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Don Henry Ford Jr | 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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Sumner Brothers – Raw, Unrefined, Primitive, Unpolished and Gritty

Category : Music, Reviews

So when I got a request from the Sumner Brothers, I went though the motions. British Columbia. OK. I listened to the first song. Interesting. Then the second. The third; finally the last. That last song was good.

I watched a video on their Myspace site. Brian Sumner and a guitar, singing about a soldier gone wild in Iraq. Rapes and kills a young girl and her family. Sets fire to the whole lot with a can of gasoline. The song isn’t good. It’s horrible. But I’m goddmaned if I don’t agree with what he says. Some things, can not, must not, will not be hidden or covered up. I don’t care if there’s a heaven for all the fine men: I just hope there’s justice for them.

I bought both of their CDs.

They’re raw, unrefined, primitive, unpolished, gritty. Spiritual undertones add heft to the words. The tunes are spare, the production amateurish. And very, very good.

Honesty, courage, moral fiber cannot easily be hidden or disguised. These guys have it. Now I know what it felt like to have a young Johnny Cash wander in from the street with a guitar.

Listen to Sumner Brothers – Ticket To Ride

Tab Benoit – Night Train to Nashville

Category : Reviews

Recorded live at the Nashville blues club The Place on Second Street on May 9, 2007, just one day before he walked away with the two big prizes from the Blues Music Association, Benoit is joined on stage by Louisiana’s Leroux along with a string of special guests including Kim Wilson of the Fabulous Thunderbirds, Jimmy Hall of Wet Willie, Waylon Thibodeaux on fiddle, and Jumpin’ Johnny Sansone on accordion. Even Americana stalwart and Nashville resident Jim Lauderdale manages to jump on stage to add a country flavor to the blues proceedings.

From start to finish Night Train to Nashville blows through eleven great tracks that touch on a range of styles and influences, stretching from the swamps of Louisiana to the blues clubs of Chicago. Benoit even manages just to throw in just a touch of twang for the Nashville audience, especially on “Moon Comin’ Over the Hill,” which also happens to be the sole track featuring the added vocal appearance by Lauderdale.

No one track is to be overlooked but if you want to jump right into the album’s finer moments then you have to check out the soulful, straight-ahead blues found on “Darkness,” which happens to feature Benoit’s stand-out performance as a vocalist as he digs down deep to find both passion and power. The albums other high point is one of those dirty, sweaty, moaning blues numbers as Wet Willie’s Jimmie Hall adds vocals and a wailing harmonica to “Muddy Bottom Blues.” But if in the end you’re just looking to cut loose and boogie then head back to beginning for the lead off track “Night Train” which invites you to hit the dance floor with it swaying, pounding rhythm.

At its heart, Night Train to Nashville captures Tab Benoit on a very special evening that is in many ways unlike any of his live shows. Joined by a collection of friends and blues legends, this record pays tribute to the years of hard-work and constant touring that have gotten Tab Benoit to this pivotal point in his career while providiing a small snapshot of the greatness that is sure to come in the years ahead.

The Gibson Brothers – Iron and Diamonds

Category : Reviews

While the Gibson Brothers’ overall sound is generally described as bluegrass music, it should be noted that there is also a strong element of hard, roots country that lives and breathes in their mix as well. That mix of traditional roots and country style is on full display throughout the duo’s latest release, Iron and Diamonds.

Part of the magic of the Gibson Brothers’ sound is their ability to chose songs to take on and then take those songs and make them their own. Take for example their version of Steve Earle’s “The Other Side of Town”. If you had never heard either version of the song before and then after one listen had to decide who was singing whose song, you would swear that Gibson Brothers’ version was the original and it was Steve Earle who was covering them. Part of the reason for this are the rich vocals from both Eric and Leigh that seems to stretch back through time and give the song they’re singing both an age and an agelessness that Earle’s rougher sound could never achieve.

Another fantastic song choice comes in the form of Tom Petty’s “Cabin Down Below”. This time around the Gibson Brothers showcase their hard-driving, contemporary bluegrass approach and apply it to a song from the world of southern rock. Heavy on the fiddle of Clayton Campbell, with a bouncing banjo beat from brother Eric, and accompanied by Rick Hayes on mandolin, this one almost settles into the territory of Del McCoury but with a lot less lonesome and a whole lot of high.

And while we’ve focused quite a bit of time highlighting the songs that the brothers Gibson didn’t write, we can’t overlook the fact that, in addition to being superb vocalists and fine musicians, Eric and Leigh also know how to tell a story and catch our ears with a catchy turn of phrase. Their storytelling is on full display in the album’s title track which tells the tale of their upstate New York home and the toils of work and the joys of play that are woven into the very fabric of mining towns up and down the mountain chains of New York, Pennsylvania, and West Virginia. For the men in the northern reaches of the Empire State the work was in the iron mines and the joy was found in the game of baseball. It is best described as “a life of iron and diamonds.”

Other highlights on Iron and Diamonds include the upbeat and light harmony found on another of Eric and Leigh’s original numbers “Picker’s Blues”, which in its feel sort of reminds me of John Hartford’s “Gentle on My Mind,” the straight-ahead bluegrass number “Bloom Off the Rose,” and another great cover tune in the form of Julie Miller’s “Somewhere Trouble Don’t Go.”

Iron and Diamonds in some ways seems like an appropriate title not only for the Gibson Brothers’ music, but for the heart of their music as well. Strong traditions born in mountain towns by hard-working people. Strong music traditions whose roots run deep into the ground. The green grass lining the country diamond where grown men go to play under clear blue sparkling skies. The sounds of bluegrass and country lines played by grown men clear and sparkling like diamonds in the sky. Both sides now. Iron and Diamonds.

One Hoarse Town:  King Wilkie

Category : Reviews

From the outset of Low Country Suite King Wilkie boldly displays a darker and richer tone to their music and its that tone that characterizes the overall feel of their latest effort. The driving bluegrass numbers that earned the band an Emerging Artist of the Year award from the International Bluegrass Music Association back in 2004 are now replaced by thoughtful, introspective songs that seem to flow with a feeling that is best described as a slow rolling Southern river. These songs pull you in and surround you, they float above you and carry you away. But more than anything, these songs demonstrate the band�s growth not only as musicians but as song writers. Take for example the opening lines of one of the album�s standout tracks "Rockabye (Farewell Lonesome Dove)":
"Look how far the shadow grows / There is no setting sun, no path to lead the way / O how I miss those happy days / When I find some peace of mind / I�ll be on my way again / I won�t be here no more / The sun�s gonna shine on my front door…I�m gonna rock all my troubles away."
Written by King Wilkie�s two principal song writers, mandolinist Reid Burgess and guitarist Ted Pitney, "Rockabye" is filled with an aching beauty, a longing, and a sense of journey that seems to be born out of a great deal of soul searching and maturity. Adding to the desired effect is the crystalline sound crafted by producer Jim Scott, who allows the music to weave into one but still manages to highlight the thread of each individual instrument. On "Rockabye" it�s the interplay between guest steel guitarist Greg Leisz and fiddle player Nick Reeb that gives the song an added lonesome aura .
That lonesome aura makes its way into a number of the album�s best tracks and as a result Low Country Suite is indeed at its heart a somewhat dark record. But in that darkness there is always the presence of a shimmering light.
It�s almost impossible for me to pick a favorite song among the album�s eleven new cuts, but if forced to choose one I�d have to say that "Savannah" with its wonderfully heartbreaking vocals shines above the rest. Stepping into the spotlight for the band this time around is another of King Wilkie�s stand-out performers, guitarist John McDonald. "Savannah" is one of two songs that McDonald co-wrote with band mate Burgess and it�s also this duo that shares many of the band�s vocal duties. When put together their two voices bring to mind the best of countless duets that populate much of the early years of country music from the Delmore Brothers to the Louvins, to the Monroes, and on and on and on…but here on "Savannah" it�s McDonald who does most of the song�s heavy lifting. Sounding like a lost gem from Ryan Adams�s solo classic Heartbreaker, the vocals are at times a whisper of wind and at other times a strong declaration of wounded desire. By the time the harmonica comes in following the initial chorus, the strength of McDonald�s voice seems to build with each passing verse while behind him the music rises to meet each new lyric.
And while much of Low Country Suite is filled with an inward looking, confessional tone, that doesn�t mean that the boys in King Wilkie have forgotten how to let it all hang out. If the fans of the band�s old bluegrass ways are looking for a little something to make them rejoice then they�ll have to check out "Wrecking Ball" highlighted by Abe Spear�s ringing banjo and a host of driving guitars and mandolins. And a little later on we come to the rough stomping rhythm of "Angeline" which finds the band channeling the spirit of the Rolling Stones� rollicking "country tonk", but dresses it up with the finest in Blue Ridge Mountain acoustic fashion.
When asked how he would describe the overall theme of Low Country Suite, Reid Burgess responded with "We�re not in Kansas anymore." The quote refers of course to the sense of surprise and wonder that Dorothy felt when she finds herself transported from her country home to the magical world of Oz. What she discovers there is herself and that her identity was inside her all along, she just had to look deep down and find it. Over the last three years, King Wilkie has been looking to find themselves as well and with their brand new record it appears that they to have discovered their true identity. As it stands now they�re just beginning to head out on a brand new road…one paved with bricks of golden yellow…here�s hoping that Low Country Suite is just the first stop of many more to come…

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…."

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.

Power of a Song

Category : Features

The Duhks are a young Canadian group of twenty somethings�tattooed city dwellers. We share little in common. I�m pushing fifty, Texas, red-neck, hardened by prison and a tough world. My hands are calloused, my speech littered with cuss words. I�m trying to be like Jesus but don�t push the matter or I might get the knife off my hip and cut your ass. I�m not joking.
I spend my time engaged with what�s happening in this world�I�ve just finished writing a book on the subject and from my viewpoint the world is in awful shape, getting worse by the day, and by all appearances headed for catastrophe. I see natural disasters, war, disease, famine and wholesale death on the horizon. No one, regardless of intentions can stop this.
Believe it or not, I am an optimist.
When I was born my daddy said I was broken.

The beginning of the end of a life I hadn�t chosen.

He taught me how to give up.

He taught me how to work the system.

But I never had the time, I never had the luxury.
Chorus: Life�s hard, I�ve always known that. I�ve never been handed no welcome mat.

When I die please don�t cry cause heaven�s my home anyhow.
Shining my shoes seems like time�s a wastin

Cause this bright sun is the only shine I need.

They say you only live once and the life you get�s for keeping

But glory�s going to come and make a new man out of me.
Chorus
When I was born my face was like the angels�

I took my father by the hand

I said life won�t be hard now

No life�s hard, I�ve always known that�
I hear the voice of a young girl sing these words and I think of my own kids, the horrible trials they endured while I sat in prison, left to make on their own while their mother worked to support them (One woman and seven children. Do the math). Then the face of my granddaughter comes to mind, how she takes my hand in hers. She was born into a dark time. She knows this, but she also has hope. Her face is like that of an angel and convinces me that in the end, good overcomes evil.
Heaven is my home, but heaven is not a place. I don�t know exactly what it is, but it�s not a place. Perhaps another realm. I don�t buy resurrection of the flesh. It was a woman�s words that got left out of our Bible and modern Christianity by the same men that now author our wars, run our prisons and hang out in our churches. And Jesus told that woman we must leave the flesh behind to find God. For me, heaven is right here, just beyond our reach. I feel the presence of those that have passed into that realm and I know that in the end not even death can kill their essence. In the end, good overcomes evil. The woman�s voice is back, the message louder than before.
Prophesy: Earthquakes, rise of the antichrist, oppression of God�s people, wars, disease, famine, death, but survival of a remnant, return of a savior, a thousand year rejuvenation of the earth and then a new world that operates in peace and harmony. No more pain. No suffering or want. Life beats death. Not in some other place. All here. On this planet. Heaven is all around. Can you not hear the voices?
I see the end of this struggle. Good overcomes evil. Tattooed people rise in the midst of an evil world and proclaim the message. Love is the message. Love God. Love your neighbor. Loving your neighbor is the only way we have to show our love for God. They age and another generation rises, and another. They may appear different, but they are not. They�re just a little stronger. Good cannot be killed, it lives beyond the grave. The hotter the fire, the more highly refined the gold. The earth must be cleansed of this goddamned mess. Evil will defeat itself. But we must remain above the fray.
Kill another man, you kill Jesus. Deny another food, you deny Him food. Burn or blow up a home, you blow up Jesus� home. Feed a hungry person, you feed Jesus. Give someone shelter, you give Him shelter. Pass oppressive laws, you oppress my Lord. Close your borders, deny your Lord. Rob a worker of his wages so you can be rich, you rob Jesus. Take more than you need at the expense of another�
Forget your golden alter and your fancy church. To the fire with them. The same goes for all your flags and your nationalistic pride. Your trip down the aisle. Bodies are the temples in which God�s spirit lives�bodies of people from every nation, race, tribe and yes, even other religions. Take care of his people, take care of this planet, you take care of God.
The only thing you take with you is what you give away.
I may die but this message won�t. I�ve been told that if I so much as give a glass of water to one of Jesus� own, I will be saved. That his Spirit�this Holy Spirit that lives in us�she will make a new man out of me. It may take a village, but it will be done.
A little girl�s hand did what all the tough cops, judges, guards, all their threats, guns and razor wire couldn�t. Another young woman�s voice reminds me of this.
Life�s hard, I�ve always known that. I�ve never been handed no welcome mat.

When I die, please don�t cry, cause heaven�s my home anyhow.
With no apologies,
Don Henry Ford Jr.

Heartless Bastards

Category : Features

The event had been scheduled for the large outdoor stage but rain drove us inside to the much smaller indoor venue. Too many people and not enough room. Plastered to a wall feeling guilty for having a seat while most are forced to stand. I sit alone, alternating my gaze between a wall of fat asses and my watch, considering another hour and a half of this, and contemplating blowing the whole thing off when a voice fills the room and silences the din. It doesn’t take long to forget my discomfort.
The voice is large, kind of a cross between Joan Osborne and Janis Joplin, low to mid-range but powerful. The words are well-enunciated, easy to understand and the accompanying music instantly engages the room. People crowd in trying to get a look at the source of all of this, further diminishing my view of the stage and giving me a microscopic view of the asses. I rise to my feet in an act of desperation, like a diver breaking to the surface for a breath of air. I have to maneuver to find a crack to see through: when I do I spot a pretty blond head. The face sings with eyes closed and an almost pained expression, like the woman it belongs to has gone some other place for the words. When she does open her eyes, the travel of her gaze extends only to the microphone. I am sure she knows we are there, but her mind is focused on the job at hand, finding words and sounds from well-practiced territory and bringing them back to us.
Two men share the stage with the woman. One plays bass. He too plays with closed eyes, in perfect sync with the woman. The other plays drums.
The first song is very good. The second proves that the first was no fluke: this woman can sing. By the third song the woman finally acknowledges that she shares the room with the rest of us, but just between songs. She always sings from this other world.
By the time the set is done, an hour of nothing but very good music and well-crafted original songs, I know I have witnessed a rising star. Those that participate on the American Idol show should be thankful: if this young woman showed up, they’d all be packing their bags and going home.
After the set, I give up my seat in exchange for breathing space and move to the back of the room, then to the yard outside and stand in the rain. I finally decide to leave. I can hear Lucinda on the CD player in my pickup truck and there’s no place inside the building I want to be that allows me a view of the stage. On the way out, I see the face of the woman, sitting behind a table near the door, selling CD’s. It’s attached to a much smaller body than I anticipate. I am left wondering how so much sound can come from this petite person. The bass player sits beside her.
I walk up, introduce myself and buy a CD, after signing and giving them a couple of books I had brought for Lucinda. On the way home I listen to the CD, read the jacket and listen more. I discover that not only do the songs sound good; there is substance to go with the sound, and the woman, Erica Wennerstrom, has written all of them.
Remember that name. If you get the chance, go see the Heartless Bastards. They’ll be opening for Lucinda for a while longer, but with the talent they have, it won’t be long before they are the main act and filling rooms on their own merit. Lucinda is opening the door: the Heartless Bastards tear up the place once inside. The CD I bought is well worth your time. The Heartless Bastards’ Web site has a good preview of their music.
The sound might be a little hard for some; I am tempted to call it Rock and Roll, but if Cross Canadian Ragweed qualifies as Americana, then so can the Heartless Bastards

Charlie Robison

Category : Features

A couple of weeks ago I went to see Shut Up and Sing, a movie about the Dixie Chicks. The movie is excellent; watch it if you can, regardless of your political inclinations. You�ll discover there are real people behind those performers that some choose to hate. Good, decent American people with love for this country and the traditions on which they were raised. In them I saw my sisters, daughters and the mothers of our children, not some evil incarnate the press, Lipton tea or Clearchannel Corporation would have me to believe they are. Charlie appears in the movie�he�s married to Emily, one of the Chicks. And damn if I wasn�t looking at a kindred spirit.
Charlie hails from Bandera, Texas. He�s eighth generation Texan and still lives and works on a ranch. Hot damn. A real person. A real man. A country boy. Hard to find these in the world of glitz and glitter. Unapologetic, uncomfortable in a world where kissing ass is the rule and a necessary part of doing business. He stays home while Emily tours the land playing her songs.
Charlie is a strapping fellow, well over six foot tall and built solid. I heard he played college ball for Texas Tech but don�t know much about that part of his life. He looks the part. He�s comfortable in jeans and work shirts. On a horse. Feeding cows. In a pickup truck. On a tractor. Under a cowboy hat or a farmer�s cap. He wears a comfortable smile, looks you in the eye, no shrinking violet or false modesty here. Bet he�d kick your ass if he saw you offend a woman. But when he takes a child in those massive hands, it�s the safest place in the whole wide world.
I discovered Charlie�s CD�s in reverse order, starting with Good Times. Then Step Right Up and finally Life of the Party. Damn if I know which one I like best. All three are solid from beginning to end. It�s obvious that he didn�t produce the albums on demand or to fit some schedule. Each is carefully crafted, without filler. They are spaced three years apart, beginning in 1998. Live albums appear interspersed among these, but I don�t own them.
I hear of places and people I know in Charlie�s songs: Bandera, Seguin, even Balmorhea appears; oil field workers, ranchers, border towns, tacos, enchiladas, barbecued brisket, and fire roasted weenies when the brisket runs out, the girls that broke my heart, the songs I found to heal those wounds, and the fun we shared with friends. He covers everyone from the preacher to the whore, from a desperate bank robber to a loving wife, from drunk rowdy fun-loving cowboys to devoted parents and generations of hard-working, honest people. I hear traces of Ireland, Germany, Mexico and good old American country music in his songs. Charlie drank and doped, fought and played, loved, lived and bleeds Texas; this boy is Texan, through and though.
Buy his music, watch his live show. You�ll be glad you did.

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