Concert Review: Emmylou Harris at Massey Hall, Toronto, Ontario - April 15, 2014

It seems to be a growing trend among true artists. Those artists who have been around long enough for us to care about their incredible work long after the radio hits have stopped coming, to go on tour and perform a significant album in their career in its entirety.  And so it is with Emmylou Harris and Wrecking Ball, her Grammy winning (Best Contemporary Folk Album) project from 1995  The album is significant for more than its award winning status ... it is a cornerstone album for the entire Americana movement.  It was Americana before the Americana name really existed, at least in the musical genre sense.  It also set Ms. Harris' career in a new and important direction, as the album was a significant departure from her more familiar radio hits.  It's an album that was created strictly for the music and the strengh and depth of the song. 

So why hit the road and perform the album now?  It's the 19th anniversary not the 20th, which is a significant milestone.  As Ms. Harris put it, "We couldn't wait for the 20th", they had to do it now.  And who could blame them.  Wrecking Ball still resonates with the listener to this day and is so good, why wait.  Take it to the people.  

Performing with a three piece band, which included Wrecking Ball producer Daniel Lanois, Ms. Harris brought the sold out Massey Hall crowd on her journey through all 12 tracks of the album.  The song selection for this album represents one of the strongest collections of songwriters I have seen.  From the opening track "Where Will I Be", written by Daniel Lanois, to "Sweet Old World", written by Lucinda Williams, to the title track written by Neil Young, Ms. Harris and Mr. Lanois created a tapestry that explores spirituality and heartache, love and loss.  Perhaps the finest performance on the album, and indeed the Massey Hall performance, is the version of Bob Dylan's "Every Grain of Sand."  Ms. Harris' has an indellible way to make her listener's feel the joy and pain of every note that she sings. 

An interesting side note to this album and given the show was in Toronto, is the amount of Canadian content that is featured on Wrecking Ball.  As noted by Ms. Harris, the album features the aforementioned producer, Daniel Lanois, the writer of the title track is Neil Young, and the album features "Goin' Back to Harlen" by the late Anna McGarrigle of Montreal.  Anna and Kate McGarrigle have had a long friendship with Emmylou Harris over the years.  A great side note to this particular track, was the exclusion of this song on the Trio album that Ms. Harris did with Linda Rondstadt and Dolly Parton.  Having watched the performance of this song and listening to it on the album, I would agree that it fits better on Wrecking Ball.

Wrecking Ball was more than an important album for the Americana movement.  It marked a new phase in the career of a woman who began as a central figure in the country-rock era in the early 1970's in southern California performing with Gram Parsons.  Wrecking Ball and the albums that have since followed show a veteran artist and performer that is still hungry to explore new territory, one who is not afraid to stretch the boundaries of their creativity.  A show such as this is a wonderful way to revisit a classic album and hear some of the stories associated with its creation from those who were there.  Emmylou Harris and her bandmates commence a tour of Europe where they will perform Wrecking Ball in May.  Check out her web site for tour dates and details.

In the meantime, the album was re-issued on April 8 as a 3 disc package to celebrate the 19th anniversary of its release.  The package will contain the original release of Wrecking Ball on one disc, while a separate disc will contain songs recorded for but not included on the 1995 version.  The third disc is a DVD documentary about the making of Wrecking Ball.  It is a perfect tribute and perfect time to revisit one of the greatest albums from one of the most influential artists of our time, and a member of the Country Music Hall of Fame.

Book Review: Buck 'Em: The Autobiography of Buck Owens

When one thinks of country music's Outlaw movement, automatically visions of the great Waylon Jennings and Willie Nelson come to mind.  And rightfully so.  Waylon and Willie epitomized the Outlaw movement in country music, the movement which sought to end the stranglehold that the Nashville recording industry establishment had on the success and failure of its artists.  What makes this movement so well known, is that this particular Outlaw movement became commercialized and therefore commercially successful as evidenced by the sales experienced by the "Wanted: The Outlaws" album featuring Waylon and Willie, as well as Jessi Colter and Tompall Glaser.  But it should be noted that before the Outlaw movement took place in the mid 1970's, an Outlaw movement took place some 15 or so years earlier which shook the Nashville establishment to its core.  

The life and career of Buck Owens has finally been chronicled, and it's been well worth the wait. The writing of the book itself could not have been an easy task.  Taken from hundreds of hours of audio recordings that Mr. Owens made over the years leading up to his death, author Randy Poe has constructed a story as told by Mr. Owens, that tells the life tale of one of the greatest country music singers, songwriters and pioneers of all time.  Written as if Mr. Owens dictated his life story to Randy, the story speaks to Mr. Owens' childhood spent in poverty from his birth in Texas, chronicles his family's move during the dust bowl years to Mesa, Arizona, and finally ending up in Bakersfield, California where he would reside until his death in 2006.  

The story of Buck Owens is very revealing as it shows how life events can truly effect the life path we choose.  For example, his impoverished upbringing instilled a drive to be successful in Buck that is nearly unmatched in music.  His success didn't just extend to hits on the country music charts ... it extended to the business side of the music industry where one could argue he was even more successful.  

His start as a recording artist is also chronicled, and this is where Buck Owens was Outlaw before Outlaw was cool.  In 1959, after his first recording sessions for Capitol Records failed to produce any hits, Mr. Owens sent a letter to his producer, Ken Nelson, where Mr. Owens stated he felt the records being produced were not his sound, not his type of country music.  He further stated that he wanted to record his music his way, and if there was no agreement to be had, perhaps they should end their contract.  Needless to say that didn't happen.  Twenty number one hits and millions of records sold later, it's clear who was right in that argument.  It should also be noted that all of this took place outside of Nashville, nearly his entire recording career was based in California.  

The story of his friendship with Don Rich is also told in intimate detail.  When I mention that this story talks of how life events shaped Buck Owens, this story is the most heart wrenching.  The premature passing of Don Rich hurt Mr. Owens so badly, that one can tell his drive to even make music had died as well.  The music they made together was timeless, and the devastation this event had on Mr. Owens' life is sad.  

The legacy of Buck Owens, like it or not, is pretty much laid bare in two parts.  One is the pioneer, a man who is one of the most influential singer-songwriter's of all time.  Mr. Owens has influenced many country stars of today, such as Dwight Yoakam and Brad Paisley, both of whom contribute to the writing of this book.  As label mates on Capitol, The Beatles requested to receive copies of every Buck Owens record as it was produced.  The other is the man most of us saw on the television show Hee Haw every Saturday night for 17 years.  It's clear Mr. Owens felt two ways about appearing on that show, and felt that Nashville slighted him because he was a member of Hee Haw.  But if you visit Nashville today, or if you've been there in the last couple of years, you will see one of the finest exhibits ever produced by the Country Music Hall of Fame, as they present "The Bakersfield Sound: The Music of Buck Owens, Merle Haggard and California Country."  It is the finest tribute to one of the greatest periods in the history of country music, of which Buck Owens was at the forefront.  The book "Buck 'Em: The Autobiography of Buck Owens" is a great story, a great read and a must for any music fan.

Eric Church Takes the Steve Earle Gamble

It isn't very often that I'll write about a current mainstream country artist, unless it's about something that's relevant to this space.  Today is one such day.  EMI Records Nashville artist Eric Church released his fourth studio album The Outsiders.  When listening to the tracks on this album, from the title cut to the follow-up single "Give Me Back My Hometown" to the incredible "Dark Side", it's clear that Church has taken a huge gamble with this album at this stage of his career.  And his recent interviews show that Church is more than fine with that. 

The timing of this album is curious too.  Coming off the platinumselling and award winning success of 2012's Chief, with "The Outsiders", Church has release his most bold and daring album to date.  Church calls himself a rebel and with the release of this album, it's hard to disagree.  In fact, it reminds me of another singer-songwriter who found mainstream success with the release of his first two major label albums, and then took his biggest career gamble with his third release.  This occurred in the fall of 1988, and the artist was Steve Earle.

Steve Earle first hit the mainstream country music chart in 1983, but it wasn't until 1986 that he scored his first top 40 country hit with "Hillbilly Highway."  That song peaked at number 37 and set the table for his first top ten single, "Guitar Town", which was the title track of his first major label album.  More hits followed, including "Goodbye's All We've Got Left to Say" and "Nowhere Road."  The Guitar Town album was certified platinum with it's follow-up Exit 0 being certified gold.  Stellar songwriting and tight musicianship on the albums allowed Earle to breathe fresh air in to the format while performing a style of country music that set him apart from his peers.  Then in 1988, he took the gamble of his career.

Copperhead Road is quite probably the album and single that Steve Earle is best known for.  A top ten rock hit, that single is clearly Steve Earle's signature song.  It's the song of his that everyone knows.  In its review, Rolling Stone magazine gave the album four stars and lauded Earle as an "important artist" for that time.  Time Magazine included Copperhead Road by including it on their Critic's Choice list.  And country radio summarily dismissed the album altogether.  Not one single track from Copperhead Road reached the country singles chart.  With the release of Coppehead Road, Nashville itself seemed to disown Steve Earle for reasons only they could possibly know.

Some possible reasons?  Well, the title track of Copperhead Road explored a returning Vietnam War veteran who hails from a bootlegging moonshine family, only to expand the family business by growing marijuana.  A topic that would never be allowed to see the light of day on country radio in 1988.  "Snake Oil" called out the President of the United States as nothing more than a con man.  Other hot political topics such as homelessness was addressed with "Back to the Wall." 

Eric Church has taken a similar gamble with the release of The Outsiders, however, there are indications that Nashville may be ready for an album that pushes their boundaries in a serious way.  While the title track was a mix of hard rock with some country elements, it placed at a respectable number 25 on the country airplay charts.  The single fared better on the overall singles chart which includes sales and digital downloads, where the single peaked at number 6.  The follow up single, "Give Me Back My Hometown" has risen to number 14 on the airplay chart and number 7 on the overall singles chart.  While the singles have not reached the top ten of the airplay chart which is Eric Church territory, it's clear that radio is willing to give this album a shot where they were not willing to do the same 20 years ago for Steve Earle and Copperhead Road.

It's a brave thing when an artist who is already doing something different and having mainstream success, decides to break free and create an album that speaks their truth.  It would be really simple to keep making the type of records that are selling by the truckload and the singles that are reaching the higher elevations of the music charts.  Really, who can blame someone if they wanted to keep doing that.  But it's really special when an artist at the peak of their commercial success decides that it's more important to be at the peak of their creative success.  It's special because in reality, they are putting their career on the line.  Their future is at stake in some ways ... they could end up playing stadiums, or end up playing theaters and clubs for the duration of their run.  It's a big difference in the pay cheque.  They're aware of the risks, and they don't care. 

How successful will The Outsiders be?  Time till tell.  26 years after it's release, Copperhead Road is still regarded as one of Steve Earle's signature albums, even though there was really only one hit off the album and that was on the rock charts.  Steve Earle never had another country radio hit after "Nowhere Road" and "Sweet Little 66" off the Exit 0 album.  Early indications are that Eric Church will not suffer the same fate and it's hoped this stays true.  The Nashville establishment does have a history of eating their young, let's hope they've grown out of that.

Flash back to 1988 and check out the video for Copperhead Road here

Flash back to November 2013 at the CMA Awards and check out Eric Chuch's performance of The Outsider's here

Concert Review: Rosanne Cash, Flato Markham Theater, Markham Ontario - February 1, 2014

The lousy weather conditions across much of the Greater Toronto Area did not prevent a sold out gathering from taking place this past Saturday night.  When the peformer is the legendary Rosanne Cash, people will make the exception and tackle a blistering snowstorm to reach their destination.

Ms. Cash is currently on tour is support of her magnificent new album, the just released The River and the Thread. The first portion of the show is dedicated to this new project, as Cash and her stellar band play the entire album in sequence.  According to Ms. Cash, this is something she has wanted to do for some time.  

Opening up her show with the swampy first track "The Feather's Not a Bird", Cash set the tone for what would not just be a simple show, but a journey back to her southern roots.  "The Sunken Lands" tells the hard story of her grandparents and their life after settling in the harsh, dry land in Arkansas.  The title describes the terrain that all settlers faced when they arrived in Arkansas as the geological development of the land was caused by an earthquake that caused the land to sink.  While some would think this would have been a boon to the land, it was in fact quite the opposite. 

Reaching back in to tell the story of one of her famous father's friends and bandmates, Marshall Grant, "Etta's Tune" is a lovely ode and gift to Etta, their longtime family friend and Mr. Grant's widow.  The song came about when Etta told the story of how they would wake up together in the morning and the first words spoken were "What's the temperature darlin'?"  From that first line, a beautiful love story of dedication, commitment and life on the road was born.

With the completion of all 11 tracks of The River and the Thread and a short intermission, the second half of the show was centered around some of the many hits from her mainstream country hits, as well as several selections from her previous album, 2009's The List.  Taking the audience through her version's of the Hank Snow classic "I'm Movin' On", the Bob Dylan hit "Girl From the North Country" and her astounding version of the country and American roots music standard "Long Black Veil", Ms. Cash showed the sold out crowd why she has become one of the most important artists of her time and a legend in her own right. 

The showcasing of her hits "Blue Moon With Heartache", the Grammy winning "I Don't Know Why You Don't Want Me" and "Seven Year Ache" reminded long time fans that this artist was destined for greatness and a very lengthy career.  When one listens to the lyrics of "Blue Moon With Heartache", a number one song from 1981 it's astounding to think Ms. Cash was only 23 when she wrote it.  Her first number one song, also from 1981, was a poem she wrote at age 18. 

Closing out the show with a nod to her father, the Johnny Cash penned (and Rosanne Cash number one hit) "Tennessee Flat Top Box" and a final nod to The List with the Harlan Howard-penned "Heartache's By The Number" the crowd was sent home having witnessed one of the greatest ambassadors to real music in the business today.  The show was musically and lyrically superb.  The band, led by husband John Levanthal, second to none.  And the River and the Thread album is the first truly great album of 2014 that can be considered for an album of the year nomination.

Rosanne Cash continues her tour this Friday night, Valentine's Day, at the GWU Lisner Auditorium in Washington D.C., February 20 in Norfolk, Connecticut at Infinity Hall, and a sold-out performance at the Metropolitan Museum of Art in her hometown of New York City.  For more tour dates and to purchase music, please click here to visit Rosanne Cash's web site.

Album Review: David Serby and the Latest Scam

The goal of this blog has always been to promote the great music that is created by hard working, dedicated and talented artists who do their best to stay positive to themselves and their craft.  I’ve had the great fortune to write about a lot of great musicians, singers, songwriters and bands.  These are the people I love writing about, the ones that create music and albums for the love of the art.  Los Angeles, California has long been known as a hot bed for great music, and the latest project from David Serby is proof positive that the Los Angeles independent music scene is still thriving to this day.

David Serby and the Latest Scam is the fifth release from this talented singer-songwriter-musician.  If you're looking for an album that explores various aspects of human relationships, the trials of life and has a feel good aspect to it, this project belongs in your collection.  The album is reminiscent of the old sound of California country-rock of the late 60’s and early 70’s in the vain of Gram Parsons and The Flying Burrito Brothers. Considering this project is a double-CD containing 20 songs in total, it is great value for your money. 

The first CD kicks off with a great up tempo number called “True Love” and leads right in to one of the many highlights of the album, "Amnesia."    This is a cleverly written tune that speaks to a condition I'm sure many of us have acquired when we find ourselves in the opening stages of a new romantic relationship.  Generally speaking, it leads to a situation where your world becomes that person, you don't go out with your friends anymore, that sort of thing, which is a different topic for a different blog.

"When  Couples Fall In Love" keeps the new love theme going, and the masses can relate to this story.  New love starts off with fiery passion, then settles down somewhat as the relationship grows and gains solidarity.  What impresses me about  this track, in addition to the solid writing, is how it sounds.  Sonically, it takes me back to the days of a great country music group of the mid- to late-1980's, The Desert Rose Band.  

Another of the great highlights of this double CD package is "You're Bored", which relates the story of the (dreaded?) phone call that one may receive from that ex-partner who wants to, possibly/maybe/who the heck knows for sure, get back together.  Fortunately for our central character in this story, he has the strength to see through the folly of getting involved again. Great song lyrically and musically.

Other highlights of this double-CD package include "Breaking News", "Rumour of Our Own", "Better With My Hands" and "Waiting Out the Storm."   This is a really solid project that David Serby and producer Ed Tree have put together.  You can order the package directly from their web site, and you can sample six of the tracks via the playlist.  Give David Serby and the Latest Scam your time.  If this project is any indication of the great music to come in 2014, it is going to be an outstanding year.

Album Review: Steve Parkinson and the Stony Lonesome, Kentucky Straight Heartbreak

Many times in this space I have lamented about the loss of honest and real country music.  Country music that is sorely lacking from the airwaves of today’s country music radio stations.  The style of country music that speaks to real life topics that are the norm for everyday people.  Topics that are more than just bush and tailgate parties, girls in pickup trucks, beer in coolers and how much your country ass will kick another ones country ass.  I’m speaking of the good stuff, topics like family, love, hate, murder, infidelity and the like.  It’s well known that Americana isn’t afraid to speak to these topics, and I’m happy to review an album by a Canadian band that has captured that sound with a great album released in 2013.

Kentucky Straight Heartbreak (Busted Flat Records) by Steve Parkinson and the Stony Lonesome is just what the doctor ordered when looking to satisfy that need for that classic country sound.  Setting the stage for this solid album in the lead track, “No Alter Boy”, in which the main character describes the folly of his bank robbing actions.  “Four Wheels” is a great song about family and appreciating what you have.  One of the top songs on the album both sonically and lyrically, “Jasper County”, speaks to the challenges of moving on after experiencing tragedy. 

Story songs have always been a staple in the old days of country music, and that need is filled with “Sam Steele”, a wonderful tale of a lonesome Northwest Mounted Police office patrolling the Yukon in the gold rush.  The title track is a solid rocker about drinking away the love that you’ve lost.  The albums closer, “Lead Me Home”, is one of the darkest songs I’ve heard in a long time.  A very well written tale about a man on the run not only from the authorities, but from himself.

Kentucky Straight Heartbreak represents a solid throwback to that classic country sound of the 70’s with solid, pronounced electric and steel guitars, strong lyrics and smooth vocals.  It’s a wonderful album that will cure any need you may have for that pure country sound that is missing from today’s airwaves.  Click here to visit the band's website where you can listen to and purchase the album.  Be sure to join Steve Parkinson and The Stony Lonesome the last Sunday of every month in their hometown of Waterloo, Ontario at Jane Bond.  Show time is 8:00.

A Brand New Year

Happy New Year everyone!  I hope your holiday season was filled with much laughter, love, joy and enough relaxation to leave you refreshed and ready for a new year.  With the year 2014 just over a week old, it doesn’t hurt to take a quick look in the rear view mirror at the year that was 2013. 

Looking back on the previous year, it could be said with great confidence that this was the best year in the relatively short history of Americana.  The commercial success of The Lumineer’s and Mumford and Sons brought more fans to the format with everyone in the genre benefitting in some way.  Late night’s David Letterman and Jay Leno showcased Jason Isbell and Alabama Shakes on their shows, introducing those wonderful acts to a wider audience.  Even the Grand Ole Opry has clued in on the Americana movement with artists like Elizabeth Cook serving as regular performers on the show.  And, who could overlook the induction of Old Crow Medicine Show, clearly an Americana group, as members of the Opry.

Some great albums were released, including the aforementioned Isbell with Southeastern.  Patty Griffin released a stellar record with American Kid, Holly Williams asserted herself as an Americana mainstay with The Highway, and Ashley Monroe showed everyone why she’s a key gatekeeper to the classic country music sound with her release of Like a Rose.  There was so much great music released in 2013, it makes you wonder with anticipation what 2014 will bring. 

The Americana Music Association reported their most successful conference and festival which took place this past September.  The Awards presentation was one for the ages, as the Association honoured new and veteran acts alike with Shovels and Rope, and Emmylou Harris and Rodney Crowell leading the way with well deserved victories in their categories.  The conference and festival enjoyed record attendance in 2013, a clear indication that the art form is moving in the right direction.

The music community lost several significant artists as well.  The passing of J. J. Cale, Etta James, Jim Foglesong and most recently Ray Price has left a void in the community.  However, the loss of George Jones cannot be understated.  The passing of Mr. Jones, and his long time friend Mr. Price, to me was devastating to the older, more pure style of country music.  Indeed, it felt at the time like that pure sounding country music that I grew up on had passed away along with Mr. Jones.  And I believe, in some ways, it has.  Voices and talent like George Jones and Ray Price are generational.  They do not come along every day, which is what made them so special.  An old Keith Whitley song once said “Sad Songs and Waltzes aren’t selling this year”, and that’s been the way of mainstream country music for some time now.  My great wish for the coming year (or year’s) is for mainstream country to come back to its roots, if only just a little bit.  Recognize its rich and lengthy history, and embrace it.  Showcase it for the younger generation of fans that are following the music now, so they can see where the genre has been.  As Brad Paisley stated at the end of this past year, regarding the passing of Mr. Jones. “there’s a reason for all this ruckus.”  It was his way of encouraging young country fans to get out and learn about the music of George Jones.  I would encourage the same thing.  I would also add that while the younger fans are learning about George Jones, they also learn about Ray Price.

Having said all of that, it is not all doom and gloom.  I am looking forward to what 2014 can bring for all of us as music fans and those in the industry.  Two artists that I’ll be watching for this year are Sturgill Simpson and John Fulbright, as I believe they are poised for breakout success.  If anyone can bring back the classic country sound, it’s Sturgill Simpson.  John Fulbright is as strong a singer-songwriter as you will find, and this young man is in his early 20’s.  It’s exciting to this he hasn’t hit his peak yet.  Expect big things career wise from these two gentlemen in 2014, the talent is there and they are ready for the next level.

As for myself and Americana Review, expect more consistency and regularity in blog posts this year.  Thanks to you, the blog is now at a point where I feel that it’s time to take Americana Review to the next level as well.  It’s time to move everything over to its own site where more items and content can be provided for your enjoyment.  It has been a wonderful 4 years of writing about all of these wonderful, independent and creative artists, and I look forward to many more years of doing the same.  For that, I have to thank all of you, the readers, for your continued support.

I would also like to thank all of the artists, musicians, publicists, record label executives and my fellow bloggers for all of your support over the past year.  Keep the music coming folks, I love receiving new material to write about and promote to anyone who will listen.  Without any of you, this site is not possible.  Thank you all so much, and I wish everyone a healthy, happy and prosperous New Year!