It seems with every Lucinda Williams release there is a cry of “her most personal album so far.†Allow me to carry on a tradition. Williams’ latest, her 11th studio album and the first for her own label Highway 20 Records, at least appears to be Lu’s most personal to date. Or at least her most personal album she could release that reflects where she finds herself in life
Of course if you’ve been following Lu for any length of time you’re used to her pentiant for starkly honest, take-no-prisoners songs. Much like the cover of “Down Where the Spirit Meets the Bone’ each release is like a slice from her heart as it takes it’s own unique journey.
“Down Where the Spirit Meets the Bone’ stretches across two bruised and battered discs/albums, delving deeply, and with clear-eyed gaze, into the human psyche, A place that few songwriters are brave enough, or wise enough, to travel. Little on to document and share.
But this is where the good stuff is.
If there’s a theme, no overt one but a wide marking, reflected in Williams’ adaptation of a poem by her father, Miller Williams. It comes in the sparse Spanish-guitar opener “Compassion.†Williams’ voice bares the marks of a hard truths. The gliding tempo frames a simple, earthly parable – In spite of perceptions have compassion for everyone you meet, because “you do not know what wars are going on/ Down there where the spirit meets the bone.â€
Other stand outs are “Protection,†a swampy-soul plea for refuge against encroaching menace. SImilar steamy style saturates the territorial tales of “West Memphis .”
‘Cold Day in Hell’ is a lovely cut from the POV of a scorned lovers’ lament of lessons learned that stops just short of the damage of bitter resentment.
Burning Bridges , with it’s jaunty beat and shimmery guitars, kicks off like a Steely Dan- style FM radio staple as a tale of regret gives way to resignation and a wash of roaring guitars.
“Wrong Number†is a sort of doo-wop book-end to her “Change The Locks” and her version of J.J. Cale’s ‘Magnolia’ gives an extra dimension of longing and carries Lu’s love of New Orleans.
‘Down Where the Spirit Meets the Bone’ is a result of a singer/songwriter crafting songs wrought from their life, not following a formula towards sales and charting. It’s an honest and sometimes brutal work, but it’s never dour as Williams describes much of the pain as a wizened observer setting markers and warnings created by a life lived.
Of course people being what they are all warnings and advice will be ignored and forgotten. And Lu will be right there with more great songs to beautifully, soulfully, remind us of what we already know.
Lucinda William took to The Tonight Show with Jimmy Fallon, clad in badass black leather, to perform her new soul-soaked song “Protection.”
Lu gave a swaggering performance along her guitar-slinger the Wallflower’s Stuart Mathis. And as if it couldn’t get any better they were backed by Fallon’s house band, The Roots.
Roots-music legend, and three-time Grammy Award winner Lucinda Williams is set to release her first-ever double album “Down Where The Spirit Meets The Bone” on September 30 though her very own Highway 20 Records
“Down Where The Spirit Meets The Bone” is said to be ” Williams’ most ambitious and adventurous projects to date.” It features 20 new songs, with 18 written by Williams. The album’s opening track, “Compassionâ€, was originally a poem by her father, the poet Miller Williams, in which she wrote the music and additional lyrics.
From the press release “This is a personal milestone for Williams as it marks the first time she has composed music for one of her father’s poems, and it is from that song that the album title was taken. ”
The album also features a cover os JJ Cale’s “Magnolia.â€
“Down Where The Spirit Meets The Bone” features performances by guitarists Bill Frisell and Tony Joe White, Faces keyboardist Ian McLagan, Elvis Costello’s rhythm section of Pete Thomas (drums) and Davey Faragaher (bass) and Wallflowers guitarist Stuart Mathis. Jakob Dylan adds harmony vocals on “It’s Gonna Rain.†Williams’ longtime rhythm section of Butch Norton (drums) and David Sutton (bass) make also contribute. D”Down Where The Spirit Meets The Bone” was produced by Williams, Tom Overby and Greg Leisz.
Of the Album Williams says ” “I didn’t set out to do a whole album of country-soul, but once I started working, a stylistic thread kind of emerged,†she says. “It’s a sound I can relate to, one that’s really immediate and really timeless at the same time — kind of sad in an indefinable way. It’s like something my dad said to me many years ago, something I wrote down and included in my song “Temporary Nature (Of Any Precious Thing)†because it was so profound to me — ‘the saddest joys are the richest ones.’ I think that fits this album really well.â€
EDIT: Here is the front and back covers. (The back is for the vinyl version.) The photos are by Birney Imes from his book “Juke Joint”. It is the same book that provided the cover for “Car Wheels On A Gravel Road”, as well as the photo that inspired the song “2 Kool 2 Be Forgotten”
See Williams perform “Something Wicked This Way Comes” from “Down Where The Spirit Meets The Bone”
Growing up in North Texas you’re surrounded by two kinds of music, country and metal.
I’m still a fan of both and judging by the videos below I’m not the only one. These performers don’t have that ironic “I bought a Sabbath shirt at Hot Topic” crap, but appear to really be celebrating the unity of great music.
Drive-By Truckers – “Strutter” (Kiss)
Lucinda Williams – “It’s A Long Way to the Top (If You Wanna Rock & Roll)” (AC/DC)
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.
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
In the last few years we’ve seen a growing wave of unique renegades willing to give Music Row a steely stare-down in it’s twinkling, guided eye and adamantly refuse to become another cloned hat act.
This isn’t the first time it’s been done. The Bakersfield Sound with Buck Owens and Merle Haggard ran rings around Nashville from California and the original Outlaws packed up and did the same from Austin, TX.
Refreshingly, the current wave of musical misfits are women.
The Dixie Chicks kicked open the door for the likes of Miranda Lambert, Ashton Shepherd, Ashley Monroe and Kellie Pickler, Close on their heels came Kacey Musgraves. Now you can add Brandy Clark to that prestigious list of women reared on Loretta and Tammy but talented enough to bring the craft into the 21st century.
Like the original Music City Misfits Clark has worked both sides of he fence. She’s penned Country charting #1 hits for The Band Perry (“Better Dig Two”) and Miranda Lambert (“Mama’s Broken Heart) as well as Kacey Musgraves’ “Follow Your Arrow.”
On her single, “Stripes,” Clark channels Jimmy Dean’s “Big Bad John as she teaches her cheating husband the Cold Hard Facts of Life. Well, she would, but her good taste saves her from life without parole. It;s a brilliant gender reversal on a song that would typically been covered by Haggard or Cash.
“Pray To Jesus” narrative of small town desperation is similar to Musgraves “Merry Go Round,” but less detached and glib and more empathetic and bittersweet. The sentiment is made more so by Willie-esque twinkling piano, lonesome harmonica and Spanish guitar.
i can’t begin to tell you how thrilling it is to hear the bravery of conviction and shear talent in an artist like Brandy Clark. These are women raided on Loretta and Haggard as well as Lucinda Williams and Ryan Adams. Songs matter with these women.
“Stripes” and “Pray To Jesus” are on Clarks upcoming full-length debut “12 Stories.” Out October 22nd.
If you’re a struggling musician I suggest you take a look at the career of Jim Lauderdale. Between early setbacks as a Bluegrass banjo player, and being marginalized in Music Row there were plenty of opportunities to chuck his guitar in the gutter and call it quits. But he persevered and used his songwriting as a musical dowsing rod to move him always forward toward unexpected and exciting places.
If the Americana genre didn’t already exist it would have to be created for Lauderdale. He’s worked in multiple genres (Bluegrass, country, rock, soul) with multiple artists (George Jones, Ralph Stanley, Elvis Costello, Lucinda Williams, Steve Earle and more), but the music has always been grounded in honesty with a twist of risk. This will to be daring, attention to legacy, while pushing forward has allowed Lauderdale to become something you don’t see music in the music industry, unique.
He’s now a Grammy winning singer/songwriter, the subject of a crowd-sourced biopic (Jim Lauderdale: The King of Broken Hearts)
He hosts, along with Buddy Miller, “The Buddy & Jim Show” Saturdays 10 pm ET on SiriusXM Outlaw Country. He also hosts the “Music City Roots: Live from the Loveless Cafe”, weekly Americana music show broadcast live on WSM from the Loveless Barn on Highway 100 in Nashville. He is also the MC for the Americana Music Awards and Honors show in Nashville where his catch-phrase “Now THAT’S Americana” is as much of a delight as the stellar performances on the storied Ryman Auditorium stage.
I talked to Lauderdale, through spotty reception, on the road to Nashville the day after his birthday performance at the Music City Roots spin-off, “Scenic City Roots, in Chattanooga Tennessee
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Twang Nation: Jim? How are you today?
Jim Lauderdale: Just fine. Driving on a beautiful, crisp spring day heading back to Nashville from Chattanooga Tennessee.
TN: Happy belated birthday, You share a birth with Bob Harris ( “‘Whispering Bob Harris” the legendary is the host of the BBC 2 music program The Old Grey Whistle Test, and a supporter of country and roots music)
JL: Really? It’s also George Shuffler’s birthday, who played guitar for the Stanley Brothers.
TN: Cool. So you’re taking some time off from your tour supporting the “Buddy and Jim” album. How’s that going?
JL: It’s been great! We too some time off because Buddy is producing the Wood Brothers and he also co-produces the music for the TV show Nashville with T Bone Burnett. He’s got a pretty full plate most of the time. Our next date is in San Francisco at the Great American Music Hall. I love playing that space.
TN: I’ll be there. The first time I saw you and Buddy working with the new material it was at last year’s Hardly Strictly Bluegrass Festival. It was a morning slot but the place was still full.
JL: I love that festival. Warren Hellman has done so much for the community. He’ll be missed.
TN: True. So let’s visit your childhood in Troutman, North Carolina. Your father was a minister and your mother was a music teacher. How did this shape you musically?
JL: I believe it helped to train my ears. They were both great singers, so it was a combination of hearing a lot of church music. Hearing my mother, who was a choir director at the church, a chorus teacher, and a piano teacher, I was hearing stuff all the time. My older sister was the first to start buying records like the Beatles when I was in the first grade. At the time music was just exploding and so much was coming from the radio and in North Carolina radio then was a mixture of rock and roll, soul music like Stax and Motown, and then there were peripheral country stations where Bluegrass was being played. So there was just so much great music being played and available. I think Buddy and i share a lot of the same influences. that’s how all these influences made me want to sing. I started singing really early and then started playing drums for a few years when I was 11 and then, when I was 13, I started playing blues harmonica. When I was 15 I started playing the banjo and getting more into Bluegrass music. I always wanted to do a Bluegrass record but it took me a long time to get a deal to do one. When it happened I got to do it with Ralph Stanley and his band, the Clinch Mountain Boys (1999’s I Feel Like Singing Today)
TN: Not bad company to keep for your inaugural Bluegrass venture.
JL: That was kind of a dream because I grew up loving his work. I used to try and play banjo in his style and sing in a tenor like Ralph would. One of the best things to happen out of that was that I began writing with Robert Hunter (poet and lyricist for the Grateful Dead.) A friend of mine, Rob Bleetstein, put me in touch with him in the Bay Area. i knew that Robert and Jerry Garcia were huge Stanley Brothers’ fans, so that’s how I started writing with Robert and since then we’ve created 4 albums. The last two were Bluegrass of stuff we’ve done together. I have an upcoming album with the North Mississippi Allstars coming out in the fall and it has stuff that Robert and I wrote as well. So, even though it took me a long tie to get something out in that world, it was worth the wait because of all the good things that have happened.
TN: Making up for lost time.
JL: Right. And the same with Buddy. We had met back in New York in the early 80’s. We were both living there and both had country bands going and Buddy, to me, had the best band there. There was a nice country scene going on in New York at the time. There were about 5 bars in New York like the Lone Star Cafe that featured country music. So there was a lot of work. Eventually we both ended up on the west coast and started playing gigs together. Then Buddy came to Nashville first and ended up playing with Steve Earle and Emmylou Harris. His career really took off! So we’ve known each other for 33 years and have talked about doing a record for the past 17 years so this new album was also worth the wait. Our schedules just wouldn’t allow it. But last year we started this radio show last summer on SiriusXM Outlaw Country (The Buddy & Jim Show , Saturdays 10 pm ET) and that started moving things toward us sitting down and writing material. It happened pretty quickly, we spent a few days in pre-production and wrote some stuff but we cut the album in three days in his home studio. He produced the album and we’re really happy with it. I love playing with Buddy, he always makes me smile.
TN: There’s a song you wrote that was covered by George Strait called The King of Broken Hearst. It’s got a great story.
JL: I moved to L.A. partly to be in the same atmosphere that Gram Parsons had been in. There was this story that came from (former rock ‘n’ roll groupie and author) Pamela Des Barres, who was a friend of his, who said he had this L.A. party and was playing George Jones records. These people had never heard him (Jones) and he started crying. he said “That’s the king of broken hearts.” It was one of those times when an idea just comes to you. I play that song all the time and I love it.
TN: Gram is seen as the patron saint of the Americana genre and , I believe, you and Buddy have earned a place at that table. With your work with the Americana Music Awards and Music City Roots would you consider yourself an ambassador of Americana?
JL: Oh, I don’t know about that. But I’m certainly happy it’s out there. The guy I mentioned before, Rob Bleetstein, helped to coin there term (along with Jon Grimson of Nashville) for a trade publication that’s no longer around called Gavin Report. It was like Billboard and R&R (Radio & Records) magazine. They needed a chart for rootsy American music and Rob said “How about Americana?” So that put a name on it. But to me it’s just great that Americana allows a broad umbrella for roots music – Blues, Bluegrass, folk, rock, country – music that is not overproduced and it’s all connected, And it’s a place that, in his later years, someone like Johnny Cash can get played on the radio. And Merle Haggard, and folks like Guy Clark and Joe Ely, Butch Hancock and jimmie Dale Gilmore. Stuff that’s too rootsy for mainstream radio. it’s nice to have a place where people can be recognized.
TN: You’ve worked in the Music Row world and the Americana world and been successful in both. What do you think contributes to your success to work in both of those environments?
JL: Well I had plans but things would work out a different that what I thought. It was accidental in some ways. I wanted to make Blue grass records as a teenager, but it never worked out. Then in my early 30s I finally got a record contract in the country genre. But that record was too country at the time to be accepted in 1988. Dwight Yoakam’s producer and guitarist Pete Anderson did it with me (The unreleased CBS album that later appeared on an overseas label as Point of No Return.) My next album wasn’t as traditional but it was pretty far out there. It was co-produced by Rodney Crowell and John Leventhal (1991’s Planet of Love) Even though that album didn’t have a lot of commercial success, 8 of the 10 songs went on to be recorded by other people like George Strait. So that too me into that world of songwriting though my plan was to have a successful career with my own records. I kept putting out my own records and, when it wouldn’t work out, the only way to rise above of the disappointment was to write myself out of it. I still had a contract for a few more majors, but I started doing some independent labels and was more eclectic. Bluegrass with country mixed with R&B ad soul. The work I’m doing with the North Mississippi Allstars I did with Robert Hunter is more blues, rock and soul. I’m also trying to finish up a stripped down acoustic record that I’m writing with Robert. He’s really important in my like as far as music, so I want to keep that going.
TN: Speaking of Robert Hunter lest year you were in the Bay Area with the American Beauty Project. How did that come about?
JL: Those two albums (Grateful Dead’s) Working Man’s Dead and American Beauty opened up a door in my spirit when I heard them. All the things I’d done before – country, Bluegrass, rock – came together in those two records. To me they were like the Gram Parsons solo albums with Emmylou, those records are touchstones. The New York Guitar Festival which was put together by David Spellman, each year, would choose a different album and then singers and guitar players would play a song from that record. A few year’s ago they chose American Beauty and it went over really well. The singer Catherine Russell, Ollabelle, Larry Campbell and his wife Teresa Williams became the core of the American Beauty project which we took around the country. We still do it occasionally and will probably do some more shows in the future. It’s always a lot of fun.
TN: Tell me about your work with the roots-rock band Donna the Buffalo.
JL: I met them at the Newport Folk Festival while opening for Lucinda Williams on her “Car Wheels on a Gravel Road” tour. I met this group of folks that were really friendly, but I had missed their show earlier in the day. We made this friendship and we then jammed together at Merlefest in North Carolina. They then invited me to play their festival that they put on in the summer and offered to back me up during my set. So over the years we’ve worked festivals and sat in with each other. I started to write songs for all of us to do and when i had an album’s worth we went into the studio and did it (2003’s Wait Til Spring) We still do stuff when we can. They’ve got a new album coming out in June which I’ve heard and it’s fantastic (tonight Tomorrow & Yesterday – June 18) They are one of my favorite bands as an audience member and I love to sit in with them. We have a few new songs we’ve written but i need some more material to do another record.
TN: Any other new artists that have caught your ear?
JL: There’s a lady that just moved to Nashville, Lera Lynn. There’s another band that just moved from L.A. to Nashville called HoneyHoney that I like a lot. There”s a songwriter named Ryan Tanner I think is really good. And there’s a guy in North Carolina named Daniel Justin Smith that I think is really good. There’s no shortage of new, young singer, songwriter and pickers that are acoustically influenced and have their own style of country and roots music. I’m really encouraged by that. When i host the Music City Roots showcase it gives me an opportunity to be exposed to new performers. There was a band on the other night out of Birmingham, Alabama called St Paul and the Broken Bones. They are a kind of soul review kind of band and they are just out of this world. There’s a woman called Sara Petite out of San Diego who I like a lot. I also love Shovels and Rope, Robert Ellis , Max Gomez and the Milk Carton Kids.
TN: Who would you like to write music with someone that you haven’t?
JL: Gosh, I wish I could work with Eric Clapton. I love his work. I would also like to work with Keith Richards. I got to sing harmony with him on the song Hickory Wind on a Gram Parsons tribute called “Return to Sin City.” Norah Jones was on that, I’d like to work with her. I did a song with John Leventhal called Planet of Love that was pitched to Ray Charles to do with Norah Jones, but that didn’t happen before he passed away. I always wanted to work with Doc Pomus before he passed. And I always wanted to do something with Jerry Garcia and I’m sorry that didn’t happen. I’m slowly getting to work with a lot of folks I hold in high esteem. I got to write with Dan Pen and we’ve been working on some things in England with him and Nick Lowe’s great band. I got to song with George Jones years ago and that was a treat. You just never know in this up and down world of music.
TN: You’ve moved deftly between genres in this time, is there a musical era you would like to travel to and perform?
JL: The 60’s and early 70’s for the soul, country and rock music that was coming out and then the late 50’s early 60’s for Bluegrass. And the 50’s for Blues music. Being able to work in those times at the peak of the music would have been great.
TN: You’re a great singer, songwriter but your also a consummate showman. You’re very personable and funny on stage. Many have also taken note of your rhinestone bedecked clothing when you perform. How many suits do you have and where do you get them?
JL: Oh, I think i have 20 or 25 suits with shirts. I have gotten a few vintage pieces here and there, but i get most of my things new and custom made from Manuel (Cuevas) who is a designer and tailor here in Nashville that used to work with Nudie (Cohn) out of L.A. when he was a teenager. He’s still here producing things for people like Jack White.
TN: Thanks for your time and keep your eyes on the road.
“You never know how much you need music until you don’t have it.” -Damien Echols, Life After Death
Damien Echols, ason Baldwin and Jessie Misskelley, Jr. were convicted in 1994 of the 1993 reportedly ritual satanic murders of three 8-year old children in West Memphis. In 2011 thee men entered Alford pleas, which allowed them to assert their innocence while acknowledging that prosecutors have enough evidence to convict them. Their pleas were accepted the the men and sentenced to time served. They were then released with ten-year suspended sentences, having each served 18 years and 78 days behind bars.
“West of Memphis: Voices for Justice” is music from and inspired by West of Memphis, the documentary film written and directed by Academy Award nominated filmmaker, Amy Berg and produced by Peter Jackson and Fran Walsh (the Lord of the Rings triology), Damien Echols and Lorri Davis.
In every instance of involvement, the artists on the soundtrack decided which song they felt reflected their personal feelings about the case. There’s a connection between the music and the man remaining at its center, Damien Echols.
The soundtrack features Henry Rollins and Johnny Depp each lending their voices to excerpts from Damien Echols’ letters from death row recited over a Nick Cave / Warren Ellis score featured in the film.
Natalie Maines of the Dixie Chicks covers of Pink Floyd’s “Mother.” “Satellite” is covered by Eddie Vedder which was written for Lorri Davis, Damien Echols’ wife, as part of a collection of songs Eddie recorded for the couple in 2000. Artists also featured are Lucinda Williams, Band of Horses, Patti Smith, Citizen Cope and others each bringing particular stories around the songs that represent them on this collection.
My favorite cut on the album is from The White Buffalo (aka Jake Smith.) He lends his baritone vibrato, and moody melodic stye, to the Faster Pussycat 1989 ballad that kept Damien company while sitting on death row.
One of the most thrilling performances I’ve had the good fortune to attend was a New York City based CMT Crossroads, the first filmed outside of Nashville, featuring Rosanne Cash and Steve Earle.
The premise of the show is to pair country music artists with musicians from other music genres, often covering the other one’s songs and performing duets. Over it’s decade-long existence CMT Crossroads the pairings have ranged from the aforementioned Earle and Cash show, also Lucinda Williams with Elvis Costello and Travis Tritt with Ray Charles. Some are less inspired, like Sugarland with Bon Jovi and Sara Evans and Maroon 5.
I would put the upcoming collaboration of the Avett Brothers with country music legend Randy Travis in the inspired category. The Avetts are riding high in their new release , The Carpenter. The album threads with themes of mortality and personal trials. These are themes the recently troubled Travis can certainly identify with.
Check this excellent video Travis’ “Three Wooden Crosses.†I hope the rest of the programs reached this level.
Tune in and find out – CMT Crossroads Nov. 23 at 11 p.m. ET/PT.
This si a post for people that night have seen me at Jessica Northy’s excellent online talk show TwangOut. I asked my incredibly well-informed Twitter followers what 5 albums they would recommend to someone just coming to Americana for the first time. Here’s their choices. Of course for a genre as rich as this 5 is just scratching the surface so please leave your choices in the comments section and let’s make this a post for anyone wanting to discover this great music.
Lucinda Williams : Car Wheels On A Gravel Road – This album is Lucinda’s opus and has firmly established her as the Queen of Americana
http://www.youtube.com/watch?v=ainIBDO6a8E
Uncle Tupelo – No Depression – For many people, including me, this is the band that started them on the road to Americana. After their break up in 1994 principle members Jay Farrar and Jeff Tweedy went on to form Son Volt and Wilco respectively.
Whiskeytown – Strangers Almanac – Ryan Adams veers between spinning gems and a insufferable self-indulgence. 16 Days from this excellent album show’s him at his best.
Gram Parsons – Grievous Angel – If there was ever a singular person you could point to as the Patron Saint of Americana, it would be Gram Parsons. He influenced the Rolling Stones, the Eagles and Emmylou Harris, who joins him on Love Hurts, with his brand of Cosmic American Music.
http://www.youtube.com/watch?v=1bwmiJWFHN0
Old 97’s – Too Far to Care -This is my personal choice. Yes Rhett and the boys are a pivotal alt.country/Americana ban, but more importantly theyre from my home town of Dallas!
“You never know how much you need music until you don’t have it.” -Damien Echols, Life After Death