Clicky

2007 May | Americana Roots

Featured Posts

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...

Read more

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,...

Read more

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...

Read more

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...

Read more

Tinariwen- Old Town School of Folk Music This post is actually more about the venue than the show.  I have a list of some of the live music venues I'd like to get to in various cities and was able to knock one off the list this past weekend...

Read more

twitter

Follow on Tweets

  •  

Ellsworth – American Compost

Category : Reviews

Brooklynite Ellsworth starts off the CD with a rollicking ode to his NYC in �Back to New York City�. He seems happy to find it "still standing proud and pretty".  �Mr. Ellsworth’s Sunday Morning Song� then shows him questioning �The Captain� like many did following 9/11.  While his voice on the song and the boat theme sound much like a Jimmy Buffett tune, the subject is much more serious than cheeseburgers or margaritas.  At this time he is "lost, my compass spins around", and unable to find his way he asks, "Hey Captain, I hope you have a plan".  On �Forward Motion� Ellsworth takes his shot at politicians saying, "politicians got your vote, don’t want your opinion".  The despair and loneliness of several youths (and us all at times?) is next in �Can Anyone Hear Me?� A young boy must lie in bed at night listening to his mother’s trysts in the bedroom next door with various men, and a 14 year old girl is taken advantage of by a group of her male friends.  Both are lonely and despondent and wonder, "Can anyone hear me?  Is there anyone near me singing along?"

On the title track �American Compost� Ellsworth really struggles with his feelings about America and how to raise his children, again mirroring the strong emotions of the post 9/11 time.  He sings of his youth "I’d march down the street singing ‘Oh Say Can You See’," but now wonders "can you see that light anymore, America?"  As he has grown older and has children of his own he wonders, "should I teach ‘em how to dream or how to doubt?" because "its hard to be a dreamer when the only dreams to fill your sails are long term investments and projected sales".  Clearly he is questioning many things about his life and his country.  After this point in the CD he lightens up a bit.  On track 8, �She’s So Sweet�, a funky bass line is the star of the song.  Next on �It Doesn’t Have to be This Way� he sees hope for us on Christmas Day when a "child born into a world of greed and crime came to say ‘It Doesn’t Have to be This Way’," and urges us to "let a light shine in your heart, don’t turn away".  He follows this up on the next track �Baby I’m Out of My Head� by realizing "waiting for a miracle, now I see its up to me!"

He ends the CD with a great closing tune, �Madame Freud,� which is built on a wonderful Afropop type guitar riff.  The CD does a wonderful job showing the mix of emotions felt by America post 9/11 and the way many of us dealt with it.  We alternated between confusion and disillusionment, acceptance and denial, and finally some degree of closure hoping �It Doesn’t Have to be This Way.�  Many also probably had a talk or two with the ‘Captain’ as well. A great CD like this is comprised of great songs, great singing and great playing.  Often, it also makes us think, or follows a theme.  This is an album in the way albums used to be.  For maximum effect it should be listened to all the way through in a single setting! You won’t be disappointed.
Besides songwriting and performing, Ellsworth began producing music shows around New York and New England.  He runs the Sunset Music Series in Brooklyn in the summer, which has a great mix of music.  More information on this can be found at www.geocities.com/sunsetmuse.
Don Zelazny is a music fan who plays dentist during the day.  He has a great wife and 2 small children who put up with his music! He started playing classical guitar in college.  Why classical?  It was the only kind offered at my school and I could get credits for playing the guitar! Not bad!

One Hoarse Town:  Jimmy Lafave

Category : Reviews

Standing alone at night in the middle of an empty street somewhere in America…walking across a steel-span country bridge…moving through the hillside grasses of wide open spaces…strolling off into the fog down a two-lane dirt road…these are the images that grace the cover of Cimarron Manifesto…and before you even listen to a single note, these snapshots somehow capture the spirit of what lies ahead for the listener. But as the music begins and the first lines roll out through the speakers…we get the sense that Jimmy Lafave is drawn to the road and his road winds not only through the heart of a country but through the heart of a man as well.

"You know I�ll never understand it babe / The wanderlust in my soul / Though I want to be with you / Hey I don�t really know / Cause I�m looking out your window girl / And I�m driftin� with the wind / Movin� on is my middle name / Hey here I go again" 
Those are the words that kick off "Car Outside", the album�s opening track. And while the lyrics may suggest that we�re listening to a song simply about leaving, the tempo and the spirit of "Car Outside" suggests something more. It feels like a "roll the windows down" highway song and when it�s sung by the restless soul it seems to say that sometimes we have to leave purely because we have to go.
"There�s a car outside / There�s a road / There�s a time to stay / And a time to rock n roll." 
And while the road stretches out ahead of us, it�s the rearview mirror that reminds of us of where we�ve been and what we�ve left behind. What follows "Car Oustide" are the long shadows of sunset streaming across the highway as Lafave gives us the first of three cover songs with a powerful and emotional version of Donovan�s "Catch the Wind". Lafave�s take is slower and more heartfelt than the original and the longing in his voice gives the song a depth and a sadness that in many exceeds that of the original. What we�re left with is the sense of a single tear gathering in the mind�s eye and the combination of voice and musical backdrop give "Catch the Wind" the feeling of memory at the edge of a dying day.

"When sundown hails the sky / I want to hide awhile behind your smile / And everywhere I�d look your eyes I�d find / For me to love you now would be the sweetest thing / It would make me sing / But I may as well try and catch the wind."
With the sun now set and the darkness growing deeper, the album moves from the heart of man into the heart of nation as we step into the album�s third cut, "This Land". It is here that we find one of the album�s strongest statements as Lafave turns his attention to America and shines his headlights on a country that in a way is also searching for itself. In one poignant moment halfway through "This Land" he seems to pull off to the side of the road to ask for a little direction: 
"Children dying / on some foreign soil / For God�s Sake won�t you tell me / What�s all this fighting for?"
And while the song�s high beams don�t shed a light on an answer to that question, they do seem to illuminate the consequence of waiting so long to ask it: 
"As I went driving / Through the American night / And I slowly watched my freedoms / Disappear right out of sight…traveling through this land." 
Here Lafave seems to be channeling the spirit of his red-dirt hero Woody Guthrie, by taking his pen, his guitar, and his voice to take a stand, not against, but for his country. "This Land" is a timely piece that in a way reminds us that there are many highways that we can choose to travel. America after all is a land of roads stretching from sea to sea so why stay the course on one single lane when there�s so much more to see? Or at the very least, let�s not forget that we can always pull off along the shoulder and take a moment to figure out where we really want to go. 

Throughout Cimarron Manifesto�s twelve tracks Jimmy Lafave is part wanderer and part filled with wonder. In one moment he�s seeking out the forgotten protagonists from rock n roll�s past in the stompin� beat of "That�s the Way It Goes" only to stop us in our tracks with the love song tenderness of "Lucky Man". In the next instant he�s joined by Ruthie Foster for the soulful and bluesy rendering of Joe South�s "Walk a Mile in My Shoes" only to tug once again at the heart�s strings in "Home Once Again". Lafave balances the album with so motion and emotion that it almost rises and falls like road itself.
As it�s defined, a manifesto is a "declaration of motives and intentions by a person regarded as having some public importance". With that in mind, we make one final stop before all is said and done and this journey finds its end. I�ve always considered Jimmy Lafave one of the greatest interpreters of Bob Dylan�s songs and I can�t imagine the song chosen for inclusion on this record was made on the basis of coincidence. It seems fitting that we should end with the opening lines of Dylan�s "Not Dark Yet"…in his own way Jimmy Lafave makes them his own:

"Shadows are falling, I�ve been here all day / It�s too hot to sleep and time is running away / Feels like my soul has turned into steel / I still got the scars the sun didn�t heal / There�s not even room enough to be anywhere / It�s not dark yet / But it�s getting there…."

Great Lake Swimmers – Ongiara

Category : Reviews

Yes, there are exceptions to this and pretty much every other rule. �Put There by the Land� really feels like an island of adrenalin shot. The electric guitars come and give the tune a bit of energy. The opening track �Your Rocky Spine� manages to combine a spare frailing banjo backbone with a full rhythm section in the chorus. The result would be called old-timey without Tony Dekker�s unique vocals.
The four tracks in between meld slowly into one another, with rare appearances by bass and drums. �Catcher Son� particularly lacks a hook and repeats the same melodic line incessantly. �Changing Colors� lacks a punchy cadence as well. The vocals can�t salvage this tune either and the simplistic lyrics seem a definite afterthought to moody guitar lines:
And when the wind takes you, it takes me, too.

When you change colours, I change mine, too.

Try not to think, and I will try to.

When you let go, I will let go, too.
And there�s really no more specific lyrical picture in the verse either.
Dekker�s vocals sound plaintive and ethereal, quite a bit like Jim James of My Morning Jacket. They fill out the fuller arrangements nicely but cannot salvage the more redundant down-tempo acoustic numbers. Sufjan Stevens did enough of those numbers to last the indie-rock kids a lifetime.
The album ends on an up note with the swirling pedal steel of �I Became Awake.� The tempo of this song is still low but the chorus provides a nice contrast adding the much needed rhythm section in at the chorus.
The record boasts some strong tracks and strong vocals but quite a bit of filler. Often the chorus harmonies mute the stark power of Dekker�s voice. Unfortunately, the songs generally feel like treading water without a real destination. The band is clearly comfortable hovering at around 50 beats per minute but each of the faster tracks seemed to showcase something not fully developed here.
The arrangements were diverse but I found myself yearning for the power of �Your Rocky Spine.� The album couldn�t deliver on the promise of the first track and wound up going in circles without a wind to carry it.
Jeff McMahon is a graduate student in the Boston area. He loves organic music of any sort and has enough instruments to create a one-man bluegrass band (if he had the chops). He loves to jam out to his favorite tunes and writes a little poetry as well.

The Avett Brothers – Emotionalism

Category : Reviews

There are probably going to be a few long time Avett Brothers fans who hear Emotionalism for the first time and think that there�s something missing from this new album in the form of the raw power and rough edges of past recordings. This record doesn�t have a "Please Pardon Yourself" moment as found on Mignonette or a "Talk on Indolence" thrasher like the one found on the Brother�s last full length release Four Thieves Gone. But to say that Emotionalism doesn�t have power would be an understatement. From start to finish, from the opening cut harmonies of "Die, Die, Die" to the last gentle refrain on "Hand Me Down Tune", the Avett Brothers have captured the beauty of Song and in doing so they have crafted an album that will certainly bring comparisons to Everly Brothers harmonies and the early genius song writing of Lennon and McCartney. 

For their first four official studio albums, the Avetts have presented their music in the truest "Do-It-Yourself" fashion. Their records have exhibited a feeling that is quite similar to the unparalleled energy found in their live shows…not every note need be perfect because the expression of the moment will always overcome. That no-frills approach to making music has won the hard-touring trio from Concord, North Carolina a legion of die hard fans. What may catch long time fans of the Avett Brothers off guard as they listen to Emotionalism for the very first time is that the band�s approach to making a record has shifted and the results couldn�t be more rewarding. The entire effort possesses a crisper, cleaner, and more polished sound. Gone, for the most part, are the band�s signature growls and yells from records past, and what is left for the listener to take in may be the most important aspect of this band on the rise…namely the depth and genius that brothers Scott and Seth Avett possess as song writers. It is their ability to write songs that are both memorable and heartfelt that surely what will bring new fans into their ever-growing family of believers.
As you listen again and again, Emotionalism brings to mind words like pure, honest, and passionate. These songs resonate with all of these things and so many more. The record features new sounds in the form of electric guitar, Hammond B3, and mandolin but again what shines above it all are the words, the voices, and a much more focused, complete sound. Songs like "Die, Die, Die", Paranoia in B Flat Major", and "Will You Return" are acoustic modern rock folk songs that are joyous expressions of original, organic pop music in the truest sense of the word. And when things move to the quieter side, the Avetts shine their very brightest. On songs like "Shame, Weight of Lies" and the delicate and tender "Ballad of Love and Hate" the Avetts pick up where they left off on last year�s six song EP The Gleam by illustrating the beating, bleeding, and feeling heart of a band who is not afraid to tell their tales from the inside out.
Always playing by their own rules, the Avett Brothers and their latest release Emotionalism have broadened the very scope of American music and in just under an hour�s worth of music they have managed to create one of the best album�s of the decade. And while the band will continue to draw comparisons to any number of artists that stretches from Buddy Holly to Nirvana, from the Band to the Beatles, and on and on and on, you get the feeling that the Avetts just shrug their shoulders, take a deep breath, and huddle together arm-in-arm-in-arm under the dim backstage lights…for tonight they�ve got another show to do, another song to sing, and another hundred miles to go before they do it all over again. It�s one hell of a beautiful ride and isn�t that what Emotionalism is really all about?

One Hoarse Town:  The Wrinkle Neck Mules

Category : Reviews

It was just a little over a year ago that the Wrinkle Neck Mules released what I believe was one of the best records of 2006 with their sophomore album, Pull the Brake. Pull the Brake, in retrospect, almost seems like the record the band needed to make. Pull the Brake picked up considerable radio airplay and helped raise the band�s profile as the Mules toured extensively up and down the East Coast while making appearances at last year�s SXSW in Austin, as well as festival stops at Summerfest in Milwaukee and Rhythm and Roots in Bristol, Tennessee. Now as I listen to The Wicks Have Met, I get the feeling this is the record the Mules wanted to make. With a new record label (Lower 40 Records) and miles of hard earned touring behind them, this is without a doubt the strongest and most assured Mules record to date.
With a sound that falls musically somewhere between that of Blue Mountain and the Gourds, the one thing that the Wrinkle Neck Mules have no problem doing is banging out stomping, country tinged rockers. The five piece ensemble featuring front man Andy Stepanian on acoustic guitar, Chase Heard on guitar and banjo, Brian Gregory on bass, Mason Brent on mandolin and electric guitar (just to name a few), and Stuart Gunter on drums kick off The Wicks Have Met with a rumble on the album�s opening cut "Bells and Whistles". Stepanian�s vocal is a growling, rawer version of Jay Farrar�s if you�re looking for comparisons and Brent�s mandolin and electric guitar work are simply stellar from start to finish.
The album�s best cuts come in the form of a trio of songs beginning with the steel guitar-infused "Cadillac Limousine" with banjoist Chase Heard on lead vocals. It�s one of those dusty road, leaving songs with a taste of country-shuffle heartache added for good measure. Lyrically it�s one of the record�s strongest numbers with Heard�s vocals giving the song a troubadour feel in the vein of a Robert Earl Keen or Hayes Carll. Chase is back on vocals for the outstanding back porch pickin� groove of "Cumberland Sound", which highlights the band�s bluegrass leanings as the mandolin, guitar, and banjo take the center stage for a toe tapping beauty that bounces around the brain long after the final refrain has died away. And finally, we come to the album�s biggest highlight within the swagger and sway of "Ringing in the Days". The steel guitar returns to whine and wail, the drum beats crash and fall, and the band just rolls it out in a way that makes you close your eyes, raise your beer, and stomp your feet. But that�s not where it all ends…suddenly there�s that moment in the song�s final minute that just tops it off as the Mules blend a vocal harmony that is just a piece of magic. It�s reminiscent of a country-rock sound that makes me think of a 60’s era New Riders of Purple Sage or the Flying Burrito Brothers during the Gram Parson�s years. Take a listen yourself…it�s Cosmic American Music indeed!
All in all, somehow the Wrinkle Neck Mules have managed to raise their own bar. Their growth as song writers continues to develop by leaps and bounds and the music and production are as a tight and clean as ever. These guys have found a sound that is whiskey soaked, wrapped in smoke, and kicks up a trail of dust like an old pickup truck hauling ass down a river road. The Wicks Have Met is a brilliant statement for a band that is just startin� to put the hammer down.

New Books!

Category : Reviews

Skydog: The Duane Allman Story – Randy Poe (Backbeat Books)

Despite his short career Duane Allman is one of the most influential slide guitarists in music history.  In �Skydog� Randy Poe details the career of Allman from his days in the clubs to his session work for other artist to the glory days of the Allman Brothers Band.  Using interviews with former band mates and friends as well as the few interviews conducted with Duane himself, Poe constructs a detailed account of Allman�s life and the effect he had on the music.  Poe also includes a detailed discography and for the gearheads in the audience, a detailed section on the guitars of Allman.
Pressing On: The Roni Stoneman Story – Roni Stoneman and Ellen Wright (University of Illinois Press)

Most people know of Roni Stoneman not by name, but by the character she played for many years on Hee-Haw, The Ironing Board Lady.  The character was crusty, unkempt, loud and a little on the hateful side at times – in other words the complete opposite of Roni Stoneman herself.  In �Pressing On� Stoneman recounts her life growing up in the Appalachians mountains to a family that had tasted fame and seen it slip away in the Depression (her father, Ernest V. �Pop� Stoneman was one of the earliest hillbilly artists recorded, pre-dating the Carters and Jimmie Rodgers by a couple of years).  The book, as is noted in the foreword, is a transcript of an oral history.  The text reads as if Stoneman was sitting with you and telling you the often heartbreaking story of her life.  Suffering cruelty from other kids and abuse from husbands, Stoneman persevered and in the end the story is one of determination and hope.
Public Cowboy No. 1: The Life and Times of Gene Autry – Holly George-Warren (Oxford University Press)

Gene Autry is arguably the most successful and popular singing cowboy of all time, despite the attempts of studio heads to replace him with Roy Rogers and bury Autry�s career when he made the decided to go off to serve the country during wartime.  That story and a host of others are included in this exhaustively documented and researched book.  George-Warren does an impeccable job of presenting the facts of Autry�s life and career detailing his early attempts at making records through his most successful periods.  Autry served as an inspiration to many legendary country music performers through the years.  Artist like Waylon Jennings, Willie Nelson and Johnny Cash spent their childhoods in front of movie screens dreaming of riding alongside Autry and singing his songs as they made their way in to music history with songs of their own.  For fans of the singing cowboy, country music or general pop culture this book is highly recommended.
Shout, Sister, Shout: The Untold Story of Rock-and-Roll Trailblazer Sister Rosetta Tharpe – Gayle F. Wald (Beacon Press)

As time moves us farther from the roots of the music we listen to today influential artists such as Sister Rosetta Tharpe can slide in to obscurity.  In �Shout, Sister, Shout� Gayle Wald makes a case for Tharpe�s place in music history, a place that has often been overlooked due to the often racist and sexiest revisionist history that often surrounds music history and the history of rock �n� roll in particular.  With her exuberant singing style and great guitar playing Tharpe influenced artists from Johnny Cash to Little Richard, Ginger Baker to Bonnie Raitt.  Books like this will help rewrite music history in the coming decades.
Jimmy Page: Magus, Musician, Man, an Unauthorized Biography – George Case (Hal Leonard)

In this unauthorized look at the life and career of the enigmatic founder of Led Zeppelin, George Case produces the first biography of Jimmy Page.  Beginning with Page�s childhood Case builds a narrative that unravels many of the mysteries that surround Page and his music and his fascination with the Occult.  Stories of the band�s formation and Road stories of Led Zeppelin�s early tours offer insight into the music and creativity Page.
The Rockabilly Legends: They Called It Rockabilly Long Before They Called It Rock and Roll – Jerry Naylor (Hal Leonard)

�The Rockabilly Legends� is a large formatted book featuring the early popular Rockabilly founders: Elvis, Jerry Lee Lewis, Buddy Holly, Carl Perkins, Johnny Cash and Roy Orbison.  Author Jerry Naylor, who became the lead singer of the Crickets after Holly�s untimely death, provides an interesting book that intertwines sentimentality with biography as he talks personally about each of these Rockabilly principles.  Historically speaking there isn�t much new information in the book, but Naylor offers a lot of great personal insight into the lives and careers of these legends.  Beautifully laid out, the book includes great pictures of the early Rockabilly artists designed in an artful and attractive way.  The book also includes a DVD which includes an hour long documentary that covers much of the same territory as the books and features interviews with Cowboy Jack Clement, Kris Kristofferson, Sam Phillips and others as well as performance clips from the artists.
To Live�s To Fly: The Ballad of the Late, Great Townes Van Zandt – John Kruth (Da Capo)

Townes Van Zandt has long been heralded one of the greatest songwriters in any genre of music and in �To Live�s To Fly� John Kruth examines the life behind the artistry.  Thoroughly researched, the book features stories from many of the people closest to Van Zandt including his son, ex-wives, band mates and devotees such as Steve Earle.  Kruth does an excellent job looking beyond the legend and stories of Van Zandt�s self-destructive behavior to show the man and where he came from.

Americana Roots is Digg proof thanks to caching by WP Super Cache