Who's In Charge?

One of the biggest problems with mainstream country music was starkly revealed earlier this week with controversial comments made by radio programming consultant Keith Hill.  In an interview with industry publication Country Aircheck, Hill had these comments regarding the key to success of mainstream country radio stations:

"If you want to make ratings in country radio, take the females out.  The reason mainstream country radio generates more quarter hours from female to male listeners at the rate of 70 to 75 percent, and women like male artists.  The expectation is we're principally a male format with a smaller female component.  I've got about 40 music databases in front of me, and the percentage of females in the one with the most is 19 percent.  Trust me, I play great female records, and we've got some right now; they're just not the lettuce in our salad.  The lettuce is Luke Bryan, Blake Shelton, Keith Urban and artists like that.  The tomatoes of our salad are the females." (Read the full article taken from The Tennessean here)

Now, setting aside the fruit and vegetable analogy, if we examine these and other comments in the article, it reveals what I and I'm sure many others can see is a real problem with the state of country radio.  If we look back over the years, we can see that this problem has existed for what could be considered generations, if we really look back on it.  Focusing on the recent past, the problem I can see is this ridiculous notion of consultants steering the ship.   The consultants at radio are in essence telling the listener what they would like to hear, when the reality is it should be the listener directing what gets played and what doesn't.  That is to say, it shouldn't be so much about the name of the singer that automatically gets the record played on radio, it should be about the quality of the song and whether or not people like it.  Male or female shouldn't play any part of determining whether or not the song gets played.  If the song is good enough and the people respond, it's on the air.  In my view, it was this attitude that took legendary artists like George Jones, Merle Haggard, Dolly Parton and more currently Alan Jackson off the air over the years.  Those artists and others like them were releasing high quality material, only to summarily dismissed at radio.

The comments from Keith Hill this week have drawn comparisons to other comments a few months ago from former Sony Music executive Gary Overton where he said he often reminds his staff "if you're not on country radio, you don't exist."  Overton's comments drew the requisite firestorm on twitter and other media outlets, but I don't see the parallel between the two.  In looking at the big picture, Gary Overton is in a different field than Hill.  While I don't agree with the comments stated by Overton, I can see where he was coming from in making those comments.  His job is to sell records at a major record label, where profit and the bottom line are key.  It seems more of a statement to motivate his staff to get out and sell the single to radio, sell the record, create a buzz for the artists, and so on.  It's an inaccurate statement to be sure, as the advent of Facebook, YouTube and the internet in general has made it possible for independent artists to not only survive, but thrive in the music business.  As a veteran of the music business, I found Overton's comments were the sign of a more outdated way of thinking than a total insult to artists like Jason Isbell and Charlie Robison, both of whom took great offence to Overton's comments.  

As of this writing, the story has not gone away and you can keep following on The Tennessean, Nashville's daily newspaper.  Since the comments were first reveals, Hill has clarified his comments in an interview with the Tennessean.  Unfortunately, the backlash has included death threats, which is nonsense.  His colleagues have spoken against his philosophy, with Country Music Television president Brian Phillips stating that the industry should stop creating these arbitrary and imaginary rules that hinder the business in the long run.  

To close off this piece, I think it's best to let one of the pioneer's of this business say all that needs to be said. Take from it what you will.  Enjoy everyone!

Album Review: Emmylou Harris and Rodney Crowell, "The Travelling Kind"

If one were to examine a list of all the greats that have contributed to, and indeed built the very foundation of, the Americana genre, that list would most certainly include Emmylou Harris and Rodney Crowell.  Indeed, it could be reasonably argued, that Harris and Crowell are in the top ten of the most influential Americana artists in its still relatively young history as an acknowledged musical genre.  Which makes it all the more special that they have chosen to collaborate once again for “The Travelling Kind” (Nonesuch).  Released today, this is the second collaborative album for the two and it comes just two years since their first effort together, “Old Yellow Moon.” 

Their history together is well known, with Crowell once performing as a member of Harris’ famous Hot Band. That was some forty years ago.  It’s this history the two have together that makes a project like “The Travelling Kind” and its predecessor special.  In fact, it could be argued that the title track is based somewhat on that friendship and history the two artists share together.  Co-writing seven of the eleven tracks on the album, on can only hope that this collaboration will continue in the years to come.

Among the tracks that the two didn’t write together is an excellent cover of the Rodney Crowell written “No Memories Hanging Round.”  The song was originally a top 20 hit in 1979 for his then-wife Rosanne Cash and Bobby Bare.  The soaring beauty of Harris’ voice, harmonized with that of Crowell give the song a fresh take that stands right alongside the hit version.  The Lucinda Williams penned “I Just Wanted To See You So Bad” is so good and so perfectly performed musically and vocally that it surpasses the outstanding original version.

This album of course is more than just covers of past hits.  It is a deep album exploring many themes and stages of life as only veteran artists can.  “You Can’t Say We Didn’t Try” is a heartbreaking story of love lost, written by two artists who have lived through the tale. “Higher Mountains” is beautifully performed as only Emmylou Harris could deliver, and delves in to facing the unknown of what’s next at the end of a life well lived. The project rounds itself out completely with a couple of songs that are just plain fun, with the rockabilly influenced “Bring It On Home To Memphis” and the Cajun spiced “La Danse de la Joie.”

It is rare when two artists of this caliber get together to work on an excellent, award winning album and still remain steadfast friends.  That happened when Emmylou Harris and Rodney Crowell created a masterpiece with “Old Yellow Moon.”  It is rarer still, when those same two artists come back together two years later and create another masterpiece that surpasses the previous release.  That has happened with “The Travelling Kind.”  This album is a piece of art, an outstanding collection of stories from two of the greatest and most influential artists of our time.  This is an album of the year candidate, in any year. 

In the meantime, before you go out and pick up "The Travelling Kind", check out this great video courtesy of the Late Show with David Letterman, featuring Emmylou Harris, Rodney Crowell, Steve Martin, Amos Lee and Mark O'Connor.

Album Review: The Honeycutters, "Me Oh My"

One of the more underrated musical centers in North America is the Appalachian Region of the United States.  Which is quite shocking when you think of it, considering this area was really the birthplace of modern music with the Carter Family and Jimmie Rodgers creating the first recordings in 1920’s Bristol, Virginia.  In this century, the region is still a hotbed for roots music with skilled bands and musicians plying their trade daily.

A couple of hours away from Bristol east on Interstate 40, you will find the city of Asheville, North Carolina, a bustling city of music and art nestled in the Great Smoky Mountains.  The Honeycutters are a product of this city and they have just released their third studio album “Me Oh My” (Organic Records).  A solid, straight ahead country music record, “Me Oh My” further establishes The Honeycutters as one of the top regional Americana acts on the east coast and readies them for a larger audience.

All 14 songs on this album are written by lead singer and group founder Amanda Anne Platt, who also produced the album.  While Amanda may be the current creative force behind The Honeycutters, it is the combination of her strong song writing and the wonderful talent of her bandmates that make this album and this act work.  The harmonies are tight, and the musicianship is first rate.

Starting off with a great two-step song “Jukebox”, the album takes the listener on a journey of love and loss, longing, fulfilment and redemption … all things that make up a great country record.  The title track is a solid piece of work, reminiscent of classic Mary Chapin Carpenter, both in its subject matter of the strong woman and vocal delivery by Platt.  “Carolina” is a beautiful homage to the bands home state of North Carolina, while acknowledging the desire to explore life outside her borders. “Edge of the Frame” is another winner where the female character is at a crossroads with her chosen partner in life and clearly has a decision to make on her future. 

The Honeycutters also delve back in to some past work with two solid tracks that are included on this album.  According to the album’s liner notes, “Wedding Song” was written for a friends’ wedding present.  A nice mid-tempo song with great, clever lyrics such as “when I’m with you honey it’s like money, like I’m throwing loaded dice.”  You can’t help but smile when listening to this song, it’s very well written and beautifully performed. “Little Bird” is one of the few slow songs to appear on the album and broaches the subject of love lost.  It’s also the song that brought greater attention to the songwriting talents of Amanda Anne Platt, as it was chosen as a finalist in the Chris Austin Songwriting Contest at MerleFest in 2011.

The Honeycutters’ “Me Oh My” is one of the great country/Americana albums to be released this year and is a clear reflection that this band is developing in to one of the top flight Americana acts.  If you like traditional country music, this album is as good as it gets.  You will not find songs about drinking from solo cups, tailgates, or driving around in the mud.  Just straight up country music in its traditional form from a band that is skilled and smart enough to deliver the real goods.  The sky is the limit for The Honeycutters.  Do yourself a favor and add this album to your collection, you'll be glad you did.

Concert Review: Blackberry Smoke, Town Ballroom, Buffalo, New York - March 22, 2015

Blackberry Smoke made a triumphant return to Buffalo, New York on March 22, playing to a sold out house at the Town Ballroom.  It is a remarkable turn of events when one considers that the last time they played Buffalo, a crowd of perhaps 80 people attended.  At long last, Buffalo discovered what many of us had known - that this is arguably the best touring band in North America.  

Opening up their set with the rollicking "Six Ways to Sunday", a track from their first wide-spread release "Little Piece of Dixie", these Georgia boys had the crowd rolling with them all night.  Following up with "Pretty Little Lie", a song from 2012's "The Whippoorwill" which gained some moderate radio airplay, fans were treated to a lengthy show which covered the entire spectrum of Blackberry Smoke's career so far.  

While lots of their standards were present in the set, such as the Friday afternoon anthem "Good One Coming On", tracks from their recently released album "Holding All the Roses" were featured prominently.  One of the best performances of the night was "Wish in One Hand", which truly captures the essence of this great band ... strong writing and vocals from lead singer Charlie Starr, brilliant musicianship and harmonies by the rest of the band, leading to a loud and clear sound.  Another strong track from the new album is "Rock and Roll Again", featuring a solid groove and clever lyrics.  It's a tune you'll have rolling in your head over and over once you hear it.

Generally speaking, a good measuring stick for a band's staying power comes with a simple observation: if the people are singing along to your music, you have a good chance to be around for a long time.  If they're singing along to your music and you haven't been played on the radio, then you'll be around for as long as you want to keep touring and creating music because you have loyal, hardcore fan base that will stick with you for your entire run. It's where Blackberry Smoke finds itself today.  Night in and night out, this band now plays to full houses all across the United States with people singing their songs back to them. Their success is well earned and much deserved. They are arguably the hardest working band on the road today.  Attending their show is among the best money you will ever spend for your entertainment dollar.  

A special mention goes out to the opening act on this tour.  The Temperance Movement is a band that I had not heard of until this show, and I promise, they are not a band I will forget. Hailing from Glasgow, Scotland, they are the perfect opening act for Blackberry Smoke. Night after night, these guys are setting the bar very high for Blackberry Smoke to follow, they are nothing short of outstanding.  The musicianship is outstanding, the chemistry between band members is palpable and the lead singer is an awesome throwback to Mick Jagger.  The man has charisma, character and talent all over the place. It will not be long before The Temperance Movement is headlining their own tour across North America.  In the meantime, they are doing an outstanding job as an opening act.  

Concert Review: The Lone Bellow, Lee's Palace, Toronto ON - Feb. 27, 2015

The heat was turned way up on a cold Toronto night on this past Friday (Feb. 27), as one of the hottest emerging bands in music played the venerable Lee's Palace.  The Lone Bellow, the Brooklyn, New York-based Americana band, have acquired a well-earned reputation as being one of the top independent touring acts on the road today, and this sold-out performance only enhanced that reputation.

Opening their set with the title track to their just-released album "Then Came The Morning", The Lone Bellow showed why they are the clear front runner as a breakthrough act in 2015. The strong vocals and stage presence of this group is electrifying.  The charisma of Zach Williams as the de facto emcee of the show, helps to make the crowd feel as if we're in their living room watching this performance.  Not an easy task for even the most veteran of performers.  

The harmonies really shone through on "Marietta", another incredibly well written track from Then Came The Morning.  Intended or not, "Take My Love" is a great song that's reminiscent of Canadian Maritime music in the vein of the Canada's legendary Great Big Sea.  This got the crowd of roughly 1,000 up and moving, and was the evenings first real sing along. Indeed, the crowd was thoroughly engaged with this act and the proceedings on stage, singing along and hushing each other appropriately.

A short acoustic set showcased the lead vocals of multi-instrumentalist Kanene Pipkin with a cover of Paul Simon's "Slip-Slidin' Away" and lead guitarist Brian Elmquist on "Watch Over Us."  The talent of Kanene and Brian cannot be understated.  The energy and fervor that Brian brings on guitar is infectious, passing that energy to his band mates and the crowd. Kanene could be one of the best female vocalists touring in a band today, as well as one of the most talented instrumentalists as she takes turns on the bass guitar, mandolin and keys. It is rare to see chemistry such as you'll find with The Lone Bellow.

At one point in the evening, Zach Williams stated that it's been two years since all of them quit their day jobs to devote themselves full time to The Lone Bellow.  That gamble has clearly paid off.  All one has to do is look at the tour page of their web site, where you will find a string of sold out shows all over North America.  Once you attend a show, you will want to keep going back for more ... 2 hours of showtime just doesn't seem enough for a band this good.  I kid of course, because a show like this must be exhausting for all on stage.  But when you're as talented as the three front members of The Lone Bellow and their two backing musicians, you can't be blamed for feeling a little greedy for more time. And I will predict this: If Jason Isbell was the breakthrough artist in 2013 and Sturgill Simpson was the breakthrough artist of 2014, then 2015 will be remembered as the breakthrough year of The Lone Bellow.  This group is going to be around for a long time.

2015: Americana's Biggest Year to Come?

2014 was an unbelievable year for Americana music.  This movement has some serious legs to it, with each passing year reaching higher and higher levels of popularity, and a platitude of new artists that are pushing the genre to new heights.  Indeed, it is the artists themselves who are largely responsible for Americana's continued rise in popularity on the North American musical landscape.  For each album like Jason Isbell's "Southeastern" in 2013, there comes a release in 2014 like Sturgill Simpson's "Metamodern Sounds in Country Music."  The artists themselves are pushing each other to new creative heights, and we as fans are the beneficiary.

Others are taking notice.  For example, I could not have sat here five years ago and claimed that immensely popular artists like Zac Brown and Eric Church would step up to become torch bearers for Americana music.  The opening act on Zac Brown's tour last year was none other than Sturgill Simpson.  Eric Church was wise enough to have the legendary Dwight Yoakam as the opener on his "Outsiders" tour.  This year, Mr. Church has gone a step further, as he's enlisted four major players for rotating dates on his 2015 continuation of the "Outsiders" tour, including The Drive-by Truckers and The Lone Bellow.  Considering Zac Brown and Eric Church play large arenas, amphitheaters and occasionally stadiums, the exposure for the Americana artists on these shows is immeasurable.  

We can also look to David Letterman as another torch bearer for Americana.  Taking on the role of a pseudo Dick Clark, Mr. Letterman has been very gracious with his time to showcase many Americana artists on his stage, including the aforementioned Jason Isbell and Sturgill Simpson.  Couple this with high quality releases, and the continued rise in popularity is a no-brainer.  People will always come back to what is real, and Americana music is nothing else if not real.

There have been some great releases already to kick off 2015, with Justin Townes Earle's "Absent Father's" and Cody Canada and the Departed's "Hippie Love Punk" hitting shelves on January 13th.  Ryan Bingham released "Fear and Saturday Night" on January 20th, and on January 27th, The Lone Bellow issues their latest project "Then Came the Morning."  Some February releases include Bob Dylan ("Shadows In The Night"), Gurf Morlix ("Eatin' at Me"), Robert Earl Keen ("Happy Prisoner"), Gretchen Peters ("Blackbirds"), Blackberry Smoke ("Holdin' All The Roses"), Steve Earle and the Dukes, Whitehorse, James McMurtry, Noah Jane Struthers and so many more that it's hard to keep count.  Other spring releases include new projects by Brandi Carlisle, Allison Moorer, and Joe Pug.  So many great artists, all stepping up their game in the name of music and creativity.  

This is going to be a great year folks.  Hold on for a wild and exciting ride.

The Most Important Song Ever Recorded?

In the history of recorded music, there have been many songs that have been influential on artists through the generations.  The bluegrass stylings of Bill Monroe.  Pick any song by Hank Williams, Sr.  When Elvis Presley recorded "Heartbreak Hotel", it introduced the world to a whole new genre of music called rock n' roll.   The Byrd's and the Eagles brought about a whole new sound in the late 60's and early 70's taking country-rock to the masses.  And talk about influence, the Eagles emponymous album "Hotel California" remains one of the best selling studio albums in recorded music history and it keeps on selling.  However, an often overlooked fact was recently brought  home to me about a month ago and it prompted me to think:  if there was one song that a person could point to as the most important and historical song that has ever been recorded, what would that song be?  It took me a moment to mull it over and while there can be a case made for a great many songs, I think my selection is right up there.

In the spring of 2013, I had the great fortune to attend a Charley Pride concert in Peterborough, Ontario.  In the review of that show, I did not mention the opening act for that day.  But I should have, because that gentleman deserved the trooper of the day award. Battling a throat infection and still graciously coming out to see the crowd scores a lot of points.  But I suspect that's how Bobby Wright was raised, considering Bobby is the son of the legendary Johnny Wright and Country Music Hall of Fame member Kitty Wells.  Mr. Wright toured with his parents for over 50 years as part of their family show and indeed, their family business.  Bobby's stated purpose for accepting the opening slot on Mr. Pride's tour was to thank all the people who supported his parents and by extension their family, and to showcase their music.  

There was one fact Bobby mentioned that really stuck with me.  Well, two actually.  The first, was that Johnny Wright and Kitty Wells were married 74 years until Johnny's death at age 97.  Kitty re-joined her husband 18 months later at the age of 93.  The second surrounded the first big hit and big break that his mother received in her career.  Looking back on that break, it wasn't just a break for Ms. Wells.  It was a break for female singers all over the world.  And every other female singer whom has had a hit that followed her, no matter the genre, owes a part of their success to Kitty Wells.

In 1952 it was, as Mr. Wright quite rightly pointed out, a man's world in the music business.   You could run the radio dial from one end of the spectrum to the other, and you would rarely hear a female voice.  That all changed with one simple recording that was an answer song to Hank Thompson's "The Wild Side of Life."  The recording of "It Wasn't God Who Made Honky Tonk Angels" by Kitty Wells essentially introduced the world to "girl singers." While Patsy Montana did have a 1944 hit with "I Want To Be A Cowboy's Sweetheart", her momentum did not last.  This was not the case with Kitty Wells, as her second single roared in to the top ten.  Another answer song, this time to Webb Pierce's "Back Street Affair", Kitty reached number 6 on the chart with "Paying For That Back Street Affair."  It was an indicator of things to come for Ms. Wells, as she remained a fixture in the upper reaches of the charts in to the 1970's. 

While those in the music business like to place heavy stock in one's chart success as to their influence on the future of the music business, and often times it's tough to disagree with that assessment, I was reminded at a close friends' gathering of how deep legendary influences can run. It all clicked when, at my friend's birthday celebration, her then 15 year old daughter got up on stage with the house band, and the sweet sound of "It Wasn't God Who Made Honky Tonk Angels" permeated through the summer night air.  It all seemed to click as to the importance of this song.  In 2013, a 15 year old girl is on stage singing a Kitty Wells tune from 1952.  And she was damn good.  She could have a place on anyone's radio in the future, if she so chooses that route.  It felt as the torch had been passed once again listening to this young lady perform a song from more than 50 years ago.  But she, along with any of the female singers in any genre, would not have the opportunity to have their voice heard on stage or radio for that matter, were it not for the monstrous hit that destroyed the wall that had kept female singers off the radio.  

If you think about it, without Kitty Wells and "It Wasn't God Who Made Honky Tonk Angels", there may not have been a Patsy Cline. No Loretta Lynn. No Dolly Parton. No Tammy Wynette. No any female from any genre that's out there today.  Thank God for that song, and the lady who performed it.   

By all means, if anyone disagree's or has another suggestion, please leave it in the comment section.  This is one man's opinion, and this guy loves to talk music.

Enjoy!!