Category Archives: New Artists

2013 The Year in Americana and Roots Music

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Jason Isbell

2013 will go in the books as the year that Americana and roots settled comfortably into the mainstream. Kids are wearing dust-bowl duds and there is a brisk trade in acoustic guitars and banjos. Bands are taking a page from the Mumford, Avetts and Lumineers book of hand-crafted songs with rousing melodies just begging to be sung at live shows. It’s no longer a rustic throwback fad.

The genre grows more diverse, from folk-pop, Laurel Canyon rock, psych folk, hard-sore honky-tonk and everything that doesn’t neatly fit in other buckets. As genre defying as the music can be it all comes down to the only tis that matters, Great songwriting, evocative, absorbing narratives and memorable melodies that endures the ages.

But first you must find an audience.

ABC music row drama Nashville has done a fine job in highlighting great roots music, under the guidance T Bone Burnett , and now Buddy Miller, as well as classic country references and Americana and roots performer cameos. The show’s cutest stars (and real-life sisters,) Lennon and Maisy Stella, performed the Lumineers omnipresent top-40 hit hit “Hey Ho.” This gave the song an already bigger audience then it originally had. Is that possible?

This July Americana stalwarts Old Crow Medicine Show backed ex-Hootie & the Blowfish front man, and current country music star, Darius Rucker on Old Crow’s version of Bob Dylan’s “Wagon Wheel” at the Grand Ole Opry. The song was recorded with the band and included on his latest album resulting in one of his most popular singles as a solo artist and reaching number one on Billboard Hot Country Songs in its 12th week.

Old Crow Medicine Show then had the honor to be inducted into the Grand Ole Opry this fall by Opry members Dierks Bentley and Marty Stuart.

That’s not the only example of music row looking to Americana for material and a shot of inspiration. GRAMMY-winning singer Leann Rimes reached into the Americana well, and beyond her music row comfort zone, on her latest “ Spitfire.” She lends her extraordinary pipes to a searing version of Buddy Miler’s “Gasoline and Matches” in a duet with Rob Thomas. Country music chanteuse and Pistol Annie Ashley Monroe tapped legendary Texas singer-songwriter Guy Clark to collaborate on the title song on her latest “Like a Rose.”

If your looking for evidence of Americana’s mainstream presence you need go no further than SPIN’s list of 20 Best Country Albums of 2013 had Blake Shelton and Brad Paisley mixed with The Civil Wars (12), Jason Isbell (11) and Emmylou Harris and Rodney Crowell (9) Holly Williams (8) Sturgill Simpson (6) Cailtlin Rose (2).

Entertainment Weekly, the beacon of popular taste, counted a majority of Americana artists on their list of top country releases of 2013 with Jason Isbell and Lindi Ortega taking the number 1 and 2 spot respectively.

As in recent years I even had a hard time limiting myself to a top 10,15, 20+ on my Cream of the Crop – Twang Nation Top Americana and Roots Music Picks of 2013.

T Bone Burnett again joins forces with the Coen Brothers to contribute soundtrack stewardship to thier new 60’s neo-folk focused film. The soundtrack features old folk songs performed by Marcus Mumford , The Punch Brothers along with the film’s actors Oscar Isaac, Carey Mulligan , Adam Driver and Justin Timberlake, who might use his his work here to jump dart his desired foray into country music.

As the music advances it’s important that a music that celebrate the past honors those that came before. George Jones, the greatest voice in country music and the innovator, Ray Price were both lost to use this year.

We also lost “Cowboy” Jack Clement, As a record and movie producer, songwriter, performing and recording performer and studio engineer, Clement was responsible for for shaping American music in the 20th century.

Premier rock and country journalist Flippo, who documented much of the major changes in country music including the Outlaw movement and one of the original Outlaws Tompall Glaser, both left us in 2013.

Though gone they will boot be forgotten for their contribution to the rich and progressive music we love.

Here’s to the music we love and the performers that endure much to offer their craft to make this world just a little bit better, kinder and more interesting. Here’s to a community that still buys albums, t-shirts and packs local shows and helps these talented folks make music a career.

Here’s to the New Year.

Twang Nation Podcast Episode 17 – Amy Black, Jimbo Mathus , Jason Eady and Lucinda Williams

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Twang Nation Podcast

Step right up ladies and gents. What you have before you is the latest Twang Nation podcast with the latest and best of Americana and roots cuts.

It’s also the last podcast of 2013 and the last to be done exclusively in San Francisco. Number 18 will be a cross-country effort.

This episode has some gems from the ending year by an unlikely and excellent collaboration of Norah Jones and Billy Joe Armstrong doing Everly Brothers covers. There is also new cuts from Doug Balmain and Ocean Carolina.

There are also some choice cuts from upcoming releases by Jason Eady, Jimbo Mathus and a new live cut from the upcoming reissue of Lucinda Williams’ self-titled 1988 album.

I hope you like this episode of the Twang Nation Podcast. if you do tell a friend and let me know here at my site, Google+, Twitter or my Facebook.

Happy holidays and thanks to all of you for supporting great music! Remember band shirts and show tickets to shows make great gifts.

Dale Watson – A Real Country Song

1. Norah Jones and Billie Joe Armstrong – Song: “Long Time Gone ” – album: “Foreverly” Out now on Reprise Records
2. Doug Balmain – Song: “I’ll Lay Down in the Rain ” – album: “Troubled Mind” Out now Released Independently
3. Amy Black – Song: “Layin It Down ” – album: “This Is Home” Out now Released Independently
4. Grace & Tony – Song: “Layin It Down ” – album: “November ” Out now via Rock Ridge Music
5. Jason Eady – Song: “OK Whiskey” – album: ‘Daylight And Dark’ Out Jan 21
6. Lori McKenna – Song: “Take Me With You When You Go” – album: Massachusetts on 1-2-3-4-go records – out now
7. Ocean Carolina – Song: “Women and Wine” – album: “All The Way Home” Old Hand Records 1/14/14
8. Star Anna – Song: “Mean Kind of Love ” – album: “Go To Hell” Spark & Shine out now
9. Jimbo Mathus – Song: “Hawkeye Jordan” – album: “Dark Night of the Soul” Fat Possum Records out February 15.
10. Lucinda Williams – Song: “Something About What Happens When We Talk (Live at KCRW) ” – album: “Lucinda Williams,” to be released on January 14

Cream of the Crop – Twang Nation Top Americana and Roots Music Picks of 2013

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Twang Nation Best of 2013

As the last days of 2013 drop away the business-as-usual music industry remains bogged in a largely self-inflicted quagmire, but don’t tell musicians this. Industry gatekeepers and financial barriers are being overrun by people with a passion for the craft, and the talent and drive of a refusal to be denied. And we, dear reader, are richer because of it.

If there’s a theme to this year’s choices it’s that women are blazing a trail between Americana and mainstream country music. Lindi Ortega, Brandy Clark, Julie Roberts, Kelly Willis, Aoife O’Donovan and Valerie June might honing their craft from different angles, but a more than cursory listening shows they are making great contemporary music drawing from a common roots music well.

2013 was also a great year for what might be called “real country music.” However you define this vague term (Jimmie Rodgers? Willie? Garth?) you’ll find much of Country Music’s Golden Eras reflected in Brandy Clark, Dale Watson, Sturgill Simpson, Robbie Fulks as well as the mighty Son Volt, who released one of the best albums of their career with “Honky Tonk.”

Also the craft of songwriting and rich, engaging narrative is alive on Jason isbell’s best solo outing yet, Southeastern. Also on the veteran Guy Clark’s “My Favorite Picture of You” and relative newcomers John Moreland and John Murry.

2013 brought us some of the most creative and daring music in the Country, Americana and Roots fields and all indicators point to 2014 being even better with releases upcoming from Roseanne Cash , The Drive-By Truckers, Jason Eady, The Ben Miller Band and many more.

And in spite of T Bone Burnett’s advice to keep their art pure and unscathed by dirty, dirty self-promotion, these folks are out there hustling to breach popular consciousness.

I hope this list helps in some small way.

it was a challenge to keep the list to just 10, so again this year I surrendered to representing excellence over some arbitrary number.

Don’t see your favorite represented? Leave it in the comments and let’s spread the twang.

20. Austin Lucas – Stay Reckless – Nobody does pedal-to-metal roots-rock like Lucas. “Stay Reckless” elevates his song to a new level.

19. Aoife O’Donovan – Fossils [Yep Roc Records] – Alison Krauss covered O’Donovan’s song “Lay My Burden Down,” O’Donovan’s album is so good you might forget that.

18. John Murry – The Graceless Age [Evangeline Recording] Dark and engaging without veraing into bleak and self-pitying. John Murry makes feeling bad sound good.

17. Dale Watson – El Rancho Azul [Red House] Watson finds his hony-tonk sweet spot and does the Lone Star State proud.

16. Julie Roberts – Good Wine & Bad Decisions [Red River Entertaintment] – Music Row’s golden girl confronts set-backs and tragedy by creating the best album of her career.

15. Caitlin Rose – The Stand-In – [ATO Records] Rose deftly proves that “pop” doesn’t have to be bad.

14.5 – Will Hoge – Never Give In – Roots rock with a hook done right. [Cumberland Recordings]

14. Bruce Robison, Kelly Willis – Cheater’s Game [Preminum Records] – Austin’s Americana power couple delivers an engaging charmer.

13. Sarah Jarosz – Build Me Up from Bones [Sugar Hill Records] Jarosz songwriting, playing and vocals hit a new level and shw her to be already beyond her young years.

12.5. Daniel Romano – Come Cry With Me – had to slip in this neo-trad gem in response to the comment reminding me of it’s badassery. Yes, I do read the comments when I agree with them.

12. Robbie Fulks – Gone Away Backward [Bloodshot] Fulks creates an excellent, heartfelt bluegrass album sans his signature wink and smirk.

11. Valerie June – Pushin’ Against A Stone [Concord] Newcomer June fuses roots and soul and shows why she’s an Americana rising star.

10. Holly Williams – The Highway [Georgiana Records] – The songwriting on “The Highway” moves Williams out of anyones shadow.

9. Son Volt – Honky Tonk [Rounder Records] – Jay Farrar takes up the pedal steel and re-discovers Son Volt’s soul.

8. Lindi Ortega – Tin Star [Last Gang Records] Ortega’s exceptional “Tin Star” moves her into the realm of Queen of Americana music.

7. Hiss Golden Messenger – Haw [Paradise of Bachelors] M.C. Taylor continues to explore life and faith and stake new roots music territories.

6. Gurf Morlix – Gurf Morlix Finds the Present Tense [Rootball] A legendary songwriter/musician gets existential and rewards us with a fantastic body of work.

5,5. Shonna Tucker and Eye Candy: A Tell All [Sweet Nector] – I foolishly omitted this pop-roots-soul gem on first pass. I now remedy that grievous oversight.

5. Guy Clark – My Favorite Picture of You [Dualtone] A master still makes it look easy. It ain’t.

4.John Moreland – In The Throes [Last Chance Records] Moreland is an accomplished student of song craft and “In The Throes” moves him into the master class.

3. Sturgill Simpson – High Top Mountain [High Top Mountain] Reluctant savior of outlaw soul creates a masterpiece in spite of expectations.

2. Jason Isbell – Southeastern [Southeastern Records] – With an already accomplished body of work Isbell surpasses himself and creates a classic.

1. Brandy Clark – 12 Stories [Slate Creek Records] – It takes guts to refuse to be a cog in the Music Row machine and create an debut this daringly country.

Music Review: Brandy Clark’ – “12 Stories”

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Brandy-Clark - 12 Stories

The last few years there has been a quiet sea change in Music Row. The change toward song craft spearheaded by young women speaking to a larger audience of older country fans that prefer Kristofferson over Keith. And a younger audience that want to imagine themselves in the songs. All while adroitly straddling the worlds of rigid country music industry pressures and Americana free range creativity. Call them the anti-Taylors.

Add to this movement Brandy Clark’s debut, “12 Stories.” Clark has scrubbed behind the scenes for years spinning hits for contemporary female upstarts Miranda Lambert, as well as other music row heavy-hitters The Band Perry, Reba McEntire and, Darius Rucker.

As the title says, these are 12 co-penned gems of savvy working class narratives. Very much in the spirit of Kacey Musgraves’ newest, which Clark co-wrote several songs on. The daily struggles of a common life (the hazy groover “Pray to Jesus”) cheating and revenge (“Crazy Women,” “Stripes”) a new take on this medication nation (“Take A Little Pill”) and a bluegrass tinged herbal testament to the Book of Willie (“Get High.”) A Sunday morning, hymn-organ ode to Sunday morning and new beginnings (“Hungover.)

Clark’s tales of contemporary working class echoes those told by Cash, Haggard Dolly and Loretta decades ago. “12 Stories” reminds us of the poetry and emotion that Hank Sr. embodied and lays bare how great country music can still exist when an artist can resist country radio cliches.

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Music Review: John Murry: The Graceless Age [Evangeline Recording Co.]

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John Murry: The Graceless Age

John Murry’s life could have been a Southern tragedy penned by his second cousin William Faulkner. An addict who lost his wife. child, home and before cleaning up, almost his life. These harrowing experiences are reflected back darkly, but not bleakly, in “The Graceless Age.”

Murry’s brand of fuzzed-out pop-Americana take you through uncomfortable landscapes while not pushing to alienation. His emotional warble is reminiscent of Jay Farrar and Bruce Cockburn and it fits around the songs perfectly. The bittersweet kaleidoscope aesthetic Murry conjures recalls Elliot Smith’s introspective dark pop.

“California” is a menacing psychedelic ditty that that is hapless and hopeless as he tries to forget his ex in the city that won’t let him do it as sweet melody swirls with tense percussion and guitars. “Little Colored Balloons” recalls his near overdose “Off of 16th and Mission, i took an ambulance ride, they said I have died” as female backgrounds and piano and organ swell around his passionate build.

“Southern Sky” swings out with a xylophone (again, fuzzily) to tell a take of redemption through rebirth and renewal. “Things We Lost In The Fire,” starts simple enough with acoustic guitar and pedal steel to then crescendo into a pixies wave of wailing crunch guitar. .

The last words on The Graceless Age, sung in a dreamy falsetto, are “Maybe someday, some way.” It’s the perfect closing moment, as the guy who has suffered so much throughout the album drags himself out of the gutter to look to the stars. John Murry’s past may not be far behind, but his future as a songwriter and artist of major stature and authority is right now.

This is not an easy records, but it’s one Murry had to make and holds the characteristics of stark inevitability. this is the sound of a souls purged.

‘The Graceless Age’ might have saved Murry’s life. Is there any greater testament to music than that?

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Americana Music Awards Winners 2013

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Shovels and Rope Americana Awards

The Ryman Auditorium, the Mother Church of Country Music, was again a fit setting for the Americana Music Awards, kicking off a week-long Americana Music Conference. A ceremony that the evening’s MC, the incomparable Jim Lauderdale, set the tone by saying “The past matters, traditions matter, even when we explore ways to have those traditions extended and expanded.”

The night’s nominees and performers were on hand to offer proof and testimony of that reflective sentiment.

Charleston SC husband and wife duo Shovels & Rope took home two awards, Emerging Artist of the Year and Song of the Year. At the podium a notably choked-up Cary Ann Hearst said, “All we ever wanted to do was make music the rest of our lives and.…propel ourselves into a normal existence.’

Hearst could have been speaking for all the nominees, presenters and many in attendance this night.

An unannounced Delbert McClinton lead things off with Hank Williams’ classic “Hey, Good Lookin.’” His granddaughter Holly Williams , and daughter Jet Williams, accepted President’s Award for Hank Williams on the day after what would have been Hank’s 90th birthday. Holly said in acceptance , “Hank would be Americana if he was alive today.” She then performed a lovely rendition of “I’m So Lonesome I Could Cry” on the same stage her grandfather stood brining Opry crowds to their feet many years ago.

Emmylou Harris and Rodney Crowell won 2 awards for duo of the year and album of the year for their collaboration on Old Yellow Moon. The veteran performers used their time onstage to congratulate the other nominees, Harris’ ex-husband and longtime producer Brian Ahern, and reminisce about their 40-year friendship.

John Fullbright and Shovels & Rope reminded that there s new generation that is carryon on tradition and shaping it in unexpected and electrifying ways by bring the house down around the capacity.

Jim Lauderdale choked back emotion as he presented the Lifetime Achievement Award in Songwriting to his mentor, collaborator and Grateful Dead lyricist Robert Hunter. Hunter then played his first public performance in almost a decade by doing the Dead’s classic “Ripple.”

Austin was represented in great form by nominees Kelly Willis and Bruce Robison performing “Border Radio.” Richard Thompson folioed by performing “Good Things Happen To Bad People” from his Buddy Miller produced “Electric.”

The Black Keys’ Dan Auerbach presented the Lifetime Achievement Award for Performance to Louisiana’s JuJu master Dr. John. Auerbach recounted Dr. John’s extraordinary, and sometimes dangerous, career trajectory. “Songwriter, bandleader, hustler – the guy who found work for his friends when they needed it – A&R executive, keyboard player, a phenomenal guitarist”. Auerbach added that the John was: “A man whose music transcended race and cultural divides… A man who’s been in the right place at the wrong time and lived to write the songs.”

Auerbach then strapped on a guitar to accompany Dr John for ‘I Walk On Guilded Splinters’ from his 1968 debut album, ‘Gris-Gris’, accompanied by the house band of legendary session musicians, led by Buddy Miller and including Don Was, Larry Campbell, Marco Giovino, John Deaderick, Jim Hoke and the McCrary Sisters.

Emerging artists nominee John. JD McPherson followed this up with a spirited performance of his rockabilly hit “Northside Gal.”

The ABC Nashville television drama overlapped this night as Lennon and Maisy Stella covered The Lumineers “Ho, Hey!” much like they did on an episode the show itself.

Guitar interpretive master Ry Cooder presented Jack Emerson with the Lifetime Achievement Award for Executive by recounting his many ventures south of the border to chase unique music. Following was Old Crow Medicine Show, who the devious night had been inducted in to the Grand Ole Opry fold. Naturally they played “Wagon Wheel.” Actor Ed Helms presenting Old Crow with the Trailblazer Award in the form of a WW2 era Harmony guitar with the lyrics of “Wagon Wheel” written on it.

Nicki Bluhm and Sam Bush pleasantly surprised the crowd by announcing the 2013 Artist of the Year award for the Dwight Yoakam. In response to an audible disappointment from the audience that Yoakam was on tour and not in attendance.
Sam Bush accepted the award on Dwight’s behalf and that he wore the “tightest pants I have.”

This was followed by a performance from the golk-duo Milk Carton Kids then BBC Radio’s Bob Harris presented the Lifetime Achievement Award for Instrumentalist to Duane Eddy who then played his most famous instrumental, “Rebel Rouser.”

The Spirit of Americana Freedom of Speech award went to Stephen Stills, who played the Buffalo Springfield classic 60s anthem “For What It’s Worth” alongside fellow Buffalo Springfield member Richie Furay and guilt-slinger Kenny Wayne Shepherd.

Dr. John led the final song, with many of the performers – Emmylou Harris, Rodney Crowell, Buddy, Jim, Old Crow’s Ketch Secor, Rosanne Cash, The Civil Wars’ Joy Williams, Shovels & Rope, Billy Bragg and Aiofe O’Donovan united to sing Rodney’s “Leaving Louisiana in the Broad Daylight.”

Then it was out into the sultry Nashville night to attends various venue showcases where the future Americana Music Award winners would be perfecting their considerable craft for us fortunate enough to be here.

Listen the the Americana Music Awards Winners from the NPR archives.

Americana Music Honors & Awards 2013 Winners:

Album of the Year: “Old Yellow Moon,” Emmylou Harris & Rodney Crowell
Artist of the Year: Dwight Yoakam
Duo Group of the Year: Emmylou Harris & Rodney Crowell
Song of the Year: “Birmingham,” Shovels & Rope
Emerging Artist of the Year: Shovels & Rope
Instrumentalist of the year: Larry Campbell
Trailblazer Award: Old Crow Medicine Show
Spirit of Americana / Free Speech in Music Award co-presented by the Americana Music Association and the First Amendment Center: Stephen Stills
Lifetime Achievement for Instrumentalist: Duane Eddy
Lifetime Achievement Award for Executive: Chris Strachwitz
Lifetime Achievement for Performance: Dr. John
Lifetime Achievement Award for Songwriter: Robert Hunter
President’s Award: Hank Williams

Listen Up! The Ben Miller Band – “Get Right Church”

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ben-miller-band

Grit and Gospel are two elements you rarely hear together. But that what The Ben Miller Band’s “Get Right Church” has in spades.

The Joplin, Missouri trio blends swampy delta blues echoes of old-style mountain music into a blend they have christened “Ozark Stomp.” “Get Right Church” fits that bill as singer-songwriter Ben Miller’s bottleneck guitar serves as a response to his howls for salvation.

“Get Right Church” immediacy offers us a glimpse into the reported legendary live performances that have Miller (guitar and banjo) Scott Leeper (one-string washtub bass) and Doug Dicharry (drums, trombone, trumpet, mandolin, electric washboard and electric spoons +) wowing crowds across the nation since 2004. I look forward to seeing for myself next week at the Americana Festival and Conference in Nashville.

Their heated grit sounds caught the ears ZZ Top’s Reverend Billy Gibbons and he enlisted the band as the main support on their 2013 North American tour.

“Get Right Church” is from the band’s self-released 2012 album, “Heavy Load.” They will enter into the studio this fall to record their New West Records debut with producer Vance Powell(Jack White, Buddy Guy, Wanda Jackson, Willie Nelson and Kings of Leon.)

Buy Heavy Load


 
BEN MILLER BAND ON TOUR
September 18 – Fayetteville, AR @ Biker, Blues and BBQ Festival
September 27 – Springfield, IL @ Donnie’s Homespun *
September 28 – Tahlequah, OK @ Riverstomp Music Festival
October 4 – Fayetteville, AR @ Arkansas Music Pavilion +
October 6 – Gretna, LA @ Gretna Heritage Festival +
October 8 – San Antonio, TX @ Majestic Theatre +
October 9 – Austin, TX @ Austin City Limits Live at The Moody Theater +
October 15 – Midland, TX @ Wagner Noel PAC +
October 20 – Salina, KS @ Stiefel Theatre +
October 23 – Springfield, IL @ Sangamon Auditorium +
October 25 – Lima, OH @ Lima Civic Center +
November 13 – Rouen, FRA @ Le 106 ^
November 15 – Ostend, BEL @ De Grote Post ^
November 16 – Brussels, BEL @ Le Botanique ^
November 17 – Hamberg, GER @ The Stage Club ^
November 19 – Zurich, CH @ Moods ^
November 22 – Utrecht, NLD @ Tivoli ^
November 24 – Brighton, GBR @ The Haunt ^
November 25 – Bristol, GBR @ Thekla ^
November 26 – London, GBR @ Islington Assembly Hall ^
November 30 – Blue Springs, MO @ Trouser Mouse
December 21 – Blue Springs, MO @ Trouser Mouse
 
* With Los Lobos
+ With ZZ Top
^ With Valerie June

Watch Out! Kendl Winter – “Rosie” [VIDEO EXCLUSIVE]

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Kendl Winter

I’ve met very few people as talent and humble as Arkansas-native Kendl Winter. I chatted with her briefly before she performed live before a showing of the metaphysical country-music noir film “My Fool heart. (of which she furnished music for the soundtrack.) she held the audience in silence as her breathy keen and adroit banjo playing filled the old movie theater.

It was a treat that everyone should witness and enjoy.

On her new video for “Rosie,” off her new full-length “It Can Be Done,” Winter hurries across the a rugged terrain as the song perambulates pleasingly around driving drums and ebbing banjo.

Americana For All

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carolina chocolate drops

I’ve been kicking around the ideas to address Giovanni Russonello’s “Why Is a Music Genre Called ‘Americana’ So Overwhelmingly White and Male?” i heard my mom’s advice in m mind,
“just walk away from the stupid.” Part of it was my dad’s voice “Teach ’em a lesson.” i’ve decided to go with dad on this one.

Russonello’s piece frames the recent six-week “Americanarama” tour to argue that the tour’s roster, which included Bob Dylan, Wilco, My Morning Jacket and Ryan Bingham – represents a larger cultural exclusion rampant in the genre.

Setting aside the argument that the “Americanarama” bill does not really represent the contemporary Americana genres, let’s address the premise of “Overwhelmingly White and Male”

Early country, folk and bluegrass have generally appealed to a predominantly anglo audience. Partly because many of the songs are from European source material performed by mostly white people. The trend in these genres have mapped closely to the trends in American society in general and, as opportunities have arisen, woman and people of color have stepped up to represent their unique take on the music.

The difference is that Americana proper (and it’s cousin alt.country) have never been exclusionary.

It’s introduction into popular culture came in the 80’s as MTV gave us the L.A. cow punk band Lone Justice , featuring the gritty soul of Maria McKee, and their “Ways to be Wicked” and “Sheltered videos in rotation with Jason and the Scorchers and The Georgia Satellites on the 24- hour feed.

At the same time kd Lang and Roseanne Cash joined Steve Earle, Dwight Yoakam and Lyle Lovett in shaking up Nashville.

Soon after bands like The Meat Purveyoyers, Freakwater , Neko Case, Gillian Welch, the Cowboy Junkies, Hem, Tarnation – all bands prominently featuring female artists – laid the groundwork for Americana.

An allum of the watershed “O Brother where art thou” roster, Alison Krauss, has the enviable honor of having won the most Grammys by a female artist with twenty-seven (!)

Hardly the good-old boys club that article paints for the genre.

Then there’s this:

“… if an art form is going to name itself after this country, it should probably stop weatherproofing itself against America’s present-day developments. And it hardly seems like enough to say you’re carrying on the legacies of black gospel and blues if the performers and listeners venerating them are almost all white.”

The claim that Americana is “carrying on the legacies of black gospel and blues” is specious. True, some artist incorporate gospel and blues within their style, to say that Americana is carrying on the legacy of those sage musical genres is insulting to these thriving genres and their decades of practitioners.

And the argument that since the genre appeals to a particular segments of the population signifies that genre exclusion of others is ridiculous. Much of music is self-identity. If a segment of society don’t see themselves in the performers and their stories it follows that they wouldn’t be compelled to buy the music or attend the shows. Early hip-hop was a primarily African -American cultural phenomenon which has now transcended. As for as I know on one was accusing hip-hop of excluding anglos.

Just as people of color have taken different roads to Americana, and have contributed to it’s evolution. Los Lobos and Alejandro Escovedo bring a uniquely chicano take to the music. The Carolina Chocolate Drops and newcomer Valarie June have infused the genre with African-American string-band and folk-soul influences receptively.

Russonello places Dylan as the “the father of Americana” (I would argue Gram Parsons or Townes Van Zandt) and then points to the current shining light, Jason Isbell, as not heading the lessons of Dylan and providing anything “new.” The argument could be made that Dylan at the beginning of his career, as Isabell still is, brought nothing that hadn’t already been done by Guthrie and Seeger. Russonello then makes the case that “Music gets its power from a keen, contemporary perspective” and then “it feels facile to let this one strain of yellow-page nostalgia represent it.”

This is just lazy. Though the form, the music and singing styles harken back to a yesteryear , topics are either contemporary, like Isbell, Todd Snider and Steve Earle or dealing with the great human truths – love, hate, death – that transcend any time period.

Though the article does a serviceable job of tracing roots music’s trajectory thorough time, the conclusion shows a bias of the writer. Anything this white and male met be a conspiracy..

Americana does reflect an idealized notion of the the past (as Americans are prone to do,) but to confuse the predilections of subjective taste enjoyed by some as a kind of organized Jim Crow-style musical segregation insults a music and musicians that I celebrate daily. It also, ironically, displays a type of bigotry that all cultural forms must undergo some forced, artificial desegregation toward some imagined moral purity.

Let freedom twang!

Watch Out! Valerie June – “Workin’ Woman Blues” – David Letterman 8-21-13

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Valerie June - Workin' Woman Blues - David Letterman 8-21-13

David Letterman, and his music booker at the Late Show Sheryl Zilikson, continued their ongoing support of Americana and roots music by featuring the solo network TV debut of roots-soul singer/songwriter Valerie June.

Dave yuks it up with Paul Shaffer by playing off Valerie June’s surname by joking “I think she used to be married to Johnny Cash.” June plays along and confirms that it’s true.

Junes makes her debut a memorable one. Her performance “Workin’ Woman Blues” from her debut “Pushin’ Against a Stone” is riveting.

https://www.youtube.com/watch?v=PPp7w3fHr1U