The annual Americana Music Association Festival and Conference is in full swing with the first official night now complete. The festival kicked off with annual awards show at the Ryman which, as always, featured incredible and unique performances that one can only see at this awards show. It's the only place you'll find a finale that includes Jim Lauderdale, Joy Williams of the Civil Wars, Emmylou Harris, Rodney Crowell, Roseanne Cash, Dr. John, Richard Thompson, Billy Bragg, Shovels and Rope, Tift Merritt, Dr. John and as wonderful a house band as you'll ever gather with Buddy Miller at the lead performing "Leaving Louisiana in the Broad Daylight", an old hit on separate occasions for Emmylou and the Oak Ridge Boys. What was especially great about this particular performance was hearing Rodney Crowell and Roseanne Cash perform a few lines together, something that rarely happens these days. Steven Stills just tore it up with a performance of the iconic Buffalo Springfield tune "For What It's Worth." The Milk Carton Kids made an astounding case as to why they could easily have been presented with the Emerging Artist award, an honour that was bestowed upon Shovels and Rope. Two very different styles of music between the two duos, both excellent acts and all tremendous artists.
Speaking of duos, they were front and center during the awards show with the Association giving much love to Emmylou Harris and Rodney Crowell, awarding them with the Duo/Group of the Year award and Album of the Year for "Old Yellow Moon." In addition to Emerging Artist, Shovels and Rope also picked up the award for Song of the Year for their performance of "Birmingham." The AMA Awards are truly the most unique award show presentations in the industry today. I always find it a treat to attend this show. For those who could not attend, Austin City Limits will be featuring a special broadcast of the music portions of the show at a later date (I suspect in November), and AXS TV in the United States has carried the show live for the past two years. Be on the lookout for a replay. Click here for a great rundown of the rest of the award proceedings.
It doesn't happen that often, but on occasion, a plan can go astray. My plan last night was to cover the Lone Bellow and JD McPherson's portion of the showcase. However, to their deserved credit, the Mercy Lounge was at capacity when I arrived at the venue so I was not able to get in. Fortunately, the Mercy Lounge, High Watt and Cannery Ballroom are all connected, so I ventured to the High Watt where I soon discovered how gifted and amazing Drew Holcomb and The Neighbours are. Performing a set largely comprised of material off their latest release "Good Light", Drew and the Neighbours delivered a powerful set that ranged from the autobiographical ("Tennessee") to the haunting ("A Place To Lay My Head"), from the romantic ("The Wine We Drink" -- which is a powerful, beautiful song) to the inspirational ("Good Light"), all delivered with complete heart and soul. This group has a real diverse sound to it. They can transition from a straight up, heartland rock and roll sound as heard on "Good Light" to a slightly Celtic delivery on "A Place to Lay My Head." A group of excellent musicians who are creating music that speaks to them, look for Drew and the Neighbours in your area as they hit the road soon. Judging by the reaction of the crowd at the High Watt, their music speaks to the people as well.
The final act I caught was based on a recommendation from my friend Nelson of WDVX radio in Knoxville, TN. St. Paul and the Broken Bones opened up for Jason Isbell in Knoxville earlier this year and apparently blew apart the stage they were so good. From Birmingham, AL, this group of young men have quite the future ahead of them. Reaching in to the soul, jazz and blues portion of Americana, St. Paul and the Broken Bones could have taken people to church last night, as there were moments you thought you were in a tent revival. The powerful, soulful and strong vocal delivery of St. Paul, paired with the outstanding musicianship of the Broken Bones created the most unique act I have seen in my 3 years attending this conference and festival. A real highlight of the show was a cover of the Aretha Franklin classic "Respect." Young, professional and talented, St. Paul and the Broken Bones are going places. They are ones to watch, indeed.
And to think this was only the first night ...
Thursday, September 19, 2013
Wednesday, September 18, 2013
First Time For Everything
I've said it many times before, but I'll say it again: I love Nashville. While commercial/mainstream country music is the single biggest driver of the economic engine in town, what truly makes this town Music City USA is the musical diversity that exists when you walk off the beaten path. I was fortunate enough to experience this on three different levels last night.
My first stop was at the Grand Ole Opry, where last night Old Crow Medicine Show were inducted as the Opry's newest member. The induction of Old Crow to the Opry is significant in many ways. As a string band playing an old-time style of music, Old Crow isn't your prototypical artist that one would think would be an ideal inductee. This thought isn't a stretch, given that the Opry typically inducts members who are in the middle of a successful chart run (Keith Urban, Darius Rucker) or have had significant chart success previously (Charlie Daniels, Mel Tillis, Charley Pride). While Old Crow has done well selling albums, chart success has been elusive. This clearly did not matter to the Opry selection committee, and it's a refreshing change.
It's with great hope that with the induction of Old Crow to the Opry, that this is a signal where the Opry selection committee has expanded their reach with respect to new prospective members. There are many great, well known and exceedingly popular entertainers in the broader country music landscape, which includes elements of Americana, that are stellar candidates for induction to the Opry. For example, Elizabeth Cook comes to mind.
It was a special night at the Opry to be sure. I would be remiss if I didn't mention how great it was to see Little Jimmy Dickens make an appearance for the first time at the Opry in a long time. Mr. Dickens has been in ill health of late, and it was a great moment when he took the stage. Mr. Dickens did not perform, rather he answered a few questions from the wonderful Eddie Stubbs. It is with great hope Mr. Dickens returns to performing again in the near future. Congratulations to Old Crow Medicine Show on their Opry induction. It was my first time attending an Opry induction and it was wonderful.
From the Opry I made my first foray in to East Nashville, where my friend Sloane Spencer of Country Fried Rock fame was co-hosting "AMA Eve" at the 5 Spot with Twang Nation's Baron Lane. I was looking forward to this event as the burgeoning music scene in East Nashville has been well documented but something I have not experienced. If you're coming to Nashville for mainstream country music, you won't find it on this side of the Cumberland. And that's not a bad thing. AMA Eve was my first showcase of music in East Nashville and it didn't disappoint. East Nashville mainstay Derek Hoke put on an absolutely killer set, with the great Robyn Hitchcock joining Derek on stage for a few songs. There's nothing like watching a group of solid, veteran musicians when they find their groove on a club stage. As emcee for the show, Derek was bang on when he called Great Peacock the best band in Nashville today. A solid group of young musicians, they delivered an amazing set that was worthy of the earlier praise effused upon them by Hoke. East Nashville is starting to become a happening place with its music scene leading the renaissance. It's truly great to see what music can do to help build a community.
My final stop of the night was in Midtown, where for the first time I'm taking up residence this week. About a mile or so away from the bustle of Lower Broadway, there is still plenty of music to be found on the west side of town. At Winner's, a young trio called Haggard's Halo were churning out some great old hits that I hadn't heard in a while. Songs like "Past The Point of Rescue" by Hal Ketchum and "Soulshine" by the Allman Brothers. It was near the end of the set when I happened upon Halo playing at this neighbourhood gem. Their closing set of the night was an outstanding version of "Takin' Pills" by the Pistol Annies. Haggard's Halo is a group worthy of your time and attention, and I would encourage you to be on the lookout for them on your next trip to Music City.
It was a great night to get one in the mood for the musical diversity that is the Americana Music Festival. The Opry induction of an Americana group. Some great rockabilly and other Americana music in East Nashville, mixed with a little mainstream hits to close off the night. Where else can you find that musical diversity on a Tuesday? I suspect nowhere.
My first stop was at the Grand Ole Opry, where last night Old Crow Medicine Show were inducted as the Opry's newest member. The induction of Old Crow to the Opry is significant in many ways. As a string band playing an old-time style of music, Old Crow isn't your prototypical artist that one would think would be an ideal inductee. This thought isn't a stretch, given that the Opry typically inducts members who are in the middle of a successful chart run (Keith Urban, Darius Rucker) or have had significant chart success previously (Charlie Daniels, Mel Tillis, Charley Pride). While Old Crow has done well selling albums, chart success has been elusive. This clearly did not matter to the Opry selection committee, and it's a refreshing change.
It's with great hope that with the induction of Old Crow to the Opry, that this is a signal where the Opry selection committee has expanded their reach with respect to new prospective members. There are many great, well known and exceedingly popular entertainers in the broader country music landscape, which includes elements of Americana, that are stellar candidates for induction to the Opry. For example, Elizabeth Cook comes to mind.
It was a special night at the Opry to be sure. I would be remiss if I didn't mention how great it was to see Little Jimmy Dickens make an appearance for the first time at the Opry in a long time. Mr. Dickens has been in ill health of late, and it was a great moment when he took the stage. Mr. Dickens did not perform, rather he answered a few questions from the wonderful Eddie Stubbs. It is with great hope Mr. Dickens returns to performing again in the near future. Congratulations to Old Crow Medicine Show on their Opry induction. It was my first time attending an Opry induction and it was wonderful.
From the Opry I made my first foray in to East Nashville, where my friend Sloane Spencer of Country Fried Rock fame was co-hosting "AMA Eve" at the 5 Spot with Twang Nation's Baron Lane. I was looking forward to this event as the burgeoning music scene in East Nashville has been well documented but something I have not experienced. If you're coming to Nashville for mainstream country music, you won't find it on this side of the Cumberland. And that's not a bad thing. AMA Eve was my first showcase of music in East Nashville and it didn't disappoint. East Nashville mainstay Derek Hoke put on an absolutely killer set, with the great Robyn Hitchcock joining Derek on stage for a few songs. There's nothing like watching a group of solid, veteran musicians when they find their groove on a club stage. As emcee for the show, Derek was bang on when he called Great Peacock the best band in Nashville today. A solid group of young musicians, they delivered an amazing set that was worthy of the earlier praise effused upon them by Hoke. East Nashville is starting to become a happening place with its music scene leading the renaissance. It's truly great to see what music can do to help build a community.
My final stop of the night was in Midtown, where for the first time I'm taking up residence this week. About a mile or so away from the bustle of Lower Broadway, there is still plenty of music to be found on the west side of town. At Winner's, a young trio called Haggard's Halo were churning out some great old hits that I hadn't heard in a while. Songs like "Past The Point of Rescue" by Hal Ketchum and "Soulshine" by the Allman Brothers. It was near the end of the set when I happened upon Halo playing at this neighbourhood gem. Their closing set of the night was an outstanding version of "Takin' Pills" by the Pistol Annies. Haggard's Halo is a group worthy of your time and attention, and I would encourage you to be on the lookout for them on your next trip to Music City.
It was a great night to get one in the mood for the musical diversity that is the Americana Music Festival. The Opry induction of an Americana group. Some great rockabilly and other Americana music in East Nashville, mixed with a little mainstream hits to close off the night. Where else can you find that musical diversity on a Tuesday? I suspect nowhere.
Monday, September 9, 2013
Who's Gonna Fill Their Shoes?
As a music fan, this question is now more than a George Jones song title. It appears that we're living in a rare musical age, where we are now in the position of saying goodbye to the musical greats who have helped to shape music in all genres. The page, for better or worse, is turning.
It's a thought that crossed my mind first with the passing of George Jones, but struck me again with the recent passing of singer-songwriter J.J. Cale. The world itself lost a treasure with the most recent passing of "Cowboy" Jack Clement. Where Mr. Jones helped define country music with his voice, Mr. Cale helped define music with his words and musical styling. To give an idea of the diversity of Mr. Cale's recorded catalog, look no further than these three classic recordings: "After Midnight" by Eric Clapton, "Clyde" by Waylon Jennings, and "Call Me The Breeze" by Lynyrd Skynyrd. All three are signature offerings from those artists ... all three are written by J.J. Cale ... and all three couldn't sound more different from each other.
When considering these works (and this is but a small sample of Mr. Cale's catalog) and their musical diversity, one has to wonder where is the next visionary? There are many great storyteller's out there and this is not to discount their work, but where is the next songwriter to exert his or her influence to the extent that J.J. Cale has? My guess is, that it will be a long time before we see the likes of Cale again.
The passing of "Cowboy" Jack Clement cannot be understated either. A virtual music historian, one cannot begin to imagine how many stories involving Elvis Presley, Waylon Jennings, Johnny Cash, Charley Pride and so on, passed on with Mr. Clement. The Tennessean's Peter Cooper wrote an excellent essay on the passing of Mr. Clement, beautifully showing the diversity, spirit, talent and wit of this man. I encourage you to read it. There is one phrase that sticks out in my mind from Mr. Clement, and I keep it in focus every time I start to feel stressed out about how this blog is working out: "Remember, we're in the fun business. If we're not having fun, we're not doing out job." How many people can claim that attitude?
I say this as it seems the music business, by and large, has changed. Profits are the number one priority in most circles, creativity is an afterthought except in the most rare of circumstances. With record labels being focused on the next big fad and/or trend in order to maximize profit, diversity of material becomes a victim. Having said that, I would suggest that with the rise in popularity of Americana, it should be clear to the recording business that people will always come back to what is real. Fads and trends will come and go, but authenticity is forever. People will ultimately come back to anything that is authentic. It can then be argued that if creativity and musical diversity becomes the priority, the profit margin will take care of itself. One can only hope that the business side of the music business will recognize this fact sooner rather than later.
Which brings us back to the original question: Who's Gonna Fill Their Shoes? At this time, there really isn't an answer, at least not an easy one. The 1960's and 1970's, when Mr. Jones, Mr. Cale and so many other great artists were at their creative apex was arguably the greatest period is music. The list of influential musicians, vocalists, groups and songwriters from all genres is fairly exhaustive. But as I noted above, it was a different time. Artists were allowed to develop and create, today this is not the case. Perhaps the more appropriate question to be asked is "How do you replace the irreplaceable?" which certainly describes Mr. Jones, Mr. Cale and Mr. Clement. I think the clear answer is, you don't. You appreciate the gift of their time, their talent and their incredible body of work that is their legacy. And carry it with us as we move forward.
It's a thought that crossed my mind first with the passing of George Jones, but struck me again with the recent passing of singer-songwriter J.J. Cale. The world itself lost a treasure with the most recent passing of "Cowboy" Jack Clement. Where Mr. Jones helped define country music with his voice, Mr. Cale helped define music with his words and musical styling. To give an idea of the diversity of Mr. Cale's recorded catalog, look no further than these three classic recordings: "After Midnight" by Eric Clapton, "Clyde" by Waylon Jennings, and "Call Me The Breeze" by Lynyrd Skynyrd. All three are signature offerings from those artists ... all three are written by J.J. Cale ... and all three couldn't sound more different from each other.
When considering these works (and this is but a small sample of Mr. Cale's catalog) and their musical diversity, one has to wonder where is the next visionary? There are many great storyteller's out there and this is not to discount their work, but where is the next songwriter to exert his or her influence to the extent that J.J. Cale has? My guess is, that it will be a long time before we see the likes of Cale again.
The passing of "Cowboy" Jack Clement cannot be understated either. A virtual music historian, one cannot begin to imagine how many stories involving Elvis Presley, Waylon Jennings, Johnny Cash, Charley Pride and so on, passed on with Mr. Clement. The Tennessean's Peter Cooper wrote an excellent essay on the passing of Mr. Clement, beautifully showing the diversity, spirit, talent and wit of this man. I encourage you to read it. There is one phrase that sticks out in my mind from Mr. Clement, and I keep it in focus every time I start to feel stressed out about how this blog is working out: "Remember, we're in the fun business. If we're not having fun, we're not doing out job." How many people can claim that attitude?
I say this as it seems the music business, by and large, has changed. Profits are the number one priority in most circles, creativity is an afterthought except in the most rare of circumstances. With record labels being focused on the next big fad and/or trend in order to maximize profit, diversity of material becomes a victim. Having said that, I would suggest that with the rise in popularity of Americana, it should be clear to the recording business that people will always come back to what is real. Fads and trends will come and go, but authenticity is forever. People will ultimately come back to anything that is authentic. It can then be argued that if creativity and musical diversity becomes the priority, the profit margin will take care of itself. One can only hope that the business side of the music business will recognize this fact sooner rather than later.
Which brings us back to the original question: Who's Gonna Fill Their Shoes? At this time, there really isn't an answer, at least not an easy one. The 1960's and 1970's, when Mr. Jones, Mr. Cale and so many other great artists were at their creative apex was arguably the greatest period is music. The list of influential musicians, vocalists, groups and songwriters from all genres is fairly exhaustive. But as I noted above, it was a different time. Artists were allowed to develop and create, today this is not the case. Perhaps the more appropriate question to be asked is "How do you replace the irreplaceable?" which certainly describes Mr. Jones, Mr. Cale and Mr. Clement. I think the clear answer is, you don't. You appreciate the gift of their time, their talent and their incredible body of work that is their legacy. And carry it with us as we move forward.
Thursday, August 22, 2013
Album Review: Alabama and Friends
It isn't very often that you will find a review of a mainstream country music album in this space. But as with all things, to every rule there is an exception, especially when the album is as good as the one being written about today.
Country Music Hall of Famer's Alabama have been on a steady rebound since appearing on Brad Paisley's hit single "Old Alabama." Their appearance on this single, as well as joining Paisley on stage to perform the song at select events, was a great re-introduction of Alabama to the country music scene. It also served as a revelation of Alabama to virtually an entire generation of young country music fans who may not be familiar with the music of this vitally important group. Another huge step in this introduction is set to continue.
August 27th will see the release of "Alabama and Friends" (Show Dog/Universal), a tribute album that pairs Alabama up with the hottest country stars of today, a few rising stars and one legendary lady performing some of Alabama's biggest and greatest hits. The boys from Fort Payne also contribute to the album as well, with their first new recordings for an Alabama album in roughly a decade. Most of the new versions of these great songs stay true to the original recordings, which is ample proof of the influence that Alabama's music has on the younger stars of today.
Case in point are the first two tracks off that kick off the album. The lead track is the classic "Tennessee River" performed by one of the biggest names in music today, Jason Aldean. Listening to Aldean's ever-growing catalogue of hits, you can hear the Alabama influence in many of his tunes as evidenced by his take on "Tennessee River." This selection would fit perfectly in one of Aldean's shows and sounds like an Aldean hit ... all while staying completely true to the original version, as it's virtually a note for note remake. Luke Bryan sounds completely at home performing "Love In The First Degree," again a note for note remake that could appear on any Luke Bryan album and fits well within his range.
Rascal Flatts perform a wonderful take of "Old Flame", switching it up to have a more pop sound. Alabama lead singer Randy Owen joins the group to contribute a few lines with the vocals combining beautifully. "Lady Down On Love", one of Alabama's biggest hits, has always been identified by the opening guitar solo and Randy Owen's stellar vocal performance. Kenny Chesney switches the electric guitar intro for a more classical sounding acoustic guitar intro, and the switch is brilliant. This performance is one of the most poignant moments on the album, one that Chesney and Owen (who performs a verse and chorus on the tune that he wrote for Alabama) can be very proud of. One can tell right away that Chesney has performed this song many, many times on the club stage on his way up to superstardom.
The Eli Young Band's take on "The Closer You Get" fits right in their wheelhouse, as the Texas band rips through one of Alabama's biggest hits. They were a great choice to perform this selection. Superstar Toby Keith turns in a brilliant performance of "She and I". The smart use of a slide guitar intro and at points throughout the song gives this song a really fresh appeal. Young up-and-comers Florida Georgia Line deliver a fun and energetic turn of "I'm In A Hurry (And Don't Know Why)", showing that they too have felt the influence of this important band. Hopefully this duo will include this track in their live show, as they really crank this one out. Trisha Yearwood, the only female on the record, performs a beautiful rendition of the Mike Reid-penned "Forever's As Far As I'll Go". Yearwood's soft and stunning vocal breathes new life into one of the great country music loves songs of all time.
The honorees of this tribute album themselves step to the plate to deliver their first new music with two stellar tracks, "That's How I Was Raised" and "All American." The latter of these two could be one of the most important songs of the year. "All American" addresses an issue that seems to have been lost on many, if not most, people in recent times. It speaks to the challenges of the past few years and some of those root causes. More specifically, the song talks of the utter disconnect between the government and its people, the big bosses of large companies getting their monetary rewards while their employees are losing their jobs or starving while working for minimum wage. It speaks to the lack of understanding and/or caring for another persons point of view. The title of the song is captured in the following line, and is really the question of the day that many people ought to be asking: "aren't we All American?" It shouldn't be an we versus they situation. It should be an "us" situation, because we're all American (of course, many of you know I'm Canadian and we face the same challenges on this side of the border ... I'm sure you get my point of the song though). This song should absolutely be a hit, but as Ronnie Dunn found out with "The Cost Of Livin'", songs with substance and social relevance aren't selling nor getting played on country radio these days. Hopefully this will change with this song.
The final track on this stellar album is also the most poignant. Jamey Johnson is one of those guys who could sing the phone book and would make it sound like a country classic. Jamey's take on Alabama's first big hit and autobiographical song "My Home's In Alabama" is one of his best performances to date. Released in 1980, this song was a top 20 hit, and is the song that introduced Alabama to the world. Indeed following the release of this song, which walks the line between country and southern rock, country music was never the same. The landscape had been altered permanently and was the beginning of a long and successful march that eventually saw Alabama score 41 number one songs, countless top 5 and top 10 records and induction in to the Country Music Hall of Fame.
It had been mentioned years ago when Alabama first came on to the national consciousness of country radio that they had the potential to be as important to country music as the Beatles were to rock and roll. When you look at the artists who perform the songs on this album and consider where they are career wise in the musical landscape today, it's hard to argue against that point. I think it prudent to paraphrase Brad Paisley for a moment, so I will. If you are a young country music fan who is not aware of or had an introduction to the music of Alabama, I encourage you to go to your local record store and purchase an Alabama album. Discover this groundbreaking band. And on August 27, 2013, go back and purchase "Alabama and Friends", because you will see the influence this band has had on country music today. To me, "Alabama and Friends" is flawless, it's an outstanding album that is a brilliant showcase for the most important band in the history of country music.
For a sneak preview, this album is available for streaming on the offical Alabama web site. Click here to lisen. Enjoy!
Country Music Hall of Famer's Alabama have been on a steady rebound since appearing on Brad Paisley's hit single "Old Alabama." Their appearance on this single, as well as joining Paisley on stage to perform the song at select events, was a great re-introduction of Alabama to the country music scene. It also served as a revelation of Alabama to virtually an entire generation of young country music fans who may not be familiar with the music of this vitally important group. Another huge step in this introduction is set to continue.
August 27th will see the release of "Alabama and Friends" (Show Dog/Universal), a tribute album that pairs Alabama up with the hottest country stars of today, a few rising stars and one legendary lady performing some of Alabama's biggest and greatest hits. The boys from Fort Payne also contribute to the album as well, with their first new recordings for an Alabama album in roughly a decade. Most of the new versions of these great songs stay true to the original recordings, which is ample proof of the influence that Alabama's music has on the younger stars of today.
Case in point are the first two tracks off that kick off the album. The lead track is the classic "Tennessee River" performed by one of the biggest names in music today, Jason Aldean. Listening to Aldean's ever-growing catalogue of hits, you can hear the Alabama influence in many of his tunes as evidenced by his take on "Tennessee River." This selection would fit perfectly in one of Aldean's shows and sounds like an Aldean hit ... all while staying completely true to the original version, as it's virtually a note for note remake. Luke Bryan sounds completely at home performing "Love In The First Degree," again a note for note remake that could appear on any Luke Bryan album and fits well within his range.
Rascal Flatts perform a wonderful take of "Old Flame", switching it up to have a more pop sound. Alabama lead singer Randy Owen joins the group to contribute a few lines with the vocals combining beautifully. "Lady Down On Love", one of Alabama's biggest hits, has always been identified by the opening guitar solo and Randy Owen's stellar vocal performance. Kenny Chesney switches the electric guitar intro for a more classical sounding acoustic guitar intro, and the switch is brilliant. This performance is one of the most poignant moments on the album, one that Chesney and Owen (who performs a verse and chorus on the tune that he wrote for Alabama) can be very proud of. One can tell right away that Chesney has performed this song many, many times on the club stage on his way up to superstardom.
The Eli Young Band's take on "The Closer You Get" fits right in their wheelhouse, as the Texas band rips through one of Alabama's biggest hits. They were a great choice to perform this selection. Superstar Toby Keith turns in a brilliant performance of "She and I". The smart use of a slide guitar intro and at points throughout the song gives this song a really fresh appeal. Young up-and-comers Florida Georgia Line deliver a fun and energetic turn of "I'm In A Hurry (And Don't Know Why)", showing that they too have felt the influence of this important band. Hopefully this duo will include this track in their live show, as they really crank this one out. Trisha Yearwood, the only female on the record, performs a beautiful rendition of the Mike Reid-penned "Forever's As Far As I'll Go". Yearwood's soft and stunning vocal breathes new life into one of the great country music loves songs of all time.
The honorees of this tribute album themselves step to the plate to deliver their first new music with two stellar tracks, "That's How I Was Raised" and "All American." The latter of these two could be one of the most important songs of the year. "All American" addresses an issue that seems to have been lost on many, if not most, people in recent times. It speaks to the challenges of the past few years and some of those root causes. More specifically, the song talks of the utter disconnect between the government and its people, the big bosses of large companies getting their monetary rewards while their employees are losing their jobs or starving while working for minimum wage. It speaks to the lack of understanding and/or caring for another persons point of view. The title of the song is captured in the following line, and is really the question of the day that many people ought to be asking: "aren't we All American?" It shouldn't be an we versus they situation. It should be an "us" situation, because we're all American (of course, many of you know I'm Canadian and we face the same challenges on this side of the border ... I'm sure you get my point of the song though). This song should absolutely be a hit, but as Ronnie Dunn found out with "The Cost Of Livin'", songs with substance and social relevance aren't selling nor getting played on country radio these days. Hopefully this will change with this song.
The final track on this stellar album is also the most poignant. Jamey Johnson is one of those guys who could sing the phone book and would make it sound like a country classic. Jamey's take on Alabama's first big hit and autobiographical song "My Home's In Alabama" is one of his best performances to date. Released in 1980, this song was a top 20 hit, and is the song that introduced Alabama to the world. Indeed following the release of this song, which walks the line between country and southern rock, country music was never the same. The landscape had been altered permanently and was the beginning of a long and successful march that eventually saw Alabama score 41 number one songs, countless top 5 and top 10 records and induction in to the Country Music Hall of Fame.
It had been mentioned years ago when Alabama first came on to the national consciousness of country radio that they had the potential to be as important to country music as the Beatles were to rock and roll. When you look at the artists who perform the songs on this album and consider where they are career wise in the musical landscape today, it's hard to argue against that point. I think it prudent to paraphrase Brad Paisley for a moment, so I will. If you are a young country music fan who is not aware of or had an introduction to the music of Alabama, I encourage you to go to your local record store and purchase an Alabama album. Discover this groundbreaking band. And on August 27, 2013, go back and purchase "Alabama and Friends", because you will see the influence this band has had on country music today. To me, "Alabama and Friends" is flawless, it's an outstanding album that is a brilliant showcase for the most important band in the history of country music.
For a sneak preview, this album is available for streaming on the offical Alabama web site. Click here to lisen. Enjoy!
Wednesday, August 7, 2013
Concert Review: Jason Isbell/Amanda Shires, Lee's Palace, Toronto, Ontario -- August 2, 2013
Music events on the Friday night of a long weekend in Toronto can be a bit of a crap shoot. Many, many people leave town for cottage country, leaving those of us behind to seek out our weekend's entertainment. Given this challenge and environment, I cannot tell you how thrilled I was to attend the Jason Isbell and Amanda Shires show at a packed Lee's Palace in Toronto. The large crowd was rewarded with a first rate, professional, outstanding show from a group of the most gifted artists and musicians that are on the road today.
Jason Isbell, along with his stellar band the 400 Unit, are riding an incredible wave these days. Isbell has always been a compelling artist, writing and performing some of the most thought provoking songs in music. Touring in support of his recently released album Southeastern (Southeastern Records/Thirty Tigers) (which is outstanding, by the way) Isbell and the 400 Unit are at the top of their game. Opening up with "Flying Over Water", Isbell and the band showcased their talent for nearly 2 hours and held the crowd in the palm of their hands the entire time.
Paying homage to his previous life as a member of the Drive-By Truckers, Isbell turned in a stellar performance of "Decoration Day", followed by the haunting "Tour of Duty", a tale of a soldiers return home. "Tour of Duty" is a song that is relevant in any era, and is ample evidence of Isbell's outstanding songwriting. "Heart on a String", a track from his 2011 release "Here We Rest" invoked visions of the great Delbert McClinton with its blues groove and Isbell's husky vocal delivery. "Stockholm", a hard driving track that appears on Southeastern received a great reaction from the crowd, while "Codeine" produced the evening's first singalong and could very well be Isbell's signature song.
Next up were performances of three Southeastern tunes that make this album a must have. "Different Days", the incredibly written "Elephant", and the beautiful "Travelling Alone" with the lovely Amanda Shires-Isbell harmonizing. An Isbell show would not be complete without performing "Alabama Pines", the 2012 Americana Music Association Song of the Year. It was back to the Trucker days with a performance of "Outfit" to close out their main set. The crowd would not be denied an encore on this evening, as Isbell and the 400 Unit returned for a 3 song finale that included a tribute to legendary Canadian group The Band, with "Danko/Manuel", a song written by Isbell and recorded while a member of the Drive-By Truckers. From there a final preview of Southeastern with "Super 8", and a blistering cover of the Rolling Stones "Can You Hear Me Knockin'?" that would make Mick and Keith awfully proud.
Opening the night on a much softer, yet no less brilliant note was Amanda Shires. Touring to support her just released album Down Fell the Doves (Lightning Rod), an album which will be reviewed here in the coming days, Ms. Shires was the perfect opener to the evening's festivities. Performing solo with only her ukulele as accompaniment, Shires held the crowd captive with her beautiful vocals and haunting lyrics. It was an admirable performance highlighted by the cleverly written "When You Need a Train It Never Comes", the gorgeous "The Garden (What A Mess)" and the show-stopping "Wasted and Rollin'", the latter two appearing on Down Fell the Doves. Ms. Shires pulled double-duty on this night performing her own show, then taking her spot in the 400 Unit accompanying new husband Jason Isbell during his set.
In viewing this performance it is clear that Jason Isbell has a new focus, as compared to the last review I had in this space. He has quite publicly undergone two major lifestyle changes that to me, have helped shape him in to one of if not the top male act in Americana today. Amanda Shires continues to rise. The creativity and talent that this young lady brings to the stage every night cannot be measured. Together, they appear to be pushing and encouraging each other to new career heights that are only now being realized. If Americana has a power couple, that couple is Jason Isbell and Amanda Shires. Spend time at the show and you'll see what I mean.
The tour continues on August 9 in Wilkes-Barre, PA at the Kirby Center; August 10 in New York City at Lincoln Center Out of Doors (Free Show); on August 11 in Baltimore, MD at Baltimore Soundstage; and August 17 in Nashville, TN at the Ryman Auditorium with Caitlyn Rose opening. Amanda Shires has performances in Nashville at Grimey's Records on August 14; in Austin, TX at Waterloo Records on August 18; and back in Nashville at The High Watt on August 23. Check out Jason and Amanda's web sites for more tour information.
Jason Isbell, along with his stellar band the 400 Unit, are riding an incredible wave these days. Isbell has always been a compelling artist, writing and performing some of the most thought provoking songs in music. Touring in support of his recently released album Southeastern (Southeastern Records/Thirty Tigers) (which is outstanding, by the way) Isbell and the 400 Unit are at the top of their game. Opening up with "Flying Over Water", Isbell and the band showcased their talent for nearly 2 hours and held the crowd in the palm of their hands the entire time.
Paying homage to his previous life as a member of the Drive-By Truckers, Isbell turned in a stellar performance of "Decoration Day", followed by the haunting "Tour of Duty", a tale of a soldiers return home. "Tour of Duty" is a song that is relevant in any era, and is ample evidence of Isbell's outstanding songwriting. "Heart on a String", a track from his 2011 release "Here We Rest" invoked visions of the great Delbert McClinton with its blues groove and Isbell's husky vocal delivery. "Stockholm", a hard driving track that appears on Southeastern received a great reaction from the crowd, while "Codeine" produced the evening's first singalong and could very well be Isbell's signature song.
Next up were performances of three Southeastern tunes that make this album a must have. "Different Days", the incredibly written "Elephant", and the beautiful "Travelling Alone" with the lovely Amanda Shires-Isbell harmonizing. An Isbell show would not be complete without performing "Alabama Pines", the 2012 Americana Music Association Song of the Year. It was back to the Trucker days with a performance of "Outfit" to close out their main set. The crowd would not be denied an encore on this evening, as Isbell and the 400 Unit returned for a 3 song finale that included a tribute to legendary Canadian group The Band, with "Danko/Manuel", a song written by Isbell and recorded while a member of the Drive-By Truckers. From there a final preview of Southeastern with "Super 8", and a blistering cover of the Rolling Stones "Can You Hear Me Knockin'?" that would make Mick and Keith awfully proud.
Opening the night on a much softer, yet no less brilliant note was Amanda Shires. Touring to support her just released album Down Fell the Doves (Lightning Rod), an album which will be reviewed here in the coming days, Ms. Shires was the perfect opener to the evening's festivities. Performing solo with only her ukulele as accompaniment, Shires held the crowd captive with her beautiful vocals and haunting lyrics. It was an admirable performance highlighted by the cleverly written "When You Need a Train It Never Comes", the gorgeous "The Garden (What A Mess)" and the show-stopping "Wasted and Rollin'", the latter two appearing on Down Fell the Doves. Ms. Shires pulled double-duty on this night performing her own show, then taking her spot in the 400 Unit accompanying new husband Jason Isbell during his set.
In viewing this performance it is clear that Jason Isbell has a new focus, as compared to the last review I had in this space. He has quite publicly undergone two major lifestyle changes that to me, have helped shape him in to one of if not the top male act in Americana today. Amanda Shires continues to rise. The creativity and talent that this young lady brings to the stage every night cannot be measured. Together, they appear to be pushing and encouraging each other to new career heights that are only now being realized. If Americana has a power couple, that couple is Jason Isbell and Amanda Shires. Spend time at the show and you'll see what I mean.
The tour continues on August 9 in Wilkes-Barre, PA at the Kirby Center; August 10 in New York City at Lincoln Center Out of Doors (Free Show); on August 11 in Baltimore, MD at Baltimore Soundstage; and August 17 in Nashville, TN at the Ryman Auditorium with Caitlyn Rose opening. Amanda Shires has performances in Nashville at Grimey's Records on August 14; in Austin, TX at Waterloo Records on August 18; and back in Nashville at The High Watt on August 23. Check out Jason and Amanda's web sites for more tour information.
Sunday, July 28, 2013
Album Review: The Bright Spots, Randall Bramblett
Whenever anyone asks me what I like most about the Americana music genre, I always tell them that it's the freedom the artists have to create the most compelling music possible. Such is the case with the latest release, The Bright Spots, by music veteran Randall Bramblett. Released in May on powerhouse Americana label New West Records, Bramblett has pieced together an album that works for all summer occasions. This album is perfect for relaxing in the backyard, or rolling down the highway on that weekend roadtrip.
Bramblett kicks in to the funk right off the bat with "Roll", a tune that speaks to making the best of all situations in life. Leading with solid percussion and blues guitar, followed by blistering horns and vocals, this is the perfect lead song to set the table for what's to come. The use of the keyboard and understated vocals make "Every Saint" a nice blues number that speaks to a man trying to find his salvation and spirituality. "'Til the Party's All Gone" is a nice follow up to the heavy "Every Saint", as this is a really nice and light number. The horn section in the chorus of this tune are really effective in driving home the feel-good nature of this song.
Perhaps the best musical performance on the album comes with "My Darling One." Quite frankly, this song is good enough to be played on any mainstream radio station if only they would have the stones to play it. Bramblett's smooth yet gritty vocal is the perfect offset to the fabulous guitar, organ and piano. This performance brought out the best in everyone involved. From this performance, Bramblett rolls right in to some hard core blues with "Whatever That Is" a tune that, when listened to, invokes visions of sipping on some fine whiskey and beer in a smokey blues bar. "John The Baptist" kicks up with a psychedellic sound before rolling right back to the blues.
The second half of the 12 cut album kicks off with "Shine", an inspirational number that speaks to keeping ones spirits up and always remembering that tomorrow has the potential to be a better day. Blues and funk make a wonderful marriage on "Tryin' To Steal a Minute". This is followed by the beautiful "Detox Bracelet", a song that takes a wistful look back on what might have been. Psychedelic, funk and blues meld together nicely on "You Bring Me Down", while the album closes out with the spiritual sounding "All Is Well" and the reflective "Rumbling Bridge."
Given that Mr. Bramblett is from southern United States where musical influences abound, it is not surprising that Bramblett is able to create such an excellent piece of art like The Bright Spots. Working with such contemporaries as Gregg Allman and the late Levon Helm will surely go a long way in stretching your musical boundaries and creativity. With the Bramblett written composition of "Used To Rule The World" appearing on Slipstream, the Grammy-winning album by Bonnie Raitt, and the May 2013 release of this fantastic album The Bright Spots all taking place within the last 12 months, one can definitely say this is the year of Randall Bramblett.
Monday, July 15, 2013
Concert Review: Alejandro Escovedo and the Sensitive Boys, The Horseshoe Tavern, Toronto, Ontario -- July 8, 2013
It was a busy and historical weekend in Toronto as the inaugural Toronto Urban Roots Festival (TURF) took over the grounds of Fort York by day and the venerable Lee's Palace and Horseshoe Tavern for festival goers who wanted to keep the party rockin' by night.
Americana legend Alejandro Escovedo with his band, The Sensitive Boys, had the distinct honor of being the final act for what appears to be the wildly successful festival's first run. Playing his second set of the day after appearing on the main stage at the festival grounds, Alejandro showed the large Horseshoe crowd he still had plenty in the tank to close out year 1 of TURF and get everyone looking forward to next year's installment.
Opening his hour long set with "Castanets", a great, rocking song to get the crowd moving after a long weekend of music in the outdoors. "Castanets", of course, has a legendary appeal to it on its own, as back in 2005 it was revealed that then U.S President George W. Bush had that song on his iPod. Upon learning of this, Escovedo apparently vowed not to play this song until it was either (a) removed from the President's iPod, or (b) Bush was voted out of office. In 2008, the song found its way back on the live stage after a roughly 2 year absence, with the departure of the former President.
Escovedo has the benefit of performing every night with one of the finest backup bands I have ever watched with the Sensitive Boys. To watch lead guitarist Ricky Ray Jackson and Escovedo trade licks is a pleasure for any guitar aficionado. The professionalism of the entire group is apparent. They show up and start their set on time and are there to entertain with a straight ahead performance.
Escovedo's musical diversity was on full display as well, rolling from a nice, beautifully performed ballad "The Rain Ain't Gonna Come" to a more psychedelic sound with "It Makes No Sense." One of the real highlights of the night was the performance of the Chuck Prophet co-written song, and the band's namesake, "Sensitive Boys." The band's musicianship really shone on this particular performance.
Ironically, the strongest reaction from the crowd came with the encore. One certainly can't go wrong playing a Neil Young song on stage in Canada, and you certainly can't go wrong when you play a version that rivals the original. The performance of Young's "Hurricane" brought anyone sitting to their feet and was a fantastic way to close out the show and the inaugural TURF. If the crowd's and crowd reception are any indication, this was the first year of many years to come for TURF.
Alejandro Escovedo is on tour extensively through the rest of summer and in to the fall, performing with The Sensitive Boys on a few dates, with Los Lobos and Los Lonely Boys on a few more, and co-headlining a tour in the fall with Shelby Lynne. Check out Alejandro's web site for dates and times, and by all means go and see this wonderful performer.
Americana legend Alejandro Escovedo with his band, The Sensitive Boys, had the distinct honor of being the final act for what appears to be the wildly successful festival's first run. Playing his second set of the day after appearing on the main stage at the festival grounds, Alejandro showed the large Horseshoe crowd he still had plenty in the tank to close out year 1 of TURF and get everyone looking forward to next year's installment.
Opening his hour long set with "Castanets", a great, rocking song to get the crowd moving after a long weekend of music in the outdoors. "Castanets", of course, has a legendary appeal to it on its own, as back in 2005 it was revealed that then U.S President George W. Bush had that song on his iPod. Upon learning of this, Escovedo apparently vowed not to play this song until it was either (a) removed from the President's iPod, or (b) Bush was voted out of office. In 2008, the song found its way back on the live stage after a roughly 2 year absence, with the departure of the former President.
Escovedo has the benefit of performing every night with one of the finest backup bands I have ever watched with the Sensitive Boys. To watch lead guitarist Ricky Ray Jackson and Escovedo trade licks is a pleasure for any guitar aficionado. The professionalism of the entire group is apparent. They show up and start their set on time and are there to entertain with a straight ahead performance.
Escovedo's musical diversity was on full display as well, rolling from a nice, beautifully performed ballad "The Rain Ain't Gonna Come" to a more psychedelic sound with "It Makes No Sense." One of the real highlights of the night was the performance of the Chuck Prophet co-written song, and the band's namesake, "Sensitive Boys." The band's musicianship really shone on this particular performance.
Ironically, the strongest reaction from the crowd came with the encore. One certainly can't go wrong playing a Neil Young song on stage in Canada, and you certainly can't go wrong when you play a version that rivals the original. The performance of Young's "Hurricane" brought anyone sitting to their feet and was a fantastic way to close out the show and the inaugural TURF. If the crowd's and crowd reception are any indication, this was the first year of many years to come for TURF.
Alejandro Escovedo is on tour extensively through the rest of summer and in to the fall, performing with The Sensitive Boys on a few dates, with Los Lobos and Los Lonely Boys on a few more, and co-headlining a tour in the fall with Shelby Lynne. Check out Alejandro's web site for dates and times, and by all means go and see this wonderful performer.
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