Music Review: Sturgill Simpson – “Metamodern Sounds in Country Music” – High Top Mountain Records

sturgill-simpson-metamodern

On his 1962 masterpiece “Modern Sounds in Country Music” Ray Charles’ broke cultural and racial boundaries, straddled styles, grew his audience and made the charts.

Sturgill Simpson’s newest release tips a hat to that release but “Metamodern Sounds in Country Music” but it doesn’t break any boundaries that weren’t broke decade ago.

Simpson does fight against the current thinking that what’s old is bad. This is not new. Gram Parson’s did it in the 60’s and 70’s and the entire Americana genre is built on that premise. But just as Charles’ classic engaged country music as a lens to take a broader cultural view Simpson uses 70’s country gold as a review mirror to remind us what cultural beauty we’ve squandered.

Music City has always raced towards the shiniest object to gain market share and fill pockets. It’s charter is not historic preservation but cash accumulation. But that history is rich and fertile ground in the mind of Simpson, a mindful disciple that spans history and style with authenticity and a crooked smile.

That richness can be heard, and felt, in the songwriting.

The record opens as an old-timer, billed as “Dood” Fraley, announces the title album and then echoes off into infinite space.

Sunny psychedelic “Turtles All The Way Down” opens with a “Gentle On My Mind” feel with a twist “I’ve seen Jesus play with flames in a lake a fire that I was sanding in” “There’s a gateway in our mind that leads somewhere out there beyond this plane / Where reptile aliens made of light cut you open and pull out all your pain.”

“Tear in my Beer” this ain’t.

Drug use and mind expansion is not new in country music. Way before Willie and Snoop sang “Roll Me Up and Smoke When I Die.” and Kacey Musgraves , Ashley Monroe and Brandy Clark hitched a ride on the current weed bandwagon Kris Kristofferson was smoking his mind in “Sunday Morning Coming Down” (which Simpson references in “Life of Sin”) and Johnny Cash went on a murderous jag in “Cocaine Blues.”

But Simpson reflects a humanity in the mind alterations that grounds it and makes it relatable to even the straightest arrow.

Humanity is often dark, and “Life of Sin” takes a page from the book of Bakersfield and tells a leavin’ tale taht leads to drinkin’ and debauchery that raves like an prairie dust storm.

“Living the Dream” is a laid-back, Waylon-tinged cold reality lament of the futility of performing as you contemplate futility and “sit around and wait to die.”

“Long White Line” is a love song to the open road as a path away from hurt. “The Promise” is the most poignant track on the album. Simpson conjures loneliness and yearning in his softly, almost spoken, delivery as plucked guitar, drums, bass and stings build.

As you can guess this is not the feel good album of the summer. it engage human themes once prevalent in country music, misery. But not in th meost recent emo vairty of the emotion. this is misery as enlightenment. Angst as discovery.

“It Ain’t all Flowers” is a flashback kick in the teeth with “Are You Experienced”-style backtracking before giving way to a slow groover that slithers and seethes Southern sou.

Simpson’s voice is an expressive instrument in itself as if pleads and growls keening into hard-edge shapes and the occasional howl “oooHooooooo!” The band is on par with the level of excellence you’d expect from a Sturgill Simpson release. Kevin Black on bass guitar, Miles Miller on drums/percussion and backing vocal, Mike Webb on keyboards and
Dave Cobb plays. classical guitar/percussion. The stand out is Laur Joamets from Tartu, Estonia ranks up there with the finest interpreters of teh guitar I’ve had th honer of hearing.

Simpson doesn’t care to be country music’s savior but he’s willing to interpret it to make some damn fine new music an d fans are coming in droves. There’s a hunger for it.
Is “Metamodern Sounds in Country Music” groundbreaking? No.and it doesn’t need to be. It just remind us there still some gold in that there High Top Mountain

Official site

five_rate

George Strait Sets Attendance Record While Keeping It Intimate

George Strait -  The Cowboy Rides Away

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

Elizabeth Cook: “Pale Blue Eyes” on David Letterman – 6/2/14 [VIDEO]

Elizabeth Cook: "Pale Blue Eyes"

Elizabeth Cook appeared on the Americana-friendly David Letterman Show last night to perform a song requested by Letterman himself. The song was a stirring, bluegrass-tinged version of the Velvet Underground classic “Pale Blue Eyes.” She premiered the song live on the Grand Old Opry last month.

Cook is quite the VU fan having covered the pivotal band on her “Balls” (“Sunday Morning”) and Gospel Plaw (Jesus) releases.

https://www.youtube.com/watch?v=25djW6ydgFc

Billy Joe Shaver To Release First Studio Album in Six Years “Long in the Tooth” August 5

billy joe shaver- Long In The Tooth

Attention all Outlaw Country fans. I mean the REAL deal type.

On August 5 the legendary Billy Joe Shaver will release Long in the Tooth on Lightning Rod Records. The album will be release just before his 75th birthday on August 16. Of the album Shaver says it’s “the best album I’ve ever done.”

“Each song is different with different beats and different kinds of music,” he says. “I even have one rap song. The titles are all so catchy like ‘It’s Hard to Be an Outlaw’ and ‘The Git Go.’ Those are pretty hard to beat. Songwriting is gut wrenching, but if you dig down and write real honest you’ll find something real great. I believe everybody should write. It’s the cheapest psychiatrist there is and, God knows, I still need one.”

“I’ve written a lot of great songs and I’m still writing great songs, but I felt neglected. I have been, actually. The reluctance to play old people’s music is as bad as it was to play young people’s music. I think it should level out where everyone can hear good art, but it seems like radio doesn’t play older people’s music. Man, it’s like throwing out the Mona Lisa. I don’t understand, but I’m just so proud of Long in the Tooth. This record will be a gigantic step.”

As lauded a songwriter as Shaver is, he needed some convincing by none other than Todd Snider into making Long in the Tooth. “I didn’t think I had another hope in the world of doing another studio album,” Shaver says. “Then Todd Snider encouraged me to come up to Nashville and I listened. I knew if I didn’t come out with new songs, it wouldn’t be right. I’ve promised hundreds of critics that I would. So, I just buckled down and got the new songs together. Sure enough, it turned out great.”

I’ve seen Shaver live a few times over the past few years and I’m here to tell you he’s lost none of his fire and wit.

Long in the Tooth. is produced by Ray Kennedy and Gary Nicholson, and features appearances by WIllie Nelson, Leon Russell, Tony Joe White, Shawn Camp, Jedd Hughes, Joel Guzman and others.

Rolling Stone premiered the Billy Joe Shaver and Willie Nelson duet, “Hard to Be an Outlaw” (hear it below) The song is both a nostalgic lament and a swipe at Music Row pop-country. “Some superstars now days get too far off the ground, They sing about the back roads that they’ve never even been down. They go and call it country but that’s not how it sounds. It’s enough to make renegade want to terrorize the town.”

It’s not much of a stretch to imagine the town these texans imagine terrorizing would be Nashville.

Listen Up! Hellbound Glory – “Small Township” – Interview with Leroy Virgil

hellbound10 copy

If anyone thought touring arenas with Kid Rock would dull Hellbound Glory’s country edge then “Small Township,” a boot-stomper from their upcoming “LV,” will render them mute.

It’s a stark take on the small-town life in hard times. Drugs, violence and desperation puts the trope often trotted out as a shortcut to wholesomeness on it’s ear.

Leroy Virgil of Hellbound Glory took time out of his busy schedule to answer some questions.

Twang Nation: Tell me about the new EP “LV.”

Leroy Virgil: I titled the album LV after my initials because most of it was recorded as a one-man band in the town I grew up in. I put a lot of myself onto the tape and I’ve never been more proud of any recording I’ve ever done. Call it my brand… my stamp of approval. The songs themselves are something like paragraphs in a story.

There is definitely a storyline. A beginning, a middle, and an end. The recording and the sounds that we got on tape are really something special and unique to this release. These songs, sonically, don’t sound like anything that I’ve released to date… but I won’t say I won’t revisit. I enjoyed the stripped down recording and Brian Smith captured something special in the mix.

TN: The record was recorded to analog tape at the Oceanside Recording Studio, but it’s being offered as a digital release only. Why? Are you trying to piss off Neil Young?

LV: The way we look at it, we’re taking advantage of the tools that are out there to get the new music in speakers as quickly as possible. This is the first release of a series… and I want them all to be special. That said; yeah, it’s a priority for me to release a physical copy, maybe vinyl eventually, but
it’s got to be special. It’s got to be right. We’ve got a busy year planned and a digital release right now makes the most sense and use of time. I’m putting the finishing touches on the second release
already.

TN: How have you changed as a songwriter through the history of Hellbound Glory?

LV: I don’t think I have actually. Not sure that a lot of folks know this but I’ve got about 3 or 4 albums worth of material ready to go. I just need the studio time! I guess I write what I write; sometimes funny, sometimes tragic, sometimes more serious songs. I just try not to push it and let the ideas develop.

TN: How have things changed for the band since playing arenas (opening for kid Rock)?

A: The work has become harder and we’ve made less money! It’s funny really, but in a good way. The Kid Rock tour gave me a wider perspective, a tour van, a booking agent and a chance to really focus on getting the Hellbound Glory business together.

TN: Many fans thought that tour would be your big break. Did it feel like it?

LV: Absolutely. Maybe not in the way some fans thought it might, but I never thought we’d do that tour and sell a million records in the first place. But yes, it was a big break and a very eye-opening experience that I learned a lot from. Not sure people understand this, but Kid Rock is a fan of independent country music, a music fan period, and I learned a lot just being out there. That eye-
opening experience… that IS the big break.

TN: What can fans look forward to on your upcoming tour?

LV: The tightest Hellbound Glory line-up I’ve ever had. Solid, Cohesive, Professional. A lot of new songs and I’m really focusing on my guitar playing. Call us a power trio. I’d like to add a steel player
one of these days… and have you ever heard Hellbound Glory with keys?

Buy LV

Americana Honors & Awards 2014 Nominees Announced – Rosanne Cash, Robert Ellis and Jason Isbell Lead The Way

americana music association

The nominees were announced today in Nashville by the Americana Music Association, and what a great list of talent it is!

Rosanne Cash, Robert Ellis and Jason Isbell each had three nominations in the same categories of Album of the Year, Artist of the Year and Song of the Year.

Cash, Ellis and Isbell are nominated for Artist of the Year, along with Rodney Crowell. Cash’s “A Feather’s Not a Bird,” Ellis’ “Only Lies” and Isbell’s “Cover Me Up” along with Patty Griffin’s “Ohio” are up for Song of the Year.

Cash’s album “The River and the Thread” is up for Album of the Year against Ellis’ “The Lights From the Chemical Plant,” Isbell’s “Southeastern” and Sarah Jarosz’s “Build Me Up From Bones.”

While watching the nomination event online on the Music City Roots Livestream Ellis chimed in from Houston As his name was called once, twice, three times he responded on the messaging thread with genuine surprise and humility “Wow!” “Thank you all!” he typed.

Rosanne Cash tweeted that she was “Thrilled!!” yo learn of her nominations.

The other Americana Honors & Awards categories, Lake Street Dive , the Avett Brothers, the Devil Makes Three, Hard Working Americans, and the Milk Carton Kids are up for Duo/Group of the Year. Hurray for the Riff Raff, Parker Millsap, St. Paul & the Broken Bones, Sturgill Simpson and Valerie June are in the vying for Emerging Act of the Year; and Larry Campbell, Buddy Miller, Fats Kaplin and Bryan Sutton are the nominees for Instrumentalist of the Year.

The awards will be handed out Sept. 17 at the Ryman Auditorium as part of the Americana Music Festival and Conference, happening Sept. 17-21 in Nashville. Jim Lauderdale will host the awards show, and Miller will lead the house an all-star band.

2014 AMERICANA HONORS & AWARDS NOMINEES

ALBUM OF THE YEAR
Build Me Up From Bones, Sarah Jarosz
The Lights From The Chemical Plant, Robert Ellis
The River And The Thread, Rosanne Cash
Southeastern, Jason Isbell

ARTIST OF THE YEAR
Rosanne Cash
Rodney Crowell
Robert Ellis
Jason Isbell

DUO/GROUP OF THE YEAR
The Avett Brothers
The Devil Makes Three
Hard Working Americans
Lake Street Dive
The Milk Carton Kids

SONG OF THE YEAR
“Cover Me Up”, Jason Isbell
“A Feather’s Not A Bird”, Rosanne Cash
“Ohio”, Patty Griffin
“Only Lies”, Robert Ellis

EMERGING ACT OF THE YEAR
Hurray For The Riff Raff
Parker Millsap
St. Paul & The Broken Bones
Sturgill Simpson
Valerie June

INSTRUMENTALIST OF THE YEAR
Larry Campbell
Fats Kaplin
Buddy Miller
Bryan Sutton

Shovels & Rope To Release Sophomore Album “Swimmin’ Time” August 26

Shovels and Rope - Swimmin Time

Great news Twangers. The pride of Charleston, South Carolina, Shovels & Rope (Cary Ann Hearst and Michael Trent) release their sophomore album Swimmin’ Time (Dualtone Music) on August 26.

Swimmin’ Time is the highly-anticipated follow up to the band’s 2012 breakthrough debut O’ Be Joyful, which garnered unanimous praise from the press, followed on the heels by dozens of sold out shows, national television appearances, numerous year-end lists (including mine) booming album sales and major festival performances like Newport Folk, Lollapalooza and Sasquatch. Topping at all off the band also took home two of the top honors, Song of the Year (“Birmingham”) and Emerging Artist of the Year at the 2013 Americana Music Awards.

They should have been nominated for a GRAMMY as well, but I digress….

Whereas a good deal of O’ Be Joyful was recorded on the road when time allowed, Swimmin’ Time was done at their home studio in Charleston, SC. Trent again producing. Swimmin’ Time features 13 new songs that “that maintain the elemental Shovels & Rope songwriting and sound while incorporating new ingredients to the mix. From the heady harmonies of “The Devil Is All Around” and the quirky “Mary Ann & One-Eyed Dan” to the epic beauty of “After The Storm” and the Waits-ian “Ohio” fans are sure to be pleased and pleasantly surprised by some of the chosen new paths and dark turns.”

Sounds cool. No?

Here’s a song that the band is doing on the road that will be on Swimmin’ Time

Watch Out! Hurray for the Riff Raff – Conan – April 29, 2014 [VIDEO]

Hurray for the Riff Raff -  Conan

Hurray for the Riff Raff made their late night TV debut on Conan. Alynda Lee Segarra , bedecked in a gilded Nudie-inspired suit is in fine form performing the Cajan-flavored “I Know It’s Wrong (But That’s Alright.)” there is also a wbsite only performance of “End of the Line.” Bothe songs are from HFTRR’s newest “Small Town Heroes” (ATO Records)

And if that wasn’t enough, look for the band to play David Letterman on June 26

https://www.youtube.com/watch?v=J1bfEOlsxdM

Watch Out! Sturgill Simpson – ‘Turtles All the Way Down’ [VIDEO]

Sturgill Simpson - 'Turtles All the Way Down'

The new Sturgill Simpson song ‘Turtles All the Way Down’ is like an “I’ve Been Everywhere Man” but with destinations of the mind instead of the lower 48. It’s the kind of psychedelic honky-tonk. Gram Parsons would approve.

“Marijuana, LSD, psilocybin, DMT…They all change the way I see, but love’s the only thing that ever saved my life.”

That’s a long, strange trip that ends up with the greatest of mind alterations.

Simpson will release his second album, “Metamodern Sounds in Country Music,” on his own High Top Mountain Records. “Turtles All the Way Down” is the first release.

“I would urge anyone that gets hung up on the song being about drugs to give another listen, To me ‘Turtles’ is about giving your heart to love and treating everyone with compassion and respect no matter what you do or don’t believe.” The song — which Simpson tells NPR was inspired by “theology, cosmology and breakthroughs in modern physics and their relationship to a few personal experiences I’ve had”

A psychedelic country song deserves to be represented by a psychedelic-inspired video. That’s exactly what director by Graham Uhelski has created. The words and visuals works to to further establish the Outlaw reputation which Simpson eschews (much like Waylon did)

The video description: “Through Dr. Rick Strassman and Andrew Stone at www.cottonwoodresearch.org I was introduced to visionary software artist Scott Draves, creator and founder of Electric Sheep, a form of raw synthetic consciousness communicated between sleeping computers. After some correspondence, Scott was gracious and generous enough to contribute to the project. I am very grateful for their collective assistance in helping me fully realize this vision.”

Check out the video below and see some crazy imagery. More importantly hear how country music can be modernized and evolve without being packaged into radio-friendly drivel.

Watch Out! Kelly Willis – “Harper Valley PTA” [VIDEO]

Kelly Willis - Harper Valley PTA
Kelly Willis – Harper Valley PTA

Way back in 2012 Kelly Willis asked her Twitter followers for cover ideas for an upcoming Austin gig coming up playing alongside her husband Bruce Robison. There were some great suggestions in response. I Tweeted “Harper Valley PTA” because I thought Willis’ style would fit it perfectly. it appears she agreed with me because that was the cover that she chose.

Fast-forward to today and Ms. Willis has released a wonderful video of “Harper Valley PTA.”
Her rendition of Tom T. Hall’s tale of a swinging 60’s single mom confronting small town hypocrisy was a sensation and made Jeannie C. Riley a star and a symbol of female empowerment on country radio.

Her version is excellent as are all things Willis lends her pipes to. I do like the extras little kick and swing added to the arrangement. And that organ!

Now did my tweet two years ago lead to the inclusion of this song Kelly Wills & Bruce Robison’s upcoming “Our Year?” I don’t know.

But I like to think it did.

Kelly Wills & Bruce Robison’s “Our Year,” the follow-up to the fantastic “Cheaters Game,” is due out May 27 on Thirty Tigers.