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Record Store Day 2016 – Americana and Roots Music Picks

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130424-record-store-day

Record Store Day, the annual celebration of limited runs of the antiquated data storage device known as vinyl and once the scene of hipsters when it started in 2007, has helped fuel a surprising resurgence in sales and pushing the remaining pressing plant capacity to the hilt. As is tradition the event will be taking place on the third Saturday in April. For 2016 that means Saturday, April 16th.

At a time when music sales continue a decaded long dizzying slide vinyl sales not only rivaled CD sales, revenues have surpassed streaming services like Spotify and Pandora.

As vinyl grows in popularity there’s is pressure on the remaining vinyl manufacturers, who like us all were caught off-guard by the resurgence. The demand for vinyl is partially due to its described ‘warmer’ sound (plus cooler gatefold covers!) But the real drive behind Record Store Day is uniqueness and scarcity of offerings. Many releases come on colored vinyl or as picture discs and many of the releases are produced in very limited runs, some totaling no more than a few hundred total.

This stands in direct contrast to digital music’s hemogeny of sound and structure. an MP3 might be convenient, but it’s never scarce or unique.

Check out the Americana and roots selections below and take a look at the full list. Get to your favorite indy record early on April 16th (I’ll be at Good Records in Dallas) and share those great finds with me on Instagram and Twitter.

Blitzen Trapper – Field Rexx
Format: LP
More Info: A classic DIY release, Field Rexx was made in the sweltering summer of 2004 with no budget amidst the hiss of flies and tape. “Recorded,” according to the liner notes, “at the carny shack, fer shook n timsel on Duke’s shoot-o-matic for tisks & soda & that ol’ broke 4-track that 3-fingred mike poured Old English on and lit on fire,” Rexx’s warped eclectic pop Americana proves that great songs and performances can transcend squalor and bad album art. Features archival material of the original Trapper, James Earley, performing snippets of traditional hillbilly tunes. Field Rexx is Blitzen Trapper’s self-released sophomore album originally released in 2005. It was remastered at the tail end of 2015 and is available on Record Store Day for the first time on vinyl. A free download code including 3 previously unreleased bonus tracks is included.

Brandi Carlile – ‘Live At KCRW ‘Morning Becomes Eclectic’
Format: 12″ Colored Vinyl
More Info: Brandi Carlile – Live At KCRW ‘Morning Becomes Eclectic’: Brandi Carlile is a long time favorite of record store owners and she is one of the most celebrated names in modern alternative country/folk rock.This very special Record Store Day Exclusive release features six session tracks recorded live at KCRW as part of their “Morning Becomes Eclectic” sessions and includes the smash radio hits “The Eye” and “Wherever Is Your Heart” on White Colored 12 inch vinyl. Limited to 2500 copies.

Johnny Cash – ‘All Aboard the Blue Train with Johnny Cash’
Format: 12″ Colored Vinyl
More Info: All Aboard the Blue Train with Johnny Cash was originally released on Sun Records in 1962. The album features prime selections of the Man In Black’s recordings between 1955 and 1958, including classic songs “Hey Porter” and “Folsom Prison Blues”. Previously out of press, it’s coming back on appropriate blue vinyl for Record Store Day 2016.

Brandy Clark – “”Girl Next Door”/”Homecoming Queen”
Format: 7″ Colored Vinyl
More Info: Side A features Clark’s new hit single “Girl Next Door.” Side B features the track “Homecoming Queen,” plus the same song covered by Sheryl Crow. Pressed on random mixed blue, yellow and red vinyl.

Bob Dylan – “Melancholy Mood”
Format: 7″ Colored Vinyl
More Info: This limited edition 7” vinyl EP was originally created for Bob Dylan’s recent Japanese tour. We were able to secure a limited quantity for Record Store Day. The EP includes 4 songs from Bob Dylan’s upcoming album, Fallen Angels, pressed on 7” red vinyl.

Alejandro Escovedo – ‘Gravity’ and ‘Thirteen Years’
Format: 2 x LP
More Info: Austin TX’s Watermelon Records was founded in 1989 and released nearly 100 records in its short life. Its catalog lay dormant until 2010 when New West Records picked it up and chose Record Store Day 2016 to relaunch Watermelon Records with two beautiful remastered classic from Alejandro Escovedo. Gravity is a 2LP set pressed on 180g vinyl and packaed in a one of a kind die-cut linen jacket along with a foldable insert and download card.

Jay Farrar – Sebastopol/thirdshiftgrottoslack
Format: 2 x LP
More Info: For Record Store Day 2016, Jay Farrar’s (Son Volt, Uncle Tupelo) Sebastopol is available for the first time on vinyl. This very limited, hand-numbered release comes on white vinyl featuring Gillian Welch and members of the Flaming Lips and Superchunk. The double LP also features the 5-track EP never before released on vinyl, thirdshiftgrottoslack.

Emmylou Harris – ‘Wrecking Ball’
Format: 3 x 12″ Vinyl
More Info: The long awaited audiophile-quality vinyl reissue of Emmylou Harris’ 1995 Grammy winning masterpiece Wrecking Ball, produced by Daniel Lanois (U2, Bob Dylan, Neil Young, Willie Nelson) and featuring appearances by Brian Blade, Neil Young, Lucinda Williams, Kate and Anna McGarrigle, among others. Includes original album sequence as well as outtakes and alternate versions from the original recording sessions. This Record Store Day release features three 180 gram LPs remastered with bonus tracks, and 4 page lyric insert. Limited to 5,000 copies.

Johnny Cash – ‘The Best of The Johnny Cash Show’
Format: 12″ LP
More Info: From the summer of 1969 to the final show in march of 1971 (58 episodes in all), The Johnny Cash TV Show not only exposed an American audience to an eclectic array of musical talent, but also helped establish Johnny Cash as a true artist, humanitarian, and a larger-than-life legend. The 16 performances contained on this new Best-Of LP, made especially for Record Store Day, and for the first time on vinyl, showcase the spectrum of incredible performers that Johnny hand-picked to be on his show, many for their first network appearance. So, “come along and ride this train” – the train that Cash envisioned for us all – every week on The Johnny Cash TV Show, and now, for generations to come. Limited to 5,000 copies.

Madisen Ward and the Mama Bear – ‘Live At Grimey’s‘
Format: 12″ Vinyl
More Info: This Record Store Day six track EP was recorded live at Grimey’s in Nashville, Tennessee by one of our favorite new artists on the music scene, in June 2015 as part of the celebration of Americana Music Month. Limited to 1500 copies.

Jason Molina – ‘The Townes Van Zandt Covers‘
Format: 7″ Vinyl
More Info: At a Songs:Ohia show in the early ’00s, Jason Molina said to the artist William Schaff that he would love to see himself depicted as one of Schaff’s signature, skull-headed creatures. The two struck up a pen-pal friendship and Schaff sent Jason his picture. In return, he asked for a recording of the Townes Van Zandt covers Jason had performed that night. The pair of Van Zandt covers included here, recorded at Molina’s home on the north side of Chicago, symbolize not only the creative turn Molina’s songwriting had taken (seen in his forthcoming Magnolia Electric Co. release) from sparse and jagged indie rock to rootsy folk rock, but also a sonic bond between two friends who loved each other’s work very deeply. After learning of Molina’s death in 2013, Schaff spent days pouring over his lengthy correspondence with his friend, with Molina’s oeuvre on repeat. He created the painting that graces the cover of this release in the process: Apropos of everything, a skull-headed creature in flight. This special 7″ release is limited to 3500 copies worldwide.

Mumford & Sons + Baaba Maal – “There Will Be Time”
Format: 7″ Colored Vinyl
More Info: Mumford & Sons’ RSC exclusive 7″ single features a brand new song called “There Will Be Time” (previously only available in South Africa). The track features Baaba Maal, and was produced alongside Johan Hugo from The Very Best. Limited to 6000 copies.

Graham Nash – ‘This Path Tonight’
Format: 12″ Vinyl
More Info: A special version of the new album from legendary musician Graham Nash. Includes a bonus 7″ with the classic tracks “Our House” and “Teach Your Children”

Elvis Presley – ‘I’m Leaving’: Elvis Folk- Country’
Format: 12″ Vinyl
More Info: The very best of Elvis Folk-Country 1966-1973. This special Record Store Day release includes masters from Elvis’ sessions at RCA Victor’s Studio B in Nashville in May 1971, a period in which several folk writers’ material surfaced spontaneously amid gospel and holiday recordings, plus others with similar provenance: from Dylan¹s “Tomorrow Is A Long Time” in 1966, to then-contemporary pop-folk such as “Good Time Charlie’s Got The Blues” in 1973, this is Elvis in an introspective mood, masterfully creating definitive versions of iconic compositions that resonated with him for his friends in the studio – and for us. Limited to 5,000 copies.

John Renbourn – ‘The Attic Tapes’
Format: 2 x LP
More Info: Lovingly mastered from old tapes found in a friend’s attic, this is a vintage collection of previously unreleased rarities and early works by one of the guitar’s truly great innovators. The Record Store Day edition features five vinyl-only tracks and sleeve notes written by John shortly before his death in March 2015.

The Rough Guide To Unsung Heroes of Country Blues
Format: 12″ Vinyl
More Info: This album brings to the fore classic early blues masterpieces that deserve to be heard and allows the limelight to fall on some of the lesser-known country blues masters. Essential listening for any blues connoisseur, this is an adventure into some of the more hidden recesses of country blues. The Rough Guide To Unsung Heroes of Country Blues is released on vinyl exclusively for Record Store Day 2016. Includes a download card.

Billy Joe Shaver- “Wacko From Waco”/”When Fallen Angels Fly”
Format: 7″ Vinyl
More Info: This Record Store Day 7″ features two songs – “When Fallen Angels Fly,” an unreleased version of his classic hymn, a tune from the Robert Duvall film, “Wild Horses.” “Wacko From Waco” is Shaver’s account of a 2007 shooting in a bar outside his hometown of Waco. Both tracks are pressed on vinyl for the first time. Limited to 1700 copies.

Shawn Colvin & Steve Earle – “Wake Up Little Susie” / “Baby’s In Black”
Format: 7″ Vinyl
More Info: The world-class singer- songwriters Shawn Colvin and Steve Earle make their duet debut with a delightful Record Store Day 7″ splash: spirited re-castings of the Everly Brothers’ “Wake Up Little Susie” and “Baby’s in Black” by the Beatles. They’ll be singing together again on their first duet project, a full length of co-written originals later this summer.

Son Volt – ‘Live At The Bottom Line’
Format: 2 x colored LP
More Info: This Record Store Day two LP set features the live content from the Trace deluxe CD. Pressed on 180 gram vinyl, limited to 3500 copies.

Allen Toussaint – ‘Live in Philadelphia 1975’
Format: 12″ Vinyl
More Info: Record Store Day honors the passing of one of America’s greatest musicians, performers and artists with an offering of Rhino’s 2003 Handmade title. This live album features bonus material and liner notes by Billy Vera. Pressed on 180 gram vinyl, it is limited to 5000 copies.

Lucinda Williams – ‘Just A Little More Faith And Grace’
Format: 12″ Vinyl
More Info: Lucinda celebrates Record Store Day by offering exclusive remixes from her new THE GHOSTS OF HIGHWAY 20 album, including Faith and Grace in it’s truest form, and as it was intended, a full 18 minutes long! Limited to 3000 copies.

Blaze Foley – Duct Tape Messiah (Original Soundtrack)
Format: 12″ Vinyl
More Info: This Record Store Day release is limited to 1000 copies pressed on 180g heavyweight vinyl, and includes full documentary film on DVD. This Record Store Day Elite Eecords releases Duct Tape Messiah by exceptional Texan Folk artist Blaze Foley for the first time ever on vinyl. The soundtrack to the 2011 documentary film about the turbulent life of Townes Van Zandt’s companion and close friend literally spans Blaze’s whole musical life. It includes rare archival tracks never released on vinyl before as well as tracks from posthumously released Blaze albums. The limited RSD edition comes with a DVD including the full documentary film. The film beautifully draws the picture of Blaze’s life and times and his extraordinary character. Born in Arkansas, Foley was shot to death way before his time, under circumstances still to be fully clarified. As a homeless, he traveled the streets of the Texan cities to share his music with people in nightclubs and bars. Foley always stood up for the weak, which eventually cost his life. Finally, after a life of rejections and blown opportunities, his work is now gaining recognition. In 2008 his biography Living In The Woods In A Tree was published, followed by the acclaimed documentary about Foley!s underdog life: Duct Tape Messiah. The film’s soundtrack comprises of 14 carefully selected songs from all stations in Blaze’s life and gives an insight into his straight and genuine songwriting. Blaze!s musical heritage was close to being forgotten and much material used on the record are chance discoveries from record shops and old master tapes.

Left Lane Cruiser- ‘Beck In Black’
Format: 12″ Vinyl
More Info: Retrospective of early Left Lane Cruiser material with drummer Brenn Beck, re-mastered and with three previously unreleased tracks (“Chicken”, “Bloodhound” and “Maybe”). Limited edition of 1000 on metalic gold vinyl for Record Store Day.

Charlie Parr – ‘I Ain’t Dead Yet’
Format: 10″ Colored Vinyl
More Info: A brand new 5 song 10” EP pressed on Green Vinyl. Minnesotan Country Blues guitarist Charlie Parr has been building an audience among roots music aficionados for over a decade. I Ain’t Dead Yet features four new original tunes and Charlie’s take on the traditional tune, Old Dog Blues. All songs previously unreleased!

Heartworn Highways – 40th Anniversary Edition Box Set
Format: Vinyl Box Set
More Info: This Record Store Day Exclusive release is limited to 1,000 copies worldwide and consists of a two LP set pressed on whiskey colored wax and much more in a hand crafted custom wood box by Boles Studio, Bronx, NY including an LP-sized 80-page book with exhaustive 20,000 word essay by Sam Sweet interviewing artists, documentary creators and crew, over 100 unseen photos taken during the making of the film, a cast of characters drawn by legendary Austin illustrator Kerry Awn, a reproduction of the original film poster (24”x36”), a region free DVD of the original 1976 film with restored image and sound plus 45 mins of bonus features, including performances by Townes Van Zandt, Guy Clark and others, and download card for full soundtrack.

The Weepies – ‘Say I Am You’
Format: 12″ Vinyl
More Info: To celebrate the 10th anniversary of this release, a Record Store Day exclusive edition has been put together with orange vinyl, new liner notes, exclusive new photos and a poster of album cover, autographed by the band.

Billy Don Burns- A Night in Room 8
Format: 12″ Vinyl
More Info: Billy Don Burns is considered a friend to the greats of country music and has collaborated with artists such as Harlan Howard, Willie Nelson, Wanda Jackson, Connie Smith and others. A Night in Room 8 was recorded at the Joshua Tree Inn hotel room where Gram Parsons was found dead in 1973. Recorded on a Tascam Portastudio (the same model on which Bruce Springsteen recorded Nebraska). This is an eerie yet extremely vulnerable album of new, brilliant material from such a relic of country music

Legendary Roots Music Documentary ‘Heartworn Highways’ 40th Anniversary Box Set To Be Released

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Heartworn Highways 40th Anniversary Box Set

As posted on Pitchgork.com the classic and celebrated roots music documentary Heartworn Highways is getting the Record Store Day (April 16th) deluxe treatment. The 1976 documentary by James Szalapski chronicles the rise of late 70’s roots and country music.

Filming for the doc takes place in in Texas and Tennessee in the last weeks of 1975 and the first weeks of 1976. It features intimate and ofter astounding performances by Townes Van Zandt, Rodney Crowel, Steve Earle, Guy Clark, Steve Young, David Allan Coe, Larry Jon Wilson, and others.

Over the years, the film and soundtrack have been lauded by fans and musicians and has achieved cult status.

On Record Store Day (April 16), Light in the Attic will release a limited (1,000 copies!) 40th anniversary 1,000 copies set featuring the film, its soundtrack, and more seen below.

    – Limited to 1,000 copies worldwide
    – Proudly Made in the USA, Hand crafted custom wood box by Boles Studio, Bronx, NY
    – LP-sized 80 page book with exhaustive 20,000 word essay by Sam Sweet interviewing artists, documentary creators and crew, including ephemera and over 100 unseen photos taken during the making of the film
    – Cast of Characters by legendary Austin illustrator Kerry Awn (Armadillo World Headquarters, The Ritz)
    – Reproduction of original film poster (24”x36”)
    – DVD of original 1976 film with restored image and sound. This is the first time the film has been restored to its correct speed in a DVD format.
    – DVD includes 45 minutes of bonus features, including performances by Townes Van Zandt, Guy Clark and others.
    – Region Free DVD
    – Double LP of soundtrack on “whiskey” colored wax housed in a Stoughton tip-on gatefold jacket
    – Download card for full soundtrack

Record Store Day was founded in founded in 2007 as a way to help struggling independent music retailers. The annual event has done much to fuel the current vinyl boom by offering unique and limited run editions like this one.

Find trailers for the film and the box set below.

Record Store Day 2015 – Americana and Roots Music Picks

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130424-record-store-day

Record Store Day, the annual celebration of local record stores for aficionados of the antiquated data storage device known as vinyl will be taking place as always on the Third Saturday in April. For 2015 that means Saturday, April 18.

The crew behind Record Store Day have been the driving force for 8 years on what we’re now seeing as the explosive, and surprising, resurgence of vinyl releases. The most public example of this is last year’s Record Store Day ambassador Jack White’s the recent sales of his latest ‘Lazaretto’ setting a record for first-week sales by moving 40,000 vinyl copies. This eclipsed the previous long-standing record of about 33,000 held by Pearl Jam’s ‘Vitalogy.’

As overall music sales continue to decline , vinyl sales increased to 6.1 million in 2013, up from 4.6 million the year before. By comparison, total vinyl sales failed to reach even one million units in 2007.

As vinyl grows in popularity there’s is pressure on vinyl manufacturers, who like us all were caught off-guard by the resurgence. But shops like United Record Pressing based in Nashville, TN, the shop responsible for manufacturing White’s best-seller are expanding to meet the growing demand.

The demand for vinyl is partially due to it’s described ‘warmer’ sound, BUt the real drive behind Record Store Day is uniqueness and scarcity. Maay of the releases come on colored vinyl or as picture discs and many of the releases are produced in very limited runs, some totaling no more than a few hundred.

This stands in direct contrast to digital music’s hemogeny of sound and structure. an MP3 might be convenient, but it’s never scarce or unique.

Check out the Americana and roots selections below and take a look at the full list. Get to your favorite indy record early on April 18 (I’ll be at Good Records in Dallas) and share those great finds with me on Instagram and Twitter.

Asleep At The Wheel (with Willie Nelson and The Blind Boys of Alabama) – Unreleased single from ‘Still The King: Celebrating The Music of Bob Wills and His Texas Playboys’
Format: 7″ Vinyl
Label: Bismeaux Records
Release type: RSD Limited Run / Regional Focus Release
More Info:
RSD Exclusive single featuring bonus Asleep at The Wheel performances with Willie Nelson and The Blind Boys of Alabama not included on the Still The King album. Signed by Ray Benson, and numbered.
TRACKLIST: “New Spanish Two Step”/”The Devil Ain’t Lazy”

Bob Dylan – ‘The Basement Tapes’
Format: 12″ Vinyl
Label: Other Peoples Music
Release type: RSD Exclusive Release
More Info: The Basement Tapes recorded in 1967 while Bob Dylan recuperated and features many Dylan songs that had appeared on bootleg records prior to the “official” release in 1975. The recording took place in Woodstock and features four members of the Hawks (Rick Danko, Garth Hudson, Richard Manuel and Robbie Robertson – and one American, Levon Helm) better known today as The Band. Individually autographed and numbered by Garth Hudson.

Bob Dylan – ‘The Night We Called It A Day’
Format: 7″ Colored Vinyl
Label: Columbia
Release type: RSD Exclusive Release
More Info:
Limited Edition blue vinyl single featuring two songs from Bob Dylan’s newest release “Shadows In The Night”

Brandi Carlisle – special 7”
single of the new song “Wherever Is Your Heart” + B-side cover of Graham Nash’s “Simple Man”

Johnny Cash – Koncert v Praze (In Prague–Live)
Format: 12″ Colored Vinyl
Label: Legacy
Release type: RSD Exclusive Release
More Info:
Johnny Cash playing his greatest hits behind the Iron Curtain in 1983. Limited edition heavy weight vinyl release pressed on Soviet Red 180 gram vinyl.

Steve Earle & The Dukes – ‘Terraplane’
Format: 10″ Vinyl
Label: NEW WEST RECORDS
Release type: RSD Exclusive Release
More Info:
Steve Earle A-side version of Terraplane (a song not on the record) and a b-side of Robert Johnsons “Terraplane Blues”. Will be mastered at the level of Robert Johnson’s original recording. Most of the versions you hear today are remastered and the db’s are brought up. This one will be as close to the original 78 as possible. Includes download card.
TRACKLIST: A: Steve Earle “Terraplane” B: Robert Johnsons “Terraplane Blues”

Father John Misty – ‘I Love You, Honeybear’
Format: 7″ Colored Vinyl
Label: SUB POP
Release type: RSD Exclusive Release
More Info:
Father John Misty presents a lovely, acoustic version of the title track of his latest album, I Love You, Honeybear, along with a new, exclusive B-side, truthfully-entitled “Never Been a Woman,” on a colored-vinyl, heart-shaped 7”. This release is exclusive to Record Store Day, and it is limited to 5,700 copies worldwide. Includes download card.
TRACKLIST: “I Love You, Honeybear (Acoustic Version)”/”Never Been a Woman”
TRACKLIST: Side A: “The Night We Called It A Day” Side B: “Stay With Me”

Charlie Feathers – ‘Charlie Feathers’
Format: 10″ Vinyl
Label: Sundazed Music
Release type: RSD Exclusive Release
More Info:
Crazy, coveted rockabilly recordings from legendary wildman Charlie Feathers! Includes all eight of his King sides as originally issued in ‘56 & ‘57 – now rare and pricey 45s and 78s – with new notes from Colin Escott.
TRACKLIST: “One Hand Loose” / “Can’t Hardly Stand It” / “Bottle To The Baby” / “Everybody’s Lovin’ My Baby” / “Too Much Alike” / “When You Come Around”

Dom Flemons – ‘What Got Over’
Format: 10″ Vinyl
Label: Music Maker
Release type: RSD Exclusive Release
More Info:
10″ record with nine new tracks. “Included here on What Got Over, there are also a few alternatesto the main tracks I picked for Prospect Hill – versions in which I experimented with the sound and instrumentation but in the end they didn’t make the final cut. I sequenced this EP to be record two of two in conjunction with Prospect Hill. When you reach the end of this album you will have heard the whole Prospect Hill Omnibus! If you take both albums and make them into a playlist it will be a full hour of music.” – Dom Flemons
TRACKLIST: “Big Head Joe’s March”/”Milwaukee Blues”/”Clock On The Wall”/”Keep On Truckin'”/”Hot Chicken”/”Have I Stayed Away Too Long”/”Going Backward Up The Mountain”/”Til’ The Seas Run Dry”/”What Got Over”

Gram Parsons/Lemonheads – ‘Brass Buttons’
Format: 7″ Colored Vinyl
Label: Rhino
Release type: RSD Exclusive Release
More Info:
7″ 45 RPM Vinyl is Circle swatch splatter Bronze on Baby Pink. Part of Rhino’s now celebrated RSD exclusive Side By Side 7″ singles series. Two artists perform the same song. Surprising and unusual performances and repertoire.
TRACKLIST: “Brass Buttons”/”Brass Buttons”

Justin Townes Earle – ‘Live at Grimey’s’
Format: 10″ Vinyl
Label: Vagrant
Release type: RSD Exclusive Release
More Info:
TRACKLIST: Side A: Call Ya Momma, When the One You Love Loses Faith, Worried Bout the Weather, Single Mothers
Side B: Today and a Lonely Night, Burning Pictures, White Gar

Kenny Wayne Shepherd Band – ‘A Little Something From The Road, Vol. 1’
Format: 12″ Vinyl
Label: Concord
Release type: RSD Exclusive Release
More Info:
12″ vinyl featuring live smokin’ versions of classics from the recent Goin’ Home project as well as a couple extra blues nuggets.
TRACKLIST: 1. “Looking Back” 2. “House Is Rockin’” 3. “You Can’t Judge A Book By The Cover” 4. “Woke Up This Morning” 5. “You Done Lost Your Good Thing Now”

Robert Earl Keen – ‘Gringo Honeymoon’
Format: 12″ Vinyl
Label: Sugar Hill
Release type: RSD Exclusive Release
More Info:
Much anticipated vinyl issue of the Texas troubadour’s breakout 1994 release.

Lucero – ‘Jukebox Series #3’
Format: 7″ Vinyl
Label: Liberty & Lament
Release type: RSD Exclusive Release
More Info:
TRACKLIST: “Boom Boom”/”Midnight Special”

Mumford & Sons – ‘Believe’
Format: 7″ Vinyl
Label: Glassnote
Release type: RSD Exclusive Release
More Info:
Bootleg style 7″ hand numbered and hand stamped. First physical release of music from the upcoming album.
TRACKLIST: “Believe”/”The Wolf”

Willie Nelson – ‘Teatro’
Format: 2 x 12″ Colored Vinyl
Label: Modern Classics/Light in the Attic
Release type: RSD Exclusive Release
More Info:
* First time ever issued on vinyl for Record Store Day 2015
* Features duets with and backing vocals by Emmylou Harris
* Produced by Daniel Lanois (U2 Joshua Tree; Bob Dylan Time Out Of Mind; Emmylou Harris Wrecking Ball)
* Record Store Day exclusive featuring deluxe gatefold “tip-on” uncoated jacket and gold vinyl
* Limited to 5,000 copies

Location is everything. When Willie Nelson and album producer Daniel Lanois set out to create a cinematic-sounding album, Teatro, they took over a disused movie theatre in Oxnard, California, and pictured its dusty glory on the LP sleeve. Recorded as-live in situ amid the red velvet seats, Teatro sees Nelson working extensively with his frequent collaborator Emmylou Harris, who joins him for duets and on backing vocals on 11 of the 14 tracks. The other major player is U2 and Paul McCartney collaborator Daniel Lanois (producer of Bob Dylan’s Time Out of Mind, Emmylou Harris’ Wrecking Ball), who produces the album, plays guitar and bass, took the cover photo and wrote one of the album’s songs, “The Maker”, a stunning performance with glacier-thick vibe.

Originally released by Island Record in 1998, Teatro is issued here as a special Record Store Day release. LA and Seattle-based Light In The Attic present the album as it’s never been seen before – on vinyl. Pressed on gold vinyl with a deluxe, gatefold, ‘tip-on’ uncoated jacket, this is a chance to own this unique album in its most beautifully presented form.
TRACKLIST: Side A: “Ou Es-Tu, Mon Amour? (Where Are You, My Love?)”, “I Never Cared for You”, “Everywhere I Go”, “Darkness on the Face of the Earth”
Side B: “My Own Peculiar Way”, “These Lonely Nights”, “Home Motel”, “The Maker”
Side C: “I Just Can’t Let You Say Goodbye”, “I’ve Just Destroyed the World (I’m Living In)”, “Somebody Pick Up My Pieces”
Side D: “Three Days”, “I’ve Loved You All Over the World”, “Annie”

Okkervil River – ‘Sleep and Wake-Up Songs’
Format: 12″ Vinyl
Label: JAGJAGUWAR
Release type: RSD Exclusive Release
More Info:
Sleep and Wake-Up Songs is now being rereleased for Record Store Day, it’s first time pressed ever on vinyl. Including a demo of the EP track “You’re Untied Again” and the never before released song “Knocking Myself Out,” the EP reveals Okkervil River in-between the monumental albums Down The River of Golden Dreams and Black Sheep Boy. Band leader Will Sheff looked back to this EP, remarking, “I can hear in it somebody who is actually getting comfortable with singing, with playing the guitar, with letting music happen naturally.”
TRACKLIST: SIDE A: 1. A Favor 2. You’re Untied Again 3. And I Have Seen the World of Dreams 4. Just Give Me Time
SIDE B: 5. No Hidden Track 6. You’re Untied Again [Solo Sketch] 7. Knocking Myself Out [Home Recording]”

Reverend Horton Heat – ‘It’s A Rave-Up/Beer, Write This Song’
Format: 7″ Colored Vinyl
Label: Victory Records
Release type: RSD Exclusive Release
More Info:
Two brand new, previously unreleased tracks from Reverend Horton Heat on solid red 7″ vinyl with 150 randomly distributed clear pink copies.
TRACKLIST: “It’s A Rave-Up”/”Beer, Write This Song”

Simon & Garfunkel – ‘Homeward Bound/Leaves That Are Green’
Format: 7″ Vinyl
Label: Legacy
Release type: RSD Exclusive Release
More Info:
This collectible 7” 45rpm vinyl releases recreates the origina 1966 “Homeward Bound” single, pairing two essential Simon & Garfunkel cuts from that year: “Homeward Bound” (from Parsley, Sage, Rosemary and Thyme) and “Leaves That Are Green” (from Sounds of Silence). A Top 5 single in the US, “Homeward Bound” became a worldwide phenomenon reaching #4 in the Netherlands and #9 in the UK while going Top 20 in Australia and Sweden (where it hit #12). The cover for this RSD 2015 release is based on the German single artwork.

Dolly Parton – ‘The Grass is Blue’
Format: 12″ Vinyl
Label: Sugar Hill
Release type: RSD Exclusive Release
More Info:
Dolly’s seminal 1999 bluegrass debut, available for the first time on vinyl.
TRACKLIST: “Homeward Bound”/”Leaves That Are Green”

Todd Snider – ‘Impending Doom’
Format: 7″ Vinyl
Label: Aimless
Release type: RSD Exclusive Release
More Info:
The A-side of this RSD exclusive 7″ is a Rolling Stones cover, the B-side is an unreleased Todd Snider original.
TRACKLIST: “Shattered”/”Backlash”

st paul

St. Paul and the Broken Bones – Live From The Alabama Theatre
Format: 12″ Vinyl
Label: Single Lock
Release type: RSD Exclusive Release
More Info:
Covers of Sly and the Family Stone’s “Sing a Simple Song” and David Bowie’s “Moonage Daydream” recorded live at the Alabama Theatre on 11/14/14. Released on a 12″ transparent crimson record SHAPED LIKE THE STATE OF ALABAMA.
TRACKLIST: “Sing a Simple Song”/”Moonage Daydream”

Doc and Merle Watson – ‘Ballads from the Gap’
Format: 12″ Vinyl
Label: Vanguard
Release type: RSD Exclusive Release
More Info:
Fan-voted vinyl re-issue of the iconic release, re-mastered from the original tapes and presented in ‘exact replica’ packaging.

Bonnie ‘Prince’ Billy & Broeder Dieleman – Split 7″
Format: 7″ Vinyl
Label: Snowstar Records
Release type: RSD Limited Run / Regional Focus Release
More Info:
Bonnie ‘prince’ Billy & Broeder Dieleman cover and translate each other, after having toured together in the Netherlands in 2014. Broeder Dieleman is from the south of the Netherlands, and sings in Dutch. He translated Bonnie prince Billy’s ‘Three Questions’, while Will Oldham does his (translated) take of ‘Gloria’
TRACKLIST: 1: Bonnie ‘Prince’ Billy – Gloria 2: Broeder Dieleman – Drie Vragen

Junior Brown – Better Call Saul: Theme 7″
Format: 7″ Vinyl
Label: SPACELAB9
Release type: RSD Limited Run / Regional Focus Release
More Info:
TRACKLIST: “Better Call Saul”/”Better Call Saul (Instrumental)”

Giant Sand – ‘Valley of Rain (30th Anniversary Edition)’
Format: 2 x 12″ Vinyl
Label: Fire America
Release type: RSD Limited Run / Regional Focus Release
More Info:
Marking the 30th anniversary since Giant Sand’s debut album “Valley of Rain,” Fire America brings you this limited edition 2xLP 30th Anniversary Edition. The first disc is the lovingly re-mastered “Valley of Rain” in its entirety, with the addition of the track “Torture of Love,” which was added by Howe Gelb himself. The second disc features extra material recorded as Giant Sand and the pre-Giant Sand line up “Giant Sandworms,” including a “Valley of Rain” remix, a “repaired” version of “Tumble and Tear” along with five fascinating bonus tracks compiled from live and radio recordings from the time period.
• Limited to 500 copies for North America
• Liner notes from Howe Gelb.
TRACKLIST: Disc One: 1. Valley Of Rain, 2. Tumble & Tear, 3. October Anywhere, 4. Barrio, 5. Death, Dying & Channel 5, 6. Torture Of Love, 7. Down On Town / Love’s No Answer, 8. Black Venetian Blind, 9. Curse Of A Thousand Flames, 10. Artists, 11. Man Of Want
Disc Two: 1. Valley Of Rain – Remixed Instrumental, 2. Tumble And Tear – Repaired, + Five bonus tracks

Lydia Loveless & Cory Brannan - 'Prince Covers Split Single'

Lydia Loveless & Cory Brannan – ‘Prince Covers Split Single’
Format: 7″ Colored Vinyl
Label: Bloodshot
Release type: RSD Limited Run / Regional Focus Release
More Info:
Two never before released tracks. Physical Only, Purple Vinyl
TRACKLIST: Lydia: “I Would Die For You” Cory: “Under The Cherry Moon”

Lee Ann Womack – ‘Trouble in Mind’
Format: 12″ Vinyl
Label: Sugar Hill Records
Release type: RSD Limited Run / Regional Focus Release
More Info:
a limited edition 3-Song 12” vinyl – blues classic “Trouble in Mind,” Roger Miller’s demi-obscure “Where Have All The Average People Gone?” and Ralph Stanley’s bluegrass gospel “I’ve Just Seen The Rock of Ages.”

Various Artists – ‘Music To Drink Beer To’
Format: 12″ Vinyl
Label: Legacy
Release type: RSD Limited Run / Regional Focus Release
More Info:
Music To Drink Beer To is a limited-edition compilation put together by longtime friends Sam Calagione of Dogfish Head and Adam Block of Sony Music’s Legacy Recordings. Sam, who’s in the beer business and a raging music geek, and Adam, who’s in the music business and a raging beer geek, sat down over a few beers and a stash of well worn vinyl and picked some of their favorite tracks.
TRACKLIST: 01. “Please, Mrs. Henry”/Bob Dylan & The Band, 02. “Fishin’ Blues”/Taj Mahal, 03. “I Put A Spell On You”/Screamin’ Jay Hawkins, 04. “Gimmie Danger”/Iggy And The Stooges, 05. “Whiskey Bottle”/Uncle Tupelo, 06. “You Ain’t Goin’ Nowhere”/The Byrds, 07. “What Good Can Drinking Do”/Janis Joplin, 08. “Mannish Boy”/Muddy Waters, 09. “Scuttle Buttin’”/Stevie Ray Vaughan And Double Trouble, 10. “Surrender”/Cheap Trick, 11. “Juicy Fruit”/Mtume, 12. “Electric Relaxation”/A Tribe Called Quest

The Reverend Peyton’s Big Damn Band – ‘You Can’t Judge A Book…’
Format: 7″ Vinyl
Label: Daddy Kool Records
Release type: RSD Limited Run / Regional Focus Release
More Info:
The Reverend Peyton’s Big Damn Band has been creating a whirlwind with their riveting and unconventional elixir of muscular and high voltage country blues capped by gritty growling vocals and striking finger picking. Inspired by the likes of Charley Patton, Furry Lewis and John Hurt, Reverend Peyton is steeped in the great blues tradition but is catapulting its roots into a new era.
TRACKLIST: “You Can’t Judge A Book By Looking At The Cover” B/W “Some These Days I’ll Be Gone”

Chris Stapleton – ‘IN STEREO’
Format: 10″ Vinyl
Label: Mercury Nashville
Release type: RSD Limited Run / Regional Focus Release
More Info:
TRACKLIST: “When the Stars Come Out” “Fire Away” “Tennessee Whiskey”

The Waterboys – ‘Puck’s Blues’
Format: 10″ Vinyl
Label: Harlequin & Clown
Release type: RSD Limited Run / Regional Focus Release
More Info:
Home demos and acoustic tracks recorded in advance of the new album.
TRACKLIST: A1-November Tale, A2-I Can See Elvis
B1-The Girl Who Slept ForScotland, B2- Destinies Entwined

The Mavericks – ‘Mono’
Format: 12″ Vinyl
Label: The Valory Music Company
Release type: ‘RSD First’ Release
More Info:
Early vinyl release for Record Store Day, includes digital download

John Prine – ‘September 78’
Format: 12″ Vinyl
Label: Oh Boy Records
Release type: ‘RSD First’ Release
More Info:
A live record of John playing with a full band. There are loud guitar solos, funky organ playing and a couple of unreleased covers that will really surprise some folks.

Various Artists – ‘Sawyer Sessions Vol 1’
Format: CD
Label: Yep Roc Records
Release type: ‘RSD First’ Release
More Info:
The Sawyer Sessions started simple enough: new town, new building, new vibe. When the Yep Roc Music Group moved to Hillsborough, North Carolina two years ago, they wanted to find a way to integrate themselves into the creative juices flowing just beneath the surface of this historic, southern town. Named after their nearly 100-year-old office building, The Sawyer Sessions are one part video series, one part mobile recording lab, one part way to introduce the music group to their neighbors. But instead of bringing by a pie, they bring a collection of artists with diverse backgrounds and styles – Grammy Award winners, noted international songwriters, all legendary performers. They drop them into to everyday life situations and record them at restaurants, galleries and private homes – the only rule is that it has to be within the roughly 4.3 square miles of their new hometown. This record documents the best of those first year of performances and serves as a “map” of Hillsborough, North Carolina. Limited Edition Record Store Day Exclusive with hand-drawn cover art.

Bruce Springsteen – ‘Nebraska’
Format: 12″ Vinyl
Label: Legacy
Release type: ‘RSD First’ Release
More Info:
• Newly remastered on LP!
• Packaged in faithful recreation of original LP sleeves.
• Remastered from the original source tapes
• 180-gram audiophile vinyl
TRACKLIST: “Nebraska”, “Atlantic City”, “Mansion On The Hill”, “Johnny 99”, “Highway Patrolman”, “State Trooper”, “Used Cars”, “Open All Night”, “My Father’s House”,”Reason To Believe”

Sony Music Nashville CEO Gary Overton is Right (And So What?)

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GaryOverton

When Sony Music Nashville CEO Gary Overton told the Tennessean, “If you’re not on country radio, you don’t exist.” it caused a minor kerfuffle between country music bloggers and country artists, like Aaron Watson and Charlie Robison, that felt they , and country msuic’s integrity, were in his contemptuous crosshairs.

I even took it apon myself to decry Overton’s statement on Twitter and retweet links to essays taking him to task.

But after some reflection, I am willing to concede that Overton is correct in his statement.

First context.

Overton made his incendiary remarks while attending the annual Country Radio Seminar in Nashville, where 2,424 attendees, exhibitors, panelists and sponsors came to discuss the future of the industry. That’s the Country Radio industry. Not the roots americana industry. Not the historical preservation of country music.

As with any trade convention quality was not the focus, unless there is a direct line between it and profits.

It’s about return on investment. Period.

No more clear symbol of this was the surprise appearance of Garth Brooks to announced the year’s Country Radio Hall of Fame inductees in both the Radio and On-Air categories.

Whether you like Brooks’ music, or believe he’s the beginning of genre cross-over hell and the end of everything that was good about country music (he wasn’t), with 8 Academy of Country Music awards and a RIAA (Recording Industry Association of America) listing of as the best-selling solo album artist of all-time (surpassing Elvis Presley) with 135 million units sold, he is the the gold standard by which radio play, record sales and concert attendance is measured.

Jimmy Rodgers mights be the father of country music, but Garth is it’s first superstar.

This is the ontological existence of which Overton refers. The world made possible by Garth.

When your music is no longer a nuanced craft and becomes a replicable commodity, you exist. If your personality and looks are a marketers dream, you exist. If your income far exceeds the label’s output, you exist. If you’re willing to run that gilded hamster wheel ad infinitum until the end of your short days, you exist.

If you’re willing to use your talents to grease the music row production machine, to achieve potential fame and admiration of millions, you exist.

Short of that piss off.

It’s not all gloom. When an industry behemoth refuses to adapt to customer tastes and industry trends alternatives spring up.

The Nashville Sound led to Buck, Merle , Willie and Waylon. The Urban Cowboy fab resulted in Dwight Yoakam, Steve Earle, Lyle Lovett and kd Lang.

Though these rebels were never fully integrated into the machine itself they did send waves into record sales and radio execs had take notice.

Now the so-called Bro-Country fad has Kacey Musgraves, Brandy Clark, Sturgill Simpson and Jason Isbell rocking the mainstream country boat.

But like McDonalds facing a healthier eating public, or Budweiser facing a less people willing to swill their sun-par product, Music Row can only partially assimilate. The assimilation will also lead to the application of the Garth standard of success, of existence, so songs will be optioned and the same flavorless production sauce will be slathered over extraordinary songs rendering them worthy of mainstream radio play and consumptions of an always shifting, faceless and fickle demographic.

So Overton is correct. By the Garth standard of rendering cultural artifacts into mass consumption radio fodder, most musicians don’t matter. Thier work or image doesn’t fit into the already prefabbed sonic and stylized containers.

But luckily the Garth standard is not the only one that counts.

There the already mentioned Bakersfield /Outlaw standard of creatively seeing untapped opportunities and bucking (hehe) conventional (and played out) trends.

There’s the model of artists like Buddy Miller, Jim Lauderdale, Gretchen Peters, Vince Gill, Chris Knight, Guy Clark and others that straddle the commercial and artistry territories without compromise.

There’s the vibrant and thriving Americana model that cultivates and champions the best of country music, and country music sourced genres , new and older talents. And has created a thriving , and lucrative, community.

And then there’s the Hank III model of giving the finger to Music Row and bringing in a whole new demographic from the ground up, to build a loyal, enthusiastic and sustainable fan base.

Some say the Garth standard of mega sales, and celebrity status, is dead, or dying, in a music industry in transition.

I certainly have no crystal ball telling me where all this is headed. But I take comfort is knowing that Overton and his ilk are on their heels as their concept of existence crumbles beneath them.

Or as singer/songwriter, and one-time potential Voice contestant, Jason Isbell so eloquently tweeted:

“Of course major-label execs are saying crazy things these days. Have you ever heard the kinds of things people say when they’re dying? ”

New Americana and Roots Music Releases for 2015

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The Lone Bellow - Then Came The Morning

2014 was another bumper crop year for Americana and roots music. We shared our favorites and you weighed in with more. 2015 shows no signs of easing up as stalwarts like Steve Earle and James McMurtry and young guns like The Lone Bellow and American Aquarium are planning releases.

The list below is not a definitive 2015 Americana release list, it’s all early months. But it’s as close as I can get with the information available at year’s close. The list is in chronological order based on release date, which mostly occurs on an planned Tuesday target which for some reason (none good) persists.

See one missing? Leave it in the comments.

Look for new things coming in the New Year at Twang Nation. It’s going to be a great year.

Have a happy, and safe, New Years. See you on the other side.

January 13TH
Justin Townes Earle – ‘Absent Fathers’
Cody Jinks – ‘The Adobe sessions’
Cody Canada & the Departed “Hippie Love Punk”

January 20th
The Waterboys – ‘Modern Blues’
Ryan Bingham – ‘Fear and Saturday Night’
Haley Cole – ‘Illusions’
Caitlin Canty – ‘Reckless Skyline’

January 27th
The Lone Bellow – ‘Then Came The Morning’
Paul Kelly – ‘The Merry Soul Session’
Punch Brothers – ‘The Phosphorescent Blues’

February 3rd
Bob Dylan – ‘Shadows in the Night’
Murder by Death – ‘Big Dark Love’
Hiss Golden Messenger – ‘Southern Grammar EP’
Gurf Morlix – ‘Eatin’ At Me’

February 10th
Father John Misty – ‘I Love You, Honeybear’
Robert Earl Keen – ‘Happy Prisoner’
Gretchen Peters – ‘Blackbirds’
Rhiannon Giddens – ‘Tomorrow Is My Turn’
Blackberry Smoke – ‘Holding All the Roses’
Owl Country – ‘Owl Country’
6 String Drag – ‘Roots Rock ‘N’ Roll’

February 17th
Phosphorescent – ‘Live at the Music Hall’
Steve Earle & The Dukes- ‘Terraplane’
Whitehorse – ‘Leave No Bridge Unburned’
Rev. Peyton’s Big Damn Band – ‘So Delicious’
Wrinkle Neck Mules – ‘I Never Thought It Would Go This Far’
The Mavericks – ‘Mono’

February 24th
Elvis Perkins- ‘I Aubade’
James McMurtry – ‘Complicated Game’
Steve Gunn & Black Twig Pickers – ‘Seasonal Hire’
Nora Jane Struthers – ‘Wake’
The Lowest Pair – ‘The Sacred Heart Sessions’
Elana James – ‘Black Beauty’

March 3rd
Ryan Culwell – ‘Flatlands’
Brandi Carlile – ‘Firewatcher’s Daughter’
Gill Landry – ‘Gill Landry’
Andrew Combs – ‘All These Dreams’
Caroline Spence – ‘Somehow’
Dorthia Cottrell – ‘Dorthia Cottrell’

March 10th
Joe Pug’s – ‘Windfall’
Tom Paxton – ‘Redemption Road’
Porter – ‘This Red Mountain’

March 13th
The Coal Creek Boys – ‘Out West’

March 17th
Liz Longley – ‘Liz Longley’
Stone Jack Jones – ‘Love & Torture’

March 24
Humming House – ‘Revelries’
Gabrielle Papillon – ‘The Tempest of Old’
Doc Watson, Bill Monroe + – Classic American Ballads from Smithsonian Folkways

March 27th
Allison Moorer – ‘Down To Believing’

March 31st
William Elliott Whitmore – ‘Radium Death’
Sarah Gayle Meech – ‘Tennessee Love Song’
Simon Joyner – ‘Grass, Branch & Bone’

April 1st
The Devil’s Cut – ‘Antium’

April 7th
Delta Rae – ‘After It All’
Folk Family Revival – ‘Water Walker’
Carl Anderson – ‘Risk of Loss’
Pokey LaFarge – ‘Something in The Water’
Ray Wylie Hubbard – ‘The Ruffian’s Misfortune’

April 14th
Dwight Yoakam – ‘Second Hand Heart’
Lowland Hum – ‘Lowland Hum’
Shinyribs – “Okra Candy”

April 15th
Lucia Comnes – “Love, Hope & Tyranny”
The Damnwells – ‘The Damnwells’

April 21st
John Moreland – ‘High On Tulsa Heat’
Nicki Bluhm and The Gramblers – ‘ Loved Wild Lost’
Jimbo Mathus – ‘Blue Healer’
Ryan Adams – “Live at Carnegie Hall’

April 27TH
Lewis & Leigh – ‘Missing Year EP’

April 28th
Charlie Parr -‘Stumpjumper’
Odessa – ‘Odessa’

May 4th
Shelby Lynne – ‘I Can’t Imagine’

May 5th
Mandolin Orange – ‘Such Jubilee’
Hannah Miller – ‘Hannah Miller’

May 12th
Jimmy LaFave – ‘The Night Tribe’
Eilen Jewell – ‘Sundown over Ghost Town’
Emmylou Harris and Rodney Crowell – ‘The Traveling Kind’
Della Mae – ‘Della Mae’

May 19th
Darrell Scott – “10 – Songs of Ben Bullington”
Jamie Lin Wilson – ‘Holidays & Wedding Rings’

June 2nd
The Mike + Ruthy Band – “Bright As You Can”
Dawes – “All Your Favorite Bands”

June 9th
Sam Outlaw – “Angeleno”
The Deslondes – “The Deslondes”
Dale Watson – “Call Me Insane”
Courtney Patton – “So This Is Life”
Uncle Lucius – “The Light”
Chris Hennessee – “Greeting from Hennessee”
Sammy Kershaw – “I Won’t Back Down”

June 23rd
Beth Bombara – ‘Beth Bombara’
Larry Campbell and Teresa Williams – ‘Larry Campbell and Teresa Williams’
Richard Thompson – “Still”
Kacey Musgraves – “Pageant Material’

July 17th
Jason Isbell – ‘Something More Than Free’

July 31st
Daniel Romano – ‘If I’ve Only One Time Askin’ ‘

August 7th
Lindi Ortega – “Faded Gloryville”

August 11th
Angela Easterling – “Common Law Wife”

August 14
Rod Picott – “Fortune’
The Waifs – ‘Beautiful You’

August 21st
The White Buffalo – ‘Love and the Death of Damnation’

September 18th
Turnpike Troubadours – “Turnpike Troubadours”

September 25th
Patty Griffin – ‘Servant Of Love’

October 30th
The Yawpers – ‘American Man’
Steve Martin and Edie Brickell – “So Familiar”

Steve Earle To Release His 16th Studio Album, “Terraplane,” and Memoir in 2015

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Steve Earle "Terraplane"

2015 is looking pretty bright roots music people. Steve Earle is again working with the current version of The Dukes – Kelly Looney, Will Rigby, Chris Masterson and Eleanor Whitmore – and will release his 16th studio effort “Terraplane” on February 17th. The album will also feature another great cover by longtime Earle collaborator Tony Fitzpatrick.

Earle will also release his memoir ‘I Can’t Remember If We Said Goodbye,’ published by Grand Central Publishing/Hachette Book Group.

The album follows fellow roots artist like Ray Wylie Hubbard and Lucinda Williams into more blues focused territory.

From the press release:

” ‘Terraplane’ takes its title from the 1930s Hudson Motor Car Company of Detroit model, which also inspired the Robert Johnson song “Terraplane Blues.” … As its title suggests, the album is very much a blues record, a third of which was written while Earle toured Europe alone for five weeks with just a guitar, a mandolin and a backpack. Earle, who was raised outside of San Antonio before migrating to Houston, offers about Texas blues, “There was Fort Worth where the model was Freddy King, and there was the Houston scene which was dominated by Lightnin’ Hopkins. Two very different styles.” He saw both of these giants, and was also exposed to Johnny Winter, Jimmy and Stevie Ray Vaughn, and Billy Gibbons, all of which make their influence heard here within Earle’s masterful storytelling. ”

“Earle states in the Terraplane album liner notes, “…the blues are anything but superficial. In fact, they run so deep and dark and close to the bone that folks walk around everyday with the blues as though it were perfectly natural for a human being to go on living with a broken heart (apologies to Tony Kushner).” He continues, “For my part, I’ve only ever believed two things about the blues: one, that they are very democratic, the commonest of human experience, perhaps the only thing that we all truly share and two, that one day, when it was time, I would make this record.” ”

The album was produced by R.S. Field (Buddy Guy, John Mayall), engineered by Earle’s longtime production partner Ray Kennedy, and recorded at House of Blues Studio D in Nashville, TN.

‘Terraplane’ will be available as a compact disc, deluxe CD/DVD combo as well as as 180g vinyl. The deluxe version of the album will include 24-bit high-res audio of the album as well as a long-form interview between Earle and acclaimed journalist Mark Jacobson, three live, acoustic songs filmed on the porch of House of Blues Studio D, and a behind-the-scenes short film about the making of the album.

2015 will also see the publication of Earle’s memoir ‘I Can’t Remember If We Said Goodbye,’ published by Grand Central Publishing/Hachette Book Group. Earle has been a featured actor on the HBO Original Series “The Wire” and “Treme,” and also appears in the upcoming films “The World Made Straight” and “Dixieland.” He can be seen in many episodes of the Foo Fighters HBO Original Series “Sonic Highways” and also co-wrote the title track with Marianne Faithfull for her new studio album Give My Love To London.

Steve Earle & The Dukes – Terraplane Track Listing:
1. Baby Baby Baby (Baby)
2. You’re The Best Lover That I Ever Had
3. The Tennessee Kid
4. Ain’t Nobody’s Daddy Now
5. Better Off Alone
6. The Usual Time
7. Go Go Boots Are Back
8. Acquainted With The Wind
9. Baby’s Just As Mean As Me
10. Gamblin’ Blues
11. King Of The Blues

Earle announced four January residency performances at the City Winery in New York City, where he resides :

January 5 – New York, NY @ City Winery *
January 12 – New York, NY @ City Winery +
January 19 – New York, NY @ City Winery
January 26 – New York, NY @ City Winery

* With Willie Watson
+ With Shawn Colvin

Look Again To The Wind: Johnny Cash’s Bitter Tears Revisited – Available August 19

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Bitter Tears

To celebrate the 50th Anniversary of one of Johnny Cash’s most personal releases, “Bitter Tears: Ballads of the American Indian,” Sony Music Masterworks will commemorate the occasion with “Johnny Cash’s Bitter Tears Revisited” ( August 19.) Produced by Joe Henry and featuring country and Americana music giants Kris Kristofferson, Emmylou Harris, Steve Earle, Bill Miller, Gillian Welch and David Rawlings, and Norman and Nancy Blake, as well as up-and-comers the Milk Carton Kids and Rhiannon Giddens. Each artist interpreting the music for a new generation. As his project was for Cash, the new collection “is a labor of love with a strong sense of purpose fueling its creation.”

Of all the dozens of albums released by Johnny Cash during his nearly half-century career, 1964’s Bitter Tears: Ballads of the American Indian was among the closest to the artist’s heart. A concept album focusing on the mistreatment and marginalization of the Native American people throughout the history of the United States, its eight songs-among them “The Ballad of Ira Hayes,” a #3 hit single for Cash on the Billboard country chart-spoke in frank and poetic language of the hardships and intolerance they endured.

“Prior to Bitter Tears, the conversation about Native American rights had not really been had,” says Henry, “and at a very significant moment in his trajectory, Johnny Cash was willing to draw a line and insist that this be considered a human rights issue, alongside the civil rights issue that was coming to fruition in 1964. But he also felt that the record had never been heard, so there’s a real sense that we’re being asked to carry it forward.”

Bitter Tears, widely acknowledged for decades as one of Cash’s greatest artistic achievements, did not realize its stature as a landmark recording easily and quickly. At the time that Cash proposed the album, he was met with a great deal of resistance from his record label. They felt that a song cycle revolving around the Native American struggle as perpetrated by the white man took him too far afield of the country mainstream and Cash’s core audience. Cash still released the album and although it did not perform as well as he had hoped, he remained extremely proud of the album throughout his life.

Ironically, at the same time that his own label was balking because it felt he would alienate the country audience with his Native American tales, Cash was finding a new set of admirers among the burgeoning folk music crowd that had recently made stars of Bob Dylan, Joan Baez and Peter, Paul and Mary. Cash’s debut performance of “Ira Hayes” at the 1964 Newport Folk Festival had earned him rave reviews. His appeal was undeniably expanding beyond the country audience, and for those who did connect with Bitter Tears, among them a 17-year-old aspiring singer-songwriter named Emmylou Harris, its music was revelatory and important. “The record was a seminal work for her as a teenager,” says Henry. “She bought the album brand new and realized at that moment that Johnny Cash was a folk singer, not a country singer, and was involving himself politically and socially in a way that she had identified with the great folk singers at that moment.”

Henry’s awareness of Harris’ affection for Bitter Tears led him to invite her to contribute to Look Again To The Wind: Johnny Cash’s Bitter Tears Revisited. Following the epic, nine-minute album-opener “As Long as the Grass Shall Grow,” written by Peter La Farge-a folk singer-songwriter with Native American bloodlines who Cash had befriended-and sung here by Welch and Rawlings, Harris takes the lead vocal on the Cash-penned “Apache Tears,” which also features sweet, close harmonies by the Milk Carton Kids, the duo comprising Kenneth Pattengale and Joey Ryan. For Henry, carefully matching artist to song was integral to the integrity of Look Again To The Wind. For some of the tracks, that process required a great deal of consideration. But when it came to deciding who would interpret “The Ballad of Ira Hayes,” Henry quickly zeroed in on Kristofferson.

Another of five songs on the original album written by La Farge, “The Ballad of Ira Hayes” is based on the true story of Ira Hamilton Hayes, a Pima Indian who was one of the six Marines seen raising the flag at Iwo Jima in an iconic World War II photograph. Hayes’ moment of glory was followed upon his return to civilian life with prejudice and alcoholism-Cash, moved by Hayes’ story and La Farge’s recounting of it, vowed to record the song. When planning out Look Again To The Wind, Henry knew that only a few living singers could deliver the song the way he wanted to hear it. He called Kristofferson, utilizing Rawlings and Welch to sing background.

“I wanted somebody whose relationship with Johnny Cash was not only musical but personal,” he says. “I’d worked with Kris on a couple of other things and I thought why not ask? Who else has a voice with that kind of power and authority?” That same sense of intuition guided Henry to choose the other participants and the material they would render. For La Farge’s “Custer,” the album’s third song, the producer knew instinctively that Steve Earle was the right man for the job. “Steve is an upstart, and there are very few people I can imagine working right now who could deliver a song that is that pointed in that particular way and do it authentically without cowering from it or making it feel a little too arch,” Henry says. “He really could embody the kind of swagger that that song insists upon.”

Similarly, Henry chose Nancy Blake (with Harris and Welch on backing vocals) for the Cash-written “The Talking Leaves,” Norman Blake to sing “Drums,” the Milk Carton Kids to lead “White Girl” (both of those authored by La Farge) and the powerhouse vocalist Rhiannon Giddens of the Carolina Chocolate Drops for the original album’s finale, “The Vanishing Race,” written by Cash’s good friend Johnny Horton. To bolster the album (the original, typical of mid-’60s vinyl LPs, ran just over a half hour), Henry fills out the track list of Look Again To The Wind with reprises of “Apache Tears” and “As Long As the Grass Shall Grow”-both sung by Welch and Rawlings-and ends the set with the title track, a La Farge tune that did not appear on the original Johnny Cash album but instead on the songwriter’s own 1963 release As Long as the Grass Shall Grow: Peter La Farge Sings Of The Indians. Here it’s sung by Bill Miller, with Sam Bush providing mandolin and Dennis Crouch upright bass, a fine and fitting coda to the collection.

From the start, Henry looked at the project as one that would require great personal commitment and responsibility on his own part. Approached as potential producer of the project by the man who first envisioned it, Sony Music Masterworks’ Senior Vice President Chuck Mitchell (who’d been in conversations with Antonino D’Ambrosio, author of A Heartbeat and a Guitar,a book about the making of Bitter Tears), Henry immediately understood the importance of the assignment. “Johnny Cash was my first musical hero and I feel a profound debt to him as an artist, and as a courageous one,” he says. “How could I say no to that?”
He also realized that the Bitter Tears album held a special place in Cash’s canon, and that in many ways the issues it raised still resonate today-this had to be apparent in the new versions. “Mr. Cash knew that if he took this on, even if his point of view was not adopted, he had the power to be heard,” Henry says.

The album was recorded in three sessions: the first two in Los Angeles and Nashville and, lastly, one at the Cash Cabin, in Cash’s hometown of Hendersonville, Tennessee, where Bill Miller cut his contribution. Providing the instrumental backing for most of the album are Greg Leisz (steel guitar, guitars), Keefus Ciancia (keyboards), Patrick Warren (keyboards for the L.A. sessions), Jay Bellerose (drums) and Dave Piltch (bass).

TRACKLIST:
As Long as the Grass Shall Grow – Gillian Welch & David Rawlings
Apache Tears – Emmylou Harris w/The Milk Carton Kids
Custer – Steve Earle w/The Milk Carton Kids
The Talking Leaves – Nancy Blake w/ Emmylou Harris, Gillian Welch & Dave Rawlings
The Ballad of Ira Hayes – Kris Kristofferson w/ Gillian Welch & David Rawlings
Drums – Norman Blake w/ Nancy Blake, Emmylou Harris, Gillian Welch & David Rawlings
Apache Tears (Reprise) – Gillian Welch & Dave Rawlings
White Girl – The Milk Carton Kids
The Vanishing Race – Rhiannon Giddens
As Long as the Grass Shall Grow (Reprise) – Nancy Blake, Gillian Welch & Dave Rawlings
Look Again to The Wind – Bill Miller

Celebrate National Train Day – Top Train Songs

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TrainWreck1

No other technology has held a thematic sway over roots and county music like the the railway system (okay, maybe distilling) The train has been a symbol of freedom that has catured the iamginction of songwrietrs or generations.

In celebrate National Train day here are some my personal and fan picked favorites.

As a teenager Eaglesmith hopped a freight train out to Western Canada, and began writing songs and performing. It;s natural he’d write a great son about them.

Steve Earle’s post-addiction and post-prison is arguably his best. The GRAMMY-nominated “Train a Comin’ featured older material written when Earle was in his late teens but it;s maturity is evident in songs like “Sometimes She Forgets,” Mercenary Song,” and “Mystery Train part II” whose lyrics finished the day it was recorded.

“Orphan Train” tells the story of the orphan trains operated between 1853 and 1929, relocating about 250,000 orphaned, abandoned, or homeless children to foster homes located largely in rural areas of the Midwest. Julie Miller adds just the right atmosphere to this contemporary dirge,

500 Miles is a folk classic credited to Hedy West and made popular by acts like Peter, Paul and Mary (it was the second track on their US #1, May 1962 debut album).A slightly altered version was a hit by Bobby Bare in 1963. Roseanne Cash does a hulluva version from her release “The List.”

Billy Joe Shaver, with his late son Eddie picking in the strat, made an instant classic with this one.
https://www.youtube.com/watch?v=LpEElGVgv24

Guy Clark wrote “Texas – 1947” bout the first time a diesel sped through his hometown of Monahans in West Texas.

“Ben Dewberry’s Final Run” by Andrew Jenkins was covered by Johnny Cash, Jerry Douglas, Steve Forbert, Bill Monroe, Jimmie Rodgers and Hank Snow. Gillian Welch and Dave Rawlings give it fine turn.

Orange Blossom Special” is a classic by Johnny Cash. Johnny burns up the mouth harp on this one at San Quentin.

City of New Orleans” is a folk song written by Steve Goodman describing a train ride from Chicago to New Orleans. Arlo Guthrie had a hit with i on his 1972 album Hobo’s Lullaby. The way I see it, when Willie Nelson does a song it stays done.
https://www.youtube.com/watch?v=SnU2Tmqqv9g

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!

Steve Earle, Loretta Lynn, Shovels & Rope, Dolly Parton and Others Featured On Commemorative Civil War Tribute Album

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ATO Records

Now this is something special.

This fall, ATO Records, and music supervisor Randall Poster (‘Moonrise Kingdom,’ ‘Boardwalk Empire,’ ‘Rave On Buddy Holly’) will release ‘Divided & United,’ a two-disc set of Civil War songs freshly interpreted by lends and newcomers of country, bluegrass, folk and Americana like Contributions from Old Crow Medicine Show, A.A. Bondy, Taj Mahal, T. Bone Burnett, Ashley Monroe, Steve Earle, Shovels & Rope, Dolly Parton, Cowboy Jack Clement and others (No, The Civil Wars oddly not represented)

The collection celebrates music deeply rooted in American history in tribute to the 150th anniversary of the Civil War. Fresh interpretations of period parlor songs, spirituals, abolition and minstrel numbers. the songs hold a mirror to the past and explores themes of race, identity and reconciliation while reflecting contemporary issues.

Loretta Lynn’s rendition of “Take Your Guns and Go, John,” (below) is a beautifully spare, earnest version of the traditional detailing a man off to war.

“I had such a great time recording this song for this album,” Lynn tells Rolling Stone. “I loved the song and sound of that banjo, played by Bryan Sutton, made me feel I was back on the front porch in Kentucky where I came from. Glad to be a part of this record.”

‘Divided & United’ also features an essay by noted musician, filmmaker and historian John Cohen, who writes: “This record aspires to erase the legacy of segregation and through music seeks reconciliation instead, in order to celebrate a great musical heritage of America, born in pain, war and prejudice.”

Disc 1
1. Take Your Gun and Go, John – Loretta Lynn
2. Lorena – Del McCoury
3. Wildwood Flower – Sam Amidon
4. Hell’s Broke Loose In Georgia – Bryan Sutton
5. Two Soldiers – Ricky Skaggs
6. Marching Through Georgia – Old Crow Medicine Show
7. Dear Old Flag – Vince Gill
8. Just Before the Battle, Mother/ Farewell, Mother – Steve Earle and Dirk Powell
9. The Fall Of Charleston – Shovels & Rope
10. Tenting on the Old Campground – John Doe
11. Day Of Liberty – Carolina Chocolate Drops
12. Richmond Is a Hard Road to Travel – Chris Thile and Michael Daves
13. Two Brothers – Chris Stapleton
14. The Faded Coat Of Blue – Norman Blake, Nancy Blake and James Bryan
15. Listen to the Mockingbird – Stuart Duncan feat. Dolly Parton
16. Kingdom Come – Pokey Lafarge

Disc 2
1. Rebel Soldier – Jamey Johnson
2. The Legend of the Rebel Soldier – Lee Ann Womack
3. The Mermaid Song – Jorma Kaukonen
4. Dixie – Karen Elson with Secret Sisters
5. The Vacant Chair – Ralph Stanley
6. Hard Times – Chris Hillman
7. Down By the Riverside – Taj Mahal
8. Old Folks at Home/ The Girl I Left Behind Me – Noam Pikelny & David Grisman
9. Secesh – The Tennessee Mafia Jug Band
10. The Battle of Antietam – T Bone Burnett
11. Pretty Saro – Ashley Monroe
12. Aura Lee – Joe Henry
13. Johnny Has Gone for a Soldier – AA Bondy
14. When Johnny Comes Marching Home – Angel Snow
15. Battle Cry of Freedom – Bryan Sutton
16. Beautiful Dreamer – Cowboy Jack Clement