Questions and Controversy: Can't We All Just Get Along?

I was all set to write this next piece to set up my upcoming trip to Boston this weekend to attend and review the show with Texas legend Robert Earl Keen and Saskatchewan's own, The Deep Dark Woods.  However, as is wont to happen every once in a while, a story pops up that is far too interesting to pass up.  And what's a story without a little conflict.  It's especially interesting for me, as I am a big fan of the two artists at the center of the conflict.  


In addition to being a member of the Americana Music Association, I am also a member of the great roots/alt-country/Americana website No Depression.  This is truly a great web site made up of writers of all stripes and is the off-shoot of the No Depression publication that has since ceased.  One of the bloggers, Autopsy IV, submitted a piece which speaks to a recent Twitter post by Jason Isbell which levels a fairly serious accusation of song theft at Dierks Bentley regarding Dierks' recent hit "Home."  There is a strong feeling in the blog world that "Home" is far to similar to Isbell's song "In a Razor Town" that it can't help but be ripped off.  Bentley's responding comments on Twitter weren't what I would call strong, unequivocal denials, but I do get that Bentley could have been angry and speaking out of emotion without speaking clearly.  


Having listened to both songs a few times, I don't really know what to say.  Depending on circumstances and strength of evidence, I'm not a rush-to-judgement kind of guy. I like to hear both sides of the story, and then decide for myself.  And I certainly was not in the room with either of these great artists when they wrote or co-wrote their respective songs.  There is no way I would know the circumstances of how either of these tunes came about.  Lyrically, I don't see the songs as being all that similar.  Jason's "Razor Town" seems to have ill-timed love in a hard-knocks town, where Dierks' "Home" is undeniably an ode to the United States.   However, the melody is something to be considered.  To my ear, there is a real similarity that can't be denied, especially in the chorus.  The arrangements are different with "Razor Town" having an acoustic arrangement and "Home" is clearly electric and having a generally larger sound ... but the melody, to me, remains the same.


Here, courtesy of YouTube and Autopsy IV, are the two songs in question.  Have a listen and let me know what you think, I would love to hear back from all of you.  And, if you have a moment, stop on by No Depression and Autopsy IV's blog site on No Depression for a whole world of great articles, album reviews, musicians and Americana bloggers ... but be sure to keep coming by here!


Jason Isbell and the 400 Unit -- "In a Razor Town"


http://www.youtube.com/watch?feature=player_embedded&v=8sO0KIQD8dw


Dierks Bentley -- "Home"


http://www.youtube.com/watch?feature=player_embedded&v=0VcPorbSYqM

The Year That Was and the Year That Is

Happy New Year everyone!  I hope you had a great time these past couple of weeks enjoying the company of family and friends during the holiday season, whichever holiday you celebrate.


With the first week of 2012 now behind us, I wanted to take a quick look back at the past year and take a quick look forward in the year to come for Americana music.


I think we can safely say that 2011 was a banner year for Americana.  The year witnessed the breakthrough of The Civil Wars, the stellar songwriting duo of Joy Williams and John Paul White.  This is a duo that essentially came out of nowhere and managed to capture the attention and imagination of their audience by offering a sound that simply doesn't exist in any other format or genre today.  Their chemistry, both on and off the stage, is a beautiful and unique thing to see.  One has to witness it to truly appreciate it.  It is hard to believe they are married, but not to each other.  They will be back on the road in 2012, and hopefully will have new music to promote while on tour.  


One of the great stories to emerge from 2011 was what seems to be the emergence of arena folk.  For example, British Americana band Mumford and Sons moved from playing theaters and clubs to performing for sold out audiences at venues such as the Air Canada Centre in Toronto, and Copps Coliseum in nearby Hamilton, Ontario.  Audiences of roughly 20,000 people were filling huge arenas to witness an Americana act.  Recently, The Avett Brothers have been able to make the move to arenas as well, as evidenced with their recent shows at the Bridgestone Arena in Nashville and the Bi-Lo Center in Asheville, North Carolina.  Clearly a number of factors came in to play for this to happen, but I think it comes down to new found exposure.  Mumford and Sons have found a place on mainstream radio in some markets, but I believe the appearance of Mumford and Sons and The Avett Brothers at last year's Grammy Awards televised tribute to Bob Dylan cannot be understated.  It is a clear indication of what can happen when great music is exposed to the masses.  I believe people are longing for something real, something honest musically speaking, and they are finding that in the Americana genre.


On a personal note, last year saw this site grow in audience to where it's now averaging 300 visits a month with readers from around the world.  That may sound like a small number, and it is, but for a guy who started writing this a year and a half ago on a whim, that's a big number.  Especially when I haven't really advertised the site to anyone.  That will change this year, along with some other changes that will be more efficient to the site and to those who read and follow whatever is posted here.  


Looking forward to 2012, all I can say is that I'm excited for the future of this genre.  I can't wait to see who the next breakthrough act will be, and the next act to make the big jump to the arena stage.  I think we can expect big things from emerging acts like Deadman and The Vespers.  Trevor Finlay is set to have a busy 2012, hitting the road with new music in tow.  I look forward to catching up with Trevor down the road.  The Americana Music Conference and Festival takes place in Nashville, Tennessee September 12 to 15, 2012, an event that is not to be missed.  I'll be there for my second conference and festival, where I look forward to getting together with the people I met last year.  


I believe 2012 will be the biggest year in Americana history, with many great stories to be told.  I'm excited to be a part of it, no matter how big or small that part may be.  Happy New Year my friends, and all the best to you and your families.

From the Land Down Under: Chris Altmann

Recently, I had the good fortune to receive an e-mail from Alysha Main, the manager for this next artist I’m going to write about today.  She was kind enough to send me his most recent album and said “I think you’re really going to like his stuff.”  This past week, and with many apologies to Alysha, I finally listened to the album she was gracious enough to send me.  And, I can honestly say, Alyshia was absolutely right.  This album came out of left field to me. I didn’t expect to hear the sounds that I heard from this album.  It was a great and wonderful surprise.

ChrisAltmann’s 2010 release “Que Paso” on Ridin’ High Records is a gem to listen to.  The first track, Who Knows Where, piqued my interest from the get-go, with a gritty opening guitar lick and vocal that is reminiscent of classic Tom Petty and the Heartbreakers.  A multi-instrumentalist, “Zig Zag Rag” is an infectious tune that showcases Chris’ talent on the keys, as this tune is filled with an excellent horn section and the sound of rockin’ piano. 

“Love Like This” is another great track that could have easily found itself on an album by The Byrds or the Flying Burrito Brothers.  Without having met Mr. Altmann, my gut feeling tells me that his musical influences lie with a hybrid of Southern California country rock, mixed with some great Texas/outlaw country music and combined with some old fashioned southern rock.  The result is a winning combination that nails “Hard Tac” and makes it one of the highlights on the album. 

To me the best cuts on this truly outstanding album is the wonderful, hidden duet with singer Suzannah Espie, called “All the Things You Do.”  This is a song that is made for a duet, as it deals with a lot of one-upmanship in a love-gone-wrong scenario.  The other track that appears earlier in the album is “Other Side of the Mountain”, a tune about working through life to find oneself. 

Chris has been gaining steam on a musical career that has taken him from his home country of Australia, to the fertile musical ground of Peterborough, Ontario, Canada and the move has paid off thus far.  Chris was heavily involved at this past years Americana Music Conference and Festival in Nashville, performing a few shows there during the week, most notably at the Saturday night showcase at The Rutledge sharing the bill with Ryan Tanner, Blackie and the RodeoKings, Great American Taxi and Orbo and the Longshots.  Chris was also involved with the Sounds of Australia show the next day at the Basement and Grimeys, a day long showcase featuring Chris and many of his fellow countrymen and countrywomen showcasing the musical talent that is so prevalent in the land down under.

This past November, Chris had his debut performance at the legendary Horseshoe Tavern in Toronto, Ontario.  Sadly, I was not able to attend that show.  Having listened to “Que Paso”, I can safely assume that it was a great show that would have had the Horseshoe crowd on their feet for the entire set.  Chris has his next show on January 20, 2012 at The Montreal House in Peterborough and again, I sadly will not be able to attend that show as I will be on route to Boston to cover the Robert Earl Keen/Deep Dark Woods show.  If you’re in the Peterborough area or are a short drive away, I invite you to make the trip to the Montreal House and check out one of the rising stars of Americana, Chris Altmann.  Keep an eye on this gentleman, there are big things in store for Chris in 2012.

Merry Christmas and Happy Holidays Everyone!!

Hello everyone,


I wish you and your families a great, healthy, happy and very Merry Christmas.  I know it's been a few weeks since the last post on this site, but I've noticed a lot of people still visiting and reading some of the older posts.  I cannot possibly thank you enough for taking the time out of your busy day to read the writings of a rambling man.  


One of my former managers at a former workplace often said it best at the holiday season, and I say it here to all of you: "You can do your job without me, but I cannot do my job without you."  There  will be thousands, even millions of web sites that vie for your attention and may be far more interesting than this site.  But without all of you reading these postings and sharing them with friends, leaving your comments, etc. there would be no site.  There would be no point.  


Thank you for the opportunity to share my thoughts and writings with you.  


Merry Christmas and Happy Holidays,


Jason Gartshore
Americana Review
A Proud Member of the Americana Music Association

Concert Review: Matt Andersen, Showplace Theatre, Peterborough, Ontario -- Nov. 6, 2011

I’ve always had a tremendous amount of respect for musicians/singer-songwriters that have the God-given ability to sit in the middle of the stage with no accompaniment except for their own guitar and essentially own the crowd.  It has to be the toughest, most difficult task any performer could choose to endure with only the strong surviving the experience.  However, the superior performers seem to thrive on this challenge.

Such was the case on November 6, 2011 at the Showplace Theatre in Peterborough, Ontario where I had the great fortune to attend the Matt Andersen show.  Recalling the album review piece, Live at the Phoenix Theatre, I was looking forward to an evening of astounding entertainment and musicianship.  When the stage hands come out to set the equipment just right and they’re gone in the span of 30 seconds, leaving only a guitar, an empty guitar stand, a chair, a mike and two monitors behind, it looks very intriguing.  It’s either going to be really good, or it may not work out so well.

Matt Andersen quite clearly and emphatically falls in the former category and is an outstanding musician.  His strong voice and strong song writing make him one of the finest up-and-coming artists in Canada today with a wonderfully bright future ahead of him.  Performing familiar songs from previous releases on Busted Flat Records such as “When My Angel Gets the Blues”, “One Size Never Fits” and signature song “Round and Round”, the Peterborough crowd was treated to a sneak preview of two new songs from his just released Coal Miner’s Blues album.

Recorded at Levon Helm’s studio in Woodstock, New York and produced by Colin Linden, he of Blackie and the Rodeo Kings, Coal Miner’s Blues will take Matt’s career to another level.  The title track is so well written and receives such wonderful vocal and instrumental treatment from Matt that it will eventually take its rightful place alongside the other great classics from the east coast of Canada that pay homage to the unbelievably tough occupation of coal-mining.  This song will stand the test of time and is a piece of work that Matt and Colin can be very proud of.

Attending a Matt Andersen concert really is nothing short of spectacular.  While I have talked about his songwriting and vocal abilities, the real highlight of his show is the other-worldly guitar playing of this mountain of a man.  Blues guitar is among the toughest styles of guitar playing there is.  Matt Andersen takes blues guitar to a whole new level that very few musicians could ever dare to reach.  Entirely acoustic, there were many times I thought the strings were going to snap off the instrument from Andersen's furious playing style -- a style that is all his own and it works for Matt flawlessly.  

Simply put, when you attend a Matt Andersen performance you will be sharing space with one of the greatest guitar players of our time.  Matt's fall tour continues this Friday November 18 with two shows this weekend in Halifax, Nova Scotia, followed by performances in St. John and Moncton, New Brunswick.  Visit Matt's web site for more tour dates, purchase CD's and all other things Matt.

CORRECTION: The Civil Wars Concert Review -- Nov. 1, 2011

While no one likes to make mistakes, it is nice when you can catch your own errors and do your best to make them right.


In the November 6, 2011 posting of The Civil Wars concert review at the Phoenix Concert Theatre in Toronto, Ontario, I erroneously wrote that The Civil Wars performed a cover version of a duet by Faith Hill and Larry Stewart titled "I've Got This Friend."  While that song does appear on Faith Hill's 1995 debut album "Take Me As I Am", the version performed by The Civil Wars during their show is not the same version.  


The Faith Hill/Larry Stewart version was penned by Faith Hill, Bruce Burch and Vern Dant.  While sharing the same title, The Civil Wars version was written by the duo, John Paul White and Joy Williams, and is a vastly separate and different work.


While this posting has been solicited by no one, I felt it was in the best interest to highlight this error and properly acknowledge the artists involved in both pieces of outstanding work.  I regret any confusion this may have caused.


The Civil Wars concert review posting has been edited to reflect the correct version of their performance.

Concert Review: The Civil Wars, Phoenix Concert Theatre, Toronto, Ontario -- November 1, 2011

It’s a great time to be involved in the Americana music scene.  Whether you’re a performer, songwriter, manager, producer, media worker or simply a fan, if you’re following this music scene or involved in some way, you are bearing witness to an incredibly fruitful time in this genre. 

I say this having attended The Civil Wars show this past Tuesday night, November 1, 2011 at The Phoenix Concert Theatre in Toronto, Ontario.  If you’ll recall the piece written around the Americana Music Association Awards in mid-October, my call for New/Emerging Artist of the Year was The Civil Wars.  The award went to the very deserving Mumford and Sons, but I based my decision on a few factors, first and foremost being talent.  However, I also considered the amount of chatter that surrounded this group before I had the opportunity to see them live.  Now that I have attended a show by The Civil Wars I can honestly say to everyone that if you don’t do it already, believe the hype. 

Both John Paul White and Joy Williams, the duo that comprise The Civil Wars take the stage with great class and elegance.  With their voices and John Paul’s stellar guitar playing as their only instruments, The Civil Wars captivated a nearly sold-out crowd at The Phoenix with song after beautiful song from their debut release “Barton Hollow.”  Very seldom has the world heard two voices come together so beautifully. The Civil Wars are on the verge of something very big and the audience was and is keenly aware of this.

The chemistry that exists between John Paul White and Joy Williams who are married, but not to each other, is palpable.  The playful interaction between the two on “Forget Me Not”, one of the earlier songs in their hour-long set, was very sweet to see.  There is a certain intimacy that takes place on stage between the two that is tough to describe.  One could argue that it’s almost like watching two people making love but not touching each other at all – not physically.  What is clear, is that White and Williams have found in each other their musical soul mate.  By their own admissions, they could not replicate what they do musically on stage in separate solo careers.  What they have is an awe-inspiring, once-in-a-lifetime creative connection.

When I speak of chemistry, it is not limited to just their vocal and stage performance.  One only has to listen to the words of arguably their most famous piece, "Poison and Wine," to acknowledge that they have captured the same chemistry with their writing.  "Poison and Wine" was an incredible highlight among many highlights in this show.  The absolute heartbreak that exists in this song is so real when these two perform this piece live.  The Toronto crowd stood silent, completely mesmerized while White and Williams delivered what can be considered the performance of the night. 

The Civil Wars gave the Toronto crowd a preview of some new music that, my best guess is, will be coming out next year.  “Oh Henry” featured Joy Williams on lead vocal and playing piano, along with White’s guitar.  I found this to be very gratifying as a listener, as this song was a greater example of the musical chemistry these two artists have.  I hope we can look forward to more offerings from The Civil Wars with Joy Williams on piano, as opposed to the limited amount that we heard at The Phoenix on Tuesday. 

Closing out The Civil Wars show was a brilliant cover of a timeless song, and one that was completely unexpected.  The last song anyone would have expected to hear at The Civil Wars I would think would have been “Billie Jean” by Michael Jackson.  But they played it, and played it to a tee.  I’m sure Michael would be, and is, thrilled with their version of his song.  This last selection, in my mind, shows the musical diversity that this act brings on stage every night.  It can be pop, rock, folk or straight-ahead country.  Whatever it is, The Civil Wars can take it and make it their own. We can look forward to The Civil Wars being around for a very long time.

I would be remiss if I didn’t mention the opening act for the evening, Milo Greene.  When speaking of this group of young musicians from Los Angeles, California, John Paul White noted that Milo Greene missed receiving the memo that opening acts “are supposed to suck.”  Of course, this was said in complete jest and was in fact very complimentary, because the one this Milo Greene does not do is suck.  The musicians that make up Milo Greene have such a good time onstage playing such great music, that you can’t help but become a fan.  They are the opening act for The Civil Wars for the rest of the tour.  The Civil Wars have done well to secure such a high-energy, creative and fun group to set the perfect tone for the evening.