Category Archives: Bluegrass

2014 Grammy Nominees – Americana and Roots Music

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The National Academy of Recording Arts and Science tried something new to announce the nomineews for the 57th Annual GRAMMY Awards. The nomniees were announced piecemeal, per catagory, via twitter exclusively starting at 9am.

Ths staggared apprach was odd but, if you kept on top of thier account, not terrible. A social media strategy is to garner attention for the nomination process and let musicians and other personalties announce via video tweets and the nomninees and fans to organically respond in kind. In that context this was a win.

After the major categories, best pop album, country album and the like , were out of teh way – with nominee reactions tweeted in reponse (which really is the only up side to the Twiiter  approach) the Best Americana Album nominees were released just before noon.

That the catagory was tweeted with the other major categories, along with fancy graphic of the nominee album covers , was like hanging with the cool kids – well, the popular kids,  as the other roots categories like folk and bluegrass – had to wait for the full nomninee list to be released later in the day.

I was three for 7 for my Americana Album of the Year predictions. Rosanne Cash, one of my safe bets (and still my choice to take the prize) and, suprisingly two of my dark horse choices, Nickel Creek and Sturgill Simpson, made the list.

My quibbles are with John Hiatt, inclusion for ‘Terms of My Surrender,’ a solid but not exceptional release. Keb’ Mo’ is nominated for ‘Bluesamericana.’ Mo is a legendary blues performer , and Blues Grammy winner, and should be represtented in that esteemed category. NARAS includes blues as a formal component to the category and though I agree with that the blues are a major part of Americana as a award category it is already represented as a formal genre. In that sme vein Dave & Phil Alvin’s rootsy jam ‘Common Ground’ is puzzlingly nominated in the Blues category. I say swap ’em.

Another head scratcher is the inclusion of Old Crow Medicine Show. Their latest effort ‘Remedy’ is certainly worthy of a nomination, but in folk? They would be better reprsented in Americana or even Bluegrass as these are their true styles.

NARAS continues to not care about the endless echo chamber of country music awards shows by making two sprising nominations. One being my top pick of 2013, Brandy Clark’s ’12 Stories as well as Lee Ann Womack’s ode to old-school aethsetic  ‘The Way I’m Livin’ ‘ Dierks Bentley, Eric Church and Miranda Lambert round out the list. The Acadamy is daring, but not totally deaf to the county mainstream market. 

Who will win? Well, Kasey Muagraves won the trophy last year for her irreverent ‘Same Trailer Different Park,’ so anything could happen.

Brandy Clark is also up against some stiff competition for New Artist, but she certainly deserves to win. 

Beck is nominated for his wonderfully melencholy folk ‘Morning Phase’ and for Best Rock Song and Rock Performance (still unsure of the distincion here) for the spacey ‘Blue Moon.’ Ryan Adams is up in the same categories with his latest self-titled album and song/performance for his retro-rock ‘Gimme Something Good.’

Alison Krauss, The women with the most Grammy wins, could increase her Grammy count to 28 with a win in the American Roots Performance category. She, Billy Childs & Jerry Douglas are nominated for their collaborative effort on ‘And When I Die’ from the tribute ‘Map To The Treasure: Reimagining Laura Nyro.’ This is her 42nd nomination.

Congratulations to all the nominees. Keep an eye on GRAMMY.com and CBS February 15, 2015 to see who takes home the trophy.

My choices are in BOLD.

EDIT – It was a major oversight that Mike Farris was not originally included as a nominee for the Best Roots Gospel album for his ‘Shine For All The People.’ He is one of the best performers, and human beings, I’ve ever had the privilege to know. Congratulations to Mike and all the good people at Compass Records.

Best Americana Album
‘The River & the Thread’ – Rosanne Cash
‘Terms of My Surrender’ – John Hiatt
‘Bluesamericana’ – Keb’ Mo’
‘A Dotted Line’ – Nickel Creek
‘Metamodern Sounds in Country Music’ – Sturgill Simpson

Best country album
‘Riser’ – Dierks Bentley
‘The Outsiders’ – Eric Church
’12 Stories’ – Brandy Clark
‘Platinum’ – Miranda Lambert
‘The Way I’m Livin’ ‘ – Lee Ann Womack

Best rock song
‘Ain’t it Fun’ – Paramore
‘Blue Moon’ – Beck
‘Fever’ – The Black Keys
‘Gimme Something Good’ – Ryan Adams
‘Lazaretto’ – Jack White

Best rock albums
‘Ryan Adams’- Ryan Adams
‘Morning Phase’ – Beck
‘Turn Blue’ – The Black Keys
‘Hypnotic Eye’ – Tom Petty and the Heartbreakers
‘Songs of Innocence’ – U2

Best new artist
Bastille
Iggy Azalea
Brandy Clark
HAIM
Sam Smith

Best American Roots Performance
Gregg Allman & Taj Mahal – ‘Statesboro Blues’
from: ‘All My Friends: Celebrating The Songs & Voice Of Gregg Allman’ [Rounder]
Rosanne Cash – ‘A Feather’s Not A Bird’ from: ‘The River & The Thread’ [Blue Note Records]
Billy Childs Featuring Alison Krauss & Jerry Douglas – ‘And When I Die’ from: ‘Map To The Treasure: Reimagining Laura Nyro’
[Masterworks]
Keb’ Mo’ Featuring The California Feet Warmers – ‘The Old Me Better’ from: ‘Bluesamericana’ [Kind Of Blue Music]
Nickel Creek – ‘Destination’ from: A Dotted Line [Nonesuch]

Best American Roots Song
(A Songwriter(s) Award. Includes Americana, bluegrass, blues, folk or regional roots songs. For Song Eligibility Guidelines see Category #3. (Artist names appear in parentheses.) Singles or Tracks only.)
– ‘A Feather’s Not A Bird’ – Rosanne Cash & John Leventhal, songwriters (Rosanne Cash) from: ‘The River & The Thread’ [Blue Note Records; Publishers: Chelcait Music admin. by Measurable Music LLC, a Notable Music Co./Lev-A-Tunes]
– ‘Just So Much’ – Jesse Winchester, songwriter (Jesse Winchester) from: ‘A Reasonable Amount Of Trouble’ [Appleseed; Publisher: Bug Music]
– ‘The New York Trains’ – The Del McCoury Band
Woody Guthrie & Del McCoury, songwriters (The Del McCoury Band)
Track from: My Name Is New York: Deluxe Audio Book [Woody Guthrie Publications, Inc.]
– ‘Pretty Little One’ – Steve Martin And The Steep Canyon Rangers Featuring Edie Brickell
Edie Brickell & Steve Martin, songwriters (Steve Martin And The Steep Canyon Rangers Featuring Edie Brickell) from: Live
[Rounder; Publishers: LA Films Music/Brick Elephant Music]
– ‘Terms Of My Surrender’ – John Hiatt songwriter (John Hiatt)
from: ‘Terms Of My Surrender’ [New West Records; Publisher: So Not That Music]

Best Folk Album
(For albums containing at least 51% playing time of new vocal or instrumental folk recordings.)
– ‘Three Bells’ – Mike Auldridge, Jerry Douglas & Rob Ickes [Rounder]
– ‘Follow The Music’ – Alice Gerrard [Tompkins Square]
– ‘The Nocturne Diaries’ – Eliza Gilkyson [Red House Records]
– ‘Remedy’ – Old Crow Medicine Show [ATO Records]
– ‘A Reasonable Amount Of Trouble’ – Jesse Winchester [Appleseed]

Best Blues Album
(For albums containing at least 51% playing time of new vocal or instrumental blues recordings.)
– ‘Common Ground – Dave Alvin & Phil Alvin Play And Sing The Songs Of Big Bill Broonzy’ – Dave Alvin & Phil Alvin
[Yep Roc Records]
– ‘Promise Of A Brand New Day’ – Ruthie Foster [Blue Corn Music]
– ‘Juke Joint Chapel’ – Charlie Musselwhite [Henrietta Records]
– ‘Decisions’ – Bobby Rush With Blinddog Smokin’ [Silver Talon Records]
– ‘Step Back’ – Johnny Winter [Megaforce Records]

Best Bluegrass Album
(For albums containing at least 51% playing time of new vocal or instrumental bluegrass recordings.)
‘The Earls Of Leicester’ – The Earls Of Leicester [Rounder]
– ‘Noam Pikelny Plays Kenny Baker Plays Bill Monroe’ – Noam Pikelny [Compass Records]
– ‘Cold Spell’ – Frank Solivan & Dirty Kitchen [Compass Records]
– ‘Into My Own’ – Bryan Sutton [Sugar Hill Records]
– ‘Only Me’ – Rhonda Vincent [Upper Management Music]

Best Roots Gospel Album
– ‘Forever Changed’ – T. Graham Brown [MCM World Media]
– ‘Shine For All The People’ – Mike Farris [Compass Records]
– ‘Hymns’ – Gaither Vocal Band [Gaither Music Group]
– ‘A Cappella’ – The Martins [Gaither Music Group]
– ‘His Way Of Loving Me’ – Tim Menzies [Grace Records]

Best Boxed or Special Limited Edition Package
– ‘Cities Of Darkscorch’ – Leland Meiners & Ken Shipley, art directors (Various Artists) Label: The Numero Group
– ‘A Letter Home (Vinyl Box Set) – Gary Burden & Jenice Heo, art directors (Neil Young) Label: Third Man Records
– The Rise & Fall Of Paramount Records, Volume One (1917-27)
Susan Archie, Dean Blackwood & Jack White, art directors (Various Artists) Label: Third Man Records/ Revenant Records
– ‘Sparks’ (Deluxe Album Box Set) Andy Carne, art director (Imogen Heap) Label: RCA Records/ Megaphonic Records
– ‘Spring 1990 (The Other One)’ Jessica Dessner, Lisa Glines, Doran Tyson & Steve Vance, art directors (Grateful Dead)
Label: Rhino

Best Album Notes
– ‘Happy: The 1920 Rainbo Orchestra Sides’ David Sager, album notes writer (Isham Jones Rainbo Orchestra)
Label: Archeophone Records
– ‘I’m Just Like You: Sly’s Stone Flower 1969-70’ Alec Palao, album notes writer (Various Artists) Label: Light In The Attic Records
– ‘Offering: Live At Temple University’ Ashley Kahn, album notes writer (John Coltrane) Label: Resonance/Impulse
– ‘The Other Side Of Bakersfield: 1950s & 60s Boppers And Rockers From ‘Nashville West’ ‘ Scott B. Bomar, album notes writer (Various Artists) Label: Bear Family
– ‘Purple Snow: Forecasting The Minneapolis Sound’ Jon Kirby, album notes writer (Various Artists) Label: The Numero Group
– ‘The Rise & Fall Of Paramount Records, Volume One (1917-27)’
Scott Blackwood, album notes writer (Various Artists) Label: Third Man Records/Revenant Records

Best Historical Album
– ‘Black Europe: The Sounds And Images Of Black People In Europe Pre-1927’ Jeffrey Green, Ranier E. Lotz & Howard Rye, compilation producers; Christian Zwarg, mastering engineer (Various Artists) Label: Bear Family
– ‘The Garden Spot Programs, 1950’ Colin Escott & Cheryl Pawelski, compilation producers; Michael Graves, mastering engineer (Hank Williams) Label: Omnivore Recordings
– ‘Happy: The 1920 Rainbo Orchestra Sides’ Meagan Hennessey & Richard Martin, compilation producers; Richard Martin, mastering engineer (Isham Jones Rainbo Orchestra) Label: Archeophone Records
– ‘Longing For The Past: The 78 RPM Era In Southeast Asia’ Steven Lance Ledbetter & David Murray, compilation producers; Michael Graves, mastering engineer (Various Artists)
Label: Dust-To-Digital
– ‘There’s A Dream I’ve Been Saving: Lee Hazlewood Industries 1966 – 1971 (Deluxe Edition)’ Hunter Lea, Patrick McCarthy & Matt Sullivan, compilation producers; John Baldwin, mastering engineer (Various Artists) Label: Light In The Attic Records

Merle Haggard / Marty Stuart Deliver a Powerful Double-Shot – Bass Hall, Ft. Worth 11/12/14

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Merle Haggard / Marty Stuart A Powerful One, Two Punch - Bass Hall, FT. Worth 11/12/14

On a North Texas night chilled by an early winter snap Merle Haggard and Marty Stuart brought a welcome reprieve by turning up the heat.

“I hope you didn’t come looking for some fancy show. If you did you just wasted your money!” Stuart grinned, making a reference to the lavish Ft. Worth venue typically showcasing symphonies, ballets, operas and musicals.

But not tonight. This cold night the capacity-filled Bass hall had been transformed into a rowdy roadhouse, though a tad highfalutin one.

No chairs or longnecks were thrown (and no chicken wire across the stage required) during Stuart’s set but the atmosphere created was just that. Stuart is the consummate showman – in tight leather pants and silver rooster comb of hair – as he worked the crowd into a frenzy. Well, the crowd was largely equally as sliver, so let’s say a tizzy. He and his always extraordinary band, the Fabulous Superlatives – Kenny Vaughan on guitar, Harry Stinson on drums and Paul Martin on bass, – brought a level of bluegrass-level virtuosity that Start had honed personally from his many years in country music, including his start with Lester Flatt. The majority of the brief but satisfying set was from their just-released double album, “Saturday Night/Sunday Morning.” Honky-tonk barn-burners mixed with Gospel pew-kneelers set toes-tapping and hands-clapping.

And in the case of Stuart’s astonishing mandolin solo, jaws dropping.

As Merle Haggard said later in the program “Marty likes to work in Nashville, I DON’T! But he keeps that town alive.”

Stuart introduced the 77-year-old Haggard as he strolled out on stage as nonchalantly as a living legend might.

Decked in Blacks slacks, boosts and a black jacket with brown leather trim (my bets a Manual exclusive) a fedora/cowboy hybrid chapéu and dark sunglasses, The Hag wasted no time launching into “Big City.”

The classics kept coming, his own hits like “Twinkle, Twinkle Lucky Star,” Silver Wings,” “I Think I’ll Just Stay Here and Drink” and others including Johnny Cash’s “Folsom Prison Blues,” Blaze Foley’s “If I Could Only Fly,” and the Townes Van Zandt he and Willie made into a radio staple “Pancho and Lefty.”

A hush fell over the crowd during his reverent rendition of “Are the Good Times Really Over.” As the song reminiscences simpler times, and better music, without resorting to saccharin tropes of as he asks teh question most of us ask whe watching a oucntry awards program, “Are the good times really over for good?”

Not as long as Haggard and Stuart walk this earth.

Haggard appeared to be a bit winded and he mentioned several times about “Being out of breath” and feeling like he was having an “asthma attack.” Given hsi recent history with health issue there was palpable concern and calls of encouragement as he sipped some hot tea a delivered on-stage by a background singer.

The one soap-box moment of the night came when Haggard asked the audience who was in favor for legalization of marijuana? He then asked “Who’s against it?” Following rhetorically with, “Why?” (video below)

Are the good times really over for good? Not as long as Haggard and Stuart walk this earth.

Merle Haggard’s set list: “Big City,” “Twinkle, Twinkle Lucky Star,” Silver Wings,” “Folsom Prison Blues,” “I Think I’ll Just Stay Here and Drink,” “If I Could Only Fly,” “I’m a Lonesome Fugitive,” “Mama Tried,” “The Bottle Let Me Down,” “If We Make It Through December,” “Are the Good Times Really Over,” “Pancho and Lefty,” “Footlights,” “Train of Life,” “San Antonio Rose,” “Old Fashioned Love,” “Working in Tennessee” (with Marty Stuart) and “Okie From Muskogee” (with Marty Stuart) No encore.

Watch Out! J.Tex & The Volunteers – “This Old Banjo” [VIDEO]

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J.Tex & The Volunteers - "This Old Banjo"

There’s nothing fancy about Denmark’s J.Tex & The Volunteers’ video for “This Old Banjo.” Just a blank wall and J.Tex strolling alone (what have you done with The Volunteers?!) against a blank wall and singing.

Hell, he’s not even playing a banjo!

But what a song! J.Tex uses the banjo as an emotional proxy, reflecting melancholy memories and mourning lost opportunity. Like songs never written.

Luckily, this one was.

“This Old Banjo” will be on the new album “Old Ways vs. New Days,” out January 30th.

Watch Out! Suzanne Jarvie “Spiral Road” [VIDEO]

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Suzanne Jarvie "Spiral Road"

The video for the title song of Toronto singer-songwriter Suzanne Jarvie’s debut album, “Spiral Road” that blends the song’s blacktop existence and Native-American mysticism with beautiful shots of Arizona and New Mexico landscape.

Director Jason van Bruggen uses imagery that frames song’s theme of connections – of time, cultures and geography that blends into a whole experience. Jarvie’s lonely, lovely yearn backed by driving drum , flecked banjo, front-porch fiddle and Mickey Raphael’s mastery of the mournful harmonica brings this lovely song into familiar territory.

Official Site | Buy

Watch Out! Red Molly – “Clinch River Blues” [VIDEO]

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Red Molly - "Clinch River Blues”

Sure Red Molly is an all female folk/newgrass trio. That’s incidental. The more important point is that they are a great folk/newgrass trio.

Red Molly – Laurie MacAllister (vocals, guitar, banjo), Abbie Gardner (vocals, guitar, Dobro, lap steel guitar), and Molly Venter (vocals, guitar,) who’s band came from a character in the Richard Thompson song “1952 Vincent Black Lightning,” echo a little Alison Krauss, a little The Mamas & the Papas, a lot of spirit.

That potent mix blended with sweet harmony has resulted in the band accumulating a sizable following of “Redheads.” as their fans are called.

“Clinch River Blues” is written by A.J. Roach the is the first track from Red Molly’s latest Red Album.

Song written by A.J. Roach. Video created by Asia Kepka.

2014 Americana Album of the Year Grammys Predictions

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grammy

Grammy nominations are a few months away but the topic of performers that might be up for an Americana Album of the year nomination – meaning releases between Oct. 1, 2013 and September 30, 2014 to be awarded on Feb. 8, 201 – has been a topic on my twitter feed lately. So I’ve decided to bring the speculation here.

First thing is not to get too nuts. Yes Sturgill Simpson and The Drive-By Truckers came out with excellent releases within the qualifying dates, but they are not known names in the mainstream, therefore not on a typical GRAMMY voters radar.Sure there have been some new artists that have broken through the national media consciousness, most notably The Civil Wars and Mumford and Sons, but these are the exceptions.

Granted there have been Americana AOTY nominees that have been welcome surprises. But nods towards promising new blood like John Fullbright (2013) or out-of-nowhere nominee like Linda Chorney are rare and , so far, have yet to snag the big prize.

No, the Recording Academy Voting Members like their Americana artists like their nominees they like they like their pre-awards restaurant, known and well-respected . Risk is a four-letter word in business and the GRAMMYS are about the business of music. Sure the organization does great work in the periphery to ensure music grows and is protected as a national treasure and heritage. The GRAMMYs telecast is a cultural trade show. Only the best are on display. And in the subjective world of music “best” means “sales.”

Of course sales in the Americana world is a rain drop compared to something like a Taylor Swift deluge, but there are charts for sales and airplay available if you dig a little. And for those not willing to dig the “best” defaults to “well known.” this is not a dig, it’s the artist’s responsibility to break through the din of music sameness to gain the attention of the voter if a GRAMMY is something they desire. And really, in the world of unit sales doesn’t “known” almost always results in ‘best?”

But sometimes the “best” in our little world doesn’t make it up to the big boys. Consider the lack of a nomination for Jason Isbell’s “Southeastern.” An album that made all the Americana, and many mainstream country, year-end lists last year. I was still hearing about that major oversight at Americanafest last month.

Luckily the known entities of Americana are still a cut above most genres and therefore often have some of the best music of the year.

Below are my picks for the 5 potential nominees with my pick for winner. There are a few dark horses I believe deserve to be in the running. Again, I do not vote for the GRAMMYS, just cover the event. I have no insider knowledge and will know the nominees and winners as you do.

Rodney Crowell – ‘Tarpaper Sky’ – This is the easiest pick of the bunch, As a 2013 Americana AOTY co-winner, along with Emmylou, Harris, Crowell already has the hearts and, more importantly, the attention of the Recording Academy Voting Members.

Carlene Carter – ‘Carter Girl’ – Nominated once in 1991 for the Best Female Country Vocal Performance GRAMMY for her throwback rendition of “I Fell in Love.” Carter has recently been working hard in support of her latest including a well-received stop at a GRAMMY Museum showcase.

Willie Nelson – ‘Band Of Brothers’ – It’s hard to ignore one of Willie’s best, and best selling, releases in years. With 11 GRAMMYs under his belt and a 2010 nomination for this category, alongside Asleep at the Wheel for ‘Willie and the Wheel,’ Willie has the gravitas and the goods to snag a nomination.

Jim Lauderdale – ‘I’m A Song’ – Lauderdale personifies Americana it it’s popular form as a representative of the Americana Music Association and as the acclaimed MC of their awards ceremony. He along with his musical and SiriusXM Outlaw Country co-host Buddy Miller, were nominated for this category last year for their collective release ‘ Buddy and Jim.’ He’s won 2 GRAMMYs first in 2002 with Dr. Ralph Stanley for “Lost in the Lonesome Pines” and his second for his “The Bluegrass Diaries” –

Rosanne Cash – ‘The River & The Thread’ – Cash released, what I consider, is the finest record of her career and was instantly heralded as a genre favorite. Critics from USA Today to this blog loved it. Radio loved it and, more importantly, fans loved it. Twelve GRAMMY nomination and one win for Best Female Country Vocal Performance for “I Don’t Know Why You Don’t Want Me” (1985) She’s well-known and respected in the hearts of the voters. Look for this one to win.

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

DARK HORSE PICK

Sturgill Simpson – ‘Metamodern Sounds in Country Music’ – If there were a Nobel Prize for talent and genuineness in music Sturgill Simpson would get it for his latest. It’s a favorite across the Americana community and has perked up the ears of mainstream country music fans and blogs as well. Ideally ‘Metamodern Sounds in Country Music’ should win the GRAMMY for Country Album OTY. Hell, if Kacey Musgraves can do it why not?

Parker Millsap – ‘Parker Millsap’ – There’s no denying the buzz around this young Oklahoman. His performance at Americanafest resulted in a waiting line to squeeze in to a packed room and screaming on a Beatlemania level. And the hype lives up to the talent. Let;s hear it for the young bloods with old souls!

Nickel Creek – ‘A Dotted Line’ – Okay, Nickel Creek isn’t much of a dark horse. But after a seven-year hiatus (as a band, not as individual performers) will voters still recall their obvious greatness as they did when tehy received 4 GRAMMY nominations and won for Best Contemporary Folk Album for 2003’s ‘This Side?’

AmericanaFest 2014 – All the roots put together

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Loretta Lynn - Americana Awards

It was fitting that on the eve of AmericanaFest 15 I should run into Rob Bleetstein.

Let me explain. Bleetstein is man partially responsible for “Americana” being used as a qualifier for “music.”

As editor at the esteemed Gavin Report Bleetstein informed the radio trade publication that they were missing category of mongrel music he, and others, had been programing while employed at KFAT in Gilroy, California. The result was the first Americana radio chart being published on January 20, 1995.

So of course I asked him what Americana was.

As we joked at the seemingly endless consternation his vague creation had unleashed on geeks like me a capacity crowd streamed out of The Basement around us. They had just witnessed vets Phil Madeira and Will Kimbrough swap songs with the sassy third of the Pistol Annie’s Angaleena Presley and dazzlingly edgy newcomer Caroline Rose. More folks packed in behind them to catch he steamy roots soul/gospel of Mike Ferris & the Roseland Rhythm Revue. The music surrounding us, the fans buzzing about the days of sleepless nights to come. Endless squabbling about genre borders seems irrelevant.

Then Bleetstein mentioned he had read a Rolling Stone where Eric Clapton had given a definition when discussing his newly released project The Breeze: An Appreciation of JJ Cale. Clapton said “In Europe, we heard JJ as Americana, all the roots put together.”

All the roots put together. An imperfect definition for an imperfect form.

Let’s go with that.

Musicians, fans and industry types – figuring how they are still relevant in the cultural value chain – descended on Nashville for the Americana Music Conference, Festival and Awards to witness some of the best, nay THE best, music going. Fueled by BBQ, hot chicken, local beer, bourbon and a variety of caffeine there were endless pow-wows, parties, pre-parties, listening parties, post- parties tet-de-tets and random run-ins.

And yes I did squeeze some music in on occasion.

I say some because there was so many band across multiple venues you had to plan out your evenings in advance. I did. Then I mostly abandoned them for convenience, air conditioning and parking.

First the Awards. I never get over the thrill of walking into the Ryman Auditorium. It is a hallowed place full of ghosts and echoes and, as overwhelming as it is to sit in those church pews I can’t imagine what it’s like to perform on that stage.
But many did on that night and they did it with the passion and reverence due.

Reverence was also what Kacey Musgraves and Angaleena Presley displayed when presenting the Lifetime Achievement Award for Songwriting to legend and pioneer Loretta Lynn. Lynn accepted the award 54 years to the day that she first appeared on the Ryman stage, making her Grand Ole Opry debut. Presley introduced Lynn as “a woman who raised up six children and 70-odd hit singles but, just as importantly, raised everyone’s idea of what a country song could talk about it.” A standing ovation rightly greeted Lynn as she entered the stage in her signature flowing gown. “When they told me I was going to get this award, I said, ‘Naw, you got the wrong one. But it was right, and I was so proud.”‘

Then she sang Coal Miner’s Daughter. on The Ryman stage. Damn.

“Happy birthday to Hank Williams,” Jason Isbell said as he accepted one of the three awards in three categories he won that night for his stellar release of his newest Southeastern . “If it wasn’t for that guy, we’d be doing this in some burned-out Kmart in Murfreesboro.”

While picking up his hand-crafted trophy for song of the year “Cover Me Up” Isbell said “I wrote this song for my wife.” Referring to Amanda Shires Texas singer/songwriter who accompanied him that night on a rousing performance that brought the crowd to it’s feet. “This was probably the hardest song I ever had to write because I wrote it for her and then I played it for her. It was very difficult. Do the things that scare you. That’s the good stuff.”

I’m very happy that Isbell was able to put himself in a place that allowed him to do some of the best work he’s ever produced, and that recognition has rightly followed.

The emerging artist category was the tightest, and best, I has ever remembered it to be. Between Parker Millsap, St. Paul & The Broken Bones, Sturgill Simpson and Hurray For The Riff Raff, all whom performed live, it was a tough call. It was anyone’s game. That is until it was Simpson’s as he headed to the podium with a characteristically terse “This is for my family.” Enough said, hoss.

Country music legend and historical memorabilia collector Marty Stuart honored to Jimmie Rodgers posthumously awarding the The Father of Country Music the Presidents Award. Then he and his Fabulous Superlatives
tore through a spirited “No Hard Times” with Stuart and guitarist Kenny Vaughan giving the song a contemporary flair with blazing tandem electric guitars.

Guitarist extraordinaire Ry Cooder sat in with Buddy Miller and the band for the night’s events. His dexterity on the guitar is matched by his ability to move through, or completely around musical styles, tying them together in the process. He took time away from his supporting duties to award his longtime collaborator norteño accordion pioneer Flaco Jimenez with a Lifetime Achievement as an Instrumentalist. They then performed a lovely version of the Spanish-language traditional “Ingrato Amor.” Cooder also teamed up with Artist of the year nominee Rodney Crowell for a delicate version of careful rendition of “God I’m Missing You,” from Crowell’s latest ‘Tarpaper Sky.’

Rosanne Cash brought a sophisticated air to her performance of her “A Feather’s Not a Bird,” and a gritty-folk menace surrounded Patty Griffin as she was joined by Robert Plant to perform “Ohio.”
Emerging artist nominee Hurray For The Riff Raff performed a transfixing version of their murder ballad “Body Electric” while vocalist Alynda Lee Segarra shimmered in a Nudie-style suit. Robert Ellis showed himslef to be one of the industries most creative and astute songwriters as he performed his nominated “Only Lies.”

At the Country Music Museum and Hall Of Fame’s Ford Theatre Outlaw legend Billy Joe Shaver give a brief (but candid) interview about his life’s tribulations. He then rose to perform, with simple acoustic accompaniment,
songs rendered from those hardships. Hardships he assured us made easier early with whiskey and later with Jesus.

Then it was upstairs to a new, beautiful, portion of the Country Music Hall of Fame’s CMA Theater to catch “Honky Tonkin’: Twenty Years on Lower Broad” celebration/showcase of bands that featured Greg Garing, Paul Burch and R.B. Morris and BR549. Performers that helped reenergize Nashville’s Lower Broadway after the Opry moved out of the Ryman and to the burbs. Before performing, upright bassist “Smilin” Jay McDowell walked to the front of the stage and placed a tip jar as a tribute to the days when the band survived on such monetary generosities. Singer Chuck Mead , bedecked in his Nudie Suit best with his cherry-red Gretsch electric guitar and co-frontman Gary Bennett, toned down in jeans and western shirt, then showed hoe their tight harmonies gloriously transported all those that had been there those many years ago. Veteran Lower Broad singer and mentor John Shepherd, attending with wife and singing partner Lois Shepherd, continues tradition as he headed slowly to the stage and dropped the first dollar tip, prompting laughs and applause.

Lee Ann Womack had some shows during the event. I was lucky to catch a song swap with her, Hayes Carll, Bobby Bare Jr. and the legendary songwriter Bobby Braddock high atop the SiriusXM Outlaw theatre. Hosted by Mojo Nixon (outLAAAAAAW country) Carll and Bare shared a laugh on their collaboration “My Baby Took My Baby Away” and , later, Carll looked on with shyness and awe as Womack hushed the crowd with his “Chances Are” which she oncluded on het newest release. The real highlight though was Braddock singing his classics “He Stopped Loving Her Today,” “Golden Ring” and everyone joining in on the closer “We’re Not The Jet Set.”

But the real gold is the showcases. Stand-outs were Angel Snow (her real name, I asked) playing at a sparsely attended Americana for Movies and Shows. I only caught once song but that’s all it took to render me speechless. Alabamian Mathew Mayfield followed with his brand of rough-hewn catchy folk. The i wa shocked to see bluegrass/folk stalwart Tim O’Brien take the stage. I felt bad that there were so few people but lucky I was one of those few.

A trip to Jack White’s odd Third Man performance space was bathed in calm, blue lighting as a mounted elephant head loomed above the crowd. On the bill was Madisen Ward and the Mama Bear. The mother and son act perform seated, strumming acoustic guitars and singing deep-roots songs that reach far into blues and folks misty past. In the same space on another night Jonah Tolchin hold a folk-jam clinic that surprised many expecting the genteel folk-blues style from his latest “Clover Lane.”

Caroline Rose commanded attention of the crowd with her school-girl outfit and her manically focused folk-rock set that had them screaming for more. While trying to escape the heat of the Mercy Lounge I found myself in the cooler High Watt space watching a performance of Aaron Lee Tasjan. Exhibiting the droll but sharp humor of Todd Snider but the delicate songcraft of Townes Van Zandt the Nashville resident defied all expectations.

How could any of that fit in one neat marketing package? I feel for the marketing rep that handles any of these artists and is asked “What kind of music is it?”

All the roots put together. Let’s go with that.

https://www.youtube.com/watch?v=pUvE-GTiKiY

Bloodshot Records Announces 20th Anniversary “While No One Was Looking” Compilation – November 18, 2014

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Bloodshot Records Announces 20th Anniversary "While No One Was Looking"

Chicago’s mighty Bloodshot Records has quietly been hoisting the roots rock and alt.country flag for, well as long as those words came into mainstream use.

Hard to believe that it’s been 20 years since the intrepid indy released it’s inaugural compilation ‘A Life of Sin: A Compilation of Insurgent Chicago Country.’

The music industry has gone through some pretty rough changes in the last two decades but Bloodshot has blasted along releasing some of the best the genre has to offer.

This November 18 you’ve got one more item to add to your Christmas wish-list. ‘While No One Was Looking: Toasting 20 Years of Bloodshot Records,’ a collection of 38 reinterpretations from the label’s catalog will be released.
Blitzen Trapper, Andrew Bird and Nora O’Connor, Ben Kweller, Mike Watt, Nicki Bluhm and the Gramblers, Shakey Graves, Chuck Ragan, Superchunk, and many others cover current and former acts such as Justin Townes Earle, Ryan Adams, Neko Case, Scott H. Biram, Ha Ha Tonka, Lydia Loveless, Old 97’s, Murder By Death, Robbie Fulks, Cory Branan, and more.

Personally I’m looking forward to hearing Into It. Over It cover Neko Case’s “Deep Red Bells” and Kevin “Shinyribs” Russell covering Lydia Loveless’ “All the Time.” Yowzaa!

Pre-order (limited ed. blood-red vinyl is the way to go) and track listing are below.

Preorder “While No One Was Looking”

Full Album Track Listing:

Disc 1:

1. Blitzen Trapper – “To Be Young (Is to Be Sad, Is to be High)”
Originally performed by Ryan Adams on BS071 Heartbreaker (2000)

2. Chris Shiflett & The Dead Peasants – “Look the Other Way”
Originally performed by Justin Townes Earle on BS193 Nothing’s Gonna Change the Way You Feel About Me Now (2012)

3. Samantha Crain – “Cold Forgiver”
Originally performed by Ha Ha Tonka on BS207 Lessons (2013)

4. Chuck Prophet – “Dirt”
Originally performed by Andre Williams on BS185 Hoods & Shades (2012)

5. Hiss Golden Messenger – “Where I Fell”
Originally performed by Robbie Fulks on BS211 Gone Away Backward (2013)

6. Dave Davison (of Maps & Atlases) – “Things I Didn’t Say”
Previously performed by Bobby Bare, Jr.’s Young Criminals’ Starvation League on BS110 From the End of Your Leash (2004)

7. Ted Leo – “Dragging My Own Tombstone”
Originally performed by Waco Brothers on BS054 Electric Waco Chair (2000)

8. Into It. Over It. – “Deep Red Bells”
Originally performed by Neko Case on BS099 Blacklisted (2002)

9. Split Single – “My Backyard”
Originally performed by Nora O’Connor on BS116 Til the Dawn (2004)

10. Limbeck – “Sound of Running”
Originally performed by Old 97’s on BS066 Early Tracks (1995, 2000)

11. Tim Kasher – “Aspidistra”
Originally performed by The Scotland Yard Gospel Choir on BS148 The Scotland Yard Gospel Choir (2007)

12. Shakey Graves – “Happy Birthday Julie”
Originally performed by Wayne Hancock on BS080 A-Town Blues (2001)

13. Ivan & Alyosha – “My Winding Wheel”
Originally performed by Ryan Adams on BS071 Heartbreaker (2000)

14. Chuck Ragan – “Survivor Blues”
Originally performed by Cory Branan on BS195 MUTT (2012)

15. The Minus 5 – “Cherokee Grove”
Originally performed by Mark Pickerel and His Praying Hands on BS146 Cody’s Dream (2008)

16. Carolyn Mark – “Last to Know”
Previously performed by Alejandro Escovedo on BS027 More Miles Than Money (1998)

17. Daniel Romano – “Strange Birds”
Originally performed by Jon Langford & The Sadies on BS092 Mayors of the Moon (2003)

18. Charlie Parr – “Manifold”
Originally performed by Devil in a Woodpile on BS065 Division Street (2000)

19. The Reverend Peyton’s Big Damn Band – “St. Nick on the Fourth in a Fervor”
Originally performed by Ha Ha Tonka on BS145 Buckle In The Bible Belt (2007)

20. Possessed By Paul James – “I Came Around”
Originally performed by Murder By Death on BS200 Bitter Drink, Bitter Moon (2012)

Disc 2:

1. Andrew Bird and Nora O’Connor – “I’ll Trade You Money for Wine”
Originally performed by Robbie Fulks on BS211 Gone Away Backward (2013)

2. Ben Kweller – “2:00 AM”
Originally performed by The Meat Purveyors on BS091 All Relationships Are Doomed to Fail (2002)

3. Frank Turner – “The Corner”
Originally performed by Cory Branan on BS195 MUTT (2012)

4. Superchunk – “Come Pick Me Up”
Originally performed by Ryan Adams on BS071 Heartbreaker (2000)

5. KOJI – “East Jefferson”
Originally performed by Ben Weaver on BS173 Mirepoix & Smoke (2010)

6. The Great Crusades – “Fake Out Jesus” (Live)
Originally performed by The Blacks on BS 063 Just Like Home (2000)

7. Mike Watt & The Missingmen – “Up to My Neck In This”
Originally performed by Jon Langford & The Sadies on BS092 Mayors of the Moon (2003)

8. Nicki Bluhm & the Gramblers – “Oh My Sweet Carolina”
Originally performed by Ryan Adams on BS071 Heartbreaker (2000)

9. Jerry David DeCicca – “Broken Bottle”
Previously performed by Alejandro Escovedo on BS027 More Miles Than Money (1998)

10. The Handsome Family – “1000 Dollar Car”
Originally performed by The Bottle Rockets on BS212 The Brooklyn Side (1994, 2013)

11. Warm Soda – “All Grown Up”
Previously performed by Gore Gore Girls on BS142 Get the Gore (2007)

12. James Leg (of Black Diamond Heavies) – “Is That You in the Blue?”
Originally performed by Dex Romweber Duo on BS186 Is That You in the Blue? (2011)

13. Two Gallants – “Truck Driver”
Originally performed by Scott H. Biram on BS122 The Dirty Old One Man Band (2005)

14. Diarrhea Planet – “Dry Land”
Originally performed by Waco Brothers on BS015 Cowboy in Flames (1997)

15. Kevin “Shinyribs” Russell – “All the Time”
Originally performed by Lydia Loveless on BS214 Boy Crazy (2013)

16. The North Carolina Music Love Army (featuring Caitlin Cary, Chip Robinson, and Kenny Roby) – “Stick to the Plan”
Originally performed by Graham Parker on BS140 Don’t Tell Columbus (2007)

17. William Elliott Whitmore – “I Wish I Was the Moon”
Originally performed by Neko Case on BS099 Blacklisted (2002)

18. Samuel Fogarino (of Interpol) – “Liked It a Lot”
Originally performed by Charlie Pickett on BS 154 Bar Band Americanus (1984, 2008)

Music Review : Lee Ann Womack – “The Way I’m Livin’ “ [Sugar Hill Records]

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Lee Ann Womack - “The Way I’m Livin’

I knew when Lee Ann Womack was up to something great when she was hanging around Americanafest in 2012. Appearing in a all-request showcase with Buddy Miller she held the Mercy Lounge stage as she has all those packed arenas shows she played not not long ago.

But playing arena shows means playing by a narrow set of rules that (hopefully) lands you on mainstream country radio. Womack has worked the system like a pro, resulting in having four of her six studio albums reach Gold and selling over 6 million albums worldwide

I hope her new release “The Way I’m Livin’ “ hits the charts and makes her gobs of money. But if it does it’ll do so by breaking the current rules of country music, and without compromise.

Womack’s seventh studio album, produced by her husband Frank Liddell (Miranda Lambert, Chris Knight, Pistol Annies) and her first effort for stalwart Americana label Sugar Hill Records, was recording live in the studio with the band. The 13 tracks has her wrapping Her warm-honey vocals around classic country themes of hardship, temptation and salvation, and she’s keeping mighty fine company on the journey.

Her version of Hayes Carll’s jukebox weeper “Chances Are” is pure jukebox greatness. Womack really brings out a new and longing characteristic of the song’s melancholy soul. The title song is a gospel stomper of swampy guitars and sonic salvation that heats up and leaves you wondering if your being taken to the Pearly Gates or Dark Underworld. Either way, the soundtrack’s excellent.

“Send It on Down” is a the other side of the salvation coin. No brashness in this last-ditch plea for mercy and a bus ticket written by Chris Knight. Bruce Robison is represented in a coupe of cuts, “Nightwind” is a beautiful bluegrass-style call to an nocturnal call to a lost love. Lost love is also the theme of “Not Forgotten You” though the up-tempo accompaniment might through you off it’s heart-broken trail.

Womack retains Roger Miller’s rollicking tempo on “Tomorrow Night in Baltimore” but turns it up slightly to a humps it up a bit with blazing electric and steel guitar. Lost love and regret is given emotional gravity as Womack breaths life into Brennen Leigh’s lovely honky-tonk lament “Sleeping with the Devil.”

There’s a sense of freedom and love of music throughout “The Way I’m Livin’ “ Womack, Liddell and the extraordinary supporting musicians have produced a contemporary version of a country gold.

I don’t know what challenges that might have been awaiting Womack had she chosen to mount the gilded running-wheel of Music Row instead of jumping the Americana fence. But I’m certain had she done so “The Way I’m Livin’ “ would have been a very different album. Thanks goodness she didn’t as the freedom to pursue her heart and vision has resulted in one of the best, and most honest, albums of her career.

Official Site | Buy

five_rate

Americanafest Video Round-Up

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Americana Awards Finale

There’s just way too much to see when visiting Americanafest. That’s why God created smart phones. Here’s some great videos that fans uploaded.

I heard that Robert Ellis held an epic classic country rich performance at the legendary Robert’s Western Wear. Of course I heard about it the day after it happened. Good thing somebody tipped off Hayes Carll, J.P. Harris, Shelly Colvin, Josh Hedley, Johnny Fritz and Jim Lauderdale.

Sam Outlaw proved that classic country can still thrive in L.A.

The Avett Brothers show you never can get so big that you can’t bring it back to the basics.

Sturgill Simpson’s performance at the not quite opened City Winery was a hard get with a capacity RSVP list.
https://www.youtube.com/watch?v=pUvE-GTiKiY

Plant and Griffin reunite (well, musically) for the Americana Awards.

It was Loretta Lynn’s night (rightly so) as he swept his categories.

Loretta Lynn. Nuff said.
https://www.youtube.com/watch?v=QoA0y9aCgxU

The closing of the Americana Awards with Ry Cooder, Rosanne Cash, Jason Isbell, Jim Lauderdale, Buddy Miller and others.