Tag: Music

Review: Carolina Road’s “Back to My Roots”

 in Americana Music, Reviews

By Joe Ross

It’s been about five years since I reviewed Carolina Road’s two releases on Tom T. Hall’s Blue Circle Records label. I found the hardworking band from North Carolina to be fully dedicated to presenting a traditional bluegrass sound with a copious amount of contemporary charisma. Now associated with Rural Rhythm Records, Back to My Roots is the band’s second release on that label. While the band has experienced a few personnel changes on guitar and bass over the years, the core of this group remains Lorraine Jordan (mandolin, vocals), Josh Goforth (fiddle, vocals), and Ben Greene (banjo, vocals). They bring strength and stability to the table. The band’s newest members are Tommy Long (guitar, lead vocals) and Eddie Biggerstaff (bass). Both have plenty of experience and fit right in.

Lorraine or Tommy had a hand in the songwriting of three numbers (“Back to My Roots,” “Granny’s Garden,” “Cold Carolina Snow”), and the title cut recalls the country road, whippoorwills, hilltops, meadows, summer breeze and simple things from our past and upbringing. The rest of their set comes from a wide variety of suitable writers, including the Louvin Brothers, Clyde Moody, Mack Magaha/Don Reno, Randall Hylton, and Tom T. and Dixie Hall. Of special note are those two songs (“The Hills of Home,” “Sing a Bluegrass Song”) from fellow North Carolinian A. L. Wood, an expert banjo player and singer who recorded with his Smokey Mountain Boys on the Rebel label back in the 1970s. The Halls’ “A Light in my Window, Again” was inspired by Kentucky Governor Paul E. Patton’s speech at the Bill Monroe homeplace dedication in Rosine, Ky.

“Back to My Roots” indicates that Carolina Road is still proud of its traditional music foundation, but the band’s character and persona are much deeper than just the solid presentation of a few traditional numbers. They also have an affinity for newer tunes from contemporary writers. It’s a propulsive and potent combination. Carolina Road doesn’t have the intensity of Monroe’s high lonesome, but they have great familiarity and knowledge of the style. They comfortably and successfully incorporate many elements of the traditional sound, capture the heart of the genre, and tap into its soul with their accomplished musicianship.

Bluebird Cafe: Amy Grant,Vince Gill,Don Schlitz,Richard Marx

 in Nashville music

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By Ken Paulson

Like Carole King’s appearance at the Bluebird Cafe earlier this month, tonight’s in-the-round featuring Vince Gill, Amy Grant, Richard Marx and Don Schlitz at the same Nashville venue was truly something special.

Among the highlights at this benefit for Alive Hospice:

– A guest turn by Jenny Gill, singing the touching “I Couldn’t Have Been More Wrong,” a new song about how badly a then-teen Jenny treated her stepmom Amy Grant.

– Vince Gill’s extraordinary performance of “Threaten Me With Heaven” and his remembrance of the late Will Owsley, a co-writer of the song.

– Don Schlitz’s very funny “I’m Allergic to Crazy”

– A new song by Amy Grant about a tragic loss in her son’s life

– Richard Marx’s performance of “Long Hot Summer,” the song he co-wrote with Keith Urban, and a #1 single for Urban.

 

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Little Willies at #1; Gretchen Peters, Cash Box Kings, Elders enter chart

 in Americana Music

The Little Willies’ For the Good Times moves into the top spot on the Americana Music Association Airplay Chart this week, and the hottest album may be Nashville singer-songwriter Darrell Scott’s Long Ride Home (Full Light), which entered the chart last week at at #21 and moves up to #5.

Gretchen Peters, another talented Nashville songwriter (whose Twitter feed we highly recommend) has the top debut of the week at #32 with Hello Cruel World (Scarlet Letter Records.)

Also new to the chart: The Cash Box Kings’ Holler and Stomp (Blind Pig) at #34 and the Elders’ Wanderin’ Life & Times (Independent) at  #36.

You’ll find the full chart here.

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San Francisco Bluegrass and Old-Time Festival set for Feb. 10

 in Americana Music

The 10-day San Francisco Bluegrass and Old-Time Festival begins its ten-day run Feb. 10 in the Bay area.

The 13th annual event consists of more than 30 shows at clubs in the region.
Here’s the festival’s list of performers:

Foghorn Stringband, Jeff Kazor & Lisa Berman, Anne and Pete Sibley, Good Luck Thrift Store Outfit, The Brothers Comatose, Emily Bonn and The Vivants, Water Tower Bucket Boys, BrownChicken BrownCow StringBand, The Bee Eaters, Cahalen Morrison and Eli West, Stairwell Sisters, Water Tower Bucket Boys, Erik Clampitt, The New Five Cents, Squirrelly Stringband, Evie Ladin, The Juncos, Houston Jones, Susie Glaze and the Hilonesome Band, Family Lines, Kathy Kallick Band Quartet, Taco Jam, Anne & Pete Sibley, The Trespassers, Windy Hill, Snap Jackson & the Knock On Wood Players, Kleptograss, Knuckle Knockers, The Alhambra Valley Band , Redwing, The ONs, Misisipi Mike & the Midnight Gamblers, Mad Cow String Band, Misisipi Rider, Sweetback Sisters, James Nash and the Nomads, SUPERMULE, Belle Monroe and Her Brewglass Boys, Nell Robinson & Jim Nunally, Misner & Smith, Jeanie and Chuck Poling, The Earl Brothers, Henhouse Prowlers, Cahalen Morrison and Eli West, Gayle Schmitt and the Toodala Ramblers, Rita Hosking and Cousin Jack, Evie Ladin, The Blushin’ Roulettes, Earl White Stringband, Black Crown Stringband, Jordan Ruyle, Pine Box Boys, The Jugtown Pirates, Hang Jones, Dark Hollow, The Crooked Jades andThe Deadly Gentlemen.

You’ll find details here.

Review: Chris Ronald’s “Turning Tides”

 in Songwriters

By Joe Ross

Vancouver-based singer/songwriter Chris Ronald is usually heard in intimate listening environments where there is ample stage space, cold beer and good burgers. Restaurants, music circles and open mics are great places for small, attentive audiences to experience his music in its purest, unamplified form.

In concert, he also talks about his influences, song ideas, inspirations, and the songwriting craft. Chris Ronald has been writing music for nearly three decades, and Turning Tides is an ideal way to bring the songcrafter’s relaxing music right into your own living room. With folk, pop and even a few soft rock influences, this album is a definitive portrait of his music with its thoughtful lyrics and insightful observations on family, love, places and life.

Chris’ warm tenor voice is soothing, and he usually tracks his own vocal harmonies. The uncluttered production results in songs that emphasize Chris’ guitar, vocals and occasionally some harmonica. I particularly enjoy hearing clear, resonant lyrics which are easy to understand and relate to. I would encourage him to upload his words and messages right to his website.

Chris plays all instruments on “Turning Tides,” with the exception of a few contributions from Fred Beach (bass), Kent Anderson (mandolin), Ily Barnes (drums), Kamile Kapel (piano, backing vocals), and Steve Taillefer (electric guitar). Chris moved from Great Britain to Canada in 2002. He was embarking on a career change from sales into teaching. About that time a college course in multi-track recording software allowed him to economically document some his music on disc. His first album Pacific Time was released in 2004 and is only available from the artist. Eight years later, Turning Tides is a strong and delightful second effort that displays the ebbs and flows of his life.

He opens the set with a warm, upbeat, well-arranged rendition of “Sunshine” that is probably a testament to his wife and three children that bring “color to the world.” The importance of family and love are emphasized when the album closes with a lean, fingerpicked reprisal of the same song. The same theme is found in “Evergreen” and “Simple Things” with their distinct echo of sensitive and sympathetic singer/songwriters from decades ago. While Chris’ songs have marked appeal to baby boomers of my generation, songs like the contemplative “Please Don’t Come for Me Now” and “Best Place on Earth” have some charming contemporary folk elements that will pull in a younger demographic of fans for Chris’ pure, unadulterated music.

Chris Ronald’s soulfulness complements the intimacy of this project. His clear, plaintive vocals work best on the most introspective tracks, as well as with the beautiful melodies and subtle, lyrical charm of songs like “Sailing from Nanaimo” and “Home to Roost.” Chris Ronald has found music as the perfect medium for sharing thoughts and musings with underlying sweetness and a sense of wonder.

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30A Songwriting Festival: Rodney Crowell, Steve Forbert and the Bangles

 in Americana Music

By Ken Paulson

Seaside, Florida – The third annual 30A Songwriters Festival, closed out its three-day run today, wrapping up an ambitious and entertaining celebration of songs.

Very similar in scope and approach to Nashville’s’ Tin Pan South Festival, run by the Nashville Songwriters Association International, 30A showcases a wide range of artists and genres in both open-air and intimate indoor venues. There are still some growing pains – parking can be tight and some audiences don’t get the whole “listening” thing – but the festival is clearly moving in the right direction.

Among the highlights:

–  Rodney Crowell at the Gulf Place Amphitheater: Crowell is savvy enough to complement his most challenging and topical songs with his country hits, including “Crazy for Leaving” and “Stars on the Water.” His cover of “Like a Rolling Stone” was great fun.

 

–   An impressive solo acoustic set by Vicki Peterson of the Bangles. Her “Mixed Messages” was recorded by both the Bangles and Continental Drifters, and it was a pleasure to hear it as it began. Susan Cowsill followed with a very brief and off-kilter performance, but somehow it was charming. The show featured cameos and heckling by assorted Bangles and Cowsills. Truly memorable.

 

–   Steve Forbert at Fish Out of Water: His introduction – something about a Grammy-nominated songwriter from Mississippi – badly undersold one of the most literate, consistent and prolific singer-songwriters over nearly four decades. The audience enjoyed his energetic and entertaining set, and then roared as they recognized “Romeo’s Tune.” So that’s who that was.

 

–  The Bangles: We reported earlier on their great set; it was one of the most memorable of the weekend. Rock ‘n’ roll doesn’t get much more joyous.

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Bangles showcase great songs and writers

 in Americana Music, Reviews

Susanna Hoffs of the Bangles

By Ken Paulson

–Seaside, Fla. — As headliners at the 30A Songwriters Festival, the Bangles proudly proclaimed their founding three decades ago. Both the band and their music have held up remarkably well.

There’s some irony in the Bangles being the biggest names at the festival because while they’ve written a good part of their material, some of their biggest successes and most popular tracks have been covers of others’ compositions.

Their driving set at the Lyceum in Seaside, Florida included spirited versions of Prince’s “Manic Monday,” Alex Chilton’s “September Gurls,” Jules Shear’s “If She Knew What She Wants,” Paul Simon’s “Hazy Shade of Winter” and Emmitt Rhodes’ “Live.” Indeed, that is one of the most endearing qualities of the Bangles: They know and respect great pop songs and their covers typically match or beat the originals.

The concert began with “Anna Lee,” the same song that leads off the Bangles’ fine new album Sweetheart of the Sun. The album was well-represented in the set, and the new material is strong, particularly “Under A Cloud” and “Ball and Chain.”

Susanna Hoffs may have been the most visible of the Bangles due to videos and a solo career, but the show was a reminder that this is a band with balance, with Hoffs, Vicki Peterson and Debi Peterson trading off lead and harmony vocals throughout the concert.

The Bangles’ harmonies were impeccable, and songs like “In My Room,”  and “Going Down to Liverpool” remain vibrant.

Surprises included a medley of “Get the Girl” and the Turtles’ “Outside Chance” (written by a young Warren Zevon) and set closer ‘Walk Like an Egyptian/Magic Bus” with a chorus/dance troupe made up of bands that have opened for the Bangles.

The Bangles may play hits from an earlier era, but this is no oldies band. There’s a vitality and energy here that few of their peers can match.

Matthew Sweet at 30A Songwriters Festival

 in Reviews, Songwriters

Matthew Sweet opened the afternoon show at the 30A Songwriters Festival with a set that drew heavily from his breakthrough 1991 album Girlfriend. Sweet joked that the girlfriend was now 21 and old enough to drink.

It was a tough setting for Sweet. Most of the crowd had come to see the Bangles, and though there’s some stylistic common ground, he wasn’t big on pop radio.  Although Girlfriend is widely considered a classic, this was new material to much of the crowd and the response was somewhat subdued.

Sweet said he had been playing the album in its entirety on his current  tour, but was going to skip some songs “because we can.”

Highlights included Girlfriend tracks ““I’ve Been Waiting” and “Evangeline”   and the hard-driving closer ‘Sick of Myself,” from 100% Fun.

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30A Songwriters Festival begins

 in Americana Music

Sun209 is headed for Santa Rose Beach, Florida to cover the 30A Songwriters Festival this weekend. Watch for updates on Twitter (sun209com) and on this site.

The News Herald of Panama City previewed the festival today. You’ll find the full story by Tony Simmons here, but here’s a preview:

Susanna Hoffs of The Bangles described the event as “a series of magical moments unfolding over the course of the long weekend — old friends reuniting, new friendships being born. … Large audiences and performers enjoying days and nights of music, storytelling both poignant and humorous, spontaneous jams, Southern hospitality, delicious food and wine.”

The festival is produced by the Cultural Arts Alliance of Walton County and presented by Visit South Walton. Proceeds benefit the CAA.

Festival venues include Vue, Fire, The Naked Grape and the Gulf Place Amphitheatre in Santa Rosa Beach; First Note Music Hall in Blue Mountain Beach; Hibiscus, Pandora’s and Shorty’s in Grayton Beach; Fish Out of Water, The Gathering Spot and The Boathouse in WaterColor; The Lyceum, Bud & Alley’s, Pizza Bar, Central Square Records and the Seaside Meeting Hall Theatre in Seaside; La Botana in Seagrove; Caliza in Alys Beach; the amphitheater in Seacrest Beach; and Amavida, The Summer Kitchen and the Town Hall in Rosemary Beach.

Carole King at Nashville’s Bluebird Cafe

 in Americana Music, Reviews

By Ken Paulson – Carole King performed some of her biggest hits in the relatively small confines of the Bluebird Cafe in Nashville Monday night, a memorable evening even in a city known for them.

King’s “Troubador” tour with James Taylor was an enormous success, but the remininiscing was largely scripted, with the same photos and anecdotes appearing night after night. The show at the Bluebird was as real as it gets, full of spontaneity and charm.

King shared the in-the-round with Gary Burr, Jim Photoglo and Georgia Middleman, three Nashville songwriters who offered harmonies and instrumental support, along with some impressive songs of their own.
King sang every fourth song, and others in the circle joked about the audience having to endure their material.

King opened her performance with “Chains,” a hit for the Cookies, later covered by the Beatles. It was joyous, with all four voices joining in.
Her “Up on the Roof” was stirring and may have been the evening’s highlight.

Before playing her “Pleasant Valley Sunday,” she took a few minutes to defend the Monkees’ recorded legacy. As Burr chimed in, “They had good material.”

Over the course of the evening, King performed three hit songs from her solo career – “So Far Away,” “I Feel the Earth Move” and “You’ve Got A Friend,” plus “New Year’s Day” a track from her new holiday album, written by daughter Louise Goffin and Guy Chambers.

For Burr (who toured with King), Middleman and Photoglo, it must have been like being in the line-up with Babe Ruth. All played at the top of their game.

[cincopa AwLAgwKlAzwY]

 

Rounder, New West, Lost Highway top Americana labels

 in Americana Music, Reviews

Among the joys of Americana music is the range of artists and labels. Indie labels often break through, leading to dark horses and pleasant surprises.

Yet this year’s Americana Music Association list of the top 100 albums from November 16, 2010 through November 14, 2011, serves as a reminder that the bigger labels still play a major role.

An analysis of both the number of charting albums and their relative position in the charts suggests that five labels are dominant, accounting for the top six releases of the year and more than a quarter of all charting albums:

1.Rounder is the top player in Americana music radio. The label placed a total of nine albums in the top 100, including two in the top 20 and 6 in the top 25, including Alison Krauss and Union Station’s Paper Airplane (4), Gregg Allman’s Low Country Blues (6) the Jayhawks’ Mocking Bird Time (12), Robert Plant’s Band of Joy (17) Abigail Washburn’s City of Refuge (24) and Steve Martin and the Steep Canyon Rangers’ Rare Bird Alert (25)

2. New West had six albums on the Americana music charts, with two in the top 10 and three in the top 20. They include Steve Earle’s I’ll Never Get Out of This World Alive (3), John Hiatt’s Dirty Jeans and Mudslide Hymns (8), Buddy Miller’s Majestic Silver Strings (13) and the Old 97s’ The  Grand Theatre (30.)

3. Lost Highway had four  albums on the Americana chart, including the top two slots, Hayes Carll’s KMAG YO-YO and Lucinda Williams’ Blessed. Their other charting albums were Robert Earl Keen’s Ready for Confetti (19) and 19 and Ryan Bingham and the Dead Horses’ Junky Star (40.)

4. Nonesuch was the fourth most influential label, with five albums in the top 100, including Emmylou Harris’ Hard Bargain (5) and Wanda Jackson’s Party Ain’t Over (Third Man/ Nonesuch) at 23.

5.Sugar Hill also fared well in the annual chart with five albums, including Sarah Jarosz’s Follow Me Down (20) and Kasey Chamber’s Little Bird (31)

Review: Mary Z. Cox -“Girl with the Banjo Tattoo”

 in Americana Music

By Joe Ross – Mary Z. Cox is an accomplished player, teacher (and collector) of banjos and mountain dulcimers. At last count, she has 17 banjos and 12 dulcimers. The Florida-based artist’s seventh album, Girl with the Banjo Tattoo is a solo project with Mary playing one or two instruments on each of the 14 tracks. On one cut, “Chickens Crowin’ at Midnight,” she is joined by Ellen Sheppard on banjolin.

Mary’s instruments of choice appear to be a John Bowlin 1865 fretless banjo that is played on that song and two others (“Pretty Polly, ” “Needed Time”), and her Goldstone 5-string cello banjo that appears in the mix of five songs. That instrument provides a sweet, mournful sound, and I wonder if she also has a bass banjo in her collection. It would no doubt be a killer to play due to its size.

On various other cuts, we hear Mary’s banjos with and without frets, ones with open back or resonator, and mountain dulcimers of mahogany, cedar, spruce and cherry. Quite novel, the album opens with “Last Chance” played on a cigar box banjo built by Joe Masel. It takes a discerning ear to hear the subtle variations among her instruments.

With such a rawboned approach, it’s a tad unfortunate that she also simplifies a few of the fiddle tune melodies and employs few variations in her short 2-3 minute song arrangements. She adds her guitar on “Star of County Down,” and I would’ve enjoyed hearing a few more instruments (e.g. guitar, bass, fiddle) for occasional accompaniment.

Despite these minor criticisms, the crowning moments for the “Girl with the Banjo Tattoo” are when regular and cello banjos are employed together (“Chinkapin Hunting,” “Gaspe Reel”), or when banjo and dulcimer provide bouncy melodic interplay (“Sweet ‘Bama,” “Goodbye Girls I’m Going to Boston”). I’m used to hearing “Gaspe Reel” at a slightly faster tempo, but Mary’s performance is a nice, rhythmically expressive rendition.

Besides her instrumental proficiency, Mary Z. Cox is also an award-winning singer, so I was surprised that she didn’t add her voice to the project on such numbers as “Scarborough Fair,” “Morning Has Broken” or “Pretty Polly.” That wasn’t her vision, however, for this spare front porch instrumental setting of clawhammer banjo and mountain dulcimer. I guess I would’ve preferred a more raucous and full sound, similar to that of Bob Flesher’s old-time minstrel and clawhammer banjo albums.

“Girl with the Banjo Tattoo” will gain plenty of traction and attention among banjoholics as it’s a well-wrought and captivating musical story that instrumentally carries us back to the old homeplace on the mountain in the mid-1800s. You’ve simply got to appreciate how the vivacious drive and charismatic magnetism of Mary Z. Cox’s banjo and dulcimer playing draw us right into her old-timey music.

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 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