighttime.”

 

 

 

Reissue: B.J. Thomas’ complete Columbia singles

By Ken Paulson–

We’ve written in the past about B.J. Thomas’ continuing vibrancy as an artist, most recently during his appearance at the Franklin Theater in greater Nashville this spring.
His concert longevity has been fueled by multiple decades of hits, as we’re reminded by the new Real Gone Music release New Looks from an Old Lover: The Complete Singles.
Thomas had his first hits on Scepter Records in the ’60s, piled up more hits in the ’70s on MCA and ABC and then gracefully moved to Columbia in 1983, where he had several more hits, largely on the country charts. On top of all of that, he had a highly successful career in Christian music.
None of this new collection is “Raindrops Keep Fallin’ On my Head,” but it’s well-crafted and throughly enjoyable pop music by one of the genre’s best vocalists.
Highlights include “As Long as We’ve Got Each Other,” (Yes, from Growing Pains), “New Looks from an Old Lover,” “Whatever Happened to Old-Fashioned-Love,” “Two Car Garage” and “Rock and Roll Shoes” with Ray Charles.