Category: Reviews

Review: Wheatfield’s “Some People”

June 6, 2020 in Americana Music, New releases, Reviews

By Paul T. Mueller

Some People, the latest effort from folk-rock veterans Wheatfield, is as much a testament to enduring friendship as it is a musical document. The roots of this Texas- and Arkansas-based quartet go back to 1973 – an often-told story describes how two of the members, already alumni of a Houston high school, attended the graduation ceremony of a third, eagerly awaiting the moment she received her diploma and joined the band full time. The fourth joined a few years after that, and all these years later – after tasting success for a few years, breaking up, and re-forming after a quarter-century hiatus – they’re still at it.

Wheatfield earned critical praise and loyal followers during the first go-round, playing a mix of folk, rock, jazz, soul and even classical music. The band could be forgiven for playing nostalgia gigs for aging fans, and it’s true that several of the old songs are still staples of Wheatfield shows, such as they are these days. But when the quartet restarted the band in the early Aughts, it was with the idea of continuing to create new music, and they have. Some People is a bit uneven, but the album’s 10 original tracks are worthy of the fine reputation the band established long ago.

(Full disclosure: This reviewer has been a Wheatfield fan at least since 1976 and counts these musicians as friends, having come home one evening a few years ago to find them in his living room, set up to play a surprise birthday party house concert.)

The music, as always, is an eclectic mix of styles and influences. The title track, written by Craig Calvert (vocals, guitar, mandolin, flute) is a funky look at real-world tensions between work and fun, money and time. “When the Fog Rolls In,” by Calvert and Ezra Idlet (vocals, guitar, banjo, percussion) is a gentle, jazzy meditation on life’s simple pleasures. “Sweeter Side,” by Idlet, Connie Mims Pinkerton (vocals, guitar, percussion) and Keith Grimwood (vocals, bass) celebrates seeking the good in life; it features Idlet’s banjo and some fine four-part harmonies. (Idlet and Grimwood make up folk duo Trout Fishing in America, which began as a side project in the ’70s and is still going strong.) “Different Games,” by Mims Pinkerton and Calvert, is metaphorical look at personal struggles; “Cup of Moon,” co-written by Calvert, harks back to the band’s roots as an acoustic trio. “Better Days,” credited to all four members, is an up-tempo ode to hope and perseverance that seems well suited to current times.

The only song not written by one or more band members is a folky-bluegrassy rendition of U2’s “I Still Haven’t Found What I’m Looking For” that highlights Grimwood’s soulful vocals and Idlet’s skillful banjo. There’s a message there: Almost five decades on, at or near retirement age, Wheatfield’s members are still seeking. The writing on Some People is thoughtful, the playing is excellent, the harmonies are as lovely as ever, and the production, by Calvert and Idlet, is clean. Wheatfield isn’t exactly a full-time band anymore, but its members continue to explore the musical landscape, and what they’re finding there is worth hearing.

“Steve Goodman Live ’69:” A treasure

May 29, 2020 in New releases, Reviews

By Ken Paulson –

I first saw John Prine onstage at Chicago’s Ravinia Festival in July of 1972. Prine was the main attraction, but the animated young man who shared the stage with him that night was a close second.

You might know Steve Goodman as the writer of “City of New Orleans” or as a close friend and collaborator of Prine’s, but he was also one of the most electric singer-songwriters ever to grace a stage. Goodman engaged an audience like no other, with songs that moved you or made you laugh, hilarious stage patter and rapid-fire acoustic guitar. If you saw him, you never forgot him.

Goodman died of leukemia in 1984 at age 36, which is part of the reason he’s not better known today. Last August, Omnivore Recordings reissued his final four recordings from the ’80s with bonus tracks, but it was pretty clear that the archives were empty. We would never again see a new Steve Goodman album.

Until now. In an unexpected move, Omnivore has released Steve Goodman Live ’69, a recording of a performance for a local Chicago folk music show. It’s a fascinating document and the sound is surprisingly good.

It’s from so early in Goodman’s career that his performance didn’t include any of his own songs. It’s very much a recording of its time. There’s a cover of Bob Dylan’s “Country Pie,” traditional folk (“John Barleycorn”) and “Ballad of Spiro Agnew,” a brief political joke masquerading as a song, written by Tom Paxton.

But it’s the rest of the album that is revelatory. The same guy who floored audiences throughout the ’70s is right there in 1969, opening with a full-throttle version of Willie Dixon’s “You Can’t Judge a Book By Its Cover,” offering up a charming cover of Merle Haggard’s “Mama Tried” and tackling an odd medley of “Where Are You Going/Eleanor Rigby/Drifter/Somebody to Love.”

Closing out the set was what would go on to be a staple of Goodman’s live set, a stellar rendition of Leroy Van Dyke’s “The Auctioneer.”

Steve Goodman Live’ 69 is a treasure – unexpected, unpredictable and delightful. So was Steve.

Review: Lucinda Williams’ “Good Souls Better Angels”

May 10, 2020 in Americana Music, New releases, Reviews

By Paul T. Mueller –

Lucinda Williams’ latest release, Good Souls Better Angels, will probably be a big hit with fans who have embraced her late-career evolution into a kind of rock ‘n’ roll godmother. It may not prove so popular with those who fell in love with the introspective poetry of her earlier days as a folkie singer-songwriter.

Williams has been moving in this direction for a while, so there aren’t a lot of surprises on Good Souls. The album’s 12 tracks find her contending with demons both internal (“Wakin’ Up,” “Pray the Devil Back to Hell,” “Down Past the Bottom”) and external (“Bad News Blues,” “Man Without a Soul”). “Big Black Train” reads as Williams’ metaphor for approaching death (“I can hear it comin’ from miles away/And I don’t want to get on board”).

Williams has trod this ground before, but her lyrical style has evolved (some might say devolved) from the meticulous songcraft of, say, “The Night’s Too Long” and “Car Wheels on a Gravel Road” to simpler stories and repetitive choruses. It’s a style well suited to live performance and extended jams; Williams, on a good night, is still a force of nature. But it’s hard to imagine these gruffly delivered anthems inspiring the same kind of lasting devotion as do earlier gems such as “Passionate Kisses” or “Pineola.”

Words aside, there’s a lot of listening pleasure to be had here, courtesy of Williams’ longtime band, Buick 6. Guitarist Stuart Mathis, bassist David Sutton and drummer Butch Norton are consummate musicians who have been playing with Williams for years and know exactly how to weave the instrumental framework behind her vocals. Sutton and Norton provide the solid rhythmic foundation, while Mathis wrings every possible sound from his guitars, from subtle picking to soaring solos to noisy distortion. There’s also some atmospheric organ playing by Mark T. Jordan, and all of it is showcased by clean production by Williams, Ray Kennedy and Tom Overby.

Just released: New Riders of the Purple Sage Circa ’72

December 30, 2019 in New releases, Reviews

We’re basking in nostalgia this week, thanks to the recent release of the Omnivore CD capturing the New Riders of the Purple Sage at the Academy of Music in New York City on Nov. 23, 1972.

Jerry Garcia was gone, but the classic line-up of John Dawson, David Nelson, Dave Torbert, Buddy Cage and Spencer Dryden is on hand on Thanksgiving in New York City.

The core setlist of that era is here, including “Louisiana Lady,” “Henry” and “Last Lonely Eagle,” and draws on the first two albums. There are multiple covers, though the value of a New Riders take on “Take A Letter, Maria” escapes us.

For an archival project, the sound is fine and energy undeniable.

Here’s a clip of the New Riders of the Purple Sage just 6 months before the Thanksgiving show.

https://www.youtube.com/watch?v=MZWw87UgrwI

Allison Moorer’s courageous and inspiring “Blood”

December 25, 2019 in New releases, Reviews

By Paul T. Mueller –

Singer-songwriter Allison Moorer gets a lot done on her newest album, Blood. In its 10 songs, Moorer addresses her troubling past, deals with her present, and finds hope for the future. Recorded as a companion piece to her memoir of the same title, Blood is a courageous and inspiring musical document.

By way of background, Moorer’s father, Vernon Franklin Moorer, ended his troubled marriage to her mother by killing her and then himself when Allison Moorer was 14. With the help of her sister, singer-songwriter Shelby Lynne, Moorer pursued her musical ambitions and carved out a successful career (Blood is her 11^th studio album, dating back to her 1998 debut, Alabama Song). She wrote and recorded Blood after she realized that some of the stories she wanted to tell – the stories of everyone in the family – could be told well in song.

The album starts on an ominous note with “Bad Weather,” whose imagery portends a coming storm. Moorer next revisits “Cold Cold Earth,” a minimalist retelling of her parents’ story that was first released on her second album. The gentle “Nightlight” is a hymn to her sister, who was a few years older than Moorer and tried to shield her from the worst of their family’s tragedy.

Allison Moorer at Cactus Music (Paul T. Mueller)

“I’m the One to Blame” is a confessional ballad that was written more than 50 years ago by Moorer’s father, an aspiring and ultimately frustrated musician. Moorer’s beautiful voice and solitary guitar work well with the sadness of the lyrics: “But I’ll do my best, if you’ll do the same / and forgive me, my love, ’cause I’m the one to blame.”

Moorer describes her mother’s struggles in the first-person “The Rock and the Hill,” and her own in “Set My Soul Free” and “The Ties that Bind,” which describe her efforts to leave the worst of her past behind and move forward. The title track finds her reckoning with the idea that we are the guardians of what we inherit from those who came before. “All your secrets have a home,” she sings. “They won’t be traded, won’t be sold.”

The album concludes with “Heal,” which Moorer has called “probably the most important song I’ve ever written.” A collaboration with fellow songwriter Mary Gauthier (and the only co-write on the album), it’s a quiet prayer for healing, forgiveness and clarity.

Moorer’s collaborators, overseen by producer and guitarist Kenny Greenberg, provide excellent backing without getting in the way of her honest words and effective delivery. Blood isn’t exactly a feel-good album, but it’s a powerful one.

12 special moments at John Prine’s inaugural “All the Best” Festival

November 14, 2019 in Festivals, Reviews

By Ken Paulson –

John Prine’s music – and life – have always been marked by courage, compassion and integrity.

Now imagine a music festival just like that.

All the Best, a Prine-curated Sixthman festival in the Dominican Republic, wrapped up tonight after four days of inspired and inspiring music from some of the top songwriters in the world, including Prine, Lucinda Williams, Steve Earle, Gretchen Peters, Lori McKenna and Brandi Carlile.

More important, the performers at this festival were hellraisers and truth tellers, just like their host. When you write a line like “Jesus Christ died for nothing, I suppose,” you don’t invite the meek to your festival.

Kentucky songwriter Kelsey Waldon said it was a treat to perform where “people care so much about the lyrics . . . awesome.”

John Prine and Emmylou Harris at the All The Best Festival — Emmylou Harris and John Prine at the All The Best Festival

12 special moments:

The day after the Country Music Awards featured “Independence Day, Gretchen Peters proudly performed her indelible anthem, smiling broadly and exultantly declaring “My words came out of Dolly Parton’s mouth!”
Throughout the festival, artists covered Prine’s songs to often stirring effect. Perhaps the most moving, though, were Emmylou Harris and Ruby Amanfu’s respective takes on “Angel From Montgomery.” Prine noted that when artists perform the song, they always base it on Bonnie Raitt’s version instead of his.

Much like Prine, Paul Thorn is always wildly entertaining, but then he’ll draw you up short with a song that makes you look at something in a fresh way. “You Might Be Wrong” couldn’t have been more timely.

Given the line-up, the festival was full of songs that reflect the news. Todd Snider joked that surveys indicate that only 50 percent of the audience should like his topical songs, while Steve Earle’s “City of Immigrants” received a rousing response.

In the spirit of the festival, Iris Dement and John Prine performed what appeared to be a thoroughly unrehearsed version of the spouse-swapping tune “Let’s Invite Them Over Tonight.” The real lyrics showed up about 30 seconds in. Pure fun.
Nitty Gritty Dirt Band – The Dirt Band was a late addition to the line-up, and happily so. It’s hard to imagine a more joyous band than these guys, and that’s been the case for a half-century. Sometimes you want self-reflection . Sometimes you want to dance. The Dirt Band has been around for more than a half-century, but remain as vibrant as ever.

Jimmie Fadden and Jeff Hanna of the Nitty Gritty Dirt Band at the All the Best Festival

Keith Sykes performed “You Got Gold,” a number of times during the festival, but added the inside story during a guitar pull at the Breathless Plaza. He and Prine felt so good about the song they had written that they were “overserved” and ended the night being “picked up by two women” – Memphis police officers – who promptly took them to jail.

Tyler Childers’ swift career ascent has been amazing, and he played two crowd-pleasing sets, but the real treat was seeing him cover fellow Kentuckian Prine’s “Yes, I Guess They Oughta Name A Song After You” and “Please Don’t Bury Me

Lori McKenna unveiled a brand new song “In it for Love.” “I’ve only heard it twice myself, she said. She played the near-anthemic song in back-to-back sets and the audience roared. Sometime, somewhere and in the hands of someone to be determined, “In It For Love” is going to be a hit.

Nathaniel Rateliff and the Night Sweats played a raucous set on the final night and then Rateliff returned to the stage for a closing segment of Prine songs. Wiping away tears, Rateliff sang “Summer’s End” and was then joined by Prine for a touching “Sam Stone.”

Brandi Carlile was fresh off the Country Music Awards, where she had performed with her new group the Highwomen. Her All the Best set was high energy and compelling, but two solo turns stuck out: Her rendition of the yodel-intensive “Lovesick Blues” and “Highwomen,” the gender-revised version of Jimmy Webb’s classic “Highwayman.”

The finale of John Prine's All the Best festival — The finale of John Prine’s All the Best festival

There was much more, including fine sets by Emmylou Harris and the Red Dirt Boys, Courtney Marie Andrews, Jason Wilber, Lucinda Williams, Rita Wilson, Senora May, Ruston Kelly, Kristi Rose and Fats Kaplin.

But everything was eclipsed by John Prine’s revisiting his very first album, playing the LP in order, start to finish. This was the astounding debut album that gave us “Sam Stone,” “Angel From Montgomery,” “Paradise,” “Donald and Lydia” and “Hello in There, ” and signaled the emergence of an extraordinary new talent. Prine noted that the album didn’t chart or win any awards, but that it was eventually inducted into the Grammys Hall of Fame along with Neil Young’s Harvest and Bob Dylan’s Blood on the Tracks. “I’ll take that,” Prine said.

Prine later joked that it took 40 minutes to play the album and another hour for him to talk about the songs. Of course, that’s what made it so special: A great American songwriter standing steps from the ocean, exploring his groundbreaking first recording under a full moon. Now that’s Paradise.

Review: Dee White’s “Southern Gentleman”

November 9, 2019 in Americana Music, New releases, Reviews

By Ken Paulson – It wasn’t until about the fourth track on Dee White’s new album Southern Gentleman that I realized that something special was going on.

“Crazy Man” is a highly melodic song about redemption and a revived relationship, and is representative of the sound that works so well on this new release. Produced by Dan Auerbach and David Ferguson, the collection melds Countrypolitan with pop sensibilities circa 1968-72.

“Bucket of Bolts” is a good song about a bad car and great memories, while “Oh No” explores the opposite territory: the sheer despair of knowing that the person you love coming back. Yet even that has its earworms.

Sitting in are Ashley McBryde on “Road That Goes Both Ways” and Molly Tuttle on “Weary Blues From Waitin’.”

This could easily have been my favorite country album in 1970, but it sure sounds fresh in 2019.

Dee White

Review: Chuck Hawthorne’s “Fire Out of Stone”

October 21, 2019 in Americana Music, New releases, Reviews, Songwriters

By Paul T. Mueller – Austin-based singer-songwriter Chuck Hawthorne’s sophomore effort is an eclectic collection of nine originals and a cover, exploring themes as diverse as Native American lore, the struggles of growing up in the shadow of a famous father, the loss of comrades, and the hardships of life on the road. Hawthorne’s writing is personal but accessible, combining literalism and metaphor to explore a range of human experience.

The opening track, “Such Is Life (C’est la Vie),” is a tribute to a fallen buddy that draws on the language of music and motorcycles. Dealing with a friend’s death isn’t easy, but Hawthorne finds positivity and acceptance at the end: “His holy wind, I gave him back/Now he’s riding on the zodiac/And such, my friends, is life.” Another farewell song, “Worthy of the Sea,” reflects Hawthorne’s military background – a couple of decades in the U.S. Marine Corps. “May your gift be sailing through the end,” he sings. “Calm seas and fair winds keep her steady as she goes.”

“Arrowhead and Porcupine Claw” is a coming-of-age tale featuring a young Native American acquaintance trying to find his place in the world, and the narrator’s efforts to help him along. Fittingly, one of Hawthorne’s own mentors, singer-songwriter Ray Bonneville, contributes of harmonica to the track.

“Broken Good” is about as happy as this collection gets. It’s a lively shuffle and a celebration of imperfection, describing a couple who make music together and don’t care that it “don’t get much farther than the neighborhood.” Hawthorne closes with a fine rendition of Richard Dobson’s “I Will Fight No More Forever,” based on the story of Chief Joseph, leader of the Nez Perce tribe of the Inland Northwest.

Producers Walt Wilkins and Ron Flynt do a fine job of letting Hawthorne’s songs speak for themselves. Contrast is used to good effect – Hawthorne shifts easily between full volume and a voice barely more than a whisper, between fast shuffle beats and slower tempos. The small but capable cast of musicians yields a sound that’s clean and textured, but not cluttered. Both producers also play, mostly guitars; other notables include Libby Koch on vocals, Ray Rodriguez on percussion, and Geoff Queen on pedal steel and dobro.

Concert review: Alejandro Escovedo at the Mucky Duck

July 26, 2019 in Americana Music, Reviews

By Paul T. Mueller –

If this was really goodbye for Alejandro Escovedo, it was a nice way to go.

The singer-songwriter seemed to be in the mood for introspection and retrospection as he took the stage at McGonigel’s Mucky Duck in Houston on Friday, July 19. He referred to his having recorded 15 albums (Wikipedia counts 16) and said he’s reaching the end of his touring days, calling his current run his “last tour.”

He spent the next hour and 40 minutes playing songs drawn from much of his long career, beginning with several from his most recent album, The Crossing, and continuing with selections from earlier days. The show had been billed as a solo gig, but Escovedo was joined by Jackson Butt, a percussionist and former Escovedo tour manager who on this night provided sparse but effective accompaniment, mostly on an Arabic tambourine known as a riq.

Escovedo punctuated the 16-song set with stories from his colorful career, which began more than four decades ago with punk and hard rock outfits including the Nuns, Rank and File and the True Believers. He referred to his near-fatal bout with liver disease in the early 2000s, offering thanks to the many who supported him in his recovery and providing an intense rendition of “Arizona,” an account of the aftermath of that episode. Next came the story of how he moved to Austin in 1980 and was befriended by an older neighbor who’d been a touring musician and had many stories of his own. He followed with a tribute to that friend, the moving “Five Hearts Breaking.” He also found time to mention the rich musical tradition of his family, including his brothers Pete and Coke Escovedo and niece Sheila E, among many others.

Escovedo and Butt left the stage mid-set and moved into the audience for two songs, “Rosalie,” a sweet love story about a young couple separated by the U.S.-Mexico border, and “I Wish I Was Your Mother,” a quietly powerful song by ‘70s English rockers Mott the Hoople, in honor of Escovedo’s longtime musical hero, Mott frontman Ian Hunter.

Other highlights included a lively version of crowd favorite “Castanets” and hard-edged takes on “Fire and Fury,” a response to the policies of the current administration, and “Sally Was a Cop,” an indictment of militaristic violence. The show ended on a gentler note with “Always a Friend” from the breakthrough 2008 album Real Animal.

It’s probably fair to call Alejandro Escovedo one of the best-loved performers in American roots music. He’ll be missed when he does leave the road for good. After the show, at least one audience member asked him to come back, and Escovedo said he would. We can hope.

Review: Rich Hopkins and Luminarios’ “Back to the Garden”

July 15, 2019 in New releases, Reviews

By Paul T. Mueller –

Guitar fans could be forgiven for neglecting the lyrics on Back to the Garden, the new CD by Rich Hopkins and Luminarios. Such is the quality of the playing, both electric and acoustic. But the words are worth listening to as well. The two singer-songwriters at the heart of this band, Hopkins and his wife, Lisa Novak, have things to say, and they’re good at saying them.

Garden is an appealing if slightly uneven mix of guitar pop and country, fueled by the “desert rock” approach of Arizonan Hopkins and the country-folk sensibilities of Texan Novak. Most of the 11 tracks feature the excellent electric tones of Hopkins and guitarist/singer Damon Barnaby, backed by Novak’s acoustic playing. Hopkins and Novak share most of the vocals, whether alternating as duet partners or harmonizing beautifully – the latter evoking the sound of the Byrds and the Beatles.

An optimistic tone underlies much of the album. “All are welcome in this garden,” Novak sings in “The Garden.” “All that matters here is who you love.” Given that the album’s title can be found in Joni Mitchell’s classic “Woodstock,” it’s a sweet message that seems fitting as the 50^th anniversary of that iconic event approaches.

It’s not all rainbows and unicorns. “Before” addresses current conditions, if obliquely. “Did you see the darkness, feel it in the air?” Novak asks, backed by ringing guitars. “Don’t turn a blind eye, ignoring that it’s there.” Other highlights include “On and On,” a tribute to the craft of songwriting and playing; “Always a Way,” about making relationships function (the next four words are “to work it out”), and “Keep on Shinin’,” a country-flavored Novak composition about resilience after heartbreak.

Less successful are a couple of rants – “Get Off the Telephone,” lamenting the way technology takes over lives, and “Pissed,” which takes issue with slobs who can’t be bothered to pick up their trash.

Fun fact: The album’s opening track, “Acoma Mary,” features lead guitar by Steve Hunter – who, among many other accomplishments, was responsible (along with Dick Wagner) for the long and lovely intro to “Sweet Jane” on Lou Reed’s Rock n Roll Animal album from 1974. Numerous other talented players contributed, and production, by Hopkins and Novak, is clean and bright.

At last: Buddy and Julie Miller return with memorable show

June 28, 2019 in Americana Music, Nashville music, Reviews

By Paul T. Mueller

Beloved singer-songwriter Julie Miller made a rare concert appearance in Nashville on June 26, and it’s hard to say who enjoyed it more, Miller or her adoring fans. A sellout crowd at City Winery greeted the artist and her husband, Americana superstar Buddy Miller, with a lengthy standing ovation before they sang or played a note. The enthusiasm continued throughout the performance, leaving both Millers clearly moved and delighted.

Fans not in attendance might be out of luck. “This is the beginning and the end of our world tour,” Buddy Miller announced two songs into the 45-minute set, which included five songs from the couple’s recently released CD, Breakdown on 20^th Avenue South. Julie Miller has not performed much in public in recent years, and her husband’s concert schedule is much lighter than it once was. No other performances are scheduled for the duo.

On the first song, “I’m Gonna Make You Love Me,” Julie’s vocals seemed a bit hesitant. But the song was met with thunderous applause, and after repeating “Thank you so much!” several times, she seemed to gain strength and confidence, her high-pitched voice harmonizing sweetly with Buddy’s gruffer delivery.

Highlights included the mystical “Feast of the Dead,” featuring multi-instrumentalist Colin Linden on the Millers’ antique hurdy-gurdy, and a lovely cover of Richard Thompson’s “Keep Your Distance,” with Buddy playing a small guitar he had once given to Julie. “It looks like you got it at the airport,” she told him with a laugh. An intense rendition of “All My Tears” came near the end, leaving some audience members, not coincidentally, in tears. Another standing ovation followed at set’s end. After a short break, the band returned for a one-song encore, “Hole in My Head,” which Buddy described as “one of our sillier songs,”

The show was preceded by well-received sets from fellow Americana icon Jim Lauderdale, whose CD From Another World was released the same day as Breakdown, and young singer-songwriter and fiddler Lillie Mae. In between, Linden – former musical director on the TV series Nashville – performed one song on his own, using a more familiar instrument, a resonator guitar. The show was recorded for the SiriusXM satellite radio program “Buddy and Jim,” hosted by Buddy Miller and Lauderdale.

Review: Matt Harlan’s “Best Beasts”

June 24, 2019 in New releases, Reviews

By Paul T. Mueller

Best Beasts marks the return of Houston-based singer-songwriter Matt Harlan after a couple of years’ hiatus from writing. The subject matter of this fine collection seems drawn from recent events, on personal and public levels. Love gone wrong is explored in “K&W,” a dark country ballad narrated by two voices, Harlan’s and that of Kelley Mickwee (The Trishas), and the sad “Somebody Else.” “Like Lightning” and “Mountain Pose” look at the resilience that helps us get through hard times. And the process of starting over, older and wiser, informs the bluegrass-tinged “Darla Mae” and the horn-driven R&B of “Gemini Blues.”

Harlan addresses wider concerns in the opening track, “What We Saw,” which checks off such topical subjects as celebrity sex scandals, tainted water and school shootings. Hurricane Harvey, which devastated many parts of Houston in 2017, serves as a metaphor for judgment to come in “Low Pressure,” which laments the destruction caused by “Old Testament Rain” but warns, “We’re bringing fire next time.”

Harlan’s characters often seem lost in a world controlled by more powerful forces, struggling to get through another day and trying to find meaning and purpose that may not exist. To his credit, he doesn’t claim to have all the answers. “We’re just trying to be the best beasts we can be,” he sings in the title track. “And find a way to sleep, don’t dig too deep.”

The 13 tracks on Best Beasts, all written or co-written by Harlan, are anchored by his confident and expressive singing and his excellent guitar. The collection also features an impressive cast of contributors, drawing from the top levels of Texas Americana: vocalists BettySoo and Libby Koch, guitarists Paul Ramirez and Caleb Pace, bassist Glenn Fukunaga, drummer Mike Meadows, violinist Warren Hood, pedal steel player Will Van Horn, and keyboardist Stefano Intelisano, to name but a few. Producer Rich Brotherton, longtime lead guitarist in Robert Earl Keen’s band, does an excellent job of weaving these diverse contributions (including his own on guitars and other instruments) into a clean and cohesive whole.

Review: Houston Americana Women’s Fest

May 19, 2019 in Festivals, Reviews

By Paul T. Mueller

“Americana” is a pretty big tent, but a lot of the musical landscape that falls under that term was on display May 18 at the first Houston Americana Women’s Fest. The event, at Dan Electro’s Guitar Bar in Houston’s Heights neighborhood, was a benefit for the Houston Area Women’s Center, which provides services to survivors of domestic and sexual violence. The seven-act lineup featured established names among the women of Houston’s Americana community, as well as some relative newcomers.

Local duo Brightwire – husband and wife Samuel Barker and Kimberly Barker – opened the eight-hour event with a set of earnest, folky songs, many dealing with relationship difficulties. Samuel’s guitar provided melodic support for Kimberley’s strong, clear singing, with Samuel contributing harmony vocals. Brightwire had also produced a CD for the event, featuring one song each from six of the festival’s performers; proceeds from CD sales benefited the Women’s Center and Houston nonprofit Menstrual Flux, which provides menstrual hygiene items to those unable to access or afford them.

Next up was Houston’s Mystery Loves Company, with a high-energy set of self-described “chamber rock” featuring the electric cello of Madeline Herdeman and the guitar of Carlos Machado. The two, marriage as well as musical partners, shared vocal duties, with harmonies that at times recalled the classic vocals of Yes. Filling out the sound were clarinetist Alauna Rubin and drummer Danny Patterson. Originals such as “Muddy Blue” and “Your Makeup” showcased the band’s singular sound, which also brought new dimensions to such covers as Seal’s “Kiss from a Rose” and the Righteous Brothers’ “You’ve Lost That Loving Feeling.”

Annie Krebbs of Little Outfit (All photos by Paul T. Mueller)

Little Outfit calls itself a folk-rock band, but the emphasis this day was on rock, in a loud but melodic set fueled by the capable vocals of Amie Krebbs and the two-guitar attack of Nathan Taylor and Randy Hill. The band’s sound recalled the better moments of ‘70s rock, whether on its own material, including “22 Miles,” or covers, such as fellow Houstonian Matt Harlan’s “Elevator Ride” and Gillian Welch’s “Tear My Stillhouse Down.”

Amanda Pascali and the Family – on this occasion, singer and guitarist Pascali and multi-instrumentalist Addison Freeman – followed with an enjoyable set of “immigrant American folk music.” Pascali, at only 21, possesses a level of confidence and stage presence some performers take far longer to achieve. Throw in formidable skills on acoustic guitar and an expressive voice capable of at least two languages and it makes for a highly entertaining experience, as does Freeman’s accomplished playing on violin, mandolin and cello. Much of Pascali’s playing, and many of her lyrics, have a Mediterranean feel – her set list included “Uccellino” (“Little Bird”}, sung in English and Italian, and “Bella Ciao,” which was adopted by the Italian resistance movement as an anti-Fascist anthem during World War II.

Grifters and Shills – event organizers John and Rebecca Stoll – came up next with a powerful set featuring John’s frenetic guitar and uninhibited vocals, grounded by Rebecca’s solid bass and impassive demeanor. The set list included such originals as “255,” a tribute to John’s hardscrabble childhood, and “Left Right Left,” a sarcastic look at the unfortunate necessity of day jobs. Impressive covers included a punkish rendition of Steve Earle’s “The Devil’s Right Hand” and an evocative take on Robert Johnson’s “Me and the Devil Blues,” featuring an extended, jagged guitar solo.

Country and Americana veteran Libby Koch took the stage with her band, The Dealers, for a set of rocking country. Koch, who has fine vocal and guitar skills and an engaging stage presence, was able to draw from an extensive catalog of songs, many focused on the ups and downs of love. Highlights included “You Don’t Live Here Anymore,” “Out of My Misery” and “Just Move On.” She also threw in an impressive cover of John Prine’s “Angel from Montgomery.”

Austin native Marina Rocks closed out the evening with a set featuring her emotional singing and impassioned playing – the large hole below the strings of her guitar a testament to her physical approach. Some of Rocks’ songs were autobiographical (“Stuck in the Mud”); others described others’ lives and troubles (“Ina & Austin,” “It’s Messed Up,” “Nameless”). Well-done covers included Jackson Browne’s “Running on Empty,” which turned into an extended demonstration of Rocks’ distinctive guitar playing, and “All Along the Watchtower,” a staple of her live shows.

New: Tim Easton’s “Exposition”

April 14, 2019 in Americana Music, Nashville music, New releases, Reviews

By Paul T. Mueller —

Nashville-based singer-songwriter Tim Easton takes his wandering troubadour persona pretty seriously. For his latest project, Exposition, he hit the road to record in several musically significant locations: the Okfuskee Historical Society in Okemah, Oklahoma,where Woody Guthrie was born; the Gunter Hotel in San Antonio, Texas, where Robert Johnson made his historic recordings back in 1936, and the Shack Up Inn in Clarksdale, Mississippi, Muddy Waters’ birthplace.

The result is a 10-song collection of personal songs that look both inward and outward. The former include first-person narratives such as “Saint Augustine,” “Sail Away Sailors” and the heart-wrenching “New Year’s Day.” The latter are showcases for Easton’s well-known activism, including the calls to action “If You Want Something Done Right” and “Don’t Spectate; Participate.”

Exposition is very much a solo project. Easton earns credits for writing, performance, recording and production, and the only collaborator credited – for handclaps and backwards piano – is his young daughter. Easton accompanies his gritty vocals with his usual excellent guitar, as well as bass, mandolin and piano, and the production is clean and sharp. While this collection doesn’t seem destined to make its creator rich, it’s a fine example of a unique vision skillfully realized.

Review: Red Dirt Boys’ Cayamo Edition

March 19, 2019 in Americana Music, Nashville music, New releases, Reviews

By Paul T. Mueller

Not every backing band can make an album that stands on its own, but the Red Dirt Boys are not just any backing band. Emmylou Harris’ touring outfit – guitarist/mandolinist Will Kimbrough, bassist Chris Donohue, drummer Bryan Owings and keyboardist/guitarist Phil Madeira, with all but Owings contributing vocals – are excellent musicians on their own. But they play together with a cohesion that comes from long experience playing together, and a sense of fun that comes from being friends as well as bandmates. This collection, produced in conjunction with their appearance with Ms. Harris on this year’s Cayamo music festival at sea, is a real pleasure to listen to.

There’s no fluff among the album’s 11 tracks, just solid, well-played and well-produced music that deals with themes ranging from Creole cooking (“Cook That Down”) to love (“Plenty Enough”) to hypocrisy (“Religion”) to death (“All Saints Day”). Much of it has a New Orleans sound and vibe, possibly owing to the proximity of Kimbrough’s native Alabama to the Crescent City.

It’s hard to talk about highlights when the whole collection is this good, but “Religion” delivers a heartfelt skewering to people who deserve it; “Plenty Enough” is a realistic take on real-life romance, and “All Saints Day” is a poignant farewell song sweetened by harmony vocals by Ms. Harris herself. Closing track “Jesse” finds Kimbrough and Madeira alternating vocals on a touching tribute to singer-songwriter Jesse Winchester. Kudos to John Mark Painter, whose horns add excellent atmosphere to several tunes.

Adults deserve adult music. The Red Dirt Boys deliver.

Alejandro Escovedo at the Heights Theater in Houston

January 10, 2019 in Americana Music, New releases, Reviews

By Paul T. Mueller

Ray Redding/TexasRedd

Alejandro Escovedo turned 68 on January 10, but at an age when many people have retired or at least are planning to, the singer-songwriter-force-of-nature shows little sign of slowing down. He played the second night of his current U.S. tour in support of his latest album, The Crossing, at Houston’s Heights Theater on January 6. The near-capacity crowd was rewarded with a hard-rocking 90-minute set that included much of the new album, along with some old favorites. After decades of performing, Escovedo still backs his literate, powerful lyrics with a strong voice, formidable guitar skills and an intense but charming stage presence.

Escovedo prefaced his set by explaining that The Crossing is the story of two teenage boys, one Italian, one Mexican, who meet while working at a restaurant in Galveston, Texas. Fueled by a shared vision of 1970s America, at once gritty and romantic, they set out in search of the America of their dreams, only to find that the reality is quite different. Escovedo and his excellent band, Italy’s Don Antonio, described the journey in songs such as the hard-rocking “Footsteps in the Shadows,” with its lyrics of fear and paranoia; the anthemic declaration “Outlaw for You”; the gentle love song “Waiting for Me,” and “The Crossing,” the show’s last song (and also the last song on The Crossing), in which one of the boys, alone in the desert after his friend’s death, tries to reach a reckoning of the journey’s costs and rewards.

More familiar Escovedo fare interspersed with the newer material included longtime favorite “Castanets,” which drew the first of several standing ovations; a somber take on “Sensitive Boys,” featuring an excellent tenor sax solo by Francesco Valtieri (who also played some fine baritone sax on several songs), and an extended rendition of “Always a Friend,” highlighted by the keyboard work of Nicola Peruch and tenor sax by Gianni Perinelli. Credit also goes to the fine rhythm section of bassist Denis Valentini and drummer Matteo Monti.

Escovedo, ever the lover of the sounds of the ‘70s, turned “Friend” into a medley of Smokey Robinson’s “The Tracks of My Tears” and Bob Marley’s “Lively Up Yourself” to close the main set. A 15-minute encore included “Another Girl, Another Planet” (The Only Ones), “Search and Destroy” (Iggy and the Stooges) and the aforementioned “The Crossing.”

Antonio Gramentieri , who goes by Don Antonio and gave that name to his band, shared vocals and (mostly) electric guitar duties with Escovedo throughout. The charismatic frontman also led his band through a 45-minute opening set featuring elements of blues, jazz and pop, especially the ‘50s style that preceded rock ‘n’ roll. Much of it sounded like it could have been the soundtrack to the kind of Italian movie you’d really like to see.

Review: Scott Mulvahill’s “Himalayas”

October 23, 2018 in Americana Music, New releases, Reviews

By Paul T. Mueller
“I wanna go where I’ve never been,” singer-songwriter-bassist Scott Mulvahill declares on the title track of his new CD, Himalayas. “I gotta find out what I’m made of.” That impulse to self-discovery has produced some impressive results in the form of this collection, which embodies pop, jazz, blues and gospel, among other influences. A lot of musical ground, no doubt, but it’s nicely held together by Mulvahill’s strong, expressive vocals and his formidable skills as an acoustic bassist (he played that instrument for several years as a member of Ricky Skaggs’ Kentucky Thunder band).

Sunny themes mark many of the album’s 12 tracks, starting with “Begin Againers,” which celebrates persistence and fresh starts. “Top of the Stairs” is based on the idea that it’s the journey, not the destination, that really counts. “Move and Shake” features a lighthearted melody in the service of a serious message about changing what needs to be changed instead of waiting for someone else to do it. But Mulvahill isn’t afraid to confront darker ideas as well, such as regret over an unspecified transgression in the confessional “Indefensible” or dealing with the difficulties of relationships in “Fighting for the Wrong Side.”

Along with handling most of the vocals (harmony as well as lead), Mulvahill wrote or co-wrote most of Himalayas’ songs. A couple of covers are worth noting. “20/20 Vision,” an old bluegrass tune written by Joe Allison and Milton Estes, is remade here with a cool, jazzy-bluesy arrangement and powerful vocals. Similarly, “Homeless,” by Paul Simon and Joseph Shabalala, doesn’t sound much like the version on Simon’s Graceland, but is beautiful in its own way.

Several tracks feature Mulvahill’s bass and vocals only; contributing musicians on others include guitarist Jesse Isley, keyboardist Mike Hicks, dobroists Jason Mowery and Jerry Douglas, percussionist Josh Hunt, and former boss Skaggs on mandolin. Production is excellent, emphasizing – not surprisingly – Mulvahill’s bass. Good woofers are recommended. Mulvahill ‘s name is first in the list of producers, followed by Nashville notables Charlie Peacock, Gary Paczosa and Shani Gandhi.

Review: Kevin Welch’s “Dust Devil”

September 14, 2018 in Americana Music, New releases, Reviews

By Paul T. Mueller

Kevin Welch saves the best for last on his latest effort, Dust Devil. The closing track, which shares its title with the 10-song CD, is a masterpiece of subtle wordcraft. It is at once the first-person narrative of an atmospheric event (dust devils are mini-tornadoes often seen in Oklahoma, where Welch grew up) and a very human description of a restless and reckless life. ”I was a panhandle dancer, never knew where I belonged,” Welch sings in a voice that’s aged like good whiskey. “I’d show up in the summer, come the wintertime I’d be gone.” He sums it up at the end: “All I ever wanted was to settle on some hallowed ground. I’m an old dust devil, waitin’ on the wind to die down.” The wistful words are backed by restrained but beautiful instrumentation that includes guitar, banjo and French horn.

There’s plenty to like about the rest of the album as well. Opener “Blue Lonesome” features Old Testament imagery and a jazzy vibe; “Just Because It Was a Dream,” “The Girl in the Seashell,” “Dandelion Girl” and “True Morning” all look at lost love, from various angles; the narrator of “A Flower” is a teenage girl dealing with more hardship than she deserves, with more grace than might be expected. “Brother John” is a heartfelt lament for an old friend who came home broken from an unnamed battlefield, while John Hadley’s “High Heeled Shoes,” one of two covers, is the richly detailed story of a mysterious lady seemingly caught between two worlds.

Welch did a fine job producing the album, and he had plenty to work with aside from his own contributions. The cast of first-call players includes Glenn Worf on bass, Harry Stinson on drums, Kenny Vaughan on electric guitar, Matt Rollings on piano and organ, and Fats Kaplin on a variety of stringed instruments, plus accordion. Welch’s son Dustin Welch provides banjo, resonator guitar and backing vocals; other singers include daughter Savannah Welch, Eliza Gilkyson and Beth Hooker.

It’s been more than a quarter of a century since Welch’s “next big thing” days in Nashville, as the face of what the marketers dubbed “Western Beat.” Dust Devil, scheduled for release Oct. 15, needs no such label. It’s an excellent example of skilled songwriting brought to life by sensitive performers. Highly recommended.

Podcast 25 Band of Heathens’ “Message from the People Revisited”

September 2, 2018 in Americana Music, Podcast, Reviews

By Ken Paulson

Seven months ago, we posted this podcast featuring Gordy Quist of the Band of Heathens talking about the band re-recording in its entirety Ray Charles’ 1972 album “A Message for the People.” Gordy was excited about it, but it was one of those projects that we figured might never see the light of day.

After all, the album is little-known today and wouldn’t loom as a likely release from a vibrant Americana band in 2018.

Until now. This month the Band of Heathens will in fact release “A Message from the People Revisited.” And it’s very good.

In 1972, America was badly divided over the Vietnam War and there were the first stirrings of Watergate. Charles’ album compiled songs of patriotism, faith and social awareness, including “America the Beautiful” and covers of John Denver’s “Country Roads” and the Stevie Wonder hit “Heaven Help Us All.”

The Band of Heathens treat the material respectfully and thoughtfully, though they can’t help camping up Melanie’s “Look What They Done to My Song, Ma.”

The entire album is well done, a breath of fresh air at a cynical time.

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Kiefer Sutherland is “Reckless” in Houston

August 13, 2018 in Americana Music, Reviews

By Paul T. Mueller

If Kiefer Sutherland’s August 11 performance in Houston is any guide, the actor/musician’s forthcoming second album is likely to be a little more upbeat than his 2016 debut, Down In a Hole. Backed by a capable four-piece band, Sutherland treated a near-capacity audience at Miller Outdoor Theatre to about 90 minutes’ worth of songs, including several new ones and a few covers, and some stories about his recent turn to musical performance after years of songwriting.

The music might best be described as pop/rock with some twang, given a little more edge by the band’s two guitarists and taking on an even harder tone during a mid-set stretch when Sutherland put down his acoustic guitar in favor of a Telecaster. Some of the singer’s wardrobe choices (white sport coat and matching Panama hat) and stage mannerisms might have seemed more at home on a Broadway stage than in a honky-tonk, but his guitar skills were up to the task and his gravelly voice was well suited to his material.

Song titles weren’t always announced, but Sutherland introduced one that might have been “Something You Love” by explaining its theme as “Life’s too short to spend doing things you don’t love.” He described “Reckless and Me” as either a reference to the name of his horse during his rodeo days or a description of his personality (apparently the new album will be titled Reckless). He acknowledged being surprised at realizing how many songs in his catalog dealt with drinking; several showed up in the set, including “This Is How It’s Done,” “Agave” and “Tonight the Bottle Let Me Down,” delivered as a tribute to Merle Haggard. The theme was underscored by the bottle of Scotch that was more than an onstage prop. Sutherland also sang a nice rendition of “Open Road,” a highway ballad by singer-songwriter Jude Cole, a friend and frequent co-writer.

The show was a free one, part of the venue’s annual concert series, and it’s a fair guess that many in attendance were there out of familiarity with Sutherland’s acting career rather than as fans of his music. Still, at several points he expressed his gratitude that people had come out to hear him perform music they probably weren’t familiar with. He and the band were rewarded with a standing ovation when they wrapped up. They returned after a few minutes; Sutherland told some entertaining stories from his and his twin sister’s childhood with their dad, actor Donald Sutherland, and the band closed with a fine take on Dylan’s “Knockin’ on Heaven’s Door.”

Footage from an earlier show on the tour: