The Most Influential Americana Album: Will the Circle Be Unbroken – The Nitty Gritty Dirt Band

Will-The-Circle-Be-Unbroken

When asked what album best symbolizes the dawn of the Americana genre folks with a long memory, or a deep knowledge of music history, might choose The Band’s “Music from Big Pink.” Bob Dylan’s once touring band released their debut in 1968 to critical-acclaim but poor sales but later historical acclaim.

Others might select the more recent roots music foray into popular consciousness, the soundtrack to “O Brother, Where Art Thou?” The Coen Brother’s Depression-era, satirical ode to Homer’s Odyssey provided the perfect format for singer/songwriter/producer T Bone Burnett to weld his sepia alchemy. Burnett gathered bygone era bluegrass, country, gospel, blues, and folk music and shaped a platinum-selling, Grammy-winning soundtrack that payed more than a backdrop, but played more of a sonic companion to the film/

And then someone might choose any one of Gram Parson’s solo works as well as his work with The Byrds, the Flying Burrito Brothers and International Submarine Band.

All the above are exemplary works of cross-genre efforts that laid the groundwork for this mutt genre we call Americana.

My choice would be Nitty Gritty Dirt Band’s “Will the Circle be Unbroken.”

The Nitty Gritty Dirt Band was founded just south of Los Angeles, in Long Beach, California, by singer-guitarist Jeff Hanna and singer-songwriter guitarist Bruce Kunke. The two performed together in local bands and neighborhood jam sessions brought guitarist/washtub bassist Ralph Barr, guitarist-clarinetist Les Thompson, harmonicist and jug player Jimmie Fadden and guitarist-vocalist Jackson Browne. After a few months Jackson left for a solo career and was replaced by John McEuen.

After some moderate early career success the band their fourth album, “Uncle Charlie & His Dog Teddy,”in 1970. The album leaned more on a traditional country and bluegrass sound, and yelled the band’s best-sellng and best-known single, a cover version of Jerry Jeff Walker’s “Mr. Bojangles.”

During a Boulder Colorado jam session, involving none other than Earle Scruggs and his band, the idea was hatched to head to Nashville to record with some of the living legends of country music. Soon after, the scruffy long-haired California band arrived in conservative to Nashville to collaborate on the album later known as “Will the Circle be Unbroken.” With Scruggs help the the band recruited Roy Acuff, Jimmy Martin, Pete “Oswald” Kirby, Norman Blake and Mother Maybelle Carter.

The performances have a feeling of ease and informality , much like the jam sessions that led to their creation. Some of the greatest songs to music history by Hank Williams (“I Saw the Light,” Honky Tonkin’,” “Honky Tonk Blues”) Jimmie Skinner (“You Don’t Know My Mind,”) as well as compositions by the performers themselves and well-known traditionals.

All the tracks on the album was recorded on the first or second take straight to two-track masters.As great as the music is another tape that ran during the sessions captured the colorful, enlightening, and after hilarious, dialog between the performers.

Before breaking into his “The Precious Jewel,” Roy Acuff confides to his accompanying musicians his “Secret of his policy in the studio.” “Whenever you once decide you’re going to record a number put everything you’ve got into it, because..Don’t say “Oh we’ll take it over and do it again.” because every time you go through it you lose a little something….let’s do it the first time and to hell with the rest of them”

The band then goes on to take his advice and nails the rollicking weeper in one take

The band egg each other on. kid around and discuss song arrangements and origins. Then there’s one-of-a-kind moments like the first meeting of folk legend Doc Watson and the equally legendary Merle Travis, after whom Doc Watson’s son, Merle, was named.

The album was nominated for two 1973 Grammy awards including Best Country & Western Vocal Performance – Duo Or Group for the A.P. Carter title song. More importantly it bridged generations across geography, culture and politics and laid the groundwork for the music that reminds us of our shared heritage and nourishes our souls

Record Review – Hank III – Damn Right, Rebel Proud (Sidewalk Records)

There’s a lot of things you can say about Shelton Hank Williams III, he’s profane, his lyrics are simplistic, he advocates substance abuse and a destructive lifestyle – my money would be that he would look you in the eye, give you smile and spit on your shoes.

The newest release by Hank III “Damn Right, Rebel Proud” follows the same breakneck path his last album “Straight to Hell” took us. Barrels of whiskey, bales of pot, cocaine, scraped knuckles, black eyes and gratuitous hell raising are the order of the day. And if it’s too loud (or fast) get the hell off the road.
The album wastes no time bolting from the chute with the arm jerker “The Grand Ole Opry (Ain’t So Grand)” which could be considered the rallying song for the “Reinstate Hank” campaign which Hank III

Hank Williams III

spearheads. The tune levels a bead at the beloved Nashville institution for keeping Hank III’s grandfather, Hank Sr. off it’s membership (though he was the first performer to receive six encores at the Opry, in August, in 1942, the Opry’s WSFA fired him due to “habitual drunkenness.” Despite this firing the Opry continues to use the name and likeness of Hank Williams Sr. in promotional materials.) Name checking Johnny Cash, Johnny Paycheck, Waylon Jennings, Jimmy Martin, and III’s daddy, Hank Jr. (aka Bocephus)  III leaves no one wondering where he comes down on the issue.

The songs cover the familiar country music terrain of hard living and wild times – “Wild & Free,” “Me & My Friends,” and the honky-tonk moshers “Six Pack Of Beer” and “Long Hails & Close Calls,” the latter’s spirit owes as much to thrash metal (III played bass with Superjoint Ritual, a New Orleans metal band formed by Pantera vocalist Phil Anselmo) as it does Bill Monroe.

But it’s not all raising hell, fun and guns. Hank III is man that makes no apologies for his life choices and celebrates the causalities left in his Knowing this makes songs like “I Wish I Knew,” a stand lament for a lost love and the choices made that drove her away, along with “Candidate For Suicide” and “Stoned And Alone” all show III moving toward more reflective themes and a broadening his narratives and, yes, show he’s getting older.

III’s voice has always had a haunting, keening quality that harkins back to his grandad and skipped over his daddy’s baritone delivery. The whole package is perfectly held together by III’s passion and the crack band, especially Andy Gibson on steel guitar and Dobro and Johnny Hiland on lead guitar, which leaves most country, as well as punk and metal bands, in the dust.

iTunes has “Damn Right, Rebel Proud” classified under rock (It’s now been moved under the country music section), maybe it’s all the profanity that runs through the album that got it booted to another area. This release is just as deserving of the country music moniker as the pop-country fodder – Kenny, Toby, Carrie and Taylor – glutting the country section of iTunes country music section. For spirit alone it’s more deserving than most of what is found in any online classification, on the mainstream radio country charts and the mainstream country music industry at large (III;s label, Curb Records, declined to put their name on it, instead reviving the Sidewalk Records imprint to keep a safe distance from it.) Seems Hank III, like his legendary Granddad before him, is seen as a black sheep. Here’s to the rebels.

Hank III – “The Grand Ole Opry (Ain’t So Grand)”

[youtube]http://www.youtube.com/watch?v=mfgLw617EXc[/youtube]