Tag: Kris Kristofferson

Jerry Lee Lewis, Keith Whitley and Joe Galante enter the Country Music Hall of Fame

By Ken Paulson

It would be difficult to imagine a more unlikely group of inductees into the Country Music Hall of Fame than the class of 2022, honored Sunday night in the hall’s annual Medallion ceremony.

One had his career disappear after marrying a 13-year-old girl, who also happened to be a relative. Another’s life was cut short by alcoholism, just two albums into his career. The third was a New York label executive who reluctantly moved to Nashville to work with country artists.

Yet Jerry Lee Lewis, Keith Whitley and Joe Galante all made the kind of impact that leads to country music’s greatest honor.

Jerry Lee Lewis

Lewis, already a member of the Rock ‘n’ Roll Hall of Fame, was unable to attend the Country Music Hall of Fame induction due to frail health, but both the vibrancy and diversity of his music came through loud and clear.

 Chris Isaak, accompanied by Jen Gunderman on piano, rocked the room with his take on “Great Balls of Fire.” The McCrary Sisters gamely (and movingly) performed a Lewis arrangement of “My God is Real” that reportedly got him kicked out of a Bible school. Lee Ann Womack drew on Lewis’ post-scandal country career with an outstanding version of “Middle-Age Crazy.”

Chris Isaak performs
Chris Isaak , with Jen Gunderman on piano (Photo by Terry Wyatt/Getty Images for Country Music Hall of Fame and Museum)

Before his performance, Isaak recalled a Lewis show he saw during the punk era. A group of young men with plenty of attitude pushed their way to the front of the stage just before Lewis’ performance. When Lewis came out, he headed right to the group, staring at them for 90 seconds, before they stepped back.

“The punks just wilted,” Isaak laughed. 

The induction was done by Hank Williams Jr., who reminisced about Jerry Lee teaching the young Bocephus a few things about playing rock ‘n’ roll piano,

“Imagine how you’d feel if Jerry Lee asked you to share his piano bench while he played,” Williams recalled.  Jerry Lee told me that my father was one of his heroes and if he couldn’t meet his hero, he would meet his hero’s son and teach him how to boogie woogie.”

In his remarks, Williams described the free-spirited Lewis’ most admirable traits, a number of which he found “familiar.”

“Jerry Lee doesn’t walk on stage and politely thank an audience for being there,” Williams said. “Jerry Lee doesn’t ask for your attention. He demands it.”

Williams was joined by the now-retired Kris Kristofferson in unveiling Lewis’ plaque. Politically, the two men are on different planets, but have long shared an admiration for Lewis.

Induction of Jerry Lee Lewis
Kris Kristofferson, Hank Williams Jr. and CEO of the Country Music Hall of Fame and Museum Kyle Young (Photo by Terry Wyatt/Getty Images for Country Music Hall of Fame and Museum)

Keith Whitley

Keith Whitley had a brief, but influential career, with just an EP and two albums released during his lifetime. He began as a teen bluegrass player in tandem with a young Ricky Skaggs. Both joined the legendary Ralph Stanley’s band before moving on to solo careers.  

It’s a measure of Whitley’s talent that he’s been named to the Hall of Fame despite a recording career that spanned just 4 years before his death in 1989. A number of his biggest hits were posthumous.

Whitley had fans in high places, including Garth Brooks, who called him “one of the greatest voices ever to grace country music.”

Brooks recalled that an early knock on Whitley from country radio programmers was that he was ‘too country.’

“That’s like saying that something’s too good,” Brooks said shortly before performing Whitley’s “Don’t Close Your Eyes.”

Also on hand to celebrate Whitley were Mickey Guyton, who performed “When You Say Nothing At All,” and a trio consisting of Ricky  Skaggs, Molly Tuttle and Justin Moses doing a rendition of “Tennessee Blues.”

Mickey Guyton (Photo by Terry Wyatt/Getty Images for Country Music Hall of Fame and Museum)

Joe Galante

Joe Galante was recognized for his work helping build the careers of Whitley, Martina McBride, Brad Paisley, Clint Black, Brooks and Dunn, Alabama, Miranda Lambert and Kenny Chesney, with the latter three honoring him Sunday night with performances.

Joe Galante (Photo by Terry Wyatt/Getty Images for Country Music Hall of Fame and Museum)

Alabama sang “My Home’s In Alabama,” Lambert performed her breakthrough hit “White Liar,” and Chesney performed “The Good Stuff.”

Kix Brooks presented the award and recalled that he and Ronnie Dunn had concluded that their run as Brooks and Dunn was probably over after an album had lackluster sales. Then Galante told them he wanted to work with them, opening the door for another decade of hits. He was “Joe Frickin’ Galante,” he said of the duo’s decision to continue recording.

Kris Kristofferson’s “Life and Songs”

By Ken Paulson – Just released is “The Life and Songs of Kris Kristofferson,” a three-disc set with guest spots from Buddy Miller, Rosanne Cash, Emmylou Harris, Willie Nelson, Rodney Crowell, Alison Krauss and many more. Recorded in Nashville on March 16, 2016, the collection contains two CDs and a DVD of the concert.
Kristofferson’s voice is singular, but his songs work for just about everybody and there’s a surprisingly consistent level of quality, despite more than 20 artists coming to the stage.
There are deeply touching moments here, with Reba McEntire beckoning Kristofferson onstage to wrap up “Me and Bobby McGee” and Highwaymen family members Jessi Colter and Rosanne Cash delivering their own memorable performances. Jennifer Nettles nails “Worth Fighting For,” as do Jamey Johnson and Alison Krauss on “For the Good Times.”
It’s a must-have for Kris Kristofferson fans.
On the topic of Kris’ life and career, we had the opportunity a while back to interview him for our “Speaking Freely TV show:



2014 Cayamo cruise in review: The highs, lows

By Paul T. Mueller

Cayamo 2014, the annual Americana music festival-at-sea that focuses on singer-songwriters, returned to Miami on Valentine’s Day after a week’s voyage to and from Tortola in the British Virgin Islands. Days later, more than 2,000 passengers are still struggling to process the incredible quantity and quality of music they witnessed during the weeklong cruise. With dozens of artists aboard and scores of performances scattered over the cruise’s six and a half days and seven nights, the special moments were too numerous to fit into anything short of a novella. Here’s a sampling of highs and lows:

St. Paul and the Broken Bones

St. Paul and the Broken Bones

Lows: The legendary John Prine, a two-time Cayamo veteran, and the almost legendary Todd Snider, who would have been a rookie, both failed to make the boat (the Norwegian Pearl, owned by Norwegian Cruise Lines, which also owns Atlanta-based Sixthman, producer of Cayamo and several other music cruises). Prine withdrew some weeks ago, saying he needed more recovery time following cancer surgery last year. Snider notified Sixthman two days before sailing that he would not be on the cruise, citing (in Sixthman’s words) “a medical issue that requires immediate attention.”

Notwithstanding the considerable number of passengers who decided to book Cayamo primarily for the chance to see either Prine or Snider or both, the production staff was able to fill the gaps in the schedule, in no small part through the presence of Cayamo veteran Lyle Lovett, who agreed at the last minute to join the cruise with his Acoustic Band. The result was the seventh installment in what has become a very successful annual event.

Highs: Too many to count. So here are summaries of some particularly memorable moments, one for each day.

Day 1 (Friday, February 7):

Kris Kristofferson. The one and only. Yes, he’s getting older and reportedly having memory problems, and he’s never been as good a singer as he is a songwriter (how could he be?). But there was something about seeing this legendary artist commanding the stage, performing iconic songs like “Me and Bobby McGee,” “Sunday Morning Coming Down,” “For the Good Times” and “Help Me Make It Through the Night” that left many in the audience in tears.

Day 2 (Saturday, February 8):

Buddy Miller. “Commodore” Miller, a six-time Cayamoan, greeted the audience at his “Buddy Miller and Friends” show with an emphatic, “It’s good to be home!” He wasn’t alone in feeling that way. Cayamo has been a community since its first sailing in 2008, and many participants, veterans and newbies alike, will tell you that the cruise is real life and the other 51 weeks of the year are just filler. Miller, accompanied by bassist Dave Jacques (a longtime Prine sideman), drummer Marco Giovino, guitarist/fiddler Larry Campbell (formerly of Bob Dylan’s band) and accordionist Joel Guzman, knocked out a powerful set, including Tom T. Hall’s “That’s How I Got to Memphis,” Mark Heard’s “Worry Too Much” and “Does My Ring Burn Your Finger?,” written by Miller and his wife, Julie. Among the friends helping him out along the way were singer and guitarist Teresa Williams , country star Lee Ann Womack and longtime Miller compadre Jim Lauderdale.

Day 3 (Sunday, February 9):

Bruce Hornsby and Ricky Skaggs, with Skaggs’ Kentucky Thunder band. Who knew piano could be such a great bluegrass instrument? Or that Hornsby’s classic “The Way It Is” sounds just great in a bluegrass arrangement? The show included a tribute to jazz bassist (and former child country singer) Charlie Haden, which featuring some brilliant and beautiful work on the upright bass by the youthful but very talented Scott Mulvahill. As an encore, the band put a high-energy Appalachian twist on Rick James’ “Superfreak.”

Day 4: (Monday, February 10):

John Fullbright

John Fullbright

John Fullbright. The immensely talented, Oklahoma-born Fullbright opened this set with a solo, a capella rendition of the traditional “Am I Born to Die?” that was nothing short of thrilling. He followed that with “I Didn’t Know I Was in Love With You,” accompanying himself on acoustic guitar, and proceeded to full-band versions (with guitarist Terry Ware, bassist David Leach and drummer Giovanni Carnuccio III) of songs including “Satan and St. Paul” and “Gawd Above.” Fullbright demonstrated his unearthly piano skills on several songs, including “Fat Man” and “The Very First Time,” before closing with a long, jammy “Ain’t Nobody’s Business If I Do.” If Cayamo awarded a Rookie of the Year trophy, Fullbright would be a strong candidate for this year’s prize.

Day 5 (Tuesday, February 11):

Tim Hanseroth, Brandi Carlile and Phil Hanseroth

Tim Hanseroth, Brandi Carlile and Phil Hanseroth

Brandi Carlile. A veteran of several Cayamos, Seattle-based Carlile has won a lot of new fans with her abundant talent and high-energy performances. For this show she was backed by her longtime collaborators, twins Tim (bass) and Phil (guitar) Hanseroth and cellist Josh Neumann. The set included a rendition of the Hank Williams hit “Lovesick Blues,” dedicated to Kristofferson; Carlile’s anthem “The Story,” and her country weeper, “Same Old You,” covered by Miranda Lambert. Carlile was joined by The Lone Bellow and Kristofferson for a lovely rendition of Prine’s “Angel from Montgomery” and closed with “Amazing Grace,” performed a capella and in darkness with the Secret Sisters.

Day 6 (Wednesday, February 12):

David Bromberg. The legendary (there’s that word again) singer-songwriter-multi-instrumentalist was in great form in the relatively intimate confines of the Pearl’s Spinnaker Lounge. As has been true throughout his long career, he was all over the musical map, covering, among other genres, the blues (“As the Years Go Passing By”), pop (“The Holdup,” co-written with George Harrison, ) a vocal version of Floyd Cramer’s “Last Date”) and what might be called faux traditional (“The Strongest Man Alive,” which Bromberg described as “an old English drinking song that I wrote”). There was also a touching ballad about the pain of parenthood called “Watch Baby Fall.”

Day 7 (Thursday, February 13):

A grab bag of high-quality performances on the last day and night at sea:

Miller and Lauderdale produced a segment of their “Buddy and Jim Radio Hour” show for Sirius XM satellite radio. The guest list included Campbell and Williams, two sets of sisters (Laura and Lydia Rogers, the pop-soul-country duo Secret Sisters, performing “Devoted to You,” and Lennon and Maisy Stella, who also play sisters on ABC’s Nashville, doing a touching rendition of “Hard Times Come Again No More”), and a trio of young female singer-songwriters (Kate York, Erin McCarley and Lucie Silvas.) There was also a powerful, soulful performance of “Against My Will” by Sarah Fox (Joel Guzman’s wife), accompanied by Guzman and son Joel Gabriel Guzman on guitar.

Birmingham, Ala.-based R&B outfit St. Paul and the Broken Bones brought their horn-driven, high-octane sound to the Pearl’s pool deck stage, to the delight of listeners and dancers alike.

In a surprisingly intimate late-night showcase in the ship’s large Stardust auditorium, a group of fine singer-songwriters (Liz Longley, Stephen Kellogg, Bromberg and his wife, Nancy Josephson, and Campbell and Williams) took turns singing some of their most personal songs, capping the set with a collaborative rendition of “Nobody’s Fault but Mine.”

Cayamo 2014 drew to its official close only a few hours before the Pearl docked back in Miami, as fiddler Luke Bulla (who played in Lovett’s band and also with his own bluegrass outfit) led a raucous “Last Man Standing” jam on the Atrium stage in the wee hours of Valentine’s Day. Guests included vocalists Womack and Kat Edmonson and guitarist-mandolinist Keith Sewell (of Lovett’s band), among many others.

Other performers turning in fine performances on Cayamo 2014 included St. Paul and the Broken Bones, The Lone Bellow, Seth Glier, Joe Purdy, Shawn Mullins, Mallary Hope, Bronze Radio Return, Chuck Cannon, John Hiatt, Joshua Radin, Humming House, Elephant Revival, Max Gomez, Hey Marseilles and Holly Williams.

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Guy Clark tribute, Charlie Faye, Imelda May enter Americana charts

The Americana Music Association Radio Chart is back after a month-long hiatus, and Ryan Adams’ Ashes & Fire (PAX-AM/Capitol) remains at the top. Taking the holidays off is an odd call for an association promoting a genre that still needs to build its brand and visibility. And it’s not as though all those Americana stations just played Christmas music over the past month.

On to 2012: The outstanding Guy Clark tribute This One’s For Him debuts at number six on the chart, with 16 new stations adding it in the last week. The double-CD set features classic material by some of Americana music’s most prominent artists (Emmylou Harris, Kris Kristofferson, John Prine and Jerry Jeff Walker among them). Expect a long chart run.

Other chart debuts: Charlie Faye’s Travels with Charlie (Wine & Nut) enters the chart at #22, Danny Barnes’ Rocket (ATO) comes in at  #33 and Imelda May’s Mayhem (Decca) is at #35.

After the Guy Clark project, these albums were the most added: The Little Willies’ For the Good Times (Milking Bull/EMI), Reckless Kelly’s Good Luck and True Love (No Big Deal Records) and Orbo and the Longshots’ Prairie Sun (Blue Mood.)

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Review: This One’s For Him, A Tribute to Guy Clark

by Terry Roland

– Released on November 8, two days after veteran Texas songwriter Guy Clark’s 70th birthday, This One’s For Him: A Tribute To Guy Clark, succeeds beyond expectations as a tribute to a much- loved songwriter and a well-produced album of finely crafted country-folk music.

It may be the mark of a great songwriter that a diverse group of musicians can make an album of songs that not only capture the artist’s vision, but emerge with each song realized to near perfection.

Produced by Tamara Saviano whose 2004 release, Beautiful Dreamer: The Songs of Stephen Foster, won a GRAMMY and Clark’s friend and collaborator Shawn Camp, this is a masterfully produced album of 30 handpicked songs by 33 of today’s finest Americana artists.

Some of the greatest of the singer-songwriters of the last five decades have aged into their craft, but none have done so with as much grace, dignity and imagination as Guy Clark. His legacy of song gives his friends plenty of material to work with on this album.

Leading off with a chuckle from Rodney Crowell who says, “let’s give her a good go and make old Guy proud of us,” then proceeds to do so with the opening “Old Time Feeling.” The song sets us up for what is to come; a loving, reflective, funny, heartfelt tribute to one of the great storytellers and craftsmen of American song.

What follows plays at times like short stories, fragments of chapters in a novel, sweet poetry, western stories, tall-tales, cowboy haikus, personal testaments, musings and meditations on regret and joy, life-lessons laced with humor and wisdom, characters of the past aged with grace, remembered loved ones, death songs
and love ballads, all painted with various shades and strokes of lyrical colors.

If this were an exhibit of the lifetime work of a visual artist, it would take several galleries to fill. As it is, it takes this many fine performers and singer-songwriters to do justice to Clark.

The trick with any tribute album is to match material and artist, for the sake of the song and the overall production of the project. Many past tribute albums have turned into well-intentioned, unfocused failures.

But This One’s For Him avoids those traps by tapping into Guy Clark’s original recordings. The album embodies its title by keeping to the simple, intimate style Clark has mastered so well in his own studio work over the years.

It’s a style that allows the beauty of each song to surface. That makes this an anthology graced with continuity and a sense of history. This One’s For Him is the best album of its kind since the classic tribute to Merle Haggard, Tulare Dust.

A decade before Johnny Cash and Rick Rubin came together to make their historic American Recordings, Guy Clark had already released a series of live-in-studio, intimate, stripped-down acoustic recordings on the Sugar Hill label.

Albums like Old Friends, Boats To Build and Dublin Blues offered minimal production gloss in favor of a straightforward and organic sonic experience. While many obscure artists had championed this approach through the years, Guy Clark was among the first major songwriters to elevate purity over production.Today, this remains the gold standard in Americana music.

Some of the strongest moments on the album come from female artists. This makes sense for Clark who has often written songs reflecting a woman’s point of view (“She Ain’t Goin’ Nowhere,” “Magdeline”). Shawn Colvin’s smoky sexy reading of “All He Wants Is You,” Rosanne Cash’s expressive interpretation of “Better Days,” and Rosie Flores’ funky and spirited version of “Baby Took A Limo To Memphis,” all feel as though this was how these songs were intended to be performed – by women.

It’s impossible to mention Guy Clark without a reference to Townes Van Zandt. One touching moment among many is the bittersweet sound of Towne’s oldest son, John Townes Van Zandt narrating “Let Him Roll,” a love story about a Dallas prostitute and her alcoholic lover. It is eerie and touching to hear this tale with guitar- picking, phrasing and a vocal presence that sounds so much Townes. It feels like a tribute from Townes to Guy, channeled by his son.

Hayes Carll brings the country blues out in “Worry B Gone,” while Steve Earle revels in the western imagery of “The Last Gunfighter Ballad.” Both give the songs added grit, which distinguishes them from the original versions.

The old friends of Guy’s also do him proud. Willie Nelson’s “Desperados Waiting For A Train,” haunts in its simplicity. It’s a song that only grows more poignant with time as the singer and the song age.

Ramblin’ Jack Elliot turns in a gentle interpretation of the engaging “The Guitar.” Terry Allen’s “Old Friends,” also plays out with a beautiful country-blues simplicity.

Kris Kristofferson’s reading of “Hemingway’s Whiskey” delivers gut-level authenticity. The track opens with a short tale from Kris of a personal encounter with Hemingway then folds into a quintessential Guy Clark (literally whiskey-soaked) metaphor of life lived to its fullest. The slightly drunk emotion in Kris’ voice comes through as he carries the album’s title lyric with it:

There’s more to life than whiskey
more to words than rhyme
Sail away three sheets to the wind
Live hard, die hard
This one’s for him.

Other moments that will lure the listener to repeated listening include EmmyLou Harris and John Prine’s duet on “Magnolia Wind, Radney Foster’s smooth and easy version of “L.A. Freeway,” and Jerry Jeff Walker’s closing track “My Favorite Picture of You.”

The house band, which recorded live in the studio, included multi-instrumentalist and co-producer Shawn Camp, guitarist Verlon Thompson and keyboard player Jen Gunderman. Listen for Lloyd Maines on an array of dobros and steel guitars, bassists Glenn Fukunaga and Mike Bub and Kenny Malone and Larry Atamanuik on drums. The musical backing is skillfully interwoven with mandolins, lap steel guitars and fiddles.

This One’s For Him: A Tribute To Guy Clark is a living legacy from some very talented friends, a well-deserved tribute to a great craftsman and an early holiday present that invites us to discover or re-discover the best in Americana music through the songs of one of our national treasures.

(Terry Roland is an Americana-roots music journalist who has written interviews, reviews and feature articles for FolkWorks, Sing-Out, No Depression and The San Diego Troubadour.)

Del McCoury featured in new in-studio video series

Three years ago, Steve Fishell, a one-time member of Emmylou
Harris’ Hot Band and later a producer of a number of cool country and Americana
acts, launched the Music Producers Institute in Nashville.

It was a studio with a twist. Fishell’s business model gave
artists an economical way to record a new album, while inviting recording
students and fans to pay tuition and watch the recording process in person.

MPI recording sessions have featured Kris Kristofferson, Delbert
McClinton, Poco, Radney Foster, Raul Malo, Robert Earl Keen, Todd Snider, Jace
Everett, Jerry Douglas, Rodney Crowell, Asleep at the Wheel and the reunited Foster
& Lloyd.

In an innovative move, MPI is now releasing videos showing
highlights of the sessions. The first release features new Bluegrass Hall of
Fame member Del McCoury recording tracks for “Old Memories: The Songs of
Bill Monroe, ” due to be released on Sept. 27.

The price is certainly right. Viewers can access the 65-minute video for $4.99, and even share a second viewing with a friend.  You’ll find details at the MPI site.