Long-time roots-revivalist William Elliott Whitmore is set to release his eighth studio full-length album ‘I’m With You’ on October 16. ‘I’m With You.’ on Bloodshot Records. This will be his first release of original material since 2015’s ‘Radium Death.’
The first single “My Mind Can Be Cruel to Me,†the video is below
Whitmore said of “My Mind Can Be Cruel to Me:â€
“The song “My Mind is Cruel to Me†is about perception. Our memories and thoughts can be torturous at times. Mark Twain called it the “devil’s race trackâ€, when a line of thought and worry goes around and around in a circle inside our brains. Is the mind a separate entity from the body? At what point does it feel as though our brains are actually betraying us?”
“Human beings are a complicated animal, and with that comes complicated emotions, fears, and habits. This video is meant to show that. Are the other band members real or not? It’s hard to remember, but I swear they were breathing and talking when we filmed it. The bass player, my friend Wolfina, kept messing up takes. I’m pretty sure I’m recalling that correctly. The guitar player, Patsy Decline, was trying to mimic the pedal steel part on her semi-hollow body electric. She did a great job I thought, really captured the spirit. I’ll never forget the time we had, it’s good to be around friends.”
Sounds like just the song for these socially isolated times.
“I’m With You” track listing:
Put It to Use
Solar Flare
My Mind Can Be Cruel to Me
MK Ultra Blues
History
Everything We Need
Save Ourselves
I’m Here
Black Iowa Dirt
The ongoing COVID-19 pandemic has rolled the music industry keeping musicians from coming together together to create music and keeping musicians off the road and deriving them of a much-needed revenue source. Many have tackled the technical hurdles to stream performances to connect with fans and collect online tips and perhaps move a t-shirt or a slab of vinyl.
It follows that music festivals would follow much the same path. Americana Music Association’s AmericanaFest as a face-to-face event has been scrapped for their charitable and educational branch, the Americana Music Association Foundation, will hold a ‘Thriving Roots,’ a virtual festival complete with industry-focused panels and live-streamed performances.
Set for September 16th-18th the event will include guest speakers Jackson Browne, Mavis Staples,Brandi Carlile, Yola, Emmylou Harris, Ken Burns, Taj Mahal, Mary Gauthier, Rhiannon Giddens, T Bone Burnett, Rosanne Cash, and Black Pumas. Topics slated to be covered are representation, advocacy and staying true to your art, the healing qualities of music, and the business challenges and decisions faced by a developing artist.
The full agenda for ‘Thriving Roots’ will be announced in late August.
Early bird passes for conference registration are $99 and available now.
Some of my fondest memories of my 5 years in San Francisco was attending the Hardly Strictly Bluegrass roots music festival. The first weekend in October would roll around and me, my daughter and friends would pack blankets, food and plenty of water and head our to Golden Gate Park to witness some of American’s greatest legends and boldest newcomers perform under the Blue Gum Eucalyptus during a brief Indian Summer. And I could hardly believe the entire event was free! (Thank you, Warren Hellman!)
But times have changed and so must HSB.
Hardly Strictly Bluegrass is launching its new global and community-driven initiative “Let the Music Play On…” to bring the spirit of Hardly Strictly Bluegrass to backyards and living rooms all over the world with a global broadcast taking place the weekend of October 2nd. In compliance with safety concerns and California’s statewide mandate against large public gatherings, the festival will not be taking place in its traditional setting of Golden Gate Park.
The festival, which will celebrate its 20th anniversary this year, was founded by Warren Hellman on ten pillars: community, joy, creativity, collaboration, freedom, peace, love, respect, gratitude, and spirituality. It was Hellman’s gift to the City of San Francisco, offering a free outdoor festival in the historic Golden Gate Park that is a celebration of American roots music.
The October broadcast will feature new performances from the expansive range of Hardly Strictly Bluegrass artists that include first-time performers to legends of American Roots music, along with archival footage from the festival’s past two decades and memories from fans, performers, and staff and priceless gems from the festival’s rich history. The HSB community is what gives the festival life, so fans are encouraged to send their favorite memories via stories, videos, and photos to memories@hardlystrictlybluegrass.org. All contributions are welcome and appreciated, and will be considered for the broadcast in October.
“While we know we can’t replace the feeling of being together physically, the safety of our attendees, artists, volunteers, and staff are our highest priority and our team has been hard at work creating a vibrant broadcast in line with what attendees have come to expect from HSB: community, discovery, and the all-time best in roots music, †says festival advisor Mick Hellman. “We’re excited to share parts of HSB that aren’t feasible in a festival environment such as screening archival footage, sharing memories, and shining a spotlight on our non-profit partners.â€
This year the festival has launched Hardly Strictly Music Relief Fund: Bay Area, a $1.5M charitable initiative to support the local music community during the COVID-19 pandemic. American roots musicians living in San Francisco, Alameda, Contra Costa, Marin, San Mateo, and Sonoma Counties are invited to apply for one-time, unrestricted support grants up to $2,000. The fund is also open to Bay Area music venues with a track record of presenting and supporting roots music of all kinds. Venues are encouraged to nominate themselves for the grant opportunity. From those nominations, a select number of venues will be invited to submit a formal application for up to $200,000 in grant funding for operating expenses, capacity building, or planning related to reopening, and must include funds dedicated to front-of-house and back-of-house staff.
On Monday, July 20th, a form letter was sent out to all artists currently signed to the independent Chicago-based music label Bloodshot Records that the the label is currently up for sale due to ongoing conflict with co-owners Nan Washaw and Rob Miller. This conflict has spilled over into artists and songwriters reimbursement.
Bloodshot artist Jason Hawk Harris posted today on his Facebook page some behind the scenes details:
‘Hey folks. Nan Warshaw is forcing the sale of Bloodshot Records and withholding money owed to artists. Sharing this is my decision in full and I was not prompted to do so by anyone in the Bloodshot camp.
The statement below (scroll down to read the internal statement)h was sent to all current roster artists yesterday by the non-ownership staff at Bloodshot. PLEASE read the letter below for full context before commenting.
I want to be ABSOLUTELY CLEAR and say that my problem is NOT with bloodshot. It is with the other part-owner (Warshaw), holding the company hostage after she was rightfully forced-out for choosing to protect a sexual predator over the artist he preyed on.
Rob and the staff at bloodshot have done nothing but fight for me, tooth and nail, since I signed with them a year and a half ago. I thought hard about sharing this, but ultimately decided I was not okay with Nan not having to face this publicly.
This is the crop reaped from the seeds sown by sexual assault. Take it very seriously, and please hold the right people accountable. And do whatever you can to put a stop to this kind of bullshit in your own industry/workplace.”
Last year Bloodshot Records co-founder Nan Warshaw resigned from her position at the label following allegations of sexual misconduct made Bloodshot recording artist Lydia Loveless against Warshaw’s domestic partner, Mark Panick. Warshaw’s resignation was announced in a statement from the label, which reads, “co-founder Nan Warshaw is resigning from Bloodshot. Remaining co-founder Rob Miller, along with the entire highly dedicated staff, will continue the work of Bloodshot, while ensuring that the core values of the company are consistently represented by all associated w/ the label.”(see tweet)
Co-founder Nan Warshaw is resigning from Bloodshot. Remaining co-founder Rob Miller, along with the entire highly dedicated staff, will continue the work of Bloodshot, while ensuring that the core values of the company are consistently represented by all associated w/ the label.
Bloodshot Records was founded by Rob Miller and Nan Warshaw in 1993 as an “insurgent country†record label catering to the coutry roots loving younger fans that grew up on punk and looked for a fusion of the sounds. Bloodshot was home to many of the genre’s pioneers like Ryan Adams, Neko Case, The Waco Brothers, Scott H. Biram, Wayne “The Train†Hancock, The Old 97’s, The Meat Purveyors, Robbie Fulks and Justin Townes Earle, and currently has on it’s roster Sarah Shook and the Disarmers, Jason Hawk Harris, Ruby Boots, The Vandoliers, and others.
Guess word’s out why our album isn’t coming out in the fall…
Charlie Daniels singer, songwriter, bandleader, multi-instrumentalist, philanthropist and Country Music Hall of Fame member died Monday from hemorrhagic stroke in Nashville. He was 83 years old.
We all know about Daniels’ most famous for Grammy-winning cross-genre hit song “The Devil Went Down to Georgia,” from the 1979 Charlie Daniels Band album “Million Mile Reflections.” The song became even bigger with its inclusion on the soundtrack for the hit movie ‘Urban Cowboy,’ in which Daniels makes an onscreen appearance with his band playing along with the recorded song during the film’s dance contest scene.
Before making the leap into stardom Daniels was a Music Row session musician playing guitar, bass, mandolin and fiddle as needed for the session. often working for his friend, producer Bob Johnston whom he had befriended after meeting on the Ft. Worth club scene . Several of these Johnston-led sessions were for Bob Dylan albums during 1969 and 1970, most notably playing guitar and bass guitar on on Bob Dylan’s 1969 LP ‘Nashville Skyline’ which Danials told Billboard he almost wan’t included.
“They had built the nucleus of that studio band around him with the other two albums he had done in town, ‘Blonde On Blonde’ and ‘John Wesley Harding.’ But the guitarist they wanted [Wayne Moss] could not make the first session because he was already booked elsewhere. So Bob Johnston called me and got me to fill in for him, and Dylan liked what I was doing. I was getting ready to leave but he didn’t want me to leave and asked me to stick around and I wound up doing two more records with him in ‘Self Portrait’ and ‘New Morning.’ But it was happenstance that I was on those initial sessions for Nashville Skyline.”
Daniels inclusion in these sessions provided other opportunities outside of Country Music.
Producer Pete Drake convinced Ringo Starr to move his ‘Beaucoups of Blues’ sessions from the U.K. to Nashville by telling Starr that within a week Drake’s musician friends could produce more than an albums worth of material. Perhaps recalling those later Beatles recording sessions Ringo reportedly thought this was an ‘impossible’ feat and might have been swayed by witnessing the quickness of the sessions, which had been common for Nashville Country music sessions for years.
Daniels recalled the sessions as “pretty typical Nashville sessions. You know, three songs in three hours. It was go in, sit down and work. Here’s the songs, here’s the chords, let’s get it done. It was not a Beatles-type leisurely session. It was work.”
Starr, apparently convinced, said of the sessions, “We did the album in two nights. … I was only there three days recording. I’d learn five songs in the morning and I’d go and record five songs that night. It was really good.”
This led to the most unlikely gig in Daniels’ career, playing with Leonard Cohen.
Daniels recalled in his biography ‘Never Look At The Empty Seats.’ “When Bob Johnston brought Leonard Cohen to Nashville to record an album, I have to admit that I knew very little about him and was completely unfamiliar with his music.Leonard was a totally different kind of artist than any I had ever worked with. His music was sensitive and haunting, and the imagery of his lyrics was abstract and poetic, like a Georgia O’Keeffe painting. … When I first heard ‘Bird on the Wire,’ I didn’t know what to think. Here was a truly unique artist, and his songs were so delicate that one out-of-place guitar lick could bend it out of shape. When you worked with Leonard, you had to listen closely and get in sync with what he was trying to convey. You had to interpret it in the same musical frame he was operating in. Sometimes it only called for a well-placed note or two, sparse but meaningful. I know that sounds philosophical and stilted, but so was Leonard’s music. You needed to be in a certain frame of mind, and it was a challenging but satisfying experience.”
Following the release of the album, ‘Songs From A Room’ (1969), Cohen invited Daniels to join him on tour. “I was asked to be part of the backup band that would be called The Army. It was a different kind of band, mostly acoustical instruments with no drums. We needed to surround Leonard with delicate, genteel sounds. For a bang, slam, redline graduate of thirteen years of honky-tonk and rock and roll, it would be a learning experience.”
Daniels went on to help found the Southern Rock sound that then influenced bands like The Drive-By Truckers and Blackberry Smoke
Though the Americana and roots music community never really warmed up to Daniels, mainly due to his outspoken conservatism and the communities general liberal slant, in 2006 Charlie Daniels received the First Amendment Center / Americana Music Association “Spirit of Americana Free Speech Award” at the 5th Annual Americana Honors & Awards at the Ryman Auditorium ceremony.
Remember alt.country? The Old 97’s and their legions of fans worldwide haven’t. And those fans will be rewarded when the Dallas’ stalwarts deliver their 12th album, ‘Twelfth,’ on August 21st.
To drive home the title even further the cover features the most famous #12 of them all, the legendary Dallas Cowboys quarterback Roger Staubach airborne and in fine form.
The band began recording ‘Twelfth’ in Nashville’s Sputnik Sound Studio last spring, just as tornadoes ripped through the city as they watched from their rented condo.
Though The Old 97’s records and live performances are rollicking fun with a debauchery chaser, the new release will reflect singer and principal songwriter Rhett Miller’s newfound sobriety (five years this summer.) Though the topics might be more clear-eyed and focused if the newly releaseD cut ‘Turn Off The TV’ (see the Liam Lynch directed video below) is representative of the rest of the album, it’s still sure to be lots of fun.
‘Twelfth’ track list:
– Confessional Boxing
– Diamonds On Neptune
– I Like You Better
– Happy Hour
– Absence (What We’ve Got)
– Turn Off The TV
– This House Got Ghosts
– Why Don’t We Ever Say We’re Sorry
– Belmont Hotel
– Bottle Rocket Baby
– Our Year
– The Dropouts
Sometimes you just want to stretch out after a long days work and have a beer and daydream about simpler times. 24-year-old Canadian crooning cowboy Colter Wall writes and performs songs perfectly suited for such an activity. Now more songs of dusty trails and scenic Canadian locals are on the way when Wall releases his third album late this summer. “Western Swing & Waltzes and Other Punchy Songs” is slated for a August 28th release as the follow-up to his 2018 album “Songs of the Plains.”
Wall rounded up his hard-working touring band — Patrick Lyons (pedal steel, dobro, mandolin), Jake Groves (harmonica), Jason Simpson (bass), and Aaron Goodrich (drums); joined by Emily Gimble on piano and Doug Moreland on fiddle — and recorded and self-produced “Western Swing & Waltzes and Other Punchy Songs” at Adam Odor and David Percefull’s Yellow Dog Studio in Wimberley, Texas.
Ahead of the album’s release, Wall has shared a new song “Western Swing & Waltzes,†a more relatively upbeat offering than his past faire.
“Western Swing & Waltzes and Other Punchy Songs” Track listing:
1. Western Swing & Waltzes
2. I Ride An Old Paint/Leavin’ Cheyenne
3. Big Iron
4. Henry and Sam
5. Diamond Joe
6. High and Mighty
7. Talkin’ Prairie Boy
8. Cowpoke
9. Rocky Mountain Rangers
10. Houlihans at the Holiday Inn
How do you follow up o the biggest album of 1967? If you’re Bobbie Gentry you don’t sit on the impressive laurels born of her best-selling debut “Ode to Billie Joe”, which displaced the Beatles’ Sgt. Pepper’s Lonely Hearts Club Band from its 15-week reign at the top of the US Billboard Top LP’s chart. You release ‘The Delta Sweete,’ a concept album based on life in contemporary Deep South.
Released in February 1968, barely six months after Gentry’s debut LP, ‘The Delta Sweete’ may not have contained anything as career-defining as the song “Ode to Billie Joe,†but it represented a definite step forward in its musical ambition: A multi-faceted album, where each track blurred, dreamlike, into the next, the songs evoked the melancholy adolescent world of Gentry’s childhood in Chickasaw County while further deepening her fascination with loss, illusion and the often comic absurdity of the conventions of everyday life. Even the album’s name was pure Gentry, the “Sweete†in the title punning on both Gentry’s southern belle good looks (a pretty girl in the South might be referred to as a sweete) and the album’s musical song structure. The artwork also poetically evoked the music it contained, featuring a double exposure of a contemplative black and white image of Gentry in tight close-up, superimposed onto a color photo of a run-down shack taken on her grandparents’ farm where she grew up.
On July 31, Capitol/UMe will release an expanded edition of The ‘Delta Sweete’ on 2CD and deluxe 2LP vinyl. The expanded CD edition features a new stereo mix of the album (sourced directly from the original four-track and eight-track tapes) by Andrew Batt, the GRAMMY®-nominated producer/compiler behind The Girl From Chickasaw County, alongside the original mono mix making its debut on CD. There are a total of 10 bonus tracks to treasure, including a previously unreleased original demo, “The Way I Do,†and a special instrumental version of “Okolona River Bottom Band†featuring the great Shorty Rogers on bass trumpet. The deluxe vinyl is the first official repress of the album since 1972 and features the new stereo mix on LP1 and the 10 bonus tracks on LP2.
Listen to the unreleased “The Way I Do†below,
Austin, Texas, the self-professed “lLive Music Capital of the World” has announced “A Night For Austin,†a television and streaming event to raise money for the community of Austin in reaction to the closures and loss due to COVID-19 shutdowns. Produced by Luck Productions. “A Night For Austin†is the brainchild of Grammy legendary singer-songwriter Paul Simon and the two hour, commercial-free telethon-style broadcast will start at 8 pm Central on June 10th at anightforaustin.com and twitch.tv/luckreunion. The program will also air locally on CBS Austin (KEYE). A Night For Austin will be powered by Brightcove, the world’s leading video technology platform.
“The coronavirus has completely upended live music in Austin, which is why we must come together to support the industry that makes our city special. Austin Community Foundation is honored to work with Paul Simon to bring much-needed relief to those who rely on the music scene for their livelihood. The funds raised through A Night For Austin will go to nonprofit organizations equipped to help musicians, producers, venue owners, and others persevere through these difficult times,†said Mike Nellis, CEO of Austin Community Foundation.
Sturgill Simpson announced a free livestream concert in conjunction with nugs.tv that will take place fro an audience-less Ryman Auditorium inNashville. The show will take place this Friday, June 5 at 8 p.m. ET/5 p.m. PT.
Simpson will be “playing with a host of friends and musicians†at the famed venue including fiddler Stuart Duncan, bassist Mike Bub, mandolinist Sierra Hull, banjo player Scott Vestal, guitarists Tim O’Brien and Mark Howard and drummer Miles Miller. While livestream will be free, viewers are asked to donate to one of three charities picked by Sturgill. Those charities are the Special Forces Foundation, The Equity Alliance and Musicares COVID-19 Relief Fund.
