Sun209: The week in Tweets

Sonny Curtis honored at the Country Music Hall of Fame

Sonny Curtis, a first-generation rocker and a highly successful songwriter, was saluted at the Country Music Hall of Fame in Nashville as part of its “Poets and Prophets” series today.
The program was a compelling reminder of the many talented contributors to contemporary music who are not household names, but should be. The warm and self-effacing Curtis has had an extraordinary career, playing and recording with Holly before the Crickets were formed, writing the classic “I Fought the Law” (famously covered by the Bobby Fuller Four and the Clash) and writing and performing the indelible theme to the Mary Tyler Moore show.
Curtis reflected on his childhood (“We were poor with three Os”) and his friendship with Holly (“I think we were friends before we met.”)
Shortly after Holly’s death, Curtis joined the Crickets as the new lead vocalist. The band needed a new song and he delivered “I Fought the Law.” He said he played it for Jerry Allison and Joe B. Mauldin and they said “Hey man, that’s good enough for this album.” Shrewd move.
Curtis said his vocals ended up on the Mary Tyler Moore show opening “Love is All Around” because he insisted on it, telling the producers they couldn’t use the song without him. “I wouldn’t do that today,” he laughed.

Charting: Amos Lee, Elliott Brood, Punch Brothers, Chuck Mead and Dunwells

They don’t make elections this close: The top 3 slots on this week’s Americana Music radio airplay chart include the Little Willies’ For the Good Times with 389 spins, Darrell Scott’s Long Ride Home, also with 389 spins, This One’s For Him, the Guy Clark tribute with 388.

New to the chart this week: Amos Lee’s As the Crow Flies at #28, Elliott Brood’s Days Into Years at #31, the Punch Brothers’ Who’s Feeling Young Now? at #35, Chuck Mead and the Grassy Knoll Boys’ Back at the Quonset Hut at #37 and the Dunwells’ Blind Sighted Faith at #39.

Chuck Mead told us about the Quonset Hut project in December.

You’ll find the audio interview here.

Review: Richie Furay Band live

by Terry Roland
The Richie Furay Band’s brief February tour through Southern California was important for this veteran country-rock artist. His last time around was with his old bandmates Neil Young and Stephen Stills on their long-awaited Buffalo Springfield reunion tour. While most of the audiences who attended the Springfield shows in California were familiar with Stephen Stills of Crosby, Stills and Nash fame and the iconic Neil Young, fewer have had the chance to hear Furay in the years since the band’s demise.

For the audience, it was a reminder of his considerable contributions to the legendary band. Fewer still realized that he was a co-founder(along with Jim Messina) of the band Poco, which helped to define country-rock even before they had a string of soft-rock hits in the late ’70s and ’80s.

If the Feburary 3rd concert, the final show of the tour in San Juan Capistrano at The Coach House, was any indication, the summer Buffalo Springfield tour paid off, as the Richie Furay Band played to a capacity audience. The show was dynamic, energetic and fresh. With his band, including Scott Selen on lead guitar(and a near orchestra of other instruments), Selen’s son, Aaron on bass, Alan Lemke on drums and Jesse Lynch on background vocals, Richie delivered a strong set of songs spanning 40 years.

Opening with the familiar Buffalo Springfield classic “On My Way Home,” he also faithfully recreated a trilogy of Neil Young’s songs he originally recorded on the first Springfield album. The first two songs, “Do I Have To Come Right Out and Say It,” and “If Flying on the Ground is Wrong,” were a reminder of how good Young’s quirky lyrics sound with Furay’s distinctive voice. Young’s “Nowawdays Clancy Can’t Even Sing” was stunning, with an arrangement and lead guitar work by Scott Selen that did Neil proud, and matched the duet Furay performed with Young during last summer’s tour.

The set included a strong sampling of early Furay/Messina Poco. As conceived by the two former members of Buffalo Springfield, Poco was an energetic, passionate and dynamic band that pushed country-rock to its limits during their heyday in the late ’60s and early ’70s, when Furay left the band.

The band missed his energetic presence, but went on to a string of commercial successes with soft, breezy and sometimes overproduced pop music. At this concert, Furay conjured up that original sound and reminded us all where it all began. This is not easy. While Poco always had at least two and sometimes three instrumentalists playing off each other, Furay’s band today relies on virtuoso Selen alone. He recreates the sound of Jim Messina’s distinctive electric guitar leads, Rusty Young’s frenetic steel guitar riffs and even throws in an occasional banjo, acoustic guitar and keyboard when needed.

During the show this musical chemistry hit the mark with Furay’s song
dedicated to Gram Parsons, “Crazy Eyes.” During the course of this 12-
minute opus, Selen moved from instrument to instrument as the music
flowed through its various tempos and changes, the musical equivalent
of a triathlon. The live performance eclipsed the original recording,
with a sense of soul and urgency, immediate and bittersweet. Trading
vocals with his daughter Jesse, Richie revisited the song he wrote
as a way of reaching out to Parsons and which was released
days before Parsons died. It ends in sad, but knowing resignation with the line, ”Crazy eyes, you’re as blind as you can be.” As presented live with this band, it is a masterful, and soulful statement about the loss of a friend to addiction.

What became clear during the two-hour set is that Richie Furay is a soul singer. Whether he sings an original gospel song like “Rise Up,” or his new song to his wife of 45 years, “Still Fine,” he gives every song his whole heart.

Richie has a unique and distinctive voice and in live performance infuses every lyric with a feeling that often transcends and raises each song to a new level.

After a standing ovation and encore of “Kind Woman” slowed down to a blue-eyed soul pace, Richie Furay seemed much younger than his years. Indeed, the musical future remains bright for this country-rock innovator, with or without a call from Neil Young.

Dave McGraw and Mandy Fer’s “Seed of a Pine”

By Joe Ross

Singer/songwriters Dave McGraw and Mandy Fer have a knack for capturing the passionate beauty of original contemporary folk music. Evoking tranquility and reflection, their frank lyrics and life-affirming tales are woven around melodic lines that hold the fabric together.

The set alternates with McGraw and Fer compositions, and this debut collaboration is a perfect showcase for their impressionistic songs. The watercolor that graces the album’s cover and jacket was drawn by 8-year-old Zia Kypta-Keith and was inspired by the song “Seed of a Pine. We also hear several references to colors in the stories they tell – purple sage, golden grey, angels dressed in blue, forests blooming green, streets painted in gold.

Fer’s “Forget the Diamonds” reminds us that “behind the curtain there are colors you won’t believe exist.” McGraw’s “Comin’ Down” tells us “that dusk in mountain colors fades from blue to red to black, you glance over your sore shoulder, it’s too dark now to turn back.” While their music emphasizes earth tones, they also occasionally evoke dreamlike pictures with vibrant colors and shades.

Both are guitarists, and Fer also lays piano, Wurlitzer, bells and tambourine into the mix on a few pieces. Instrumental support comes from Andrew Lauher (drums), Christopher Merrill (bass), Allison Russell (banjo), Nora Barton (cello), Peter Mulvey (electric guitar on one cut), Jared Rabin (violin), and Benny Sidelinger (Dobro). Russell, Mulvey and Jeremy “JT Nero” Lindsay also provide some vocal harmonies on a few cuts.  

And “So Comes the Day” with this touching music, and like the monsoons that “turn everything green from dusty dirt brown,” McGraw and Fer paint their canvas with multi-hued images. May their music be heard.

Some Velvet Evening’s “No Law Against Talking”

By Joe Ross

Fans of classic country music should rejoice that new music is still being written in that style by artists like Carrie Shepard and John Holkeboer (aka John Holk). The Detroit duo refers to themselves as “Some Velvet Evening,” and No Law Against Talking was recorded over a three-year period with the instrumental assistance of Todd Glass (drums), John Lang (pedal steel), and Paul McLinden (lead guitar). Shepard provides percussion, and Holk plays bass, guitars, banjo, mandolin and percussion.

Reflecting their name, the duo strives for a soft, smooth and lustrous sound. They don’t achieve the high, lonesomeness of their honky tonk influences, but do succeed with a more relaxed, personalized elegance that emphasizes their close vocal blend. That’s why a folky rendering of “Springtime” or the rawboned country song “Shooting the Breeze” are presented with wafting gentleness and a natural quality, sure to please aficionados of vintage country.

“Chore List” incorporates a simple melodic riff that gives the song a distinctly ethnic feeling. When I hear the two covers on this album, I can’t help but draw comparisons to original renderings. As done by the Delmore Brothers in the 1930s, “Southern Moon” had a driving bluesy feeling. Recently, I heard the song covered in a bluegrass arrangement with considerably more tempo by The Crowe Brothers. Some Velvet Evening keeps their harmonizing close throughout the song, but I think they could have imparted more energy with an arrangement in a higher key.

The closing track, “Come On, Let’s Go” is a radical change of pace, a cover of the Ritchie Valens hit. With their feet planted firmly in both the past and present, Some Velvet Evening is recreating a vintage sound that even presages the honky tonk era. Their music has heartfelt accents that are country to the core.

Sun209: The week in Tweets

Leonard Cohen’s “Old Ideas”

by Terry Roland
— Leonard Cohen’s latest album returns us to his dark ballroom of late night apocalyptic poetic waltzes, haikus and tongue-in-cheek pessimistic self-reflections.
Old Ideas is built off of much the same musical landscape that Cohen has carefully laid for the last ten years with spare and lean cabaret instrumentation, Sharon Robinson’s gorgeous, simple and clear background vocal arrangements and his own vocal range dropping down to a phantom-like near-whispered low frequency, his trademark for the last 20 years. His voice is as much his instrument as Dylan’s mid-‘60s howl, Ray Charles’ piano and BB King’s Lucille.
His contemplative meditations are built off of American blues, gospel and jazz. On songs like “Show Me The Place,” the songwriter walks into the warm comfort of Stephen Foster’s “Hard Time,” with his own updated sentiment “I save what I could save/a thread of light/a particle, a wave/but there were chains.”
This song also features beautifully arranged and performed background vocals by Jennifer Warnes who recorded the first and still best Cohen tribute album Famous Blue Raincoat. The song destined to be remembered is his one detour down Boogie Street on “Darkness,” which will most likely become fodder for future interpretations.
Old Ideas brings Cohen to a subtle thematic shift he’s been exploring for years and maybe, after a string of artistically successful albums and a world tour, he’s relaxed enough to simply let his own humorous leanings merge seamlessly into the sudden enlightenment of his well-worn lyrical angst and absurdity. To be sure, humor has always been a poetic ingredient in his work, but this time out, the artist is more relaxed with it and seems to have found the funny bone in his serious musings.
So what shines most on this new collection of songs is the grin behind the dark eyes. You can walk with Leonard and dance through his End-of-Times ballroom, but all you may see of him this time out is a mischievous Cheshire smile, less romantic and dramatic and more intent on tricking you as he disappears into sometimes familiar metaphors and images.
Examples abound on songs like “Crazy To Love You” where he “chases through the souvenir heartache, her braids and blouse all undone,” and his sly turn of America’s most joked about instrument into a gothic death symbol on “Banjo,” which is “broken and bobbing on the dark infested sea,” buoyed by appropriately infectious and toe-tapping phrasing. The song brilliantly sums up the balance Cohen has found in his humor and dark imagery.
Old Ideas, more consistently than Dear Heather and less earnestly than Ten New Songs, shows how Leonard, always the poet, continues to sharpen his skilled and unique approach to spoken word with haunting, spare and engaging music. If you’re so inclined to walk into his world of Old Ideas, it’s more important than ever not to take things too seriously. Do enjoy the stroll.

At the Bluebird: Peter Cooper, Karen Leipziger, Phil Lee, Dave Duncan

By Mary Sack

Tonight I witnessed yet another, one-of-a-kind Nashville Moment. It wasn’t a Grammy moment. Could’ve been, in an alternate universe. Three days after The Grammy Awards were broadcast live from Los Angeles, I saw a bona fide 2012 Grammy Nominee (for “Best Children’s Album”) Peter Cooper, bona fide rapscallion Phil Lee, new-to-me Dave Duncan and the surprisingly soulful Karen Leipziger, accompanied by Andy Ellis, perform in an intimate, early-evening round where they laid songs out one-by-one in a packed-to-the-walls house of rapt listeners and several friends.

There’s lots to say about each of these songwriters, but collectively they shared one of the coolest, bluesiest and fun evenings I’ve ever heard at The Bluebird Café in Nashville’

I really went out in the rain to this show to lend an ear to Karen Leipziger. I’ve known her as a crack publicist and almost forgot that she is also a songwriter with many, very cool cuts with some very well-known blues artists. I was shocked to realize I knew most of her songs but never realized over all of these years that she’d written them. Karen has always been humble, but THESE songs were monsters. Chief Eddy Clearwater recently recorded her cautionary “Do Unto Others”, which I swear could have a run in the Christian Blues market, if one exists.

Peter Cooper played many of my personal favorites, including “715” — a song about Hank Aaron and growing up in the shadow of racism and inequality. He shared his recent Grammy experience with the crowd, as well as his good natured humor about being a “runner-up” but I left the show thinking what a great picker he’s become in addition to his growth as an artist.

Fresh back in Nashville from his latest UK tour, Phil Lee never disappoints, toying with the audience as he does, playing songs like the tragically catchy “Just Some Girl” as well as the brand new “Cry,” while accompanied by the McCrary Sisters from various seats around the room. Simply arresting, those voices.

Layin’ it down with finesse, Dave Duncan definitely has the blues. He, too, could lay down a lick and sang of learning more about the blues in two weeks from his lady than “20 Years of BB King” – a song that also earned its own nomination from the Blues Music Association in 2008.

It was one of those nights when a one great song is followed by another surprisingly, captivating great song, all backed with solid performances. And it was free, no cover. Only in Nashville.

Merl Johnson’s “A Better Man”

By Joe Ross

– Everyone’s heard of Merle Haggard and Merle Travis, and now it’s time to get acquainted with Merl Johnson. Growing up in Woodbridge, Va. about 20 miles southwest of Washington, D.C., the young musician accompanied his dad to many festivals, concerts, and jams. Merl took to music early on, appearing on his first radio show at age six. He also had the opportunity to travel and play with such legends as Dave Evans, James King, Frank Wakefield, Charlie Waller, the Stoneman Sisters, Gillis Brothers, Junior Sisk, Don Stover,Joe Meadows, Bobby Hicks, Buzz Busby and Bill Harrell.

Blessed with a smooth voice and talent for fiddle and mandolin, Merl Johnson is now “A Better Man,” knowing that he can succeed at about anything he decides to take on. Perhaps that’s why he’s relocated to Asheville, N.C., where he plays fiddle with Travers Chandler & Avery County, a second-round nominee for IBMA’s “Emerging Artist of the Year” Award. While that bandemphasizes “Baltimore Barroom Bluegrass,” Johnson’s solo album displays his own versatility and eclectic tastes. Yet he never forgets his upbringing and influences with songs like Carter Stanley’s “Sweetest Love,” Bobby Hicks’ “Angel’s Waltz” or a ballad about a 1970s murder spree in Richmond, Va., “The Briley Boys,” written by Bob Perilla.

“In Those Hills” and “Power of Prayer” were penned by his father, and Merl shows his own hand at instrumental tunecrafting with “Amandalyn” and “You’ll Find Monroe WrittenThere.” Fans of fine bow work should tune into the slow triple fiddled closing rendition of Peter Jung’s waltz “Far Away.”

Merl Johnson has developed a fairly extensive network of pickers in his
region. For example, banjo-player Dick Smith makes his home in Alexandria, Va. and has worked with The Country Store, Del McCoury Band, Country Gentlemen, Lynn Morris Band, Bill Clifton and Mike O’Reilly.

On “Better Man,” we also hear guitarist Danny Knicely, another well-rounded and proficient picker from Virginia’s Shenandoah Valley. The album also features Stefan Custodi (bass), Jay Starling (Dobro), Brennen Ernst (clawhammer banjo on “Dance Around the Daisies”), Tad Marks (fiddle on two cuts) and Jenny Leigh Obert (second fiddle on four cuts.)

Vocal harmonies are laid in by Jay Starling and Tom Mindte. Their chorus blends work better on some songs than on others, but we certainly appreciate Mindte’s support of young up-and-comers like Merl Johnson on his Patuxent label.

“In Those Hills” is a song that speaks to Virginia’s beauty and color, and this CD illustrates that Merl Johnson’s music from the area is also
very special.

Americana music chart: “Chimes of Freedom,” Gretchen Peters in Top 10

It’s an unusual week on the Americana music airplay chart, with no new entries in the top 40. The Chimes of Freedom Dylan tribute and Gretchen Peters’ Hello Cruel World are among the biggest gainers, with both breaking into the top 10.
The real action is on the most-added list with Anais Mitchell’s Young Man in America, Otis Taylor’s Contraband, the Chieftains’ Voice of Ages, Amos Lee’s As the Crow Flies and the Punch Brothers’ Who’s Feeling Young Now? picking up airplay.
Singer-songwriter and occasional Sun209 contributor Tommy Womack’s new Now What! has been added to seven stations, tying Bruce Springsteen. Pretty good company.

The classic roots-rock of Springfield, Missouri

By Bruce Rosenstein

– If I could be magically transported to any roots-rock gig, I’d pick wherever guitarist D. Clinton (Donnie) Thompson and bassist Lou Whitney are playing, in whatever band configuration. For nearly 35 years, these Springfield, Missouri musicians have led excellent bands with a revolving cast of members under the names The Skeletons, The Morells and The Symptoms.

I’ve known Donnie and Lou since the late ‘70s, when Steve Leeds and I were planning the compilation, Declaration of Independents, for our short-lived label, Ambition Records. The LP contained Donnie’s version of the Ventures’ “Driving Guitars,” and another Springfield contribution, Jim Wunderle’s cover of the Seeds’ “Pushin’ Too Hard.” (Jim was the lead singer of The Symptoms.) We also released a 45, under the name the Original Symptoms, of a cover of the Swingin’ Medallions’ “Double Shot of My Baby’s Love,” with Donnie, Lou and Jim on vocals.

The Skeletons/Morells/Symptoms haven’t made it particularly big in terms of record sales or national recognition, but they have shown a genius for two valuable musical abilities: collaboration and interpretation. I have seen them as the backing band for Steve Forbert and Syd Straw, and they also formed the core of the band for a wonderful 1990 Jonathan Richman album, Jonathan Goes Country. Their album backing Syd Straw, War and Peace, is terrific. I saw the band backing Syd in 1996 at, of all places, the 25th anniversary of the Kennedy Center. Two moments in particular stand out: Donnie’s blistering guitar on The Ramones’ “Beat on the Brat,” and Syd and Lou’s duet on George Jones and Tammy Wynette’s “We’re Not the Jet Set.” Individually or collectively, they have also collaborated with Dave Alvin, Robbie Fulks, Boxcar Willie and others.

As for interpretation, besides the covers mentioned above, they have put their own stamp on many songs written by others. The Skeletons’ In the Flesh! CD includes versions of, among others, Sonny Bono’s “Laugh at Me,” Peter, Paul & Mary’s “Very Last Day” and “Crazy Country Hop” by the recently departed Johnny Otis. All of the albums by the group contain covers, which demonstrate that you don’t necessarily need original material to sound original.

I’ll write a follow-up post on what the band members are doing today. But in the meantime, check out some of their recorded material, and if you can, listen to these musicians in person, in collaboration or on their own. In that setting, it is roots-rock music at its most thrilling and authentic.

 

Richard Thompson times 3 on Cayamo

 

Richard Thompson on Cayamo

Richard Thompson was a solo artist on Cayamo this week. And a member of a duo.  And a member of  a trio.

And it was all good.

Thompson  teamed with Loudon Wainwright for a reprise of Loud and Rich, playing a few originals, but largely covers of songs ranging from Bob Dylan to Charlie Poole.

He also played two sets with power trio bandmates Taras Prodaniuk and Michael Jerome. He described  the trio as a combination of Cream and the Kingston Trio (and alternately the Jim Hendrix Experience and Peter, Paul and Mary) and played a truncated version of “Tom Dooley” to the melody of “Sunshine of Your Love.” The Cream reference was apt. The trio reminded us just how potent guitar, bass and drums can be.

But it’s probably not a surprise that the very best Richard Thompson show was his solo acoustic set. Favorites like “I Misunderstood” and “1952 Vincent Black Lightning” were complemented by the hard-rocking “Valerie” and a fun cover of the Who’s “Legal Matter.”

Lucinda Williams on Cayamo

Lucinda Williams on Cayamo

Lucinda Williams seemed to take a while to get accustomed to playing on a cruise ship, with her shows getting stronger throughout the week on Cayamo. She acknowledged her growing comfort level at the outset of her third and final show, saying it takes a while to get your bearings on board and that she was excited to play the 6 p.m. show because “people are fresher.”

She then launched into an excellent set, opening with “Car Wheels on a Gravel Road.” Highlights included “Changed the Locks, “Still I Long For Your Kiss” and “Get Right With God,” but Lucinda seemed most tickled by her hard-rocking “Honey Bee.” “That’ll start your night out right,” she said.

The encore was the Buffalo Springfield classic, “For What It’s Worth,” written by Stephen Stills. This was a fun and vibrant take, and although the song was inspired by police clashing with teens on the Sunset Strip almost a half century ago, it still has resonance.

“This song was written in the ’60s, but it’s still very relevant today,” Lucinda said.

Cayamo Week in Tweets

  • Celebrating Leo Kottkes’ debut album http://t.co/fvzY2lia #
  • Opening night on @Cayamo: Brady and Manning vs. Lovett and Hiatt. #
  • There are big names on @Cayamo – John Prine, Lucinda – but we’re also looking forward to some newcomers, particularly @thebellebrigade #
  • Monday on @Cayamo: @thecivilwars, @sarawatkins,@thebellebrigade, Loudon Wainwright and Richard Thompson Trio. #
  • We’ve spent a lot of time at Jammin’ Java; Luke Brindley is now with Native Run and on @Cayamo. #
  • On @Cayamo last night, Lyle Lovett said he has the room next to John Prine and has been jamming with him all week. “He doesn’t know it.” #
  • Belle Brigade dance party on @cayamo http://t.co/Z5XWKVq9 #
  • Jim Lauderdale was everywhere on @Cayamo today. He led Tai Chi, then played in Buddy Miller’s and Lucinda Williams’ bands. #
  • John Hiatt and Lyle Lovett did 3 different shows @Cayamo, all outstanding. Great music and very funny conversations. http://t.co/Q1ICrTZT #
  • The @civilwars rebound from illness on @cayamo. http://t.co/rvnRZNqD #
  • Buddy Miller dedicated his opening and closing songs last night to Ed, a passenger and Buddy fan who died just as @cayamo was leaving port. #
  • Loudon Wainwright in a rare performance of Dead Skunk tonight, says @Cayamo agreed to pay him more. #

Buddy Miller and Jim Lauderdale celebrate George Jones

Jim Lauderdale salutes George Jones on Cayamo

Jim Lauderdale dropped in on Buddy Miller’s first show on Cayamo, a music festival on a cruise ship.

Dressed in bright red slacks and shirt worthy of the Opry, Lauderdale apparently inspired Miller to do a three-song tribute to George Jones, a man both artists admire. Lauderdale even portrayed Jones in a production at the Ryman in Nashville a few years back.

The two performed “Why Baby Why,” “The Race Is On” and “She Thinks I Still Care.” Lauderdale followed with his own “King of Broken Hearts,” a nod to Gram Parsons.
Lauderdale also announced that he and Miller will soon be co-hosting a show on Sirius-XM’s “Outlaw Country.”

John Prine on Cayamo

John Prine on Cayamo 2012

By Ken Paulson Four of the best minutes in a week full of great music on Cayamo came as Iris DeMent joined John Prine on “in Spite of Ourselves,” their very funny duet from the album of the same name. Prine is always a professional, and his shows with Dave Jacques and Jason Wilber are well-paced, spanning his best work of the past four decades. The three shows this week were no exception. But Prine absolutely beams when there’s a shift in the routine, and he was clearly having a good time with Iris. She stayed for “Unwed Fathers” and the finale “Paradise.” Prine has been on the Cayamo cruise before, but he hasn’t quite gotten over the sensation of singing while trying to hold onto your balance. He told the audience that if they see any performers who aren’t having a problem with their footing, “they’re drunk.” One early show finished at 7 p.m. “I haven’t been done with a show this early since I played the matinee at the Earl of Old Town,” Prine recalled.

Civil Wars rebound on Cayamo

The Civil Wars had to cancel a show due to John Paul White’s seasickness, but rebounded for a pair of shows on Tuesday. Their harmonies were pristine, despite the medical setback. The set was essentially their Barton Hollow album, plus reconstructions of  the Jackson 5’s “I Want You Back” and Michael Jackson’s “Billie Jean.”

 

The Civil Wars on Cayamo

White thanked an onboard doctor for going “above and beyond the  call” and was visibly relieved when he finished the first set after his illness. We have a hunch this may be the Civil Wars’ last Cayamo.