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2005 November | Americana Roots

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Tom Savage Trio- The County Line Kingston, Ontario's Tom Savage fourth studio album called The County Line recently founds its way to my ears.  Even though it is a 2008 release it deserves your attention if you haven't heard it. ...

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Marley's Ghost - Ghost Town Ever ask yourself what has happened to real music as you search your radio dial….looking for anything that sounds appealing? The music is still out there, you just need to look in the right places. Some...

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Jeremy Porter - Party of One After listening to “Party of One,” Jeremy Porter’s debut solo CD, it’s easy to see what makes Americana music a deeper listen than pure Pop. Both genres share the synthesis of multiple source genres,...

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Drunk On Crutches - People.Places.Things. Have you ever decided to listen to new CD, not knowing what to expect? Sure you have. And when the first song starts, you are not only surprised, but ready to hear what’s next? Well, that’s what happened...

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The Council of Smokers and Drinkers- Grizzled Nashville, Austin, Memphis......Anchorage??  Last year we wrote about Alaska band The Whipsaws on our site.  I'm happy to report that we have another tasty musical export from the Cold North.  Ladies...

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Susan Gibson – A Wide Open Future

Category : Features

 

But Susan�s story didn�t begin there and it doesn�t end there either.
Susan was born in Fridley, Minnesota, the second daughter of a third generation railroad worker. His job kept their family on the move; among other places Susan lived in Nebraska, Illinois and Montana during her childhood years. She graduated from high school in Amarillo, Texas and it was there that her music career began. Well, not exactly.
Susan�s mother was a piano teacher and Susan�s first musical influence. Later Susan honed her skills in school and church choirs. But it wasn�t until she was a senior in high school at Amarillo that she picked up a guitar.
Susan decided she wanted to become a forest ranger and moved to Montana, a place she still considers her spiritual home. She studied for a time in Missoula, Montana in pursuit of that career and played music in small venues on the side. She came back to Texas when her older sister had her first child to be part of the process and to see if she could be of any help. While in Amarillo she auditioned with the Groobees.
The previously all-male members of the Groobees recognized Susan�s talent. She joined and became an integral part of the group. Over the next few years, the Groobees released a number of albums under the tutelage of Lloyd Maines, Natalie Maines� father. Scott Mellott and Susan wrote most of the material and between them produced a wonderful catalogue of music. They traveled and played the Texas scene, sometimes with crowds so small the take barely covered the cost of buying gas to get to the next gig. But those that heard them liked them. The gigs got bigger, the crowds larger.
Susan describes this time in her life as a struggle but also as a time when had a lot of fun. She was doing what she loved: writing, touring and singing the songs. All of this surrounded by good company.
Keeping a band together is a difficult thing, harder even than preserving a marriage, because multiple members are involved and many sacrifices of time and personal choice must be made to keep everyone headed in the same direction. The Groobees did well while struggling. It was success that did them in. When the Dixie Chicks picked up Wide Open Spaces, money began to pour in. Some of the band members got married and had new obligations other than music to consider. Susan says if you ask the other members of the Groobees what led to the breakup, you�ll get a different version from each�each true from his own perspective. Susan believed it was time to drop everything else, hit the road and conquer the world.
The breakup came fast and it hit hard, like a bad divorce. For a time it left her reeling.
Her first solo album, Chin Up  is a reflection of that time and the difficulties she was going through. Some of Susan�s critics will tell you the songs are too personal and painful. Well, not every cd can be all things to everybody. For me I find the cd a personal testament to the devotion Susan had to the Groobees and the craft she loves. It is only when one�s heart is fully invested that the pain and confusion of the loss reaches the level she describes.
Critics beware. If you live long enough and wholeheartedly leap into anything like Susan did, you�re likely to find yourself in that place at some point. If and when you do, Chin Up may help you navigate those dreaded waters.
Susan�s second and latest offering, Outerspace,  continues to chronicle Susan�s recovery. The song, I�m Happiest When I�m Moving, reveals the wanderlust that�s part of her makeup and exposes some of the scar tissue left over from the breakup of the Groobees: a fear of deep involvement and commitment to new relationships. The second track on the album, Company Man, is reminiscent of songs that made the Dixie Chicks famous. I hear some songs from a jaded place, but in others like First Sign of Spring I find signs of hope, love, rebirth and newfound dreams for the future. Her talent as a wordsmith shines throughout the album.
One thing I�ve learned about honesty: not everyone will like it.
The first step in getting through difficult times is an accurate evaluation of where you are. Susan has done that. She held up a mirror, took stock, honestly described what she saw and is making changes she hopes will give her a satisfying life and a successful career as a musician. She�s back on her feet, singing and touring, pressing forward, writing and producing new material. She has finally arrived at a place where she can look at the work she did with the Groobees  and think about not only what could have been or what was lost, but also just how good what the Groobees produced really was.
And it was very good.
My Best Feature is a wonderful song from the Groobees� Buy 1, Get 11 Free album  telling us all the reasons Susan is what she is with Susan�s patent twist of humor. And Miles City from Wayside  describes the scene of a mother traveling to see her son in a juvenile detention facility, and questioning just how it is she has arrived at this place. The song never fails to haunt me, and leaves me thoughtful, pensive and hitting the repeat button.
Part of Susan�s problem is that it�s hard to find all of her work on a Susan Gibson album. I�m hoping she�ll soon remedy that. A few of her better efforts are to be found elsewhere.
Susan contributed her voice and her talent to two songs on Mike McClure�s best cd (in my opinion), a cd called Twelve Pieces . The first song Wicked Game of Hearts is just fantastic. Don�t know what else to say. Listen and you�ll know. Harder to Ignore is also incredibly good. So good, I�m tempted to suggest maybe these two should look into doing additional ventures together. Certainly you should by this cd.
There�s one more song Susan did with Mike during his years with The Great Divide called Hung Down Dead that still gets airplay at KNBT and for good reason. I sometimes play it for inspiration when things are not going well in my world. The album is called Dirt And Spirit.
Susan is a beautiful woman inside and out�a big boned girl with thick blond hair, clear blue eyes and a radiant smile. She has a rich wonderful voice, catchy lyrics and a unique style. She�s quick-witted, humorous and definitely worth catching at a live show if you get the chance.
Her musical career took a detour for a while after the breakup of the Groobees but she�s on track again. I suspect there�s more to come from Ms. Susan Gibson.
I look forward to it.
Here�s her website: http://www.susangibson.com/
 ——————–

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.

Hugs & Misses: Alvin Youngblood Hart & Sons of the San Joaquin

Category : Reviews

 “Motivational Speaker” by Alvin Youngblood Hart (ArtemisRecords)—This is hot-on-the-skillet Southern fried guitar boogie, reminiscent of ZZ Top, with a dash of bluesman Buddy Guy, Doug Sahm (he does Sahm’s “Lawd I’m Just A Country Boy In This Great Big Freaky City”), Otis Redding (he does Redding’s “Nobody’s Fault But Mine” with Hart’s guitar stepping aside for some soulful horns), Jimi Hendrix and others. If your record collection needs a new guitar hero, Alvin Youngblood Hart should be a candidate. If you’re into the jam band thing, he’s got the extended solos so you can jump up and down in your hippie duds! And stoner rock freaks—he’s not afraid to use the fuzz tone! The Narrows Center for the Arts in Fall River, MA, where I volunteer, has Hart in concert on Thursday, December 1. But this is 3 ¾ bottle caps, pretty damn good, even if we weren’t promoting the show. I noticed on the Map of Americana on this site that Charles Porcaro from Warwick, RI (about 40 minutes from the Narrows) thinks that “Southern New England is the vortex of musical suckitude.” Will we see you at the Alvin Youngblood Hart show? You might change your mind!   “Way Out Yonder” by the Sons of the San Joaquin (Dualtone)—If you don’t appreciate the western music tradition, you probably won’t dig this recording, particularly the “manly” vocal presentation, which you might associate with old Disney movies or cartoons. These guys are award-winners within their niche, and you gotta respect that. Instrumentally this is pleasant, but when the guys start singing—which they do well, by the way—you’ll either love or hate the style. If preserving a musical tradition is your passion, this one may be for you. Can’t give our usual bottle cap rating. Too much of a niche thang. 

Hugs & Misses: Livingston Taylor & Tim Grimm

Category : Reviews

Hugs and Misses by Stephen Hug   “There You Are Again,” by Livingston Taylor (Whistling Dog Music)—He’ll forever be known as James Taylor’s brother, but those of us following the folk scene in the 1970s remember him as a distinct presence, with snappy singles such as “I Will Be In Love With You,” and “Get Out Of Bed.” Although for some he faded into obscurity, he continued to write, perform and tour and still sells out venues to this day. He taught performance at Berklee School of Music in Boston, sang commercials for the likes of Folgers Coffee, and hosted a national television show in the early 1980s. Recently he played the Narrows Center for the Arts in Fall River, MA, which is where I picked up a copy of his latest release, currently only distributed through his website and at shows. “There You Are Again,” recorded primarily in Tennessee, features his former sister-in-law Carly Simon, brother James and sister Kate, Pam Tillis, Vince Gill and a cappella group Take Six. It’s a lush, pop production that retains a soulful down-home feel that reflects Liv’s upbeat stage presence and fearless embrace of sentimentality. Since Livingston contributed a track to a project I helped produce, I won’t rate this record. Suffice it to say, Liv Taylor is a must-see in concert; the man knows how to entertain! This CD reflects that talent and will brighten your mood if you’re having a cranky day.   “The Back Fields” by Tim Grimm (Wind River Records)—Hoosier Tim Grimm was, to me, just another opening act at the Narrows Center for the Arts a couple weeks back—until I heard his stuff, which made me look up and ask “Who is this guy?” Actually, Tim has had a prolific career as an actor, appearing in films with the likes of Harrison Ford. While I’m usually slow to warm up to singer/songwriter types (I bore quickly, I suppose), something about Tim in concert and on this record caught my furry ears. Maybe it’s the profound simplicity of lyrics such as “sometimes the only thing to do is work/pick up a shovel, pick up an axe/work out in the woods till it’s time to come back.” Maybe it’s his straightforward unaffected vocals. Maybe it’s that he’s not afraid to take chances—such as opening the song about the murderous “Ceely Rose” with a near-rap sound. I guess the bottom line is his songs. They’re worth paying attention to. On “The Back Fields” he wrote or co-wrote the tunes (with his wife) except for one track, Bob Dylan’s “Girl From The North Country.” Give this one 4 big bottle caps, our highest rating. Tasty stuff from the Midwest!          

Hugs & Misses: Dirty Dozen Brass Band, Dana Cooper, Pendragon

Category : Reviews

Hugs and Misses by Stephen Hug   “This is the Dirty Dozen Brass Band Collection,” by the Dirty Dozen Brass Band (Shout Factory)—This New Orleans ensemble was started in the late 1970s to preserve the dying Crescent City brass band traditions ( e.g. playing up-tempo music in the street during funeral processions) that were apparently being forgotten even in the French Quarter. “Bourbon Street had gone disco and country-western,” says founder Gregory Davis in the CD’s booklet. Since their first gigs playing funerals and other functions, they’ve broadened their repertoire to include R & B and even progressive jazz. This CD portrays their range, with traditional pieces like “John the Revelator,” and “Just A Closer Walk With Thee,” to “Oop Pop A Dah” by Dizzy Gillespie, with Dizzy sitting in on the session in the late 1980s. While their work with other international stars isn’t included on this compilation, it should be noted that they have worked with the likes of Elvis Costello (on his “Spike” and “Mighty Like A Rose” album) who wrote: “Every note the Dozen played—on ballads and on swinging and stomping numbers—was exactly what was needed.” No rating on this CD from me, because it’s a “greatest hits” type of collection. Suffice it to say it’s fab! If you’d like to learn more about New Orleans music traditions, check out the DVD “Make It Funky!” (Sony Pictures Home Entertainment) which stars Allen Toussaint, Aaron Neville along with the Neville brothers group, the Funky Meters, Irma Thomas, Lloyd Price, Bonnie Raitt, Keith Richards, the Dirty Dozen Brass Band and others. One more note for readers in the Massachusetts/Rhode Island area: the group plays the Narrows Center for the Arts on Friday, November 18.   “Made of Mud,” by Dana Cooper (King Easy Records)—This is a nicely understated example of the art of the singer/songwriter. The songs are pleasant, at times infectious, and the arrangements and performances tasteful. The opening track, “Step Into The Light,” which has a light reggae feel, deserves to be covered and turned into a hit by a mainstream country performer or maybe Bonnie Raitt or Sheryl Crow. “Sit This One Out” has a Roger McGuinn (so that means Tom Petty, too) feel that the ex-Byrd, or Petty, could readily turn into a jingle-jangle classic. 3 ½ bottle caps. Nice job! He’s on tour, playing Texas over the next several days before heading to Europe. If his live performance is as good as this album, he’s worth seeing.   “Artistic License,” by Pendragon (Riverfolk Productions)—This group is well known by live music lovers in the Rhode Island/Massachusetts areas for their longtime dedication to the Celtic traditions brought by Irish, Scottish and other immigrants to mills in the Blackstone River area of Rhode Island and Massachusetts. But they also tackle a bluegrass tune (“Handsome Molly”) on this record, do a cover of Procol Harum’s big 1960s hit, “A White Shade of Pale,” and a traditional sailor song (“North Wind”) one of the members learned from Pete Seeger. I’ve done a CD project with them, so I won’t rate this album. On the other hand, I do want to raise awareness of their work, particularly to readers interested in American labor history.  

Fred Eaglesmith – Makes me proud to be an American

Category : Features

  Makes me proud to be an American. Only problem is, Fred is Canadian—100% pure Canuck. Oh well. He gets an honorary Texan degree in my book, and apparently I’m not the only one down here that thinks so. Gruene and Saenger Halls of New Braunfels, Texas reserved an entire weekend (March 23 to March 26 of 06) for him for the third consecutive year. Others will participate alongside him for the event, but make no mistake about it: Fred is the star of the show. Fred’s fans love the guy so much they’ve been given a name. Fredheads. Almost as fanatical as Grateful Dead’s Deadheads, but not on the same dope. Well, most of them anyway. Some follow him from town to town and others just wait their turn. But all of them know that he’ll deliver when they attend one of his shows. A Fred Eaglesmith show blends the power of young rockers with the roots of country, folk, bluegrass and even a blues lick or two and all the instruments these varied disciplines bring to the table. You’ll hear fiddles, banjos, harmonicas, guitars—acoustical, electric and even the wail of an old slide steel—a standing bass and an electrified one too. The pounding of drums and well-tuned harmonious back-up vocals behind his powerful gravely voice. Some songs are quiet and introspective; others work the audience into a frenzy.   The energy he brings is not unlike what you get with a Bruce Springsteen show, and the banter between songs is not only funny but insightful and thought-provoking. The characters in his songs are poor working class people like Woody Guthrie would identify with, struggling with imperfections and a world that isn’t always fair or gentle. He voices their fears, doubts, pain, and their anger, but also their goodness and their determination to survive and overcome. You’ll hear of migrant workers, backs arched in the sun, hoeing away at the earth, men that drive snowplows through the deadly cold of a Canadian winter, frustrated farmers ready to pick up a gun when criminals from the city or some limp-wristed banker encroaches and there simply isn’t enough money to pay the bills. He sings of trains, and failed relationships, of cowboys left behind by time but cowboys nonetheless, lost in a strange new world, and the women that love them, seemingly unable to resist. You’ll hear of rednecks and dogs and horses, old used cars and pickup trucks. Fred sings about the world he knows. He was one of nine children. He watched his father fight to feed his family as a farmer and he watched him fail in the end. Fred also farmed, and knows how hard it is to make a living at it. He still owns a farm. Perhaps that is why he picked up an instrument. To tell the rest of the world what it’s like and to earn a buck or two in the process. Along the way he came up with a unique sound. There’s no one like him out there. Take my word for it. This man can play. I’ve had mixed results with his recorded music. There’s some good cds and then there’s some not so good. I don’t own them all but here are two sure to deliver: Drive in Movie is a great studio album, guaranteed to please. Check out 49 tons, Wilder than Her and Freight Train. The second installment from his bootleg series, a double cd recorded in none other than Gruene Hall during his 2004 gig is as close as it comes to seeing the man live. Also good, but quite different is Dusty, a softer introspective kind of cd for those times when you don’t want to be blown out of your chair. Here’s his page at Lonestarmusic.com which also has a good bio. You won’t however find the bootleg series cd there. To my knowledge the only way to get this is at his live show or from his web site. And here’s one sure to disappoint: Ralph’s Last Show. I tell you this so you won’t waste your money buying this double live cd and get soured on an otherwise excellent performer. Here’s a link to his web site. (http://www.fredeaglesmith.com) Fred does over two hundred shows a year. He’ll probably be coming to a town somewhere near you. Go and if you like the music, tell him some crazy ex-marijuana smuggler from Texas sent you. He won’t have a clue what you’re talking about.——————– 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.

Hugs & Misses: Ronnie Bowman, Sonny Burgess, Breadfoot

Category : Reviews

Hugs and Misses

by Stephen Hug
 
�It�s Getting Better All The Time,� by Ronnie Bowman (Koch Records)�This is very nearly a perfect record. If you enjoy Americana music, you�ll love �It�s Getting Better All The Time.� Ronnie is a bluegrass musician and a songwriter (�It�s Getting Better All The Time� was a recent hit for Brooks & Dunn). He plays, he sings, he writes, he scores! His voice is smooth and expressive as is his playing. Radio programmers: don�t let the problems at Koch Records make you overlook this gem. Recommended cuts: All of them (except for, maybe, �Build a Little Playhouse,� which is too precious for these furry ears)! 3 3/4 bottle caps, nearly our highest rating!
 

 
�Stronger,� by Sonny Burgess (CPI Records)�Sonny Burgess strikes me as one of those �hat� country singers, the ones with pretty faces, maybe good voices, but are strictly entertainers, not artists. The CD has some nice moments, including �Jesus & Bartenders,� but I got the feeling I was being hustled�like he was trying to hit the right buttons. Plus, the recording is overproduced to these furry ears. Maybe when he�s through churning out this kind of nonsense he�ll pick up his guitar, take off the damn hat, and sing a song from his heart. 2 � bottle caps. Yuck. Sorry, Sonny.
 
�Tea with Leo,� by Breadfoot and Anna Phoebe (Jeeziepeezie Records)�Breadfoot is the name used by a guitar and banjo picker based in New York City, while Anna Phoebe is a London-based violinist. Not sure how the two got together, but she has apparently been working in New York City with the Trans-Siberian Orchestra. This is an instrumental 7 track CD (More of a CD EP�am I getting carried away with these abbreviations?) that contrasts Breadfoot�s unadorned guitar and banjo with Phoebe�s sweet violin (definitely not a �fiddle�). This �leather and lace� paring is worth a listen, though I got a little nervous in parts wondering if Breadfoot forgot to tune his guitar. 3 1/4 bottle caps. It will apparently be only available on-line through their websites.
 
 
 

Hugs & Misses: Stephen Bruton, Miranda Lambert, Glenna Bell

Category : Reviews

Hugs and Missesby Stephen Hug “From the Five” by Stephen Bruton (New West Records)—This guy’s musical resume made me presume, even before listening, that “From the Five” was going to knock me over.  He’s played guitar with Bonnie Raitt, Christine McVie, etc., and produced albums for Chris Smither and others.  His previous CD was terrific (I met him after he released that record, called “Spirit World,” when he played the Narrows Center for the Arts in Fall River) and “From the Five,” even without my words of wisdom, was already getting attention on Americana charts.  All that said—to my furry ears this record is not as good as I think Stephen Bruton could have made it.  It’s not that he’s lazy—in fact, overall this CD is a solid, quality presentation.  The songs just aren’t interesting; not like “Spirit World.”  There’s nothing not to like about this CD; but there’s nothing to love either.  3 bottlecaps for this one.  Good, not great.  For what it’s worth, I suggest he tap into the work of other songwriters for his next record, and only use his finest original compositions. “Kerosene,” by Miranda Lambert (Sony Nashville)—As far as these furry ears are concerned, Ms. Lambert had three strikes against her before I seriously listened to this CD: She’s on a major label (We critics love the indies, don’t we?), she’s done well on the country charts (Sony reports she’s the top selling debut country artist in 2005) and in her Sony Nashville bio she says “I’ll never dance around stage in a halter top” while her CD has alluring shots of her all over the place.  Somehow, though, this 21-year-old Texan has made a snappy record that deserves to be heard by even us “hip” alt-country types.  Why?  Because it’s got energy, spunk and pretty good songs.  And just to keep snobby jackals like me at bay, she’s got roots guy Buddy Miller singing with her, and Randy Scruggs on mandolin and guitar. She’s written most of the songs, sometimes with her dad Rick, Travis Howard, and a young woman apparently Miranda and her dad spotted at a talent contest—Heather Little.  If you don’t like today’s mainstream country, then you might have to overcome those feelings to sit back and enjoy this guilty pleasure.  Otherwise give this woman a shot.  3 ½ bottle caps.  Pretty damn good debut.  But who cares what I think?  The general country music consumer has already weighed in and they love Miranda.  Listen to them cash registers!   “Face This World,” by Glenna Bell (Self)—She has the clipped vocal delivery of Janis Joplin without the blues and a Natalie Merchant quirkiness without Natalie’s I-Just-Bought-This-At-Starbucks snob appeal.  Glenna Bell is a Texan who is one or two great songs, one or two lucky breaks from breaking out into the AAA radio format in a big way (she’s too rootsy for mainstream country).  Her singing is heartfelt and distinctive (though on certain cuts she’s dead-on Janis) and the songs on “Face This World” worth recording.  3 ¼ bottle caps.    

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