Author: Americana Music News

Reissues: Lulu and Cass Elliott from Real Gone Music

September 1, 2014 in Reviews

By Ken Paulson

Lulu and Cass Elliott, two of the sixties’ most prominent pop vocalists, found themselves at career crossroads at the close of that decade.

Lulu, known in the U.S. for “To Sir With Love” had left producer Mickie Most, hungering for a more substantive recording career. Mama Cass was pursuing a solo career following the dissolution of the Mamas and Papas. Both women had enjoyed success with their own television shows and saw themselves as entertainers rather than just pop singers.

Two Real Gone Music releases – Lulu’s Atco Sessions 1969-1972 and Elliot’s Don’t Call Me Mama Anymore – document the paths of both women in the early ‘70s.

The Lulu collection is particularly impressive. Atlantic Records producer Jerry Wexler brought Lulu to Muscle Shoals to work with the region’s famed musicians, apparently hoping to capture the same kind of feel found on Dusty Springfield’s Dusty in Memphis. The resulting album New Routes, contained here, is smooth and souldful, , fueled by the playing of Eddie Hinton, Jimmy Johnson, Duane Allman, Barry Beckett, David Hood and Roger Hawkins. It yielded “Oh Me Oh My (I’m A Fool for You Baby), one of Lulu’s handful of U.S. Top 40 hits.

The follow-up Melody Fair, was recorded at Criteria Studios in Miami, and had more of a pop feel, opening with the Beatles’ “Good Day Sunshine.” The title track was written by the Brothers Gibb (she was married to Maurice at the time) and she even covered Randy Newman’s “Vine Street.” The single “Hum A Song” (From Your Heart) stalled in the Hot 100, but deserved better.

The collection also includes a full disc of rarities, a number of which were presumably recorded for a third Atco release that would never come. Highlights include Lulu’s versions of Elton John’s “Come Down in Time” and Lesley Duncan’s “Love Song.”

The Atco Sessions find Lulu at the top of her game, accompanied by some of the finest studio players in history. Little wonder that New Routes and Melody Fair would be prove to be the two best LPs of her career.

Don’t Call Me Mama Anymore is a live recording capturing Cass Eliott at Mr. Kelly’s nightclub in Chicago. It was an era in which pop and soul artists – most notably the Supremes and Temptations – would gravitate to high-end nightclubs in an effort to broaden their appeal beyond the Top 40 audience.

The album reveals a charming, determined-to-please performer that doesn’t just rely on her hits to entertain. There’s a torch song medley, a cover of Paul McCartney’s then-new “My Love” and a comical turn that implores people to stop calling her “Mama Cass.”

Bonus tracks include a medley of her solo hits and the previously unreleased “Don’t Make Me a Memory.”

Don’t Call Me Mama Anymore is a sweet souvenir.

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Jesse Winchester’s touching farewell

August 26, 2014 in Reviews

By Ken Paulson

I braced myself for the first listening to Jesse Winchester’s A Reasonable Amount of Trouble. After all, this was his final album, recorded while he was dying of cancer. And the cover image of his painting of a crying woman was anything but upbeat.

Who would have guessed such dour packaging would contain such a joyous album? With loving production from Mac McAnally, A Reasonable Amount of Trouble truly celebrates Winchester’s talent. Set for release on Sept. 16, the album features McAnally on guitar, Roscoe Beck on bass and Eric Darken on percussion, with guest turns by Jerry Douglas and Jim Horn.

Opener “All That We Have is Now” tells us to embrace the moment; it’s encouraging and lilting throughout. And then there’s the charming goofiness of “Never Forget to Boogie,” a bluesy shuffle and a pretty good way to live your life.

Winchester tapped into his childhood for three ‘60s-era hits, offering up sweet and fun covers of “Rhythm of the Rain,” “Devil or Angel” and “Whispering Bells.”

Closing out the album is “Just So Much,” a touching reflection on mortality and the most truthful song you’ll ever hear. Stunning.

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John Hiatt’s “Terms of My Surrender”

August 23, 2014 in Nashville music, Reviews

by Paul T. Mueller

John Hiatt’s latest album Terms of My Surrender finds the veteran singer-songwriter pretty much in “old dude looking back” mode. “I’ve sang these songs a thousand times, ever since I was young,” he sings in the first track, “Long Time Comin’.” And there’s this in the next track, “Face of God”: “My eyes are blind from crying/don’t know how many more tears I’ve got.”

Grim stuff, especially considering that Hiatt, who just turned 62, is not exactly ancient. Still, he’s been at this for a while, producing excellent work along the way – “Drive South,” “Thing Called Love,” “Crossing Muddy Waters,” “Have a Little Faith in Me,” “Slow Turning” – the list goes on. So he’s earned his aging-bluesman persona, and with his gravelly voice and still-worthy guitar chops, he’s pretty good at it.

There might not be anything on Terms that will get Hiatt much radio airplay (not that that seems to have been his goal – the album has a “because I want to” feel about it). But there’s good material here nonetheless, all original, well written and well performed.

“Wind Don’t Have to Hurry” is an eerie meditation on freedom and mortality, fueled by the spooky banjo of longtime collaborator Doug Lancio (who also contributes guitar and mandolin on various tracks). “Nobody Knew His Name” treads familiar ground – the mysterious stranger lamenting the long-ago loss of his true love – but Hiatt tells the story with his typical panache.

Hiatt knows his way around a funny song, and he’s not afraid to paint in broad strokes. “Old people are pushy,” he sings in “Old People,” before describing a list of dubious behaviors – cutting in line, arguing with the checkout lady, driving too slow. “They can seem like sweet little old people,” he sings of his newly embraced tribe, “but they’re not about to kiss your ass.”

Of course, it wouldn’t be a Hiatt album without a few sweet love songs. Romance meets the blues in “Nothin’ I Love,” in which the narrator recounts his various vices and concludes, “There ain’t nothin’ I love good for me but you.” He’s accompanied here by some excellent guitar by Lancio (other contributors include bassist Nathan Gehri, drummer Kenneth Blevins and keyboardist Jon Coleman, with Brandon Young on backing vocals).

The title track is a gentle love song with a jazzy arrangement. “I can be rough, sometimes I can be tender, but I can’t negotiate the terms of my surrender,” Hiatt sings. “I love you too much, babe, go on and have your way with me.” The album closes with the lively “Come Back Home,” in which the narrator pleads for the return of a departed lover. “I’d take back every song, all that I’ve done wrong/I wish that you’d come home to me.”

Terms of My Surrender benefits from fine production by Lancio, featuring clear, uncluttered arrangements that leave the focus on Hiatt’s words.

Shovels and Rope’s “Swimmin’ Time”

August 17, 2014 in Americana Music

By Ken Paulson

We loved the Shovels and Rope album O’ Be Joyful and have looked forward to the follow-up. The wait is over.

On August 25, Cary Ann Hearst and Michael Trent will release Swimmin’ Time, a comparably striking album that melds folk, country, blues and rock in a truly compelling style. The album marries often rudimentary rhythms to fascinating narratives and compelling lyrics.

There’s a lot of water imagery here, including “Fish Assassin” possibly the most unsettling fishing song of all time.

“Mary Ann and One Eyed Dan” tells the saga of a waitress and a man who lost part of his eyelid in combat: “She said “Do you like the menu or do you need me to read it to you?’ Her question leaves him ” half way angry, half turned on and half confused.” It’s lousy math, but good songwriting.

Those kinds of lines jump out at you throughout the album. “I got wasted and sat around the fire all day, see if I could find someone to make love to,” Hearst sings on the plaintive album opener “The Devil is All Around.”

The music is still direct and basic, and often ominous, no surprise with song titles like “Evil” and “Bridge of Fire.” It’s a worthy follow-up to their highly successful debut.

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Holly Williams, BR5-49 added to festival

August 16, 2014 in Americana Music, Americana Music Festival, Nashville music

The Americana Music Association has announced a third wave of artists for its upcoming festival and conference in Nashville, including Aaron Lee Tasjan, BR5-49, Holly Williams, Joe Fletcher & the Wrong Reasons, Luther Dickinson, Michaela Anne, Paul Burch, Sharde Thomas and the Rising Star Fife & Drum Band.

BR5-49 has widely been credited as the musical catalyst that helped turn around Nashville’s once-decaying Lower Broadway in the ’90s, and paved the way for the city’s current vibrant music scene.

Holly Williams, another Nashville resident, is the granddaughter of Hank Williams and daughter of Hank Jr.

You’ll find the full schedule for the Sept. 17-21 festival here.

Jack Clement’s “For Once and For All”

August 16, 2014 in Nashville music, Reviews

By Ken Paulson

I spent my day Friday interviewing nine members of the Nashville Songwriters Hall of Fame as part of an archival project and one name came up again and again: Cowboy Jack Clement.

The producer, songwriter and occasional artist had a knack for identifying talented young songwriters and artists and nurturing them. In Memphis at Sun Records, in Beaumont, Texas, and finally in Nashville, Clement made friends, helped build careers and made great records.

That’s why it’s no surprise to see so many remarkable guests on For Once and For All, the final Clement album , released 11 months after his death in August 2013. Rodney Crowell, Vince Gill, Marty Stuart, Emmylou Harris, Bobby Bare, Duane Eddy, Dickie Lee, T- Bone Burnett, Buddy Miller, Dan Auerbach, Leon Russell, Gillian Welch, Dave Rawlings, Shawn Camp, John Prine, Dierks Bentley, Jim Rooney, Jim Lauderdale and Will Oldham are all on hand for this farewell album.

For Once and For All revisits 12 of Clement’s songs, a number of which were first recorded by Charley Pride. Clement and Pride broke down racial barriers in country music, and made some great records in the process. “Just Between You and Me,” “Got Leaving On Her Mind,” “Baby is Gone” and “I Know One” are among Pride’s best.

“Jesus Don’t Give Up on Me,’ with guitar by Duane Eddy, is the closest thing to a religious song on the record, but Peter Cooper sets the record straight in his liner notes: “Jack was about as religious as a corn cob, but he was a spiritual guy.”

“The Air Conditioner Song” is a reminder that keeping our windows sealed may make us more comfortable, but there’s beauty through an open window. Gill and Camp contribute background vocals and Joey Miskulin is on accordion.

It’s all quite an informal affair, with gentle instrumentation and Clement’s relaxed vocals.

I knew Jack just well enough to say hello, but I treasured every meeting. For Once and For All truly captures his spirit. Buy it for the joy.

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Reissue: Spanky & Our Gang’s “Complete Singles”

August 10, 2014 in Reviews

By Ken Paulson
Spanky and Our Gang, a harmony-driven group whose best moments rivaled the Mamas and Papas, are celebrated in The Complete Mercury Singles, a new collection from Real Gone Music.
Lead singer “Spanky McFarlane” and the group had eclectic musical tastes, but their singles were often transcendent pop, beginning with the 1967 hit “Sunday Will Never Be the Same.”
In a two-year span, Spanky and Our Gang had four more Top 40 singles: “Making Every Minute Count,” “Lazy Day,” “Sunday’ Mornin’” and “Like to Get to Know You.”
There are some revelations here, including a spirited cover of the Beatles’ “And Your Bird Can Sing” and “Echoes,” an early recording of Fred Neil’s “Everybody’s Talkin’,” later a hit for Nilsson.
Their socially conscious “Give a Damn” stalled at #43, in part because radio programmers were startled by the use of a four-letter word. It was a call to action and a thought-provoking record that deserved a better fate.
The group never regained its commercial momentum and member Malcolm Hale died from pneumonia at the age of 27. The group disbanded before the end of the ‘60s.
It was a short, but often brilliant run of pop music. The Complete Mercury Singles truly captures the best of Spanky and our Gang.

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Concert review: Wheatfield four decades on

August 3, 2014 in Reviews

By Paul T. Mueller

Most bands that started more than 40 years ago are no longer playing together, much less still creating good new material. One happy exception is Wheatfield, which began as a trio in Houston in 1973 and is now a quartet that plays a mostly acoustic brand of folk-rock, flavored with country, bluegrass and jazz. On Aug. 1, the group returned to its city of origin for a sold-out show at McGonigel’s Mucky Duck – part of a six-date tour in support of its long-awaited new CD, Big Texas Sky.

Wheatfield’s current lineup consists of original members Connie Mims (vocals, guitar and percussion), Craig Calvert (vocals, guitar, mandolin and flute) and Ezra Idlet (vocals, guitar and banjo), plus Keith Grimwood (vocals and bass), who joined in 1976. The four take turns on lead vocals and contribute to the harmonies that have always been a hallmark of the band’s sound.

Wheatfield: Ezra Idlet, Connie Mims, Keith Grimwood and Craig Calvert

A bit of history: The first phase of Wheatfield’s career ended in 1979. The band (then known as Saint Elmo’s Fire, following a dispute with another band that claimed rights to the Wheatfield name), was unable to break through to a national audience, despite a sizable fan base and musical achievements that included an Austin City Limits appearance in 1976. The members went their separate ways – Grimwood and Idlet teamed up as Trout Fishing in America, best known for its imaginative children’s music, while Mims and Calvert moved on to other musical pursuits. But the four stayed in touch, and about a decade ago, having reclaimed the Wheatfield name, started reuniting periodically for short tours.

The Mucky Duck show – 21 songs, 90 minutes – included most of Big Texas Sky’s 12 tracks, plus some classics from the band’s early days and a few selections from in between. The show opened with Sky’s title track, a seemingly autobiographical Mims composition about leaving home (she, Calvert and Idlet began performing together in high school, and legend has it that the already graduated Calvert and Idlet were in the cheap seats at Mims’ graduation in 1973, ready to launch Wheatfield’s professional career without further delay). Other highlights included “The Very Best Thing,” a sweet love song written by Idlet; “Where’s Your Mama,” a Grimwood-Idlet tune about a different kind of pickup line; “Grace of the Rio Grande,” Mims’ tribute to her grandfather, and “How Many Times a Fool,” a breakup song by Grimwood and Idlet with a bitter theme, but high-energy playing.

Longtime fans were rewarded with several familiar songs. “Cruzan Time,” a funny recollection of one of Wheatfield’s early gigs – a six-week residency at a hotel on the Caribbean island of St. Croix – benefited from Calvert’s fine mandolin. Calvert also got to demonstrate his flute skills on “This Year” and the jazzy instrumental “Roll Over Dave Brubeck.” The latter featured what has become something of a Wheatfield show tradition: Mims’ minimal contribution – striking a triangle at several points – earned her an enthusiastic ovation each time.

Wheatfield/Saint Elmo’s Fire always had an ear for well-chosen covers as well, and the Mucky Duck show included two excellent examples – Steve Young’s “Seven Bridges Road” and Buffalo Springfield’s “Rock and Roll Woman,” both fueled by brilliant harmonies.

After closing with Mims’ “Anywhere My Heart Goes,” featuring some nice guitar work by Calvert, the band returned for an encore consisting of Joni Mitchell’s “Conversation,” a showcase for Mims’ singing and Idlet’s banjo, and Stephen Stills’ “Find the Cost of Freedom,” with harmonies every bit as beautiful and chill-inducing as those in Crosby, Stills, Nash and Young’s version.

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Stone Mountain Station’s “Electric Silence”

July 15, 2014 in Reviews

by Paul T. Mueller

In its publicity material, Brooklyn-based band Stone Mountain Station lists influences ranging from the Beatles to AC/DC to Wilco. That’s a pretty wide range, maybe a bit too wide. The band’s first full-length release, Electric Silence, shows a lot of potential but comes off as somewhat unfocused.

The basic sound is high-energy pop, with a little blues and rock thrown in. All of it is built around the voice of lead vocalist Gina Tolentino, which is a bit reminiscent of Natalie Merchant’s. Unfortunately, in the album’s pre-release form, Tolentino’s voice sometimes seems a bit lost in the mix. It’s hoped the final product will show her efforts to better advantage.

Capable instrumental support comes from keyboardist Mark Ciani, who also wrote most of the songs and co-produced the album; electric guitarist/co-producer Alvaro Kapaz; acoustic guitarist Dan Sussman, who wrote two songs; bassist Ryan Gleason, and drummer/percussionist Matt Musty.

Best bets: “He Only Loves Me Too,” with its nice mix of jangly guitar and keyboards; “Sum of It,” a country-ish kiss-off song; and “Never Within Reach,” with exuberant organ riffs and chunky guitar riffs that recall Tom Petty and the Heartbreakers.

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Free speech honor for Jackson Browne

July 12, 2014 in Americana Music, Americana Music Festival

Americana Music News – Jackson Browne has been named the 2014 recipient of the “Spirit of Americana” award for free speech in music, presented by the Americana Music Association and the Newseum Institute’s First Amendment Center.

The annual award, which recognizes artists who have used their music to raise awareness and make a difference, has been presented to a wide range of performers, including Johnny Cash, Charlie Daniels, Stephen Stills, Kris Kristofferson, Joan Baez, Mavis Staples, Judy Collins and Mary Chapin Carpenter.

“Jackson Browne has long embraced the power of music to engage and inform,” said Ken Paulson, president of the First Amendment Center. “From his founding of Musicians United for Safe Energy to his work on behalf of Amnesty International, Farm Aid and environmental causes, Browne has never hesitated to say – or sing – what he believes.”

The award will be presented at the Americana Music 13th Annual Honors and Awards ceremony on Wednesday, September 17 at the Ryman Auditorium in Nashville. The show will be recorded for distribution to PBS stations and a special Austin City Limits presentation.

Reissues: The 5th Dimension’s “Earthbound”

July 12, 2014 in Reviews

By Ken Paulson

Real Gone Music continues to do justice to the recorded legacy of the 5th Dimension, a groundbreaking, yet underrated group of vocalists. First came re-issues of albums by Marilyn McCoo and Billy Davis, followed by a McCoo solo album.

Just released is Earthbound, the only 5^th Dimension album never to make its way to CD. It was the final album for the original quintet and marked their reunion with Jimmy Webb as songwriter and producer. It was his “Up, Up and Away” that ignited their careers in 1967 and led to the stunning The Magic Garden album, recorded the same year.

Webb’s songs anchor the album – most notably “When Did I Lose Your Love” – but the covers are unexpected and well done: George Harrison’s “Be Here Now,” the Beatles’ “I’ve Got a Feeling” and a lush take on the Rolling Stones’ “Moonlight Mile.”

The oddity is Webb’s cheery “Walk Your Feet in the Sunshine,” a primer on podiatric care and the perfect companion piece to the Beach Boys’ 1971 song “Take a Load Off Your Feet.”

Earthbound wasn’t a hit in 1973, but was both ambitious and adventurous. It’s good to have it back.

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Review: The Mastersons’ “Good Luck Charm”

July 6, 2014 in Reviews

By Ken Paulson

We first saw the Mastersons two years ago on a Cayamo cruise and were knocked out by their tight harmonies and penchant for great hooks.

Those traits show up in abundance on their second album Good Luck Charm on New West Records. Chris Masterson and Eleanor Whitmore, also members of Steve Earle’s Dukes and Duchesses, make for an impressive duo and their new album is even more fully realized than their first, Birds Fly South.

While not overtly political, the title track and “Uniform” make their points in highly melodic settings. “Closer to You” is a reminder to break down the barriers that keep us apart, a serious message delivered in an upbeat vessel.

There are songs of love and lost love, all with the engaging hooks and harmonies that drew us to the Mastersons in the first place.

Masterson and Whitmore have clearly committed themselves to releasing great sounding songs that say something. Mission accomplished.

Photo by Paul T. Mueller

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Review: Chris Smither’s “Still on the Levee”

July 6, 2014 in Americana Music, Reviews, Songwriters

By Ken Paulson
It’s going to be a good year for fans of Chris Smither, the veteran folk-blues artist from New Orleans.
On July 22, his complete lyrics will be published in book form and in September, a tribute CD called Link of Chain is scheduled for release.
Most intriguing though is Still on the Levee: A 50 Year Retrospective, which finds Smither revisiting songs he’s written and recorded throughout his career, beginning with “Devil Got Your Man.” The handsome 2-CD package, with full lyrics in a beautifully illustrated booklet , is a compelling collection.
Smither is a skilled fingerpicker, who draws on both Lightnin’ Hopkins and Mississippi John Hurt for inspiration. He enjoyed early success when Bonnie Raitt covered his “Love You Like a Man in 1972, but missteps left him largely under the radar. Still on the Levee shows us what we all missed.

The lyrics are painstakingly crafted and have the feel of truth. They chronicle both troubles and hope. Sobering songs like “Don’t It Drag On” are offset by lighter fare, most notably Smither’s duet with Loudon Wainwright III on “What They Say:” “They say the good die young, but it ain’t for certain/I been good all day, and I ain’t hurtin’.”
Allen Toussaint guests on “No Love Today” and the closing songs with Rusty Belle are among the collection’s best. Their performance with Smither on “Winsome Smile” is as close to rock as he gets and brings John Kay to mind.
Both discs close with different versions of “Leave the Light On” a telling take on mortality and a most appropriate way to close this decades-spanning collection.

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Review: Matt Harlan’s “Raven Hotel”

June 27, 2014 in Reviews

by Paul T. Mueller

Houston-based singer-songwriter Matt Harlan isn’t one of those musicians who puts out an album every year – his last was released in early 2012 – but you can bet that when one does finally show up, it’s worth the wait. Raven Hotel is an excellent showcase for Harlan’s writing, playing, singing and production skills.

The album’s second track is titled “Half Developed Song,” but that may be a little inside humor (it’s actually about getting past everyday obstacles and getting on with life). There’s nothing half developed about any of Raven Hotel’s 12 songs. All are carefully written, skillfully played and sung. Clean production, for which Harlan and Rich Brotherton share credit, makes the most of them.

The title track deals with the struggle to maintain human connections in a busy world. “I’m living in my own world now, you can stop by if you like,” Harlan sings, “ ’Cause I’ll forget to call and I’ll forget to write.” Even more personal is the love-is-tough theme of “We Never Met (Time Machine).” “Well, it’s hard to be your lover, and it’s hard to be your friend,” goes the second verse. “When you don’t offer no forgiveness, it’s a game nobody wins.”

In “Second Gear,” a father’s instructions to his child during a driving lesson (“Drop it down another gear/The roads are slick this time of year”) turn into larger life lessons (“You’ll find a higher place that you can climb to/Just leave a trail to show them where you’ve been”). “Burgundy and Blue,” a sweet love song, marks a departure from Harlan’s usual folky style – it’s done as a jazz ballad, backed by the smoky tenor sax of John Mills.

Harlan’s wife, Rachel Jones, gets the vocal spotlight on “Riding with the Wind,” an ode to freedom that Harlan has said was written with her voice in mind. She also contributes nice harmony vocals on several other songs.

Other members of the all-star cast Harlan and Brotherton assembled for this project include Bukka Allen on organ, piano and accordion (the latter used to good effect on “Old Allen Road,” a dark tale of implied violence); Maddy Brotherton on violin; Floyd Domino on keyboards; Glenn Fukunaga on bass; Jon Greene on drums, and Mickey Raphael, best known for his long association with Willie Nelson, on harmonica, best heard on the wistful “Slow Moving Train.” Brotherton, who’s the longtime lead guitarist in Robert Earl Keen’s band, contributed on guitars and several other stringed instruments, as well as synth and vocals.

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Review: Allen Toussaint in concert

June 22, 2014 in Reviews

By Paul T. Mueller

Allen Toussaint’s performance at the Miller Outdoor Theatre in Houston on June 19 was a textbook example of how to please existing fans and win new ones.

Following performances by three other acts (including a brilliant set by Austin’s Ruthie Foster), the legendary New Orleans musician took the stage after a short intro by his ace band. He spent the next hour or so filling Miller Theatre, an outdoor amphitheater in one of Houston’s oldest parks, with the distinctive rhythms and melodies of his native New Orleans.

At 76, Toussaint is a revered and beloved figure in American music, but this was no phone-it-in nostalgia gig. In addition to his skills as a songwriter and producer, he’s a tremendously gifted piano player and he put that skill to full use on a set list drawn from his extensive repertoire, including “Southern Nights,” “A Certain Girl,” “Mardi Gras Man,” “Sneakin’ Sally Through the Alley” and “Yes We Can Can,” among others. Toussaint has a fine voice as well, and most of his songs included his soulful singing. One notable exception was a haunting and beautiful instrumental rendition of the folk classic “St. James Infirmary,” sad and joyful at the same time.

As if the music weren’t enough (actually, it was), Toussaint also left his grand piano during one song to throw souvenirs into the crowd from the edge of the stage, in the spirit of Mardi Gras float occupants distributing beads and doubloons to the masses along the parade route.

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Review: Willis Alan Ramsey in Houston

June 22, 2014 in Reviews

Willis Alan Ramsey

By Paul T. Mueller

Cult-favorite singer-songwriter Willis Alan Ramsey had a rocky outing on June 17 at McGonigel’s Mucky Duck in Houston.

Ramsey’s set got off to an unexpected start, with an unannounced opening set by Ramsey’s wife, Alison Rogers. After only one song, a morose musing on love and loss, Ramsey hollered “Time out!” from his barstool at the back of the room, and then spent the next 15 minutes conferring, or arguing, with the guy running the sound board. Rogers finally resumed her set and got in one more song before another long break. And so it went.

When Ramsey finally took the stage, he started out with yet more fiddling with equipment and arguing with the soundman. He managed to get through a few songs before interrupting himself again – mostly bluesy folk performed in a laconic style, accompanied by guitar and harmonica.

Five or six songs of what eventually turned out to be a 14-song set were from his semi-legendary debut (and so far, only) album, 1974’s Willis Alan Ramsey. These included “Wishbone,” “The Ballad of Spider John,” “Angel Eyes” and “Northeast Texas Women,” among others. Unfortunately, they were interspersed with long, rambling stories, lots of tuning and “breaks” taken for no apparent reason.

Ramsey started losing his audience about halfway through, as a considerable part of the crowd headed for the door during a particularly testy exchange with the soundman. Some unpleasant comments about local favorite Lyle Lovett, with whom he wrote “North Dakota,” did little to endear him to those who remained.

Three and a half hours in, the audience was down to 20 or so diehards, plus a few noisy patrons at the bar. Ramsey asked them to quiet down, but that had little effect other than prompting one particularly vocal heckler to urge him to just play and finish the show. By this point he had given up on his equipment and was singing and playing without amplification. Ironically the two or three songs he did this way were among the better performances of the evening.

Americana Festival announces 2014 line-up

June 20, 2014 in Americana Music, Americana Music Festival, Festivals, Nashville music

The Avett Brothers at the 2011 Americana Awards show

Americana Music News – The ever-growing American Music Association announced today that its annual Nashville festival will feature an outdoor concert on the city’s riverfront on Sept. 20 with the Avett Brothers as headliners.

The concert will anchor the Americana Music Festival and Conference, scheduled to take place Sept. 12-21. Tickets go on sale June 27 for the riverfront concert. Admission is free to conference registrants.

The Americana Music Association also released this list of 2014 festival acts, with more to come:

Allison Moorer • Amy Ray • Angaleena Presley • The Barefoot Movement • Ben Miller Band • Billy Joe Shaver • Black Prairie • Brennen Leigh and Noel McKay • Buddy Miller • The Cactus Blossoms • Carlene Carter • Caroline Rose • Chatham County Line • Chuck Mead • Danny & The Champions of the World • The Deadly Gentlemen • Del Barber • The Deslondes • Doug Seegers • The Duhks • The Dustbowl Revival • Emily Barker & the Red Clay Halo • Ethan Johns • The Fairfield Four • The Grahams • Grant-Lee Phillips • Green River Ordinance • Greensky Bluegrass • Gregory Alan Isakov • Greyhounds • The Harpoonist & the Axe Murderer • Hayes Carll • Howlin’ Brothers • Immigrant Union • Israel Nash • Jamestown Revival • Jason Eady • J.D. Wilkes & the Dirt Daubers • Joe Henry • Joe Pug • Joe Purdy • John Moreland • Jonah Tolchin • Jonny Two Bags • Josh Ritter • Joshua James • Lake Street Dive • Lee Ann Womack • Leo “Bud” Welch • Lera Lynn • Marah Presents: Mountain Minstrelsy • Marty Stuart • Matthew Ryan • McCrary Sisters • Nathaniel Rateliff • New Country Rehab • Oh Susanna • Otis Gibbs • Parker Millsap • Paul Thorn • Pete Molinari • Quebe Sisters Band • Rhett Miller • Robbie Fulks • Robyn Hitchcock • Rodney Crowell • Ruthie Foster • Ryan Montbleau • Sam Outlaw • Sarah Jarosz • Sean Rowe • Shakey Graves • Suzy Bogguss • Todd Snider & Friends • Tom Freund • Tony Joe White • Trigger Hippy (featuring Jackie Greene, Joan Osborne, Steve Gorman, Tom Bukovac & Nick Govrik) • Whiskey Shivers • Willie Watson

Review: John Fullbright’s “Songs”

June 12, 2014 in Reviews

By Paul T. Mueller

John Fullbright’s first studio album, From the Ground Up, made him a rising star in roots music circles two years ago. The singer-songwriter from Oklahoma probably could have gotten away with shaking things up the second time out. Instead, the recently released Songs is notable for its restraint. The 12 tracks are marked by clean production by Fullbright and Wes Sharon, with spare arrangements that leave plenty of space for Fullbright’s distinctive voice and lyrics.

Relationships, good and bad, are at the heart of most of Fullbright’s songs. The album starts with the ironically titled “Happy,” a not-very-happy examination of the aftermath of a relationship that apparently didn’t work out so well. In “The One That Lives Too Far,” Fullbright acknowledges the difficulty of long-distance relationships, and “Until You Were Gone” tells the old, sad story of insight acquired too late – “I didn’t know I was in love with you/Until you were gone.”

Fullbright manages a more positive tone in “When You’re Near,” a cautiously optimistic tune that features some nice electric guitar by Terry “Buffalo” Ware. “I’m the one that you can go to/When you need another heartbeat near,” Fullbright sings in the chorus. “Don’t I feel like something when you’re here.” The album closes on an up note with “Very First Time” – “Between love everlasting/And meaningless rhyme/Sits feeling good for the very first time/I’m feeling good for the very first time.”

Fullbright has said he doesn’t understand why some people say his lyrics are vague, but such statements are clearly tongue in cheek. He is a writer who loves words, but he doesn’t always see the need to arrange them in straight lines. He fills his songs with images and metaphors whose meaning isn’t obvious at first glance, or maybe ever. Songs includes several examples of this, including “Write a Song,” a self-referential exercise that begins, “Write a song/Write a song about the very song you sing.” The cheerful “Going Home” starts out in a similar vein – “Bitter hearts from bitter ends/Crooked limps from crooked mends” – but also features the eminently quotable, “I met love. Love met me/And we agreed to disagree.”

The one song on Songs that’s really a narrative is “High Road,” a sweet but sad ballad about a farm couple and the disaster that eventually befalls them. It’s a quiet but powerful story.

Vague or clear, Fullbright’s songs work because he sings them with an imperfect but expressive voice and accompanies them with excellent guitar and even better piano (along with smaller doses of harmonica, drums and even whistling). He’s supported by a cast of fine musicians, including bassist David Leach (a member of his touring band, as is guitarist Ware), drummer Mike Meadows, organist Daniel Walker and steel guitarist Ryan Engleman. Co-producer Wes Sharon, who also recorded and mixed the album, is credited with bass on two tracks and percussion on one.

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Hank Williams: Rediscovered classics

May 26, 2014 in Reviews

By Ken Paulson

Historical documents rarely sound this good.

The Garden Spot Programs, 1950 is an extraordinary treat, capturing Hank Williams in his prime in performances that have gone unheard for 64 years.

The recordings stem from discs distributed to a number of radio stations across the country, and in this case, aired by KSIB in Creston, Iowa in February 1950. Stations created the illusion of a star in their studios, a sponsor received valuable exposure and the artist managed to “visit” far-flung communities without leaving Nashville.

These recordings were intended to be heard just once in each community and never listened to again. Instead, we now have vibrant versions of “Lovesick Blues,” “Mansion on the hill” and “Mind Your Own Business,” among others. Highly recommended.

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Bill Lloyd on NRBQ’s “honest joy”

May 23, 2014 in Americana Music, Reviews

By Bill Lloyd

I became a fan of NRBQ sometime around 1980. I was completely smitten with their sound and vibe and I couldn’t believe I hadn’t “gotten it” earlier. I had previously never paid them much attention thinking they were simply a ’50s throwback band. Oh, how I was wrong!

They had already gone through several personnel changes in lineup since their late ’60s beginnings. I felt late to the party at the time, but it really didn’t matter as they were at their peak as an amazing live act and fearless recording artists. Their appeal was eccentric and scattershot and hard for record companies to market, but they deftly hit all the musical touchstones for me.

Their self-described “omni-pop” was a mix of classic rock-pop, country, rockabilly, Monk-inspired jazz and the kitchen sink. If they liked it, it was in the musical stew and they threw in some goofy humor for good measure.

For many, their records came with the caveat that you had to see them live where they would raise the roof with crazy-good energy. They rarely played to a set list and you never knew what was coming next. They played their own material but there was always a load of unexpected covers that seemed spur-of-the-moment, but were performed with jaw-dropping musicianship. The best part was that there was no fashion or show-biz or pretense about them. It was honest joy pouring off the stage and through the audience. I was hooked and would see them every chance I got.

During this era of the band’s career (1974-1994), NRBQ housed three strong songwriters in Big Al Anderson, Joey Spampinato and founder Terry Adams. The 4-man lineup, along with their great drummer, Tommy Ardolino, is still considered by many fans, as the “classic lineup”.

From this version of the group, Big Al broke rank first and came to Nashville to write songs, play guitar and make records and, without qualification, succeeded on every kind of level. Al’s first replacement for the ‘Q was Joey’s younger brother, Johnny, from The Incredible Casuals. He seemed a perfect fit with some really good songs and fine guitar playing. After a few more years and some wonderful studio and live albums, NRBQ went on hiatus in 2004 when Terry Adams received a cancer diagnoses.

The Spampinato Brothers went off to make their own fine records. As Terry’s health began to return, he made a wonderful record with original guitarist Steve Ferguson shortly before Ferguson passed on and then began playing with his own Terry Adams Quartet. Tom Ardolino would guest sometimes with Terry, but Tommy’s own failing health kept his appearances sporadic. He passed in 2012. Terry Adams decided to reclaim the name of NRBQ in 2011 with the members of his own quartet.

All this history is meant to be a glimpse into the backstory of Terry Adams’ amazing persistence and musical vision of what a band ought to be. I heard the “new Q” live in 2012 with Scott Ligon, Pete Donnelly, Conrad Choucroun and rejoiced that the renamed quartet totally captured the wonderful vibe that every version of the band had before them. At the show, I bought their cd, “Keep This Love Goin’”, and found the spirit of the band still in the grooves. My only disappointment with their recording was that I felt that the songwriting in the new band didn’t have the same depth that the “classic” lineup with Big Al and Joey had. I was, as a fan, a bit judgmental and holding on to old allegiances.

It’s 2014 and there’s a new NRBQ album scheduled for release June 17 called Brass Tacks. As I listened to it, I found my “happy meter” starting to peg. Couldn’t stop smiling as one track played after another. One of the first things I noticed as I let it wash over me is that it’s a great sounding record from a sonic point of view. Really well recorded and mixed with cool and thoughtful sonic touches throughout. The songwriting is spread out among Adams, Ligon and new bassist, Casey McDonough. Longtime sideman/sax-man, Jim Hoke is also represented with the charming Everlys-like “I’d Like To Know”.

All of the music feels and sounds great and, for longtime fans, covers beloved familiar stylistic ground. It’s not fair to compare a new batch of songs to the best of the Spampinato and Anderson songs from years past. Maybe it’s not fair to compare Adams songs to the best of his own work over the years.

As a fan, I’m happy he’s healthy, recording and touring. Throughout the NRBQ catalogue, those guys wrote songs that could compete with their heroes – McCartney, Bacharach, whoever. The songs on “Brass Tacks” are also informed by their influences. I would guess that, for the newer members of the band, their influences would include Adams, Anderson and Spampinato. It’s not an easy thing to hold your creative ground and hold up a 40- plus-year legacy at the same time.

Scott Ligon must have absorbed every musical nuance the old “Q” had to offer. When you see them live, his voice and guitar covers ground that both Anderson and Spampinato held. He can powerhouse-telecaster his way through jump blues and rockabilly and then turn on a dime and sing some sweet Beatlesque-pop, one of Spampinato’s fortes. Ligon’s songs on “Brass Tacks”, in particular his acoustic “It’ll Be Alright”, transcend imitation and he’s proven to be Adams’ reliable partner in the “new Q”. Adams offers some wonderful new compositions. “Places Far Away” is an atmospheric and lyrical treasure. “Greetings From Delaware” echoes their classic “Green Light,” but is that a bad thing? Nope.

NRBQ has always been as much about taking cover material and making it their own and their take on Rodgers and Hammerstein’s “Getting To Know You” is such a perfect choice.

Despite whatever musical ghosts are along for the ride, this album holds its own. Excellent singing, playing and bottom line still the joyous feeling that you get when you hear NRBQ play. Thank you Terry Adams for keeping on keeping on.

Bill Lloyd is a Nashville-based songwriter whose songs and own recording career has swung between genres and formats. With country success as part of the Foster and Lloyd duo and power-pop critical acclaim from his many solo records, Lloyd’s appreciation of NRBQ comes honestly. He has also written songs with Al Anderson including “It Came From The South”.