And in the no surprise to anyone category today The Civil Wars’ Joy Williams and John Paul White made their “indefinite hiatus‘ into a musical conscious uncoupling.
the folk-pop duo took to thecivilwars.com to announce the news. As a farewell and thank you to fans, the two are offering a download of their 2010 rendition of the classic “You Are My Sunshine.†The track was originally a b-side to the band’s limited edition Barton Hollow 7″ vinyl. This is the first time the song is available digitally in the U.S.
Joy Williams comments, “I am saddened and disappointed by the ending of this duo, to say the very least. JP is a tremendous musician, and I will always be grateful for the music we were able to create together.I sincerely hope that ‘You Are My Sunshine’ will be accepted as a token of my gratitude for every single person that has supported our duo throughout the years. I’m so thankful and my heart is full. Looking ahead, I’m excited to share the music that I am writing and recording in the midst of this difficult transition. I’ve loved being back in the studio, and have missed performing live. I look forward to seeing you soon.â€
John Paul adds, “I would like to express sincere thanks to all who were a part of the arc of The Civil Wars—from the beginning, to the end, and all points in between. My deep appreciation goes out to all who supported, disseminated, and enjoyed the music. Whatever shape or form the next chapter takes, thanks for being a large part of this one.â€
Williams and White were already music industry veterans in 2008 when a chance pairing at a Nashville group writing camp shows potential chemistry. In their brief career The Civil Wars helped bring Americana to the mainstream with their best-selling, Grammy-winning, releases and intimate but rousing live performances.
Here are a few of my favorite Civil Wars performances:
Barton Hollow (Later with Jools Holland)
Poison & Wine (on David Letterman)
“From This Valley” (Live at the Grand Ole Opry)
https://www.youtube.com/watch?v=vBygKZqc3ls
“Between the Bars” (Elliott Smith cover)
“Sour Times” (Portishead cover)
“Billie Jean” (Michael Jackson Cover)
“You Are My Sunshine” (Live)
And the time I won a bottle of bourbon and they won some Grammys.
http://www.grammy.com/news/and-the-grammy-went-to-the-civil-wars#ooid=05bXZoMzq2-pDksz0DznPVSCPspq72pZ
The Americana Music Association has released the whole enchilada, the full list for their conference and festival. And all I can say is WHAT WERE THEY THINKING?!
I’m only one man, how can I make it to so many great performances, many of them happening AT THE SAME TIME!
I know, I know, roots-music blogger problems.
With more artists and more venues this year’s AmericanaFest is really stacking up to be the best yet.
AMA Executive Director Jed Hilly tells the Nashville Scene. “We couldn’t be more excited with this year’s lineup. We anticipate over 160 official showcases by the time September rolls around. … We’ve added 40 more artists than we had last year, and we are thrilled to add on five more venues to the festival.â€
In addition to the already daunting list of performers I’m happy to see roots-duos Carolina Story and Grace and Tony, Austin’s David Ramirez and Shinyribs and, the excellent Zoe Muth, and Sturgill Simpson who’s come a long way since his AmericanaFest debut last year.
Pick up the Aug/Sept issue of Cowboys and Indians magazine (above) to read by article on AmericanaFest and the history of the movement.
The 15th annual Americana Music Festival & Conference occurs September 17-21, 2014 in Nashville, Tenn. The 13th annual Americana Honors & Awards Show on Sept. 17 at the historic Ryman Auditorium.
I’ll see you at the hootenanny!
List of artists newly added to AmericanaFest 2014
Andrew Combs
Anthony D’Amato
The Audreys
Banditos
Baskery
The Black Lillies
Black and the Rodeo Kings
Bobby Bare Jr.
Bradford Lee Folk
Brooke Russell & the Mean Reds
The Bros. Landreth
The Brothers Comatose
Cale Tyson
Caleb Klauder Country Band
Carolina Story
Cory Branan
Cory Chisel’s “Soul Obscura”
The Danberrys
David Ramirez
The Devil Makes Three
Elizabeth Cook
Ernie Hendrickson
Falls
Feufollett
Frank Fairfield
Grace and Tony
Griffin House
The Haden Triplets
Harlan Pepper
Howard Fishman
Humming House
Humming People
Ian McLagan
Imelda May
James Maddock
Jim Lauderdale
Laura Cantrell
Lauren Shera
Leftover Salmon feat. Bill Payne of Little Feat
Liz Longley
Los Colognes
The Mastersons
Matt Anderson
Matt the Electrician
Matthew Perryman Jones
Matthew Mayfield
Mathew Ryan
Mike Farris
Mipso
Moot Davis
NQ Arbuckle
Over the Rhine
Peter Bradley Adams
Phil Madeira
Police Dog Hogan
Parsonsfield (formerly Poor Old Shine)
Promised Land Sound
Robby Hecht
Robert Ellis
Ryan Tanner
Shinyribs
Sleepy Banjo Boys
Sons of Bill
Steelism
Steep Canyon Rangers
The Stray Birds
Sturgill Simpson
The Hot Nut Riveters
The Mae Trio
The Silks
Tim Carroll
Truth & Salvage Co.
Webb Wilder
Willie Sugarcapps
Zachary Lucky
Zoe Muth
List of artists oreviously confirmed for AmericanaFest 2014
Allison Moorer
Amy Ray
Angaleena Presley
The Avett Brothers
The Barefoot Movement
Ben Miller Band
Billy Joe Shaver
Black Prairie
Brennen Leigh and Noel McKay
Buddy Miller
The Cactus Blossoms
Carlene Carter
Caroline Rose
Chatham County Line
Chuck Mead
Danny & The Champions of the World
The Deadly Gentleman
Del Barber
The Deslondes
Doug Seegers
The Duhks
The Dustbowl Revival
Emily Barker & the Red Clay Halo
Ethan Johns
The Fairfield Four
The Grahams
Grant-Lee Phillips
Green River Ordinance
Greensky Bluegrass
Gregory Alan Isakov
Greyhounds
The Harpoonist & the Axe Murderer
Hayes Carll
Howlin’ Brothers
Immigrant Union
Israel Nash
Jamestown Revival
Jason Eady
JD Wilkes & the Dirt Daubers
Joe Henry
Joe Pug
Joe Purdy
John Moreland
Jonah Tolchin
Jonny Two Bags
Josh Ritter
Joshua James
Lake Street Dive
Lee Ann Womack
Leo Welch
Lera Lynn
Marah Presents: Mountain Minstrelsy
Marty Stuart
Matthew Ryan
McCrary Sisters
Nathaniel Rateliff
New Country Rehab
Oh Susanna
Otis Gibbs
Parker Millsap
Paul Thorn
Pete Molinari
Quebe Sisters Band
Rhett Miller
Robbie Fulks
Robyn Hitchcock
Rodney Crowell
Ruthie Foster
Ryan Montbleau
Sam Outlaw
Sarah Jarosz
Sean Rowe
Shakey Graves
Suzy Bogguss
Todd Snider & Friends
Tom Freund
Tony Joe White
Trigger Hippy (feat. Jackie Greene, Joan Osbourne, Steve Gorman, Tom Bukovac & Nick Govrik)
Whiskey Shivers
Willie Watson
I know, I know. I don’t look a day over six. But it’s true! Your generally humble roots music blog, Twang Nation, turns 8 this month.
Where does the time go?
I started this on a lark. Cultural, geographical and psychological displacement of this Texan in New York City led me here. I gravitated toward the most stable ground that had always been there for me, music.
The great roots music I began to discover I wanted to share with a wider audience. And I wanted them share their findings with me. 8 years and three timezones later I’d say it’s going pretty well. I’m still chugging along, looking under rocks and atop branches to find and share great music.
And that’s saying something. In the midst of one of the worst times to become a musician there’s so music of it around, and more every coming across my desk(top) every day. I’m sure things were worse during the Great Depression and the Dust Bowl, and yet much of the music that I treasure was produced in those troubled times.
Maybe that’s the things about music. Even at it’s thematic darkest musics very presence is a sign of human optimism. Why else bother?
And these days optimism, and music, abounds. There’s more music than ever being produced in human history. Technology has allowed access to performance and strategy tools as a musician, and access and discovery for fans, than ever before. I hope I have contributed in some small way to your musical discovery. And with roots music awareness, Grammy categories and regularly appearances in TV shows and movies, the movement is showing to signs of slowing down.
And Twang Nation will be right in the middle of it. Bringing you the best in new and classic performers and live performances that remind us all that live music, made by fallible humans, can be intoxicating.
And believe me, the best is yet to come.
Keep up with us here on Facebook, Twitter, Instagram and tumblr and come along for the journey. As we all know the road goes on forever….
As a thank you, Twang Nation is giving away a prize pack of three great slabs of vinyl for your listening pleasure.
First up is the recent release of Johnny Cash lost and previously unreleased material, “Out Among The Stars,” on Vinyl. This is a far cry from the Columbia Records produced Cash and producer Billy Sherrill. The results are classic cash with a contemporary roost twist with help from John Carter Cash, Marty Stuart and Buddy Miller.
Nest up is the Lone Justice reissue from Omnivore Recordings, “This Is Lone Justice: The Vaught Tapes, 1983.” This album captures the raw talent of this alt.country pioneering band at their peak, touring L.A. punk clubs and taking no prisoners. Did I mention that this great album is on translucent red vinyl?!
And the best for last the Record Store Day Rhino records exclusive release of Gram Parsons’ Alternate Takes from GP and Grievous Angel. tHIS 2LP vinyl release IS audio sourced from “The Complete Reprise Sessions” released in 2005. Contains a postcard insert at the request of Gram’s daughter, Polly Parsons, for the Hickory Wind Ranch Recovery Community. Foil numbering.
Just leave a comment below to be entered for all three albums. Birthday salutations or a band you might have found out about from me would be cool.
Now the boring stuff: The winner needs to be located in the United States and will be picked at random, Sunday, July 27th, 12PM CST.
Roots-music legend, and three-time Grammy Award winner Lucinda Williams is set to release her first-ever double album “Down Where The Spirit Meets The Bone” on September 30 though her very own Highway 20 Records
“Down Where The Spirit Meets The Bone” is said to be ” Williams’ most ambitious and adventurous projects to date.” It features 20 new songs, with 18 written by Williams. The album’s opening track, “Compassionâ€, was originally a poem by her father, the poet Miller Williams, in which she wrote the music and additional lyrics.
From the press release “This is a personal milestone for Williams as it marks the first time she has composed music for one of her father’s poems, and it is from that song that the album title was taken. ”
The album also features a cover os JJ Cale’s “Magnolia.â€
“Down Where The Spirit Meets The Bone” features performances by guitarists Bill Frisell and Tony Joe White, Faces keyboardist Ian McLagan, Elvis Costello’s rhythm section of Pete Thomas (drums) and Davey Faragaher (bass) and Wallflowers guitarist Stuart Mathis. Jakob Dylan adds harmony vocals on “It’s Gonna Rain.†Williams’ longtime rhythm section of Butch Norton (drums) and David Sutton (bass) make also contribute. D”Down Where The Spirit Meets The Bone” was produced by Williams, Tom Overby and Greg Leisz.
Of the Album Williams says ” “I didn’t set out to do a whole album of country-soul, but once I started working, a stylistic thread kind of emerged,†she says. “It’s a sound I can relate to, one that’s really immediate and really timeless at the same time — kind of sad in an indefinable way. It’s like something my dad said to me many years ago, something I wrote down and included in my song “Temporary Nature (Of Any Precious Thing)†because it was so profound to me — ‘the saddest joys are the richest ones.’ I think that fits this album really well.â€
EDIT: Here is the front and back covers. (The back is for the vinyl version.) The photos are by Birney Imes from his book “Juke Joint”. It is the same book that provided the cover for “Car Wheels On A Gravel Road”, as well as the photo that inspired the song “2 Kool 2 Be Forgotten”
See Williams perform “Something Wicked This Way Comes” from “Down Where The Spirit Meets The Bone”
I never thought I would write these words, but below you will find my response to Taylor Swift’s Wall Street Journal essay.
Wow.
Swift took the the pages of the Wall Street Journal For Taylor Swift, the Future of Music Is a Love Story to give her views, feelings really, of the ever tumultuous music industry. Boundless optimism might be a refreshing reprieve in these cynical, irony-drenched times of ours and might make for great pop dittys. But Swift’s reflections on the music industry map as well to economic realities as her love songs map to real adult relationships.
Not so much.
First she tackles value. She argues that a musician’s output, an album, should be measured by ” the amount of heart and soul an artist has bled into a body of work.” If only! Leaving aside the multitude of terrible, heartfelt albums that have been made, music is at the mercy of every other bought and sold goods, art or not. Supply and demand.
Though I personally loathe to use the word “art” when referring to music (I believe the label implies a stuffy distance) I will use it here as Swift has taken us down that path. As a crass binary analogy, there’s the Van Gogh level of art, rare and singular in it’s execution. Then there is the Thomas Kincaid level of art. More plentiful and generally pedestrian in it’s technic and subject matter. The former will put you back tens of millions of dollars if you are lucky to find one coming to auction, The latter can be bought for a few thousand dollars from an online gallery.
Obviously not all art is created equal.
Van Gogh’s scarcity of work, in actual numbers and availability in the market place sets it at a premium. The Internet has made scarcity obsolete. The Wu Tang Clan addressed this recently by creating master recording of their latest work “The Wu – Once Upon A Time In Shaolin” and putting it up for auction where it sold to a private buyer for millions. It was little more than a stunt, but it grabbed headlines because in the age of piracy inaccessible music from a major artist is a novelty.
Though Swift’s music isn’t scarce her live shows are. That’s one of the last go-to revenue streams for performers.
So where were the tips on putting on a great show (aside from inviting your famous friends onstage?) Where were the tips on using social media to build a loyal fan base? Where was the helpful advice on writing a song that “hit them like an arrow through the heart?”
These are Swift’s strengths. She’s a master and her stardom reflects her skills. Though she skirts across some of these topics in her piece she never digs into them to provide working musicians some takeaways. Something actionable.
Swift’s stardom paralleled the throwback to 50’s/60’s model of music consumption, the single. But new ways of experiencing music has not been met by new, and fair. compensation and control of that music. Streaming services are the contemporary jukeboxes but licensing and pay-outs that defined that era has’t progressed. No money means less chance a musician will soldier on. Swift could have joined Rosanne Cash and many others have testified before congress for fair musician’s compensation and control of their work.
A spotlight that Swift could bring to that discussion would be welcome and might get things moving faster in the right direction.
Perhaps Swift could start a label or management service to take young talent in and guide them along a path that can be treacherous.
I think Swift’s hand-shaped heart is in the right place. But talk, and WSJ puff-pieces, are cheap. If she really wants to make a positive impact on the music industry I’d like to see some action.
The 15th annual Americana Music Festival & Conference will take place September 17-21, 2014 in Nashville, Tenn. Tickets for the Honors & Awards are only available with the purchase of a conference registration.
“The Midnight Ramble Sessions Volume 3” sessions represent last musical project with which the late drummer of The Band was involved. Helm personally hand-picked the album’s 13 songs from a five-year period of live Midnight Ramble recordings, 2006-2010 at the Barn, with his longtime band member and musical director, multi-instrumentalist Larry Campbell. The album features performances from the Levon Helm Band with special guests including the Black Crowes’ Chris Robinson, Jimmy Vivino, Elvis Costello and New Orleans legend Allen Toussaint, capturing the homespun spirit of those gatherings, a worthy posthumous tribute to Helm’s indomitable spirit and peerless musical abilities. Aside from listening to hours of tapes to come up with the final song selection, Helm also designed the cover art for the album.
Campbell explains that, after the Electric Dirt record, he and Levon began formulating what a third album might encompass. “He wanted it to be more representative of what this band was like at a live show, featuring all of the players,†says Campbell. “Levon was having health problems, so our plan was to go through the archives and pull out tunes that best showed what our lifestyle was like. That was his real, main motive, to showcase the band as best we could. And then he chose the tunes that he liked playing, and we edited it down to fit on a single CD. “There were probably 20 songs that he initially wanted us to include, but these were the ones we all finally decided were best.â€
“The Same Thing†from the just-released “The Midnight Ramble Sessions Volume 3″ has Helm in excellent form as his characteristic dynamic drumming drives a Dixieland /rock/soul infused gumbo in front of a lucky audience. Of “The Same Thing†(recorded Feb. 14, 2009) Campbell says : We’d been doing that song for a while and it turned out to be a great show opener. When Levon’s singing was on, it was just magical. Jimmy Vivino is playing slide guitar on this, and Mike Merritt was on bass that night. The song always just set a great mood to start the evening, so we figured we’d start the record with it.”
Ladies and Gents great country music is alive and well and, yes, sometimes it still comes from Music Row.
GRAMMY-award winning singer/songwriter Kacey Musgraves has a response to self-rightous neighbors and it’s “The Trailer Song,†and it’s a honky-tonk delight (with an “awww haaawww’ for bonus points)
The song was written by Musgraves, and her usual partners in crime Brandy Clark and Shane McAnnally
Last week Musgraves performed “The Trailer Song†on The Tonight Show Starring Jimmy Fallon (see below.)
Purchase “The Trailer Song.†at Musgraves’ website.
Musgraves is currently on tour this summer with Willie Nelson and Alison Krauss as well as Katy Perry on her Prismatic World Tour.
Rejoice you motley ranks of roots music aficionados, the National Academy of Recording Arts and Sciences at its annual spring meeting added a new category to the growing roots music field, Best American Roots Music Performance.
So with a tile like that I have to ask, what is it?
The GRAMMY site states matter-of-factly that the category was added but gives no insight to how it’s distinct this new category from Best American Roots Music Song or Best Americana Album.
So let’s take a look at the the already existing Best Metal Performance or Best Rock Performance categories
Best Rock Performance doesn’t provide music. It was basically an exercise in consolidation of 3 categories – Best Solo Rock Vocal Performance, Best Rock Performance by a Duo or Group with Vocal and Best Rock Instrumental Performance because “any distinction between these performances is difficult to make.†Fair enough, but no insight to our task.
Best Metal Performance is a little clearer. It is awarded “..for works (songs or albums) containing quality performances in the heavy metal music genre.†It, along with
Best Hard Rock Performance, was created as a separate distinct categories from the original Best Hard Rock/Metal Performance. this original category resulted in the famous Jethro Tull/Metallica fiasco of 1989.
So there you have it. Best American Roots Music Performance celebrates just that, quality performances. Of course that is ambiguous enough to lead to years of grumbling about which Best American Roots Music Performance was better then another Best American Roots Music Performance.
I say let’s just give it to Chris Thile for the first few year until things settle out.
That deafening roar heard from the Heart of Texas Saturday night was not a natural disaster. It was a fitting send-off for the reigning king of country music George Strait.
The last show of the two-year, cross-country Cowboy Rides Away adios tour for te fans featured a custom revolving stage set center field only used twice before, in Houston and San Antonio. The stage was dwarfed by the world’s largest high-definition LED video display looming above it.
The sound was as good as to be expected for being played at the bottom of a cavern. Lots of echoes and bouncing around.
That said, Texas legends Asleep at the Wheel was in fine form as they opened the show with a heavy dose of their inspiration and the King of Western Swing, Bob Wills.
Then it was time.
104,793 rapturous fans help set a new record for largest indoor concert in North America, putting to bed the popular myth that country music can’t have an ear to tradition and still sell tickets.
All made their voices heard as Asleep at the Wheel’s Ray Benson, like a contemporary vaudeville barker, lent his signature baritone to a lengthy list of the awards and accolades collected by Strait over his career.
None of those rewards resulted as airs as the pride of Poteet, TX (due south of San Antonio) moseyed onto the stage spotlight, blue-checked Western shirt, jeans, boots, trademark black hat and shining that warming 1000 kilowatt smile.
If Strait was daunted by the outpouring of deafening admiration it didn’t show. Appreciation certainly. After all, he was surrounded by friends.
And that what you feel like at a George Strait show. He makes you feel comfortable, right at home, take a seat. Like he’s performing right for you. Right from the opener , the 1995 classic “Check Yes or No,†you settle in and enjoy the ride.
And what a ride. Over three hours and nine guest appearances, including his son and recent song co-writer George Jr., aka Bubba. Strait treated the crowd to songs from his entire 30 plus year career. From his first 1981 hit single “Unwound†to “That’s What Breaking Hearts Do†from hi saltiest ‘Love is Everything†there was something from every era and for everyone.
Current chart toppers Jason Aldean, Eric Church and Miranda Lambert and Strait’s contemporaries Martina McBride, Alan Jackson and Vince Gill all took turns supporting Strait on his signature honky-tonk classics.
All displayed proper reverence to their host and mentor but still were able to supply unique dimensions, without showboating, to the songs.
Backed by his excellently seasoned Ace In The Hole Band, there was no stage gymnastics. No fist-pumping theatrics were needed to amp the crowd. Just a wave, a shake of the head and an occasional arm raise. Oh, and that smile.
How does a 62-year-old performer that can no longer crack hit radio format of mainstream country radio sell thousands of tickets and piles of merch? How did he garner 5 entertainer of the year awards and win a 2009 Grammy for best country album for 2009’s Troubadour while never adhering to Music Row’s rules? Rules having just been celebrated in Nashville at the CMA Awards?
By staying true to himself and his craft. If you were a Strait fan in the 80’s odds are you’re still a fan. He’s been loyal to his their expectations and those expectations play to his strengths. He’s made a career out of being who he is and dancing with those that brung him.
Like a premier pitcher, or since we’re in AT&T Stadium a premier quarterback (sorry Romo), Strait makes each nailed effort look effortless. A man, a guitar and simple stories reflecting life without breaking a sweat. And we all relate and we trust without irony or cynicism. We trust the messenger.
The realness of Strait cannot be overemphasized. He appears to become what he sings. World-weary or heartbroke. Sanguine and with a rascal spirit.
Though the vast majority of his songs are written by other people he is a master interpreter of other people’s work. His realness makes you believe.
Whether this is starts actual last show remains to be seen. Strait hasn’t said there won’t be any more concerts, just that he’s quitting touring. Odds are he’ll play the occasional gig in the Lone Star state. He’ll probably return to AT&T Stadium in April 2015 for the 50th anniversary Academy of Country Music Awards. That would be just. As far as music events AT&T Stadium is from now on Strait’s house.
Though not exactly a cowboy’s swan song it was one hell of close to a chapter of one of country music’s greats.
Check Yes or No
A Fire I Can’t Put Out
Lovebug (George Jones cover) (with Vince Gill)
Does Fort Worth Ever Cross Your Mind (with Vince Gill)
River of Love
Lead On
Fool Hearted Memory (with Jason Aldean)
Nobody In His Right Mind Would’ve Left Her (with Jason Aldean)
Arkansas Dave (with Bubba Strait)
I Saw God Today
Cowboys Like Us
(with Eric Church)
Easy Come, Easy Go (with Eric Church)
That’s What Breaking Hearts Do
Marina Del Rey
Here for a Good Time (with Sheryl Crow)
When Did You Stop Loving Me (with Sheryl Crow)
I Can Still Make Cheyenne
Drinkin’ Man
Jackson (Billy Edd Wheeler cover with Martina McBride)
Golden Ring (George Jones & Tammy Wynette cover with Martina McBride)
Give It Away
I Got a Car
A Showman’s Life
(with Faith Hill)
Let’s Fall to Pieces Together
(with Faith Hill)
I Believe
Blame It On Mexico
Amarillo By Morning (with Alan Jackson)
Murder on Music Row (with Alan Jackson)
The Chair
Give It All We Got Tonight
How ‘Bout Them Cowgirls (with Miranda Lambert)
Run (with Miranda Lambert)
You Look So Good in Love
I’ll Always Remember You
Ocean Front Property (with Kenny Chesney)
The Fireman (with Kenny Chesney)
Troubadour
Unwound
Encore:
All My Ex’s Live in Texas (with Gill, Aldean, Church, Crow, McBride, Hill, Jackson, Lambert, Chesney, and Ray Benson of AATW)
Folsom Prison Blues (Johnny Cash cover) (with Gill, Aldean, Church, Crow, McBride, Hill, Jackson, Lambert, Chesney, and Ray Benson of AATW)
The Cowboy Rides Away
