Tag Archives: Lone Justice

Record Store Day 2019 – Americana and Roots Music Picks

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Spring has sprung and for some antiquated reason we lose an hour of sleep, pollen lays waste to the weakest among us, people lay in fields Of bluebonnets just begging for a snake bite and the smell of vinyl hangs heavy in the air.

You might very well be asking yourself “Did I just read that right? Vinyl?”

Yes, indeed you did.

This Saturday, April 13th, is Record Store Day. That time when you drag your dead ass out of bed at the crack of dawn to stand in a line for the chance to score some choice limited-run vinyl.

The DIY movement that nearly single-handedly resuscitated a near-dead medium. New releases, obscure releases, long out-of-print re-releases, picture discs, colored discs, die-cut discs…it’s all there for a sometimes hefty price. But it’s cheaper than buying it later on eBay for 3-times the original price.

Here are a few Americana and Roots music nuggets from the list (see the full list here)

Highlights include Woody Guthrie’s first time on vinyl limited-edition 10″ “I Don’t Like The Way This World’s A-Treatin’ Me,” John and Lilly Hiatt song swap limited-edition color 7″ vinyl “You Must Go! / All Kinds Of People” and Lone Justice’s previously unreleased live performance from October 1983 at the historic live County music venue “Live at the Palomino.”

So, get to your favorite indy record early on April 13th (I’ll be at Good Records in Dallas) and share those great finds with me on Instagram and Twitter.


Allman Brothers Band – Bear’s Sonic Journals: Fillmore East. February 1970
Label: Allman Brothers Band Recording Company
Quantity: 1500
Release type: ‘RSD First’ Release
A live recording compilation drawn from three nights of shows in February 1970. Recorded by legendary Grateful Dead soundman Owsley Stanley. This special Record Store Day package includes a limited edition, numbered glow-in-the-dark poster.

In Memory of Elizabeth Reed/Hoochie Coochie Man/Stateboro Blues/Trouble No More/Outskirts of Town/Whipping Post/Mountain Jam

Bob Dylan Blood On The Tracks — Original New York Test Pressing
Label: Legacy
Quantity: 7500
Release type: RSD Exclusive Release
Months before Bob Dylan released Blood On The Tracks in early 1975, a small number of test pressings were circulated, consisting entirely of material from sessions at A&R Recording Studios in New York City. (Dylan re-recorded five of these tracks in Minneapolis for inclusion on the final album.) Those original records were soon bootlegged, and the alternate history of one of Dylan’s most acclaimed works was born. This LP is an exact duplicate of the test pressing, containing unique mixes from the New York session, available commercially for the first time.

Side One: 1. Tangled Up In Blue 2. Simple Twist of Fate 3. You’re a Big Girl Now 4. Idiot Wind 5. You’re Gonna Make Me Lonesome When You Go Side Two: 1. Meet Me In The Morning 2. Lily, Rosemary and the Jack of Hearts 3. If You See Her, Say Hello 4. Shelter from the Storm 5. Buckets of Rain

Steve Earle – El Coyote / Don’t Let The Sunshine Fool You
Label: New West Records
Quantity: 900
Release type: ‘RSD First’ Release
Steve Earle & The Dukes release their latest album, GUY on March 29.. The band holed up in Nashville and recorded the record over a six-day period. They came out those sessions with 16 songs featuring some of Guy Clarks most well known hits such as “Desperados Waiting For A Train”, “LA Freeway” and “Dublin Blues.” Steve Earle then decided to book a solo recording session with the intention of recording two more Guy Clark songs specifically for independent retail and Record Store Day. New West Records and Steve Earle are proud to present his solo recordings of “El Coyote” and “Don’t Let The Sunshine Fool You” pressed on a limited edition 7″ 45rpm record.

A – El Coyote / B – Don’t Let The Sunshine Fool You

Woody Guthrie – I Don’t Like The Way This World’s A-Treatin’ Me
Label: Omnivore Recordings
Quantity: 1500
Release type: ‘RSD First’ Release
In 1952, Guthrie wrote and recorded a song at home titled “I Don’t Like The Way This World’s A-Treatin’ Me.” The track appears on vinyl for the first time on a limited edition 10″ of the same name for Record Store Day 2019. Also found on this special release is a second version of the demo with new accompaniment from Wilco’s Jeff Tweedy, who, along with Billy Bragg and Wilco, released a series of acclaimed albums featuring their interpretations of unearthed Guthrie lyrics. Mermaid Avenue, the first in the series, was nominated for a Grammy® in 2000.

If those two tracks weren’t enough, I Don’t Like The Way This World’s A-Treatin’ Me includes two versions of “Beech Haven Ain’t My Home” (a.k.a. “Old Man Trump”), whose lyrics were discovered within the Woody Guthrie Archives and chronicle the time the Guthrie family lived under landlord Fred Trump. As two drafts of the lyrics exist, the Riot-Folk Musician’s Collective’s Ryan Harvey combined them. This release contains a version by Harvey featuring Ani DiFranco and Tom Morello (Rage Against the Machine/Audioslave), and another from Irion’s band U.S. Elevator.

Available exclusively for Record Store Day as a 10″ EP, I Don’t Like The Way This World’s A-Treatin’ Me is not only a historic but a musical document, released in conjunction and with full cooperation from the Woody Guthrie Archives. As stated in the album’s notes: “These songs were mostly written well over half a century ago, but they are songs for our times to be sure.”

It is truly time for this music to be heard.

Side One:
I Don’t Like The Way This World’s A-Treatin’ Me (1952 Home Demo) – Woody Guthrie
Old Man Trump – Ryan Harvey feat. Ani DiFranco & Tom Morello

Side Two:
I Don’t Like The Way This World’s A-Treatin’ Me – Woody Guthrie & Jeff Tweedy
Beech Haven Ain’t My Home (aka Old Man Trump) – U.S. Elevator

Emmylou Harris – The Studio Albums 1980-83
Format: 5 x LP
Label: Warner Bros
Quantity: 1000
Release type: ‘RSD First’ Release

John & Lilly Hiatt
You Must Go! / All Kinds Of People

Label: New West Records
Quantity: 450
Release type: ‘RSD First’ Release
Lilly Hiatt is the critically acclaimed daughter of singer-songwriter legend, John Hiatt. In the fall of 2018 they got together to record a version of one anothers songs. John Hiatt covered, “All Kinds Of People” from Lilly’s heavily praised album, “Trinity Lane.” Lilly took on the daunting task of picking a song from John’s vast catalog. She picked a winner with “You Must Go” from John Hiatt’s 1995 release, “Walk On.” Together these songs are pressed onto a limited edition color vinyl 7″.

SIDE A: You Must Go! SIDE B: All Kinds Of People

Lone Justice – Live at the Palomino
Label: Omnivore Recordings
Quantity: 1700
Release type: ‘RSD First’ Release
MORE INFO
Previously unissued live performance from October 1983 recorded at Los Angeles’ iconic Palomino club. Features 12 tracks from the early Lone Justice line-up consisting of Maria McKee, Ryan Hedgecock, Marvin Etzioni, and Don Willens. Songs from their yet to be issued debut are coupled with classic country covers, and songs which have appeared on various collections throughout the years—but never with this live power from this L.A. landmark.

You Are The Light
Drugstore Cowboy
How Lonesome Life Has Been
The Train
Dustbowl Depression Time
Cotton Belt
This World Is Not My Home (I’m Just A Passin’ Through)
I See It
Working Man’s Blues
The Grapes Of Wrath
Working Late
Jackson

The Mavericks / Sweet Lizzy Project
The Flower’s In The Seed
Label: Y&T Music /Mono Mundo
Quantity: 1500
Release type: RSD Exclusive Release
MORE INFO
A split 7” featuring Grammy-winning band The Mavericks on one side and The Sweet Lizzy Project on the other. The Sweet Lizzy Project is a new band from Havana, Cuba signed to the Mavericks’ new label. Both sides are produced by The Mavericks’ Raul Malo.

Mumford & Sons – Delta Acoustic Sessions | Live From Electric Lady
Format: 10″ Picture Disc
Label: Glassnote
Quantity: 3500
Release type: RSD Exclusive Release

“Delta Acoustic Sessions | Live From Electric Lady” features previously unheard acoustic recordings of four tracks from last year’s acclaimed album, “Delta”, pressed on a special 10″ Picture Disc.

SIDE A WOMAN GUIDING LIGHT
SIDE B WILD HEART IF I SAY

Leann Rimes – Live from Gruene Hall
Label: Everle Records
Quantity: 1000
Release type: ‘RSD First’ Release
MORE INFO
1. Pride and Joy 2. You Never Even Call Me By Name 3. San Antonio Rose 4. Wasted Days and Wasted Nights 5. Wonderwall 6. Nothing Better To Do 7. Blue 8. Streets of Bakersfield 9. The Bottle Let Me Down 10. Always On My Mind

Leon Russell – Live at Gilley’s
Label: Varese
Quantity: 1350
Release type: RSD Exclusive Release
Leon Live was recorded on September 17, 1981, at the world-famous Gilley’s nightclub in Pasadena, Texas, with his New Grass Revival Band. Leon was in prime shape and the band was on fire that night. The album includes excellent versions of “One More Love Song” (the steel guitar gives the song a new twist), “Cajun Love Song,” and the show-stopping bluegrass tune, “Uncle Pen.” The release also features the Leon classics “A Song For You” and “Lady Blue.”

Record Store Day Black Friday 2018 Americana and Roots Recommendations

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Record Store Day's Black Friday

Just as the weather turns crisp and the Halloween candy gluts the store isles you know that Record Store Day Black Friday event is right around the corner. The event, that results in indy record store around the world making a good chunk of their yearly take, has been expanded to take place over two days, Black Friday (November 23) and Small Business Saturday (November 24).

Among the vinyl delights offered is a Legacy Edition of The Byrds – landmark “Sweetheart of the Rodeo” with lots of goodies to top off the album’s 50th anniversary. Also offered is Lone Justice – The Western Tapes 1983, early Marvin Etzioni produced demos of these alt.country pioneers.

Check the full list at the Record Store Day site. I’ll be buying a stack from the good people at Dallas’ own Good Records. Remember to tweet a pic of your bounty to my twitter account and I’ll share it with those foolish enough to stay home.

The Byrds – Sweetheart of the Rodeo (Legacy Edition) – 4 x LP

By the time Sweetheart Of The Rodeo was released in 1968, The Byrds had already changed the sound of rock music twice; from jangling folk-rock to experimental acid-rock, they constantly sought to push the boundaries of what rock music could be. The 1967 departure of David Crosby left a creative void filled quickly by country music-loving Gram Parsons, whose addition led Roger McGuinn, Chris Hillman and company to record an album comprised mostly of authentic country material in Nashville, with the aid of local session aces (including future Byrd Clarence White). For the first time on vinyl—and on the heels of a 50th anniversary tour of the album by original members McGuinn and Hillman—this Legacy Edition of Sweetheart Of The Rodeo showcases this country-rock masterpiece alongside 28 bonus tracks, including demos, outtakes, rehearsal versions and tracks by Parsons’ pre-Byrds outfit, The International Submarine Band.

Bobbie Gentry – Ode To Billie Joe – LP

Ode to Billie Joe is the 1967 classic debut album by singer-songwriter Bobbie Gentry. The album peaked at #1 on the Billboard charts, and was the album that displaced the Beatles’ Sgt. Pepper’s Lonely Hearts Club Band from its 15-week reign at the top. This deluxe 180g LP reissue on Elemental Music was cut and mastered by the renowned audiophile mastering engineer Kevin Gray direct from the original tapes, with packaging that includes all original artwork and liner notes.

SIDE A 01 Mississippi Delta (3:05) 02 I Saw An Angel Die (2:56) 03 Chickasaw County Child (2:45) 04 Sunday Best (2:50) 05 Niki Hoeky (2:45)
SIDE B 01 Papa, Woncha Let Me Go To Town With You (2:30) 02 Bugs (2:05) 03 Hurry, Tuesday Child (4:52) 04 Lazy Willie (2:36) 05 Ode To Billie Joe (4:15)

Robert Johnson – Cross Road Blues/Ramblin’ On My Mind – 10″ Vinyl

Eric Clapton is quoted as saying that “Robert Johnson to me is the most important blues musician who ever lived”. A special 2018 Black Friday offering of Robert Johnson’s iconic 1936 recordings of “Cross Road Blues” / “Ramblin’ On My Mind” reproduced on the Vocalion label with sleeve as a 10″ single.

Blind Lemon Jefferson – Black Snake Moan/Matchbox Blues – 10″ Vinyl

Blind Lemon Jefferson, “The Father of Texas Blues,” was the best-selling malevblues artist of the 1920’s, recording 92 sides for Paramount Records and one released 78 for Okeh Records: “Black Snake Moan / Matchbox Blues”. Jefferson produced an original, driving, unpredictably advanced guitar style and a distinctive booming high-pitched, two-octave voice that no one could imitate. Legends of his prowess as a bluesman abound among the musicians who heard him, and sightings of Jefferson in different regions of the United States are plentiful. B.B. King stated, “His touch is different from anybody on the guitar—still is. He was majestic and played just a regular little six-string guitar with a little round hole. It was unbelievable to hear him play. And the way he played with his rhythm patterns, he was way before his time, in my opinion. Blind Lemon was my idol.” A special 2018 Black Friday offering of Blind Lemon Jefferson’s 1927 Okeh recording of “Black Snake Moan” / “Matchbox Blues” is reproduced on the original label with an Okeh sleeve as a 10-inch 78 single.

Ray LaMontagne – Spotify Singles – 7″ Vinyl

Limited edition glow in the dark 7” vinyl of Ray LaMontagne’s Spotify Singles session recorded at Sound Stage Studios. Features live recordings of “Such A Simple Thing” and a cover of “Blue Canadian Rockies” originally performed by Gene Autry

“Such A Simple Thing” and “Blue Canadian Rockies” recorded at Sound Stage Studios Nashville

Lake Street Dive – Freak Yourself Out – LP

A new EP of five songs recorded during the Free Yourself Up sessions!
1. Daryl 2. Young Boy 3. Jameson 4. Angioplast 5. Who Do You Think You Are

Lone Justice – The Western Tapes 1983 – 12″ Vinyl

Musician and producer Marvin Etzioni first saw Maria McKee and Ryan Hedgecock in a club in 1982, playing George Jones and Hank Williams covers. He convinced them they needed original material. After working and writing, the band added Dave Harrington (bass) and Don Willens (drums), the band worked up material with Etzioni and cut 5 of the 6 tracks at the famed Record Plant. An earlier session provides the 6th track. The Western Tapes: 1983 exhibits the genesis of this highly-infl uential band. While the original demo version of “Drugstore Cowboy” has appeared on various compilations, the remainder of the other tracks from the sessions have remained in the can. Two of the tracks appear in their earliest demo form and wound up landing on the classic 1988 Lone Justice debut, “Working Late” and “Don’t Toss Us Away” (written by Maria’s half-brother, Bryan MacLean of the classic band, Love) which would eventually become a top 5 smash for Country superstar Patty Loveless. Released in conjunction with the band, the EP was mastered by Bernie Grundman (who also cut the 45 RPM lacquers). It’s a look into where they started and foretells where they would go.
As Etzioni (who would later join the band) says in his liner notes: “With countless hours together, it was a fun and innocent time. I believed we were creating a 21st century country band.”
They created much, much more. PLAY LOUD AT 45 RPM!

Side 1: 1. working late 2:45 2. don’t toss us away 4:29 3. drugstore cowboy 2:54
Side 2: 4. i see it 2:22 5. train song 2:55 6. how lonesome life has been 2:06

Kacey Musgraves – High Horse Remixes

High Horse Remixes (not available on any physical configuration)

SIDE A: High Horse (Kue Remix)- DJ Kue
SIDE B: High Horse (Violets Remix)- Violents

Hank Williams – The First Recordings, 1938 – 7″ Vinyl

The first EVER recordings made by the legendary Hank Williams. This Record Store Day Black Friday 7″ red vinyl single celebrates the 80th anniversary of their recording, and the labels duplicate the labels on the original acetate.

Side A “Fan It” (F. Jaxon) – Hank Williams
Side B “Alexander’s Ragtime Band” (I. Berlin) – Hank Williams & Pee Week Moultrie

Twang Nation 8th Anniversary Contest – Johnny Cash, Lone Justice , Gram Parsons

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Twang Nation 8th Birthday

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.

Johnny Cash album 'Out Among the Stars'

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.

Lone Justice

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?!

Gram Parsons - Alternate Takes from GP and Grievous Angel

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.

Contest: This Is Lone Justice: The Vaught Tapes – Omnivore Recordings

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Lone Justice

Lone Justice was the gateway band for much of the music that I have loved and written about over the years.

Maria McKee, Ryan Hedgecock, Marvin Etzioni, and Don Heffington helped define the term “Cowpunk in 80’s L.A. and were famous for their blistering live shows (which, alas, I never got a chance to see) The “Ways to Be Wicked” video entered the synth-gelled hair-florescent fray with unabashed roots-rock with McKee sporting her sultry sneer, garbed in vintage dress, and belting out the song of a jilted lover.

After only two excellent albums the band folded under label and internal pressures. McKee embarked on a successful solo career and Lone Justice helped shape the musical landscape forever.

Before it all LJ went into Suite 16 Studios in December of 1983 and recorded much of the set list they were packing Los Angeles area clubs with.

Recorded direct to 2-track tape by engineer David Vaught and with no overdubs, those twelve tracks can finally be heard in their entirety on “This Is Lone Justice: The Vaught Tapes, 1983.” As Billboard’s Chris Morris writes in his thoughtful liner notes, the release “offers the best representation of the band in its infancy—hot, full of piss and vinegar, and ready to take on the world.”

Nine of these twelve tracks are previously unissued, and include originals (including “Soap, Soup And Salvation”, which would appear on their Geffen debut two years later) to the covers they made their own in concert (Johnny Cash and June Carter (Cash)’s “Jackson” and “Nothing Can Stop My Loving You,” written by George Jones and Roger Miller.)

Available on CD and LP (with the first pressing on translucent red vinyl) by Omnivore Recordings, in addition to Morris’ liners, the package contains an essay from the band’s Ryan Hedgecock, as well as a remembrance of David Vaught from Marvin Etzioni and an loving endorsement from Dolly Parton. With unseen photos and memorabilia, this collection is what Lone Justice fans have been waiting for. This Is Lone Justice: The Vaught Tapes, 1983 takes us back to a time when music had an energy that was hard to contain.

For a chance to win a copy of red vinyl + digital download card just leave a comment below describing your favorite Lone Justice song and why or a memory from a show.

A winner will be chosen at random and will be announced on Sunday 2/23 at 12 Noon Central time.

Good luck pilgrim.

THE CONTEST IS NOW OVER. THANKS TO ALL WHO SHARED THEIR THOUGHTS.

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!

MUSIC REVIEW – Star Anna and the Laughing Dogs – The Only Thing That Matters (self-released)

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Remember that girl you met at the bowling alley? The one that chews gum, drinks several pitchers of beer, wears painted on jeans and tells you about French philosophy then winks at you as she gets strike after strike? She later on she goes and breaks your heart but you don’t care, you’re just glade to have been there to enjoy the time you had with her. No? Well Star Anna reminds me of that girl.

Well maybe not Star Anna personally but her music. It’s equal parts trashy Americana-laced rock mixed with sophisticated storytelling and charm that raises Anna and her  band, The Laughing Dogs, to the a gritty level of greatness. It’s a gazing at the starts from the gutter kind of thing…

All the above qualities are on display in the opener Sleep My Darling. A woman sings to her lover to leave the world behind and to take refuge in her arms. The gentle solo guitar gives way to full band and then all comes head before calm returns and is then is again ditched. With this aural bi-polarism I’m left wondering if the woman’s arms are a sanctuary or a prison, but the song is so good you know you’re going to stay either way.

Through the Winter slinks along with vibrant 70’s Byrds/Stones swagger. Anna’s delivery of personal lyrics make her at once confessional and defiant, vulnerable and brave. Hawks on a Pole booms like a Lone Justice or Melissa Etheridge rollicking rocker and Justin Davis’ guitar especially cooks here. Where I Come From is a lovely, yearning number that takes us back to a more honky-tonk feel that defined much of Anna’s first CD Crooked Path.

In this world of many drinking songs you can now add as one of the best Spinning My Wheels which features the great line “I’m just sitting here spinning my wheels, but I’m not drunk enough to feel like I’m free” Though more rocking like the great Country drinking songs it’s one part pining and three parts I don’t give a shit. Burn is a Pretenders style pop-punk gem, For Now and the dark tale of a serial killer Restless Water, show what Anna can do with a slow moving ballad, her singular voice breaks and swells with aching.

Aside from longing and lost love (or at least the opportunity thereof) if there is a theme to be picked up on The Only Thing That Matters it’s leaving. Nowhere is that more apparent on the Running Man. The languidly jazz tempo thrown down by Frank Johnson’s slinky bass and Travis Yost’s syncopated drums slowly builds and erupts into a declaration of dereliction.

The closer Tripping Wire was a 2AM solo guitar cut and Anna really shines on it. This is the voice that cut through all the previous rockers all but standing on it’s own and shining like a dusty, dark jewel.

As heartbreaking as many of the songs are this is not a sad album, and though there is an element of moving on it’s not a chick therapy album.
It’s a cathartic jubulation that stands as another exceptional release from a master crafter of songs and her great band.

Official Site | MySpace | Buy

[youtube]http://www.youtube.com/watch?v=GBgFx4ahaM4[/youtube]