Review: All the Real Girls’ “Tinsel Town”

 in Americana Music

By Joe Ross – The aching vulnerability of young people coming of age is the rootsy musical territory explored by All the Real Girls on their 5-song EP, Tinsel Town. Many songs have been inspired by life’s journeys and struggles, and this folk-rock project doesn’t succumb to cliches. Rather, the thoughtful music was written by vocalist and multi-instrumentalist Peter Donovan (guitar, organ, piano) for a low-budget film called “Lost on Purpose” directed by Ian and Eshom Nelms, two brothers who grew up in the San Joaquin Valley.  The movie tells the story of five ranch hands on a dairy farm fighting for survival, direction and friendship when times are tough.

“The Way It Is” sets the stage for a young man (presumably the movie’s protagonist) accepting the cards he’s been dealt, but also having an optimistic note. A breezy jaunt, “Lose the Sun,” is a pleasantly nostalgic song about making time stand still. It similarly has a positive and confident message. Opening with just guitar, piano and vocals, “Follow the River” slowly builds with its encouragement to “keep your head up, kid, because tonight’s the night.”

Glittery Hollywood is often referred to as “Tinsel Town,” and as an analogy to life, we have to also find and understand perspectives about trust, substance, pride, truth and love. The title track conveys a sense of enlightenment and insight “when I hear the tales of you out on the road, it starts to make some sense why I’m so afraid of home.”

The understated earthiness of Bruce Derr’s pedal steel and Jordan Walston’s banjo provide a soothing country twang in “When I Had You.” The rest of the band includes Eric Ambrose (trombone), Chris Elliott (trumpet), Andrew Blowen (piano, organ), Matthew Cosby (bass), Travis Kline (guitar), Juliet Nelson (cello), and Jon Nolan (drums, guitar, percussion, vocals). Additional vocals are added by Elsa Cross, Amy Elhoff and Elijah Ocean.

As with the movie, these five effective songs have settings, characters and a plot that tie them together into a meaningful, relevant story. Peter Donovan gently blends words and melody. As you listen, see what kinds of picturesque images are conjured up in your own mind. Then catch the movie to determine how close you’ve come to those portrayed in this contemporary Americana music. Hopefully the images have worth and substance unlike L.A.’s “tinsel town.” This music also provides understanding of a younger generation’s confidence and optimism, but also of the occasional misguided direction and confusion they experience. Haunting truth and beauty are really all we can ask for in a song.

John and Sheila Ludgate: “Running Through the Innocent Years”

 in Americana Music


By Joe Ross
In “Payback Road,” the opening cut on Running Through the Innocent Years, Ontario-based folk duo John and Sheila Ludgate tell us that “everybody’s got to do their time, it separates the survivors from the cheap talk kind, and the scars they show through.” John plays guitar and harmonica; Sheila is a bass guitarist. And if anyone’s done their time, it’s this couple that has released several albums since 1992, at the same time they’ve raised four boys.

A true family endeavor, Running through the Innocent Years includes sons Anthony (guitar), Luke (guitar), and Shane (percussion, strings, horns, piano). The title cut deals with time’s passage and the curve balls that one gets thrown, but asserting that it’s love that will see you through. “The price is high and you’ll pay and pay, but the trip is worth the fare. It’s all I want, it’s all that I need, but time it wants to change everything.” Every baby boomer dealing with an empty nest should be able to immediately relate to that message.

This album must have been a fun venture for the Ludgate family to undertake. John’s fingerpicked acoustic guitar and warm conversational baritone voice are always front-and-center, while Sheila’s backup harmony is discreet and unassuming. Produced and recorded by Anthony, the five musicians strive for sensibly cultivated arrangements of the original repertoire of mostly wistful, nostalgic balladry. Whether the song presents a sentimental, a regretful, or a grateful message, John and Sheila Ludgate cover various soft expressions in their folk music.

While a few cuts have instrumental, melodic and lyrical similarity that slightly disappoint, let’s remember that this is a thematic album that all voyagers in life should be able to find some meaningful relationship to.

I appreciate the family band’s invitation into their relaxed, friendly, intimate space. “Colours” sounds like it could have been worked up in the ’60s by Gordon Lightfoot or Simon and Garfunkel. A sentimental message: “The clock marks the minutes on the wall. The present colours what the past recalls. The future stands alone, waiting to be known, while time plays a song for us all.”

That’s the strength of this project, and some songs succeed better than others. “Masquerade” establishes a pleasant groove (with electric guitar and drums) that shows the influence of Johnny Cash. Along with the closer, “Wasted Time,” perhaps a few more cuts with this kind of lively electric energy could have shaken things up a bit more. The Ludgates’ earthy music is definitely worth a listen, and their advice also provides perspective and insight – “Get it all in, before time takes it all away.”

Reviews: Dirt Drifters, Chris Isaak,Verlon Thompson, more

 in Americana Music, Reviews

 By Ken Paulson

– As we close out 2011, there’s still a stack of CDs we’ve been meaning to write about. Here’s a quick round-up of noteworthy 2011 Americana music releases:

The Dirt Drifters – This Is My Blood:  We first came across the Dirt Drifters at a free-speech benefit in Nashville in 2009; they had tremendous energy on stage and we looked forward to their recording. This album has been in the pipeline for a while, but it was worth the wait. This is vibrant music at the intersection of rock and country. “Married Men and Motel Rooms” and “Something Better” smack of “Guitar Town”-era Steve Earle – and that’s a very good thing.

Chris Isaak – Beyond the Sun:  Chris Isaak’s new album is a salute to the great music recorded in the legendary Sun Records studio.  Isaak says he was honored when Sun founder Sam Phillips once named him as a favorite singer; he’s returned the compliment with impeccable renditions of songs like “I Forgot to Remember to Forget,” “Trying to Get To You” and the truly vintage “My Happiness.” Beyond the Sun makes the classics contemporary.

Dean Fields – Under A Searchlight Moon – This has no filler; just five smart songs that ring true. “You get pretty; you just keep going, that’s why we’re late for everything we ever do,” Fields sings in “Forever Never Knowing,” one of a number of songs that suggest real relationships set to music.

Edwina Hayes – Good Things Happen Over Coffee – Good things also happen at Nashville parties when a talented British visitor joins an impromptu jam session. That’s where we first heard Edwina Hayes’ impressive vocals. Clearly, Nanci Griffith is an inspiration to this young singer. Griffith offers a supportive quote in Hayes’ press materials and the album features “Speed of the Sound of Loneliness,” a John Prine song covered earlier by Griffith. Hayes’ own evocative songs run to the sad, particularly “Nobody’s Coming Around.”

Verlon Thompson –Works: Verlon Thompson is perhaps best known for his work in tandem with Guy Clark, and it’s good to see him take a solo turn on the engaging Works. Highlights include “The Show We Call the Business,” an apt song about Thompson’s line of work, and the Clark co-writes “The Guitar” and “The Ballad of Stringbrean and Estelle,” a compelling account of the night on which the Opry performer and his wife were robbed and murdered.

The Vespers – Tell Your Mama – OK, so this album actually came out in 2010, but we didn’t hear the Vespers until this year at the Americana Music Festival. This is tasteful, inspired folk, fueled by the sterling harmonies of the Cryar sisters. The Vespers are very young and very talented.

Americana music 2011: No Depression’s 50 favorites

 in Americana Music, Reviews

No Depression has released its list of the Top 50 favorite albums of 2011, as voted by its fan community. It’s an interesting mix, with Gillian Welch’s The Harrow and the Harvest at the top, followed by a remarkable range of artists, genres, styles and ages.

Some have complained that it’s a surprisingingly mainstream list for an alt-country site, but that’s the nature of a “favorites” list. Name recognition goes a long way, although we don’t see any names on the list that you can’t make a case for.

Here are the top 25. You’ll find the full list here.

Gillian Welch – The Harrow & the Harvest

The Decemberists – The King Is dead

Wilco – The Whole Love

Lucinda Williams – Blessed

Steve Cropper – Dedicated

Tom Waits – Bad as Me

Dave Alvin – Eleven Eleven

Zoe Muth & The Lost High Rollers – Starlight Hotel

Jason Isbell – Here We Rest

Ryan Adams – Ashes & Fire

Hayes Carll – KMAG YOYO

Eilen Jewell – Queen of the Minor Key

Drive By Truckers – Go-Go Boots

The Deep Dark Woods – The Place I Left Behind

Jayhawks – Mockingbird

Tedeschi Trucks Band – Revelator

Civil Wars – Barton Hollow

Gregg Allman – Low Country Blues

Buddy Miller – Majestic Silver Strings

Paul Simon – So Beautiful or So What

Sarah Jarosz – Follow Me Down

Nick Lowe – The Old Magic

Ry Cooder – Pull Up Some Dust and Sit Down

Blackie & The Rodeo Kings – Kings & Queens

Fleet Foxes – Helplessness Blues

Review: Chicago Kingsnakes’ “Blue Mosaic”

 in Reviews

By Joe Ross

– As with any album I review, it’s usually the cover that first catches my eye. The Chicago Kingsnakes chose some artwork by modernist painter Marc Chagall to grace the cover of their new CD, “Blue Mosaic.” Like Chagall’s work in which his colors attract and capture attention, The Chicago Kingsnakes blend tones and graduated perspectives into new, living forms that become integral parts of the music on their tenth MusicKing label album release.

The cover artwork is a good representation of this band’s cohesive personal Chicago blues vision with R&B and soul influences. The musical mosaic on this album conveys plenty of striking images and vivid impressions.

The songs are all original, written by guitarist and lead vocalist James “Ang” Anderson. The rest of the band is Nelson Keaton (harmonica), Mike Bailey (bass), and Gus Gotsis (drums). They all sing, and that contributes to the band’s well-executed charm that has grown a legion of fans during its nearly three decades in existence.

The album presents a lot of contrast, both in color and statement. “Sick and Tired” might have the band wanting to go back where they belong on the south side of Chicago, but “So Cold in Chicago” has them stranded on Lakeshore Drive in a car that won’t start.

The Chicago Kingsnakes’ music doesn’t give me that “chill right down to my bone.” Some lyrics come off as a little awkward, and their instrumental work is almost too clean and arranged at times, lacking some of the guts, grit and grease we expect in the blues. On the other hand, some of their burning music is pretty hot too, and a few of the cuts might get you to “Stop, Drop and Roll” right into their fire. These guys are clearly an energetic and talented working band with many devoted fans. I only wish they’d take a few more cues from Howlin’ Wolf.

Review: Michael Johnathon’s “Front Porch”

 in Reviews

By Joe Ross
– Michael Johnathon’s signature “folkestral” music is a pleasing blend of nicely-arranged, mostly original songs that incorporate his guitar and banjo along with occasional orchestral strings into pretty little ditties with downhome messages. Besides a Kentucky homeplace, he now owns a cozy little log cabin deep in the woods, and Front Porch is about his “search for home and a life full of music and starlight, holding hands and dancing for no reason.” Back in the old days, a great deal of mountain music and dancing were solely made on the porch. Today, many people have turned a back on their musical roots, and it takes folksingers like Johnathon to frequently and nostalgically remind us of simpler days full of children dancing, fireflies, and values like love, forgiveness and mercy divine.

A unique arrangement of the Rolling Stones’ “Satisfaction” initially seemed a little out of place until we’re reminded of that man on the radio trying to capture our imagination with a lot of useless information. I believe that there’s a subtle message that Michael’s trying to convey – happiness and contentment can be found by simply embracing a life built around love, honesty and music.

The consummate musician surrounds himself with others who understand his musical vision. Others appearing on this album include Rob Ickes (dobro), Raymond McLain (mandolin), Ronn Crowder (harmonica), and three bass players (Paul Reich, Bob Bryant, A.J. Daugherty). As on his previous albums, his accompanists successfully dispense “song conversation” to the music. String quartets (with two violins, viola, and cello) appear in “How Can I Keep from Singing” and “Believe,” and “Pachelbel’s Canon in D” includes violin, viola, cello and bass. All three of these tracks were recorded live in concert, perhaps as part of Michael’s popular “WoodSongs Old-Time Radio Hour,” a live weekly program broadcast on hundreds of stations (and the Internet). Among the 10 tracks (a tad short for a full-length album), the instrumental “Tacobell’s Pee-shooter” and “Moonfire” are presented with plenty of engaging joie de vivre. In the closing number and title track, Johnathon happily professes that he’s got a front porch ’round his life. His advice, however, is that “We need a front porch ‘round the world.” The indefatigable Johnathon is a hard worker whose dedication and devotion to his art, home and family are a treasure to experience.

Ricky Skaggs interview: Staying true to faith and music

 in Americana Music, Nashville music, Reviews

By Terry Roland
– Ricky Skaggs has made several critical transitions in both his musical and spiritual lives. Although few can argue with his success, there have been some detours and U-turns along the way. This is one of the many things that make Ricky Skaggs such a compelling and enduring figure in American music. As a carrier of the ‘80s and ‘90s ‘new traditionalists’ label in country music, he was once given the Country Music Association’s Entertainer of the Year award.

He’s also won multiple Grammy awards over the years, no small accomplishment for a popular country artist who devoted himself to artistic integrity while piling up country hits like Guy Clark’s “Heart Broke.” In the mid-‘90s, he returned to his bluegrass roots in response to his own spiritual calling and in order to help carry on the legacy of bluegrass music created by his friend and mentor, Bill Monroe. Ricky has established his own family record label and become one of the elder statesmen of the genre. In this interview, he gives honest insight into the motivation behind his career decisions and how his own spiritual commitment and love of good and authentic music has given his career direction and depth.

TR: So you just finished a tribute album for Linda McCartney?

RS: Yes. The track came out good … The album was about all done and I got a call the last minute. They needed an extra track and somebody said, ‘Let’s get Ricky.’ I had just lost my sister to cancer. It was such a God thing. You know, you get a wink from God from time to time. She’d just died on the 12th of September. They called the next week for the track. We went into the studio. What you hear in that song is just the joy. It’s my heart being joyous for my sister. These were God moments. It was really healing for me. Hopefully it will raise some awareness about cancer.

TR: Tell me about the new Christmas album.

RS: It’s a continuation of the first one. During our first year out doing Christmas shows, the kids were much younger. It was 2004. We were doing home family projects. We liked to just sit around doing holiday songs. I grew up in Kentucky and my mom would sing all the time. We felt like we could do a good record if we had the chance to get in the studio.

During early 2004, we were doing shows with the Chieftains. My band was in a separate bus. The kids were with us. Sharon and the kids. The next day in Virginia, we got a call that my bus had caught on fire. We had to send another bus to pick up the band and they were going to be late. A friend of mine, Jeffrey Taylor, an accordion player, Penny Whistle, me, Aaron, Molly and Luke were at the show. We panicked and figured we had to do some kind of show until the band got there. Molly played the claw hammer banjo. We put together a 30-minute set. Molly played and I sang and the time just breezed by. We told the crowd what was happening so they were on our side from the first time out. What they were seeing was our living room. We didn’t even do Christmas songs that time, just gospel. My agent Bobby was at the show and he mentioned “If you could do Christmas music, I could book that.” So it all started with us catching fire going to Atlanta.

TR: A couple of decades, ago you were one of the leaders of the New Traditionalist movement when country radio was actually playing some pretty fine music. You were given the Entertainer of the Year award by the CMA and then, you turned your back on the whole scene and went back to your roots. What  happened?

RS:  You’re talking about 1995. I don’t know what happened. It was an accumulation of a few things. New York wanted me to do more pop-influenced records. Walter got me on the phone and said “I know you love country and bluegrass, but we got to get you doing some pop records.” I said I’d love to do that as long as it’s the kind of music that gets people to cross over to us, not us to them. But it wasn’t going to work that way.

I realized it would be really hard for me to do something that’s not in keeping with my ear. Rick Blackburn had been behind me there at Sony. But he left and there was a new head of music. So things changed. Also, well, it was a lot of things. I’ve got my faith and convictions. My oldest son was shot when a driver fired a gun into his car. He was okay, but my faith really kept me grounded.

The media would ask ‘What’s up with you?’ and they’d ask me about my faith. They knew the right questions to ask. The label would get annoyed and I’d tell them, “Tell the interviewers not to ask me these questions.” You know, you either believe in Christ or not. I can’t ride the fence. I have to be true to myself and to God, and I’ve got to tell the truth. I was being honest and truthful about my faith.

In 1996.  Mr. Monroe and my dad both passed away. Country music was becoming a big circus, just a tent show.  It was just not ever me. I was never tempted to be that kind of entertainer. I knew I wasn’t going to last in a situation where there was that kind of expectation.

What I really always wanted to was be a concert artist, put on a good show just for the music. I chose, after Mr. Monroe passed away, to try to help fill the void of leadership in bluegrass. I wanted to take my place at the table of this business. I wanted to try to raise up younger kids in the music. I got Del McCoury signed on my label. He did three albums with us. I did the same with Jerry Holmes and Blue Highway. We’ve had quite a few artists on the label. That’s why I wanted to go back to my roots. I did a solo record of songs my dad loved. It was really a tribute album. He always played good music for me.

You know, there were all of these people like Mr. Monroe and Flatt and Scruggs who I had close intimate friendships with. The Bible says ‘Honor the elders and give them their due.’ That’s what I wanted to do. My dad always had these guys in front of me who were 75 and 80-years-old in the mountains of Kentucky. I’d be sitting there with great fiddlers like Doc Holcomb in eastern Kentucky. That old mountain music I love so much. I even brought it into the studio with Bruce Hornsby.

TR: That’s right; you did an album with Bruce Hornsby.

RS:  Yeah. Bruce just loved the old Kentucky mountain music. We had not really put anything together for that record when we met in the studio. People were asking us to come up with some kind of ‘80s Firefall sound. I asked Bruce, ‘Ever hear of Roscoe Holcomb? He smacked the table and said “That’s what interests me, that’s what I want! ” I wish Bruce would’ve been on Sony. It took more money to go through all of the lawyers and red tape than he and I made on the whole record.

TR:  We’ve talked a lot about spirituality. Can you tell me your thoughts on spirituality and creativity?

RS: Well, I have to go back to realizing God is the creator of all gifts. I believe music is part of God’s creation and his nature. Being a Christian and believing in a loving God, I have passion in my heart for God. Christ paid a price I couldn’t pay; he took my sinful nature from me on the cross. Music is a way to express that love to people who don’t know God. I realize what people love is God in me and they don’t even know it’s him. When I’m putting a record together I pray and ask God to play me like an instrument, for that to come through the record, the mandolin or the fiddle. If he lives in my heart, his presence will come out of me either through my hands or my mouth. I just need to be very open and conscious of his presence in the music.

I did a record with Gordon Kennedy called Mosaic. The quality of the songwriting is off the scales. It’s really more pop than anything I’ve ever done, but I felt I had to get out of my boat of safety, out of the security of the bluegrass boat. It’s almost like old Beatles. It’s both acoustic and electric. I think it’s the most important record I’ve ever done. I’ve never done a record where people would call and order 100 copies just to give away to family and friends.

TR: Well, Ricky. I appreciate so much the interview. I look forward to seeing you when you come to California!

RS: Yes. Thank you!

Jody Miller on Epic: Remembering the “Queen of the House”

 in Reviews

“Answer” songs rarely launch careers.

These records — far more common in the ’60s than today — “answered” hit records of the day, responding to a current hit in theme and sound in hopes of riding the coattails of an established record.

Most of these novelty songs vanished quickly, but there were rare exceptions. Kitty Wells’ “It Wasn’t God Who Made Honky Tonk Angels” was an answer to Hank Thompson’s “The Wild Side of Life.”

In 1964 Roger Miller’s “King of the Road” was a monster record that cemented his reputation and career. Jody Miller answered with “Queen of the House,”  a domestic take on Roger Miller’s big hit. It broke into both the pop and country charts and established her career.

Due to be released next month is the Complete Epic Hits, a collection of ’70s recordings for that label. It’s a reminder of a time when artists actually had the time to record a body of work and when slightly countrified pop hits were staples of the genre. Her Epic hits included such top-five records as “He’s So Fine, “Baby I’m Yours” and “There’s A Party Goin’ On, plus covers of “House of the Rising Sun” and (You Make Me Feel Like) A Natural Woman.” This is a thorough retrospective illustrating Miller’s range and Billy Sherrill’s production skills. It also documents an era in which  country and pop began to meld.

Chuck Leavell: From Sea Level to tree level

 in Americana Music

By Bruce Rosenstein
One of the best examples of a multi-dimensional person living in more than one world is Chuck Leavell. He is probably best known as a top-level pianist who has played with The Rolling Stones for nearly 30 years and was with the Allman Brothers Band before that. He has also led his own band, Sea Level, and his discography is jaw-dropping. But as his recent bylined piece, A Rock ‘n’ Roll Tour de Forest, in The Wall Street Journal shows, he also operates on many other important levels: operator (with his wife, Rose Lane) of a tree farm in Georgia, conservationist, environmental/sustainable development advocate, author and tech entrepreneur. His recent TedXAtlanta video about balance in life and balance in development demonstrates the personal characteristics that have made him a success: he comes across as passionate, articulate, genial and informed. Although I never met him during my music world days, I’ve known about him since the beginning of his music career in the early 1970s. I’m sure he meets and interacts with a fascinating diversity of people in each of his roles, and that his involvement in so many worlds feeds an intense intellectual curiosity. It’s encouraging that he has attracted so much attention. His most recent book, Growing a Better America, was published earlier this year. In recent weeks, besides the WSJ piece, there has been a New York Times college football-themed blog post interview with him, Postcard From Alabama: Playing for the Stones, Rooting for the Tide; and Chuck Leavell On Piano Jazz, a recent piece on NPR.org that includes his enjoyable and informative 2003 interview/music appearance on Marian McPartland’s Piano Jazz. We should all be grateful that Leavell is truly living in more than one world.
(You can find more of Bruce Rosenstein’s work at Living in More Than One World.)

Chuck Mead goes “Back to the Quonset Hut”

 in Reviews

One of the coolest sites in Nashville is rarely seen by the public. The legendary Quonset Hut was once the most prominent studio on Music Row, the home of such recordings as “King of the Road,” “Crazy” and “I Fall to Pieces.”

In the ‘80s, it was converted into office space, a disturbing fate for what was once a magical space. Thanks, though, to funding by Mike Curb, the studio has been refurbished and is now used to teach production skills to Belmont University students.

Chuck Mead, a solo artist and former member of BR5-49, revisits the studio’s storied past with his upcoming album Back at the Quonset Hut, due in early 2012. It’s a collection of classic country music with great musicians of multiple eras.

The line-up includes Quonset Hut studio veterans Harold Bradley, Hargus “Pig” Robbins, Bob Moore and Buddy Spicher, plus guest appearances by Bobby Bare, Old Crow Medicine Show and Elizabeth Cook.

Chuck Mead took a few minutes recently to talk about the project, which includes the album and documentary:

listen to ‘Chuck Mead’ on Audioboo

Tin Pan South Festival dates in Nashville announced

 in Nashville music

Tin Pan South, the annual songwriters’ festival, wil be held in Nashville March 27-31, according to the Nashville Songwriters Association International.
Festival passes will go on sale on March 7 at the festival’s site.

2011 highlights of this always entertaining festival included Tom T. Hall’s appearance at the Bluebird Cafe, an all-Texas night at the Hard Rock Cafe and the debut of the Blue Sky Riders, featuring Kenny Loggins, Gary Burr and Georgia Middleman.

Kenny Vaughan on “V”

 in Interviews, Nashville music, Reviews

Kenny Vaughan on "Outlaw Country"

Kenny Vaughan, guitarist for Marty Stuart’s Fabulous Superlatives, had a nice run on the Americana music radio chart with V, his solo debut. He says Stuart encouraged him to record the album so he would have something to sell at shows. In this interview backstage at the very noisy Mercy Lounge in Nashville, Vaughan talks about how he put the album together and what a pleasure it is to work with Stuart:

listen to ‘Kenny Vaughan’ on Audioboo

New holiday albums you haven’t heard

 in Reviews

It’s just five days until Christmas, but thanks to digital delivery, there’s still time to buy a fresh batch of holiday music. Among recent releases of note:

– David Mead and Bill DeMain (of Swan Dive) have teamed up on Instant December, a five-song EP that is melodic, endearing and a little twisted. From the subtle sadness of “Christmas Eve 1942” to the slightly sinister “Black Friday Blues” and crazed “Happy Xmas Party,” Mead and DeMain give us the holidays we know, love and dread. Buy it here.

– Iggy Pop sings “Little Drummer Boy” on Michel Legrand’s new Noell! Noell! Noell!, which also features Rufus Wainwright and Teddy Thompson on “White Christmas.” The album is nowhere as strange as you might think – and that’s too bad.

– Victoria Shaw’s Fa La La is buoyant and fun, particularly “Pink Flamingos,” a co-write with Gary Burr. A bonus track features Shaw and daughters Ruby and Ava with a sweet cover of “The Chipmunk Song.” It’s available here.

Review: The Great Unknowns’ “Homefront”

 in Reviews

Sometimes you back into the meaning of an album.

I first heard the D.C.-based  “Great Unknowns’ Home Front after meeting Altay Guvench, bass player for the the band, at the Americana Music Festival. He gave me an early promotional copy, which meant no liner notes, lyrics or press release.

And so I listened. I heard a solid band, a tasteful blend of country and rock, and regrets. Lots and lots of regrets.

There was ” I Wish I Was the Girl I Was,” “Wrong” (“I was wrong. Things were better then”) and “Long Way Home” (“I was wrong and you were right.”)

Punctuating the regrets are flashes of anger: “You’ve got a way with words, but it’s a bad way.”

All of that sadness was put into context this week amid publicity for the album’s Jan. 10 release. From the band’s press release:

“During that time, singer and primary songwriter Becky Warren struggled with a marriage that had become troubled when her soldier husband returned from Iraq with PTSD. When the marriage ended in 2010, Warren realized she had a lot to say, and wrote furiously, penning 12 new songs about love, loss, and the life-altering effects of war.”

The narrative of Homefront had escaped me, but the emotions came through loud and clear. This is a powerful and honest album.

Hayes Carll tops 2011 Americana music airplay chart

 in Americana Music
The Americana Music Association has just released its list of the 100 most-played Americana music albums, with Hayes Carll’s KMAG YOYO in the top slot.
Their top 20:
1) Hayes Carll, KMAG YOYO / Lost Highway
2) Lucinda Williams, Blessed / Lost Highway
3) Steve Earle, I’ll Never Get Out of This World Alive / New West
4) Alison Krauss & Union Station, Paper Airplane / Rounder
5) Emmylou Harris, Hard Bargain / Nonesuch
6) Gregg Allman, Low Country Blues / Rounder
7) Jason Isbell and The 400 Unit, Here We Rest / Lightning Rod
8. John Hiatt, Dirty Jeans and Mudslide Hymns / New West
9) Decemberists, The King Is Dead / Capitol
10) Band of Heathens, Top Hat Crowns and the Clapmaster’s Son / BOH Records
The AMA offers a full list of the top 100 albums of the past year here, but be forewarned that you’ll need to search for the link and the download will be straight out of your accountant’s office.

Registration opens for 2012 Americana Music Festival in Nashville

 in Americana Music Festival, Nashville music

Early registration for the 13th annual Americana Music Association Festival and Conference, set for Sept. 12-15, 2012 in Nashville is now open.
This is one of the best music festivals in the nation, and always attracts an intriguing mix of artists. This year, Gregg Allman, Robert Plant, the Civil Wars and a Muscle Shoals tribute were all on the bill.

The AMA is offering an early bird registration of $250 for association members and $350 for non-members. Registration at the convention hotel is also now open.

Damn Quails, Willie Nelson enter Americana airplay chart

 in Americana Music

There’s little change in this week’s Americana music chart, with Ryan Adams’ Ashes & Fire once again in the top position, followed by Robert Earl Keen and the Jayhawks. At long last, Will Hoge’s Number Seven settles in at #7.

The only new albums on the airplay chart are Damn Quails’ Down the Hatch at #26 and Willie Nelson’s Remember Me Vol. 1 at #27.

The most added new albums include Mark O’Connor’s An Appalachian Christmas, the Little Willies’ For the Good Times and the Nelson album.

The Guy Clark tribute album This One’s For Him was picked up by six new stations this week.

Dobie Gray: An appreciation

 in Nashville music, Reviews

Obituaries reporting the death of Dobie Gray this week focused on his big hit “Drift Away” and his ’60s breakthrough “The In Crowd.” The casual observer might be left with the impression that Gray was a one-hit wonder in two successive decades.
The truth is that Dobie Gray was something of a pioneer, an
African-American coming to Nashville and working with country session players like Reggie Young, David Briggs and Troy Seals on some outstanding albums that bridged genres. His work with Mentor Williams was the best of his career, and the Drift Away and Loving Arms albums – still available as imports – were full of soulful adult pop, with country underpinnings.
Gray joined us a few years ago for one of the Freedom Sings concerts held annually in Nashville at the Bluebird Cafe. He was in great voice, sang “Drift Away” and was a warm and gracious performer.
His body of work – from the early “go-go” recordings to his ’70s resurgence to his country recordings in later years – is well worth exploring.