Hugs and Misses by Stephen Hug DARRELL SCOTT "Live in NC," by Darrell Scott (Full Light Records)-I became a fan of his a few years back after I met him at the Narrows Center for the Arts when he was Tim O’Brien’s sideman. His musicianship and singing seemed effortless, natural yet passionate. I didn’t realize at the time that Darrell’s songwriting talents were pursued by the likes of the Dixie Chicks, Travis Tritt and Garth Brooks-in 2002 he was named ASCAP’s Songwriter of the Year. But he bristles when you ask if his recording and touring are just sidelines. "If I am seen as a sideman and a songwriter, it is because those who see me as such have not taken notice of the 5 solo albums (one with Tim O’Brien) that I have put out," he told me in an email interview I posted on the Narrows blog Backstage at the Narrows. "Meanwhile, I am working on solo albums 6 and 7 which will be finished before this year is up. And still, I may be seen as a songwriter for others or sideman-go figure." His latest CD, "Live in NC" will help dispel this notion as he jams his way through his own songs as well as a tune by his father Wayne Scott (see below), who has served as a lifelong inspiration. "I was given a license to play music," he told me. "It was an acceptable and encouraged way to make a living, and the exposure to great songs (my dad knew what great songwriting was) gave me a huge education in songs." He also taps into the Johnny Cash songbook, covering "Folsom Prison Blues" and "I Still Miss Someone," and "White Freightliner Blues," by Townes Van Zandt. But don’t expect "three chords and the truth" from Darrell, despite his deep country roots. He and his support players, bassist Danny Thompson and drummer Kenny Malone, engage in complex improvisations that sound doggone jazzy to these furry ears. "I usually do not have a set list–I go by how I feel at the time and how it feels in the audience–I make it up as I go–extended improvised guitar solos/bass solos–musical interludes between songs, sometimes running 2, 3 or 4 songs morphed together–mostly my own songs sometimes a cover of others’ great songs–each night is pretty different–it is all singer/songwriter stuff with a lot of improvisation." 4 monster bottle caps for "Live in NC" our highest score. Darrell is touring (he just played an outstanding-some are saying the "show of the year"-at the Narrows), so maybe you’ll get a chance to see why this guy makes me proud to be Americana. WAYNE SCOTT "This Weary Way" by Wayne Scott (yes, Darrell’s dad) (Full Light Records)-Read the review above for more about 70-something Wayne Scott and his influence on Darrell. This is Wayne’s first record and a project of Darrell’s to document "one of the most authentic country artists you’ve never heard," as Darrell writes in the CD booklet. Unlike Darrell’s record, this IS "three chords and the truth," with musical assistance from Guy Clark, Tim O’Brien and others. Wayne wrote most of the tunes which are mostly about simple pleasures-"Sunday With My Son"-and horrors in life-"I Wouldn’t Live in Harlan County." Comparisons to Johnny Cash are certainly in order; in fact he does a live version of "Folsom Prison Blues" sounding like a dead-ringer for the Man in Black. He also reminds me of Claude Diamond, who found a slice of fame later in life, like Wayne. If you like your country sounding closer to Woody Guthrie’s "Dustbowl Ballads" than Shania Twain’s latest, this is 4 bottle caps. If the sound of rough vocals whistling through the singer’s teeth makes you nervous, go out and get Shania’s record. THE AVETT BROTHERS "Live, Vol-2," by the Avett Brothers (Ramseur Records)-If your idea of fun is going to a bluegrass concert and screaming "hell ya!" and making obnoxious yelps and screams, and throwing up all over yourself, I may have the CD for you! Actually, I hated this until I saw the Avetts live-which is why I am convinced "Live, Vol-2" does not work without at least the visual memory. The group mixes a punkish, in-your-face attitude with bluegrass and a lot of tongue-in-cheek stuff. It works in concert, not on a live CD. Too bad, because these guys are very good, with good songs. Check out their "November Blue" video and you’ll see that, despite "Live, Vol-2" being an obnoxious, cacophonous recording, the Avett Brothers are worth the screams. If you’ve never seen them, this gets 2 bottle caps; if you’ve seen them and dig their act, maybe 3. Some of the recording sounds like it might have been done with a cassette machine-in fact, I think they wanted that effect. Wore down these furry ears, though.
Oct
18
2005
Category : Features
An Interview with Wade Bowen by Susan M. Hatch After arriving home at 5:00 am from a gig in Stephenville, Texas, the night before, an exhausted Wade Bowen was kind enough to pick up the phone and visit with a total stranger. Despite his irritated throat, lack of sleep, and unfamiliarity with Americana Roots, he was more than happy to talk music with me. He presented himself as a very serious artist and, if there’s one thing I can vouch for having just met the Texas singer/songwriter, it’s that he is indeed a serious force to be reckoned with. Having grown up in Waco, Texas, Wade decided to follow his dream that was encouraged through a close relationship with a music-enthralled mother and a poetic father. "I always sang a lot and I kind of wrote poetry more than I did songs, but there wasn’t a moment in my life when I didn’t have music around me… I started learning to play guitar around 17, I guess, or 18. I waited quite a bit to actually teach myself some stuff." Because he didn’t know much about the music biz, he would simply do what he loved and play for friends or at local parties. In 1998, Wade was in college at Texas Tech and decided to start a band with his friend, fellow student, and soon-to-be electric guitarist/harmony vocalist, Matt Miller. The duo formed Wade Bowen & West 84 along with Shane Neal on base guitar and Evin Philbrick on drums. Their first record was Just For Fun. Then in 2002, they released Try Not to Listen and, in 2003, released their only live album, The Blue Light Live. The Blue Light Live, which was recorded in one night, "was very rushed and it was [done with] very little money and little time… [it] was done that way on purpose because we wanted to get something that we could do very cheap… When it came down to it, I really wanted to do it that way to keep it as raw and honest as possible. We just did one night and just played for about two and a half hours and made a record out of that. A lot of people do three or four different shows and take the best of the best… Every night is different and every crowd is different, too… Some nights somebody hits a wrong note (heh heh). Sometimes you just sing better or sometimes you just play better… With the Blue Light record we just did one night mainly out of money and mainly out of just trying to keep it as honest as possible." Since their earlier recording days, they have had some turnover with Casey Twist replacing Shane Neal about a year and half ago, and Matt Powell, independent guitarist, joining the band. Matt Powell is a well-known Texas singer/songwriter who has released four records of his own. Matt generally sings a song or two during live performances, and the band has Matt’s pre-West 84 CDs for sale at their shows. "It’s a pretty cool relationship." He will likely spend another year or so with Wade and the band, depending upon the success of their next record. But nothing is written in stone. "We’re just having fun with it." Wade and the band have an upcoming release in January of 2006, for which they have already finished recording. They have been talking to various record labels, but haven’t committed to anything yet. They’re prepared to release the record independently if they don’t find a good fit. Having not released an album in three years, Wade considers his earlier work something to be proud of, yet something less representative of where he is today. "As a writer, your favorite song is always the last one you wrote." And that’s exactly how he feels about this latest record. Over the past 5 years, Wade and the band have been touring throughout Texas, Oklahoma, Kansas, Louisiana, and Arkansas, performing between 200 and 250 gigs per year. More recently, they’ve also been touring in Illinois, Missouri, Kansas, and Tennessee. They will likely be touring the right coast (that’s ‘back east’ to some of you) following the release of their next record this January. They are also planning a tour in March or April with Randy Rogers, who is one of Wade’s best friends. Wade loves performing live and insists that the type of show they put on (from mellow and relaxing to a full-on rock show) is dependent largely upon what kind of crowd they have. They’re different from state to state and venue to venue. Wade explained that small crowds in obscure towns (i.e., ones without a solid fan base) are not necessarily a bad thing because people in small crowds are often much more attentive than folks in a large crowd. "It’s not always great to have a ton of people at your shows." Most of the time, live performing is a blast (I can only imagine – one time Wade and his cohorts played 30 shows in 35 days and "it was the furthest thing from work I’ve ever done in my entire life! We made more money and we had more fun!") but, as any live performing artist will admit, there are those nights when it’s not all that us groupies envision. "Susan Gibson told me one time that those are the nights when you really call it a job and you have to work. And the other nights when the crowd is there and they’re fun, it’s not a job then; it’s easy." Wade is excited to incorporate the new songs and a fresh sound into the shows, and provide a renewed intensity to geographically challenged listeners that are lacking the opportunity to see him live. "We’re about to revamp and get ready for this new record and the tour… I [want to] define myself as a very serious writer and as a very deep writer. I don’t think I’ve really done that to this point. I think over the past two or three years without having released a record, I’ve tried to do that in my live shows and in my acoustic shows, and I think people that come out to the shows understand that. But I want to really define it to the people that don’t come to a lot of shows." After explaining the new turn that his writing has taken, Wade shared some of his writing experience and preferences with me. He believes that a songwriter who writes from the heart doesn’t have a set pattern, like always starting with a feeling, a phrase, a tune, or an idea. His inspiration comes in all of those forms and many more. Over the years, mutual friends had told Wade and fellow Waco resident, Texas Tech student, and Texas singer/songwriter, Pat Green, that the two of them should get together and write some tunes. "It’s pretty rare for people to get together… for the first time and actually come out with a song… one that’s good enough to make a record and then become a single, too. He’s referring to Don’t Break My Heart Again recorded on Pat’s Lucky Ones album that was released in 2004. "You throw ideas back and forth to each other before you get started to kind of see what direction you want to take." Wade would like to write some more songs with Pat and, although he "used to not like [writing with others]," he now prefers it. "The majority of the time, having somebody else involved really does bring another aspect of the song to the table and it usually ends up being a really good thing… I did a lot of co-writing with this new record… I thought I would try a lot of it and see what happened, and I think we got some pretty cool songs out of it." The new record is "more in depth… I wouldn’t say these are all story songs, but I treated it as that… it’s not a concept record but … the characters in the record, they’re lost and they’re kind of searching for the answers in their lives, which is what I’ve pretty much been doing the past three years… That’s where a lot of the writing comes from, people that are heartbroken or devastated because of things
that have happened in their lives, and trying to figure a way out of them… You know, it’s not all depressing or anything but this record comes heavily influenced from Bruce Springsteen, Patty Griffin; it has a little Mellencamp influence, as well, just the deeper stuff… You’re going to have to sit down and actually listen to it… It’s not a happy record by any means." For Wade, this record is real, heartfelt, and honest. "I hope that I come by most of the stuff in my life pretty honestly. I really try hard to do that. There’s not a whole lot of flash and glamour with me or my writing or my music. It’s just pretty much straight forward and honest and, hopefully, enough people will identify with that." After all, he is very appreciative of his devoted fans. "We love what we do but we’re nothing without people that come and listen to us." Thanks, Wade, for the gracious interview. Congratulations on your new son, Bruce, and the upcoming release of your 4th record!! Visit Wade Bowen’s website Be sure to check out Susan’s interviews with Reckless Kelly as well as Micky & The Motorcars here on AmericanaRoots.com.
Oct
17
2005
Hugs and Misses by Stephen Hug “The Best Kept Secret” by Jerry Douglas (Koch Records)—If you get this CD, you must promise you won’t put it on as background music. That’s the temptation with recordings by instrumentalists. Jerry ain’t no “Kenny G”—he is an acclaimed master of the dobro and deserves to be heard! You might not know his name (hence the CD’s title), but no doubt you’ve heard his work—which includes the “O Brother, Where Art Thou” soundtrack, and recordings as a member of Alison Krauss & Union Station. He’s won a bunch of Grammys as well as honors from the likes of the Americana Music Association. This guy is no slouch. And neither is “The Best Kept Secret.” It’s bluegrassy, jazzy and rockin’—with a dash of crowd-pleasing pop, as pop-star-in-waiting Alison Krauss does the vocal honors on a tune called “Back In Love Again.” Others featured either vocally or in another capacity include Creedence Clearwater Revival’s John Fogarty, banjoist Bela Fleck and Allman Brother Derek Trucks. A couple years back Jerry played the venue I volunteer at, the Narrows Center for the Arts in Fall River, MA, and was terrific and was even financially generous to the Narrows (a non-profit organization). So perhaps I’m biased. But I believe I can write without fear of contradiction that this one gets and deserves 4 big bottle caps, our highest score. Let’s have Jerry Douglas go from being the “best kept” to the “worst kept” secret. And one more thing: if you get the CD, please crank it up! Purchase "The Best Kep Secret" on Amazon.com “In the Cool” by Pieta Brown (Valley Entertainment)—A few years back I saw Pieta open for her father Greg Brown and was totally under-impressed. Times change. “In The Cool” is a solid, sultry album, recorded live in the studio, with quality, mostly low-key songs, all written by Pieta. She’s got a Lucinda Williams thing going on, not surprising since Bo Ramsey, who co-produced the CD with her, has worked with Lucinda. (Also, Lucinda kinda has THE sound these days in Americana.) Lyrics from the CD that made me chuckle: “These days I turn the radio on, it’s just one clear channel playing the same songs.” That’s from “Lonesome Songs,” and, if you don’t understand the reference, it’s a swipe at Clear Channel, a huge media conglomerate which has been working to improve its not-so-nice image over the past couple years (I know firsthand—I work a shift at a Clear Channel radio station in Providence, RI). Looks like Clear Channel still has work to do, a least for Pieta! 3 ¼ bottle caps. A pretty good effort. I hope next time she mixes in some energetic tunes. Purchase "In The Cool" on Amazon.com
Oct
10
2005
Hugs and Misses by Stephen Hug “Tabletop People” (2 CD set) by Session Americana (Hi-N-Dry)—This group is a loose collaboration of top-notched musicians living in the Boston area. According to the liner notes “Generally, each song (for the CD) had a leader or singer who came in with an arrangement and taught it to the band… (A)fter a couple times through the tune, an arrangement became apparent and the song developed into what you hear on the CD.” Essentially, “Tabletop People” was recorded live in the studio—but the unbelievable talent of the performers lends a polish unexpected in a live CD. Many of the songs are public domain, but included is Jonathan Richman’s “Party in the Woods” led by former Richman side-guy Asa Brebner. Timeless, childlike, way cool. Laurie Sargent’s “Food Opera,” though, is worth the entire cost of the CD—screamingly funny and impressive vocally. Laurie sings so high you just know she’s going to miss the note! (She doesn’t.) “Twinkle Twinkle Little Star” sung sweet and sexy by Merrie Amsterberg should be required listening in kindergartens across the world, and in corporate boardrooms, the White House, the United Nations—everywhere! I could go on and on about this remarkable CD, which some might mistakenly believe is a kids’ record. It’s not. This one gets our highest rating: 4 big monster bottle caps. Session Americana is further proof that, despite keen competition from Austin, Boston remains the cultural center of the universe. By the way, we recently did a show with Session Americana at the Narrows Center for the Arts in Fall River, MA. Fab! “Robbers & Swills” by The Highway Robbers—This is a rockin’ rave up welding rockabilly onto ass-kicking, beer-swilling country, with blistering guitar gunslinging and energy up the wazoo. The Highway Robbers are out of California, and this debut kicks sand in the kisser of those who believe everybody is laid back on the “Left Coast.” But energy and enthusiasm aren’t everything. Great songs need to serve as a base for the licks and kicks, and “Robbers & Swills” has just okay tunes. 3 bottle caps for The Highway Robbers. Good, not great. Compare this with the work of Deke Dickerson or Sarah Borges and you’ll see that the song counts, even when you’re raving on. “Dreaming in Stereo” by the Chris McCarty Band—I happened upon these guys during a visit to Skipper’s Smokehouse in Tampa, FLA a few weeks back. I was so knocked over by the charisma of front dreadlocked dude Chris McCarty that I (Gasp!) reached my claw into my pocket and dug out a ten spot for their “Dreaming in Stereo” CD. While the record lacks the power of them live, it’s nonetheless a compelling mixture of rock, pop, and singer/songwriter. Their myspace.com area notes they sound like the Dave Matthews Band. I can hear that, except these guys might be better. A solid 3 ¼ bottle caps for the CD, 3 ¾ bottle caps for their live performance. They’re based in the Gator State, but their current tour also takes them to New York, Delaware and Alabama. Hey Chris, how about a live CD sometime!
Oct
06
2005
Category : Features
Others will disagree. For whatever reason people either love or hate this woman and her work.I present my case for loving her.Lucinda Williams is brutally honest. She discards the phony roles women are forced to assume by our society and says what she really means and feels, damn the consequences. You know the routine: Women don’t cuss, do drugs, get angry, think about sex, and certainly can’t enjoy having it. They wear pink and they don’t fart—ever. But we all know they do. Lucinda pulls off the mask and lets us know what it’s really like to be a woman in this world.She demands more out of life, not only for herself but other women out there. All of that and more, passionate kisses… You took my joy; I want it back… Some women speak of women’s liberation. Lucinda lives it.She delivers her songs with a native twang true to her Louisiana roots. By her own admission she was not gifted with the greatest of voices, but she sings with passion and an almost feline ferocity, like some angry lioness on the prowl. Nothing is held back in a Lucinda Williams’ song.She’s not content to follow some man around kowtowing. She knows well her own worth, the power she wields. She is branded as a perfectionist and a control freak by many who have worked with her. All I have to say is this; if she is the one in control, then she does a hell of a job. She’s been making good music now for over twenty years; perhaps she has earned the right to do things her way.Car Wheels on a Gravel Road is my favorite album produced by a female artist and I also count it among my favorites of any artist regardless of sex. She had hell getting this thing hatched, going through a long list of collaborators, among them Gurf Morlix, Steve Earle, and Rick Rubin. Say what you want about the methods she used—the resulting cd is as close to perfect as it gets in this world.Her latest, Live at the Fillmore , is a double cd. Some of the songs don’t sound as good as I have heard them elsewhere, but it is the most extensive collection of her better works, old and new.One of her best offerings is not a cd at all, but instead a DVD capturing a performance she did on Austin City Limits. Band members change over time, as do people. For whatever reason, this performance is one we are unlikely to ever see reproduced again and is a must see for anyone that loves her music. Not only she, but the whole band was smoking that night.I hear talk of a new cd in the works, and those that have caught one of her recent live shows say she is playing six or seven new songs to be contained on the album. It’s supposed to be good stuff. I missed my chance to hear her at the Austin City Limits Music Festival due to the massive evacuation of people from Louisiana and East Texas and my duties as the manager of a horse facility, but I look forward to seeing her the next time she comes around. I am told she too is participating in efforts to help those affected by the hurricanes.Here is a link to her web site: (http://www.lucindawilliams.com/index.html) And to her page at Lonestarmusic.com. All hail to the queen of Americana music—Lucinda Williams.——————–About the Author – Don Henry Ford, Jr.When Don’s not writing books he lends out his talent to Americana Roots to put together great articles like this. If you’ve enjoyed what you read, then pick up Don’s latest book Contrabando: Confessions of a Drug Smuggling Cowboy at your local bookstore or online at Cinco Puntos Press.
Oct
04
2005
Hugs and Missesby Stephen Hug“Keepin’ It ‘Tween the Lines” by Paul Eason (Texican Records)—This is a recording of subtle excellence. It doesn’t grab you, although Paul Eason’s voice and the instruments meld together beautifully right from the get-go, making sounds appealing to country fans, mainstream and alternative. The songs are likeable and well performed but to my furry ears the recording reaches its heights in the last three tracks. This is equivalent to “burying the lead” in the news business, particularly since this is his debut. Track nine, “Abilene,” is soft and soulful and had me singing along almost immediately (It could be a mainstream country hit!); track ten, “Hundred Dollar Bills,” combines a strong mandolin opening with a nice ‘n nasty country-rock kick; and the last song, “’Till the Moving Buries Me,” is mostly a mid-tempo, straightforward on-the-road-again rocker—but opens and ends with a brief, mournful instrumental that paints a picture of a moonlight night out on the prairie, or maybe at the truck stop. A compelling, classy debut for this Texan, who writes most of the tunes, plays guitar and bass, and produced the recording. Special kudos to steel guitar player Danny Hawk. 3 1/2 bottle caps. Next time, don’t bury the lead, Paul! (And I don’t mean the guitar!)“Home To You” by The Peasall Sisters (Dualtone)—It’s been something like five years since these girls performed in the “Down From the Mountain” shows and film, celebrating the music from the movie “O Brother, Where Art Thou,” which their voices were in. In “Down From the Mountain” they looked awfully young—damn near toddlers! In “Home To You” the oldest is 18 and the youngest 12, and their voices, while maturing, still sound childlike, maybe an octave below Alvin and the Chipmunks. They’re still doing the mountain thang, including the Carter Family’s “I Never Will Marry”—not surprising since the CD’s producer is John Carter Cash, Carter descendent and son of Johnny Cash and June Carter. To the girls’ credit, they include some original compositions along with traditional selections. I say to their credit, because I’m wondering if they can sustain a long-term career as museum pieces for a bygone era, no matter how sweetly they harmonize—so they better start creating their future now. Look, if you’re into the traditional hill country, Sunday-go-to-meeting sound, this is the CD for you. It’s well performed (and features the guitar styling of Randy Scruggs), and tastefully produced. If you find such stuff depressing, take a pass. As for me, if I’m in a repenting mood, wanting to make things right with the Lord, this is a 4 bottle capper. “Pilgrims” by FolksTogether–I can’t write a review about this recording because I’ve done a number of musical projects with these fine musicians from Rhode Island and consider them friends. That said, they somehow successfully mix folk and country with stuff written by Carole King and a couple guys in Procol Harum. For what it’s worth, I like it, and always look forward to having them perform at the Narrows Center for the Arts in Fall River, MA, where I emcee the shows. FolksTogether performs in New England and New York.