Tag: “Todd Snider”

Review: Will Kimbrough’s fine “Spring Break”

By Paul T. Mueller
“Spring break” took on some added meaning early this year, when the pandemic shut down normal life and most people had to adjust to a strange new reality. For Nashville-based singer-songwriter Will Kimbrough, Spring Break turned out to be a good title for an album recorded during a forced hiatus from touring and other activities. It’s a solo acoustic album of mostly new material, with a few older songs thrown in, and a fine showcase for Kimbrough’s many musical strengths.

Some of Kimbrough’s songs deal directly with the pandemic and its consequences. “The Late Great John Prine Blues” is a gentle, sad tribute to one of COVID-19’s better-known victims. “Handsome Johnny’s coming home/with the late, great John Prine blues,” Kimbrough sings. “All Fall Down” takes a wider view of the situation, realistic but is also hopeful. “Maybe we should listen to some good advice/Maybe it’d do some good,” Kimbrough sings, later concluding, “We rise and we fall together/We fly like birds of a feather/We shine through good or bad weather.”

Several songs deal with travel, and the frustration of being unable to do so. “I Want Out” is the first-person story of a waitress trapped by circumstances, while the narrator of “Trains” dreams of hopping a freight and getting away. Harmonica breaks give the song a Springsteen-like vibe. “Philadelphia Mississippi” tells the story of a woman who left her small town for brighter lights, only to return. “She never felt at home, until she ran away,” Kimbrough sings, accompanying himself with a lovely slide guitar.

Kimbrough acknowledges the need to accept reality and get to work in the folky “Plow to the End of the Row.” In the same vein, “Work to Do” is an anthem to confidence and determination: “I ain’t wasting my time here/I got work to do.”

Not so directly connected to current events are the confessional “My Sin Is Pride,” a bluegrassy take on “Rocket Fuel” (a co-write with Todd Snider, whose band Kimbrough once led), and “Cape Henry,” an account of a Revolutionary War naval battle also written with Snider. Humor finds a place in “My Right Wing Friend,” in which a long friendship transcends political differences; “Home Remedy” explores romantic love, and “Child of Light” is a hymn to parenthood. Kimbrough closes with “Digging a Ditch with a Spoon,” a country blues tune about doing the best you can with what you’ve got.

It’s hard to overstate Kimbrough’s skill and style as a player. Seemingly anything with strings is fair game, and he does justice to a wide range of wood and wire, including several guitar, dobro, mandolin and banjo. Kimbrough is also an accomplished producer, and he does a good job with his own material here, leaving things simple and letting the playing and singing shine through.  

The 10 best lines on the Cayamo music cruise 2015

By Paul T. Mueller

The 10 best lines from artists on the 2015 Cayamo cruise:

Amy Speace

Amy Speace

  • It was sad knowing everyone I knew or loved was going to hell. – Elizabeth Cook on her fundamentalist upbringing (Saturday)
  • This has been a very palpable evening. – Jim Lauderdale, during John Fullbright’s “Unlikely Sit-In” show (Saturday)
  • I starred in “Shakespeare in the Parking Lot” – Amy Speace on her days as a Shakespearean actress in New York (Monday)
  • Thanks, Mom. – John Prine, in response to a female audience member’s shout of “You’re sexy, John Prine!” (Monday)
  • The difference between a freeloader and a free spirit is about three chords. – Todd Snider (Wednesday)
  • This was No. 1 for about two weeks on the radio in Serbia. Take that, Lyle Lovett! – Amy Speace on the title track of her new CD, “That Kind of Girl” (Thursday)
  • Morning, everyone! – Lucinda Williams, at a 1:30 p.m. show (Thursday)
  • He doesn’t consider himself an Eagle, but I do. No, I consider you an egret. – Shawn Colvin to guitarist Steuart Smith, who tours with The Eagles (Thursday)
  • What we do on Cayamo stays on Cayamo. – Shawn Colvin (Thursday)
  • Since you probably played on the original record, play a little guitar right here, good brother. – Rodney Crowell to David Bromberg, during “Like a Rolling Stone” (Friday)

 

 

Cayamo day 5: Brandi Carlile, Todd Snider, Kacey Musgraves

By Paul T. Mueller

Wednesday, Jan. 21 found the Norwegian Pearl docked at St. Croix in the U.S. Virgin Islands. Many Cayamoans strolled off the ship to explore the island or just hang out on a nearby beach. One was Doug Seegers, the once-homeless Nashville country singer who’s made an unlikely comeback with the help of Cayamo stalwart Buddy Miller, singer-songwriter-producer Will Kimbrough and others. Seegers spent some time busking in front of one the shops that line the waterfront, reportedly collecting about $150 in his guitar case with a sign reading, “Can’t afford the boat.”

Kacey Musgraves

Kacey Musgraves

Back on the Pearl, the music started at 4:00 p.m. with a pool deck show by Kacey Musgraves. Rising star Musgraves, a small-town Texan relocated to Nashville, has plenty of attitude and some serious chops to go with it. Her Cayamo sets drew largely on her 2013 CD Same Trailer, Different Park, but on this sunny afternoon she also found space for a bit of Bob Marley’s “Three Little Birds,” with its catchy chorus, “Every little thing’s gonna be all right.”

The second “guerrilla set” by Tim Easton and Megan Palmer got going at 6:00 in the Bar City area. This one was heavy on Easton’s older tunes, several played by request, including “Carry Me,” “Broke My Heart,” “Bitters Past” and “Poor, Poor L.A.” There were also nice renditions of “The Young Girls” and a new song, “Elmore James.” The duo closed with Easton’s “Don’t Walk Alone,” featuring guest vocals by Nellie Clay.

Atlanta-based folk-rocker Michelle Malone played another strong set in the Spinnaker Lounge starting at 7:00. Malone led off with an acoustic version of “Shine,” from her 2012 album Day 2. She described it as a song about gratitude, a common theme among several Cayamo artists throughout the week. Alternating between acoustic and electric guitar, and throwing in some harmonica along the way, Malone showcased compositions that included the raucous barroom tale “Tanya Tucker”; the hard-luck ballad “Ramona,” featuring guitarist Davis Causey; the socially conscious “Immigration Game,” with help from Kristy Lee and Shawn Mullins, and the Beatles’ classic “Eleanor Rigby,” in a dramatic arrangement that blended jazz, blues and soul.

Seattle-based singer-songwriter Brandi Carlile, a veteran of six previous Cayamos, took the Stardust Theater stage at 8:00 for her first appearance of this year’s cruise. Sometimes solo and sometimes accompanied by her band – guitarist Tim Hanseroth, bassist Phil Hanseroth, cellist Josh Neumann and drummer Brian Griffin – Carlile seemed even more animated than usual, possibly thanks to pent-up energy. Her set included her familiar hits “The Story” and “Caroline.” There was also a cover of Dolly Parton’s “Jolene,” with a guest appearance by fiddler Luke Bulla, and some newer originals, such as the beautiful and hopeful “The Eye” and “The Things I Regret,” from her upcoming CD The Firewatcher’s Daughter. Kanene Pipkin, Zach Williams and Brian Elmquist of The Lone Bellow joined Carlile for a reprise performance of “His Eye Is On the Sparrow,” which they performed at Sunday’s gospel show, but the effort fell just short, with Carlile’s vocals not quite blending with the trio’s. Carlile closed with a dramatic, high-powered rendition of Fleetwood Mac’s “The Chain.” Some might have wondered why an artist of Carlile’s ability would choose for her finale a song so strongly associated with another band, but there was no denying the enthusiastic response it received.

Noah Gundersen, another singer-songwriter from Seattle, played the Spinnaker lounge at 9:00, with a set that included at least a couple of covers (Neil Young’s “Down By the River” and Bob Dylan’s “Lay Lady Lay”) along with several original songs, including “Dying Now” and “Cigarettes.” Backed by a strong band that included his sister, Abby, on fiddle, Gundersen demonstrated a dramatic vocal style and well-written lyrics.

The Spinnaker took a turn toward hard country with Doug Seegers’ 11:00 p.m. show. Fiddler Barbara Lamb provided expert accompaniment on tunes including “Angie’s Song” and “Baby Lost Her Way Home Again.” Jim Lauderdale lent vocal assistance on “I Met Jesus in a Bar”; David Ball’s “Honky Tonk Healer” got the Texas two-step treatment (Seegers spent some time living in Austin), and Seegers went slow and soulful on Gram Parsons’ “Hickory Wind.” Seegers introduced “Will You Take the Hand of Jesus” as his response to many good changes in his life in the past year. Some of those, no doubt, were thanks to the next song, “Going Down to the River,” which became a hit in Sweden after a Swedish documentary filmmaker discovered the struggling Seegers in Nashville.

Todd Snider

Todd Snider

One of Cayamo 2015’s high points occurred at midnight in the Stardust Theater, with the appearance of singer-songwriter Todd Snider, barefoot as usual. “I’m a little late,” Snider told the large crowd at the “stowaway” show, announced only earlier in the day. “I’m sorry it took me so long to get out here.”

This was a reference to his very late cancellation of his scheduled Cayamo appearance last year, reportedly for medical reasons. Hard feelings remain in some quarters, but the audience seemed to be in a forgiving mood – not that Snider seemed to care about forgiveness. Snider is a very talented songwriter and a gifted performer, and he brought his “A” game this night. The show featured a mix of stories, personal philosophy and enough songs from Snider’s extensive catalog to satisfy any but the most demanding fan.

The list included “Good Fortune,” “Play a Train Song,” “How Do You Know It’s Too Late,” “Greencastle Blues,” “Too Soon To Tell,” “Stuck on the Corner,” and, after a long story about meeting Jerry Jeff Walker, a nice rendition of Walker’s hit “Mr. Bojangles.” After asking for audience requests, Snider dedicated his next song to everyone who got mad at him for canceling in 2014 (“I was in a card game – I couldn’t get out of it”) and then played “Alright Guy” from 1994’s Songs for the Daily Planet. After closing with the bouncy 1949 tune “Enjoy Yourself” (“Enjoy yourself, it’s later than you think”), he returned for an encore consisting of “Statistician’s Blues,” “If Tomorrow Never Comes” and Kris Kristofferson’s “To Beat the Devil.”

Review: Hard Working Americans

Hard Working Americans by Paul T. Mueller

It’s hard to tell whether Hard Working Americans, #2 on this week’s Americana Music Association airplay chart, is a one-shot deal or a long-term project. But even if the band’s self-titled debut turns out to be a one-off, it seems like it was worth the effort.

Hard Working Americans is fronted by singer-songwriter Todd Snider, sounding grittier and more subdued than he used to. His colleagues include guitarist Neal Casal of the Chris Robinson Brotherhood and Ryan Adams’ Cardinals, bassist (and co-producer) Dave Schools from Widespread Panic, keyboardist Chad Staehly of Great American Taxi and drummer Duane Trucks from Col. Bruce Hampton’s School of Music.

All 11 songs on Hard Working Americans are covers, and these guys picked some good material. “Another Train,” a rowdy love song by former Snider guitarist Will Kimbrough, gets a riff-heavy rendition that recalls mid-’70s bands like Montrose. Casal’s guitar fuels the world-weary “Down to the Well,” by Kevin Gordon and Colin Linden, while Staehly’s piano, Trucks’ percussion and harmonica from guest John Popper give Hayes Carll’s “Stomp and Holler” a nice honky-tonk vibe.

Snider’s take on Kevn Kinney’s “Straight to Hell” is more understated than Kinney’s all-out redneck rock approach, but the trailer-park drama still comes through, punctuated by a nice Casal solo. Other highlights include an uptempo rendition of the Bottle Rockets’ “Welfare Music” and a suitably folky take on Randy Newman’s “Mr. President, Have Pity on the Working Man.” The album closes with a quiet version of David Rawlings and Gillian Welch’s hard-living tale “Wrecking Ball.”

It’s nice to hear what these talented musicians bring to other writers’ songs, but it should also be interesting to hear what they do with their own material, if they decide to go that route.

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Review: “Steve Poltz’s “Noineen Noiny Noin”

Americana Music News: We first saw Steve Poltz in 1998 after the release of One Left Shoe. It was pretty clear from the performance that this was a talented singer and songwriter who would be sticking around.
What was less clear was whether he would build on the success of writing the pop hit “You Were Meant for Me” and become an MOR artist or do something more interesting.
It turned out to be the latter. He’s had a series of distinctive albums over the years.
Noineen Noiny Noin and a Haff (the title stems from an Australian promoter’s pronunciation of the year Poltz first came to that country) is a collection of 18 largely quirky songs that depending on your perspective, you’re likely to find ingenious or irritating.
There’s “Some Things About Me Should Know, which boasts these couplets: “I like the word belligerent/It rhymes with refrigerant” and “I like eating food/I love being nude.”
Then there’s “Salt Suit,” a song about a man who is unable to cry, but then is so moved that he cries constantly until he’s caked in salt and has to go to crying rehab.
There are moments in the album where distinctive songwriters like John Prine and Todd Snider come to mind, but Poltz certainly ups the oddness.
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Music Producers Institute brings artists, fans together in the studio

Steve Fishell

 One of the more innovative ventures in Nashville’s music community offers a chance for fans and prospective producers to sit in on the recording sessions of some of their favorite bands.
Music Producers Institute, directed by Grammy-award winning producer Steve Fishell, gives artists a chance to defray recording costs by inviting in paid guests, and attendees get a rich musical experience.
5 Questions for Steve Fishell:

1. You’ve found an innovative way to bring artists and fans together in a recording studio. How does it work?

 “Music Producers Institute brings students of recording and music fans right into their favorite artists’ master studio sessions. The premise is simple: the best way to learn about the recording process is to observe your favorite artist at work. Tuition is generally around $800 for a two or three day event and a majority percentage goes to the artist to cover their studio costs. Artists walk with the masters and attendees check off another “bucket list” item.”

 2. Do most people enroll  because they’re aspiring producers or because they want to watch their favorite artist work?

“The attendees are generally split 50%-50% between aspiring producers and fans. They are very respectful of the process and feel privileged for the chance to observe. We’ve never had one problem with interruptions in over four years of sessions. Nobody wants to blow it and get the boot!”
 

3. How does the presence of fans affect the recording process?

 “Martie Maguire of the Dixie Chicks played mandolin and fiddle on Radney Foster’s March MPI sessions in Austin. I asked Martie if the attendees made her feel self-conscious and she said “I forget they were even there. Artists are performers and they prefer playing in front of a small group of respectful people rather than just to the four studio walls.”

4. You’ve had some amazing artists join you. What have been some of your best moments in the studio?

“The Del McCoury Band sessions were a highlight. Del and the band were cracking jokes all day long and still managed to record 17 songs in two days. In fact, on the last day they wrapped up the sessions around 6:30pm which is way early for most artists. Their virtuosity was simply mind-boggling to watch. The resulting album, “Old Memories: The Songs of Bill Monroe” was nominated for a Grammy last December.

“Poco let their entire class play percussion on one song and Todd Snider had his class sing harmony vocals on a track. Anything can happen at an MPI session.”

5. The great Duane Eddy has a session coming up. How would you describe his contributions to popular music and how can folks see him firsthand?

 “Guitarist Duane Eddy – a member of the Rock and Roll Hall of Fame – influenced everybody: The Beatles, Bruce Springsteen, Creedence, the Ventures, Mark Knopfler. John Fogerty calls him “the first rock and roll guitar god.” Our MPI session June 22-23 marks the first time Duane has ever opened his studio doors to the public. He’s one of the nicest people on the planet so it promises to be a lot of fun. Also on the session are steel guitar session giant Dan Dugmore and legendary musicians Spooner Oldham and Richard Bennett. These sessions will also be special because the resulting tracks will be included on an album benefitting the Country Music Hall of Fame. All attendees will be thanked by name in the liner notes. To learn how to attend go to www.musicpi.com or call  MPI at sessions@musicpi.com.”

Review: Todd Snider times two

By Ken Paulson

–Todd Snider’s new album Agnostic Hymns and Stoner Fables may put you a little on edge, but thankfully, he’s also provided the antidote.

Agnostic Hymns could well be the original cast album for the Occupy Movement, with a fair share of contemporary protest songs and attitude.

The opening track “In the Beginning” makes the case that religion was invented to keep the poor from killing the rich. On “New York Banker,” Snider sings “good things happen to bad people.” No happy endings here.

Closer “Big Finish,” sort of a “Hey Jude” for the unraveled, advises “It ain’t the desire that gets you; it’s the hope.” It also contains the best line on the album: When I found myself in possession of these car keys, I just naturally assumed I could drive.”

“Brenda” is a change of pace, melodic and affirming, about either a challenged and enduring couple or the partnership between Keith Richards and Mick Jagger. Probably both.

If you tire of Agnostic Hymns, you need only turn to Snider’s other current album. Time as We Know it: The Songs of Jerry Jeff Walker, is a celebration of the singer and songwriter who helped transform the Austin music scene of the ‘70s. It’s an engaging sampling of Walker’s best known-songs and a handful of intriguing obscurities.

The covers are pretty faithful, with the occasional lyrical liberty. On a terrific version of “Sangria Wine” recorded with Kix Brooks, Snider moves the drinking to East Nashville.

“Taking it as it Comes,” “Jaded Lover,” “Derby Day,” “Railroad Lady” and “Little Bird”(with Elizabeth Cook) all reveal Snider’s obvious affection for Walker, and in turn, Jerry Jeff’s clear influence on Todd.

The two albums are a formidable combination; one contemporary and cutting, the other nostalgic and joyous. Not a bad spring for Todd Snider.

Todd Snider’s salute to Jerry Jeff Walker enters chart

Todd Snider’s Time As We Know It, his tribute to Jerry Jeff Walker, is the top new entry on the Americana Music Association airplay chart this week, breaking in at #33. The Dunwells are the only other debut, with Blind Sighted Faith at #40.

Still at the top of the chart: Justin Townes Earles’ Nothing’s Gonna Change the Way You Feel About Me.Top adds on Americana radio stations:  The Wandering’s Go On Now, You Can’t Stay Here, the Turnpike Troubadours’ Goodbye Normal Street (reviewed here) , the Tedeschi Trucks Band’s Everybody’s Talkin’ and Sara Watkins’ Sun Midnight Sun.

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Charting: Alabama Shakes, Nanci Griffith, Jason Eady

The Alabama Shakes jump into the Americana Music Association airplay chart at #14 this week with Boys and Girls.

Other chart debuts: Nanci Griffith’s Intersection at #34, Jason Eady’s AM Country Heaven at #36, Hank Williams III’s Long Gone Daddy at #37 and Madison Violet’s The Good in Goodbye at #39.

Most added this week: Paul Thorn’s What The Hell Is Goin On? Marty Stuart and His Fabulous Superlatives’ Nashville, Volume 1: Tear The Woodpile Down and Todd Snider’s Time As We Know It.

Americana music news: Follow us on Facebook and Twitter at @sun209com.

Lovett, Scott top chart; Janiva Magness debuts

It’s been a relatively stable week on the Americana Music radio airplay chart, with Lyle Lovett again holding on to the top position with Release Me, followed by Darrell Scott’s  Long Ride Home.

There’s only one new album on the chart this week, with Janiva Magness’ Stronger For It entering at #36.

Tommy Womack’s fine Now What!  is back on the chart after dropping off for a week.  It stands at #38.

Albums with the most adds:

– Justin Townes Earle’s Nothing’s Gonna Change the Way You Feel About Me, with 18 new stations.

– Andrew Bird’s Break It Yourself (13)

– Todd Snider’s Agnostic Hymns and Stoner Fables (12)

– Peter Mulvey’s The Good Stuff (11)

Charting: Justin Townes Earle, Bruce Springsteen, Todd Snider

Lyle Lovett’s Release Me shot to the top of the Americana Music Association radio airplay chart, edging out Darrell Scott’s Long Ride Home by just seven spins.

New to the chart: Justin Townes Earles’ Nothing’s Going to Change the Way You Feel About Me Now at #11, Ray Wylie Hubbard’s Grifter’s Hymnal at #22, Todd Snider’s Agnostic Hymns and Stoner Fables at #25, Bruce Springsteen’s  Wrecking Ball at #31, Steel Wheels’ Lay Down Lay Low at #34 and Lucero’s Woman & Work at #38.

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.

Review: Robert Earl Keen’s “Ready for Confetti”

Robert Earl Keen’s 16th album “Ready for Confetti” is a musically adventurous, almost joyous-sounding album that lives up to its playful title.
Keen has said he approached this album differently, writing on the road for a change and encouraging lots of feedback. It worked. “Ready for Confetti” is a diverse, yet focused collection, packed with memorable songs.
Fron the upbeat title song to the reggae-flavored “Waves on the Ocean,” Keen sounds like a man having fun making music and experimenting with new sounds.
On much of the album, he sounds hopeful and happy – except when he’s clearly not.
“The Road Goes on and On” is a double-barreled assault on Toby Keith. It wonders what Keith will do when his “sycophants” leave him and charges that “You lost your grip on that flag you wave, but you wave it right or wrong.” It’s tough stuff and very entertaining.
What inspired the song?
Keen told the Austin American-Statesman: “It’s been some stuff that has happened over the years, but the last thing was that single off his last record (“Bullets in the Gun”). I never pay any attention, but my phone exploded with e-mails and texts about the song; People were saying, how come he took your song and why didn’t he come up with his own song?
Melodically, it’s not dead on top of it, but cadence-wise and story-wise, it’s taken out of (Keen’s song) “The Road Goes On Forever.”
… I wasn’t about to sue him, so I thought I’d answer in kind. I just wanted to say, stop with the nonsense. So I wrote him a song. It’s no different than Kitty Wells or Hank Thompson singing “(It Wasn’t God Who Made) Honky-Tonk Angels” or classic literary characters like Alexander Pope or Jonathan Swift answering people. You answer them in the way you know how to best answer. There’s a precedent in literature and music for doing that, so that’s what I did.”

Keen revisits “Paint the Town Beige,” one of his best songs, with a new and simpler take. He also covers Todd Snider’s “Play A Train Song” and closes out the album with the century-old “Soul of a Man.”
“Ready for Confetti” is one of Keen’s most engaging albums, and that’s saying something. 16 albums in, the music’s as fresh as ever.

Todd Snider Live

Todd Snider is a subversive Steve Goodman, a guy who writes fine songs and tells entertaining stories on stage. That’s nicely captured on Todd Snider Live: The Storyteller, a two-CD collection that’s deep in engaging songs and stories. Sometimes they’re one and the same.
Snider talks of his high school years and the mushroom-related incident that set him on his life’s path before breaking into “Conservative Christian, Right-Wing Republican, Straight White American Males.”
Snider tells of having to lie low in a country cover band for a few months while his solo career was being launched. Somehow it all leads to one raucous evening, an unconscious lead singer, and Snider’s performance of Rusty Wier’s “Don’t You Wanna Dance,” which he reprises on this CD. It’s very funny, and he does the song in appropriately ragged fashion.
Dave Marsh wrote an authoritative book on “Louie Louie” and the FBI investigation of the song; Snider condenses the saga to a matter of minutes in his “Ballad of the Kingsmen” and makes a broader point about the folly of music censorship.
Live: The Storyteller documents what Todd Snider does so well on stage, and offers a terrific overview of his recent work as well.