http://www.americanaroots.com/reviews/detail/ Each week our contributing writers from AmericanaRoots.com publish album reviews. en eric@americanaroots.com Copyright 2008 2008-08-19T13:50:52-06:00 http://www.americanaroots.com/reviews/detail/legendary_performances_tammy_wynette_and_marty_robbins/ http://www.americanaroots.com/reviews/detail/legendary_performances_tammy_wynette_and_marty_robbins/#When:13:50:52Z The latest product of the relationship between the Country Music Hall of Fame and the record label Shout! Factory brings live performances from two country music legends, Tammy Wynette and Marty Robbins. Both DVDs consist of 15 live performances taken from a variety of sources spanning the careers of the artists as well as bonus features such as footage of their respective Hall of Fame inductions and archival interview footage. Legendary Performances: Tammy Wynette starts with her 1967 performance of Loretta Lynn’s “Don’t Come Home A-Drinkin’ (With Lovin’ On Your Mind)” from the syndicated “Bill Anderson Show.” While the voice was still distinctively Tammy, it is the third track, “I Don’t Wanna Play House,” also from 1967 and a second appearance on the “Bill Anderson Show,” that the trademark tear in her voice comes out strong. The performances span 1969 to 1981 and cover most all of Wynette’s biggest hits: “D-I-V-O-R-C-E,” “’Til I Can Make It On My Own,” “Your Good Girl’s Gonna Go Bad” and, of course, “Stand By Your Man.” Also included are classic duets with George Jones, “We Loved It Away,” “Golden Ring,” “Near You” and “We’re Gonna Hold On.” Legendary Performances: Marty Robbins covers all aspects of Robbins’ music career from country crooner to country & western balladeer to pop crossover sensation. Robbins, whose life was cut short by a heart attack at age 57, contributed greatly to the history of country music and is often woefully overlooked. Beginning his career in the late-1940s on a local Arizona radio station, Robbins was soon discovered by Little Jimmy Dickens and was soon moving to Nashville to join the Grand Ole Opry in 1953. The DVD starts four years after in 1957 with two songs recorded on the Armed Forces produced “Country Style USA,” a country music show designed as a recruitment tool (with several episodes recently released on DVD by Bear Family). The performances here span from those 1957 shows to a 1979 appearance on the syndicated “Pop! Goes The Country.” Robbins confesses in the interview section that he was very nervous when he first began appearing on television in Arizona and as the DVD progresses you can see Robbins’ confidence grow as a performer as he goes from standing still and singing in 1957 to hamming it up for the audience in the 1976 clips from “Pop! Goes The Country.” Also included on the DVD are a few performances for the seldom seen “Marty Robbins Show” and “Marty Robbins Spotlight” Robbins’ syndicated music program from the late-1960s and late-1970s, respectively. In addition to the great performances included here, each DVD includes extra features that consist of a more personal look at the artist. For Wynette we are offered footage of her 1998 Hall of Fame induction, new footage of her 1978 wedding to George Richey and two interviews from the mid-1980s. For Robbins we get his 1982 Hall of Fame induction and a lengthy interview 1982 with Dick Heard that covers everything from race cars, the fans, his beginnings in music and reincarnation. These two items are particularly poignant due to the fact that the interview is from March of 1982 and his HOF induction was in October of the same year, the year that would end with his untimely December death. Both volumes are welcome releases for many reasons. For newer country music fans who haven’t had the chance to hear or see these two legends that are no longer with us, these DVDs make for excellent introductions to their contributions to the history of country music. For fans of either artists, or of country music in general, these are great additions to their library. 2008-08-19T13:50:52-06:00 http://www.americanaroots.com/reviews/detail/modern_day_drifters_the_highway_is_my_home/ http://www.americanaroots.com/reviews/detail/modern_day_drifters_the_highway_is_my_home/#When:14:17:47Z Waco, Texas hasn’t been the hotbed of Americana and Texas music that say, Austin has, but they are making a major contribution with the Modern Day Drifters and their new CD The Highway is My Home. The band is led by the CD’s two alternating lead singers Kristen Kelly and Joe Churchill. Sometimes I find constantly changing lead vocalists a bit distracting on a CD but not here at all. Kristen shows off first with a tune that could have been sung by James Dean, Janis Joplin or any of a number of folks that left us too early, Down in Flames, which proclaims “...if you’ve got the fire, I’ve got the gasoline..if I’m goin’ down, I’m goin’ down in flames”, (she wrote the tune with Stoney LaRue). Kelly and Churchill met in 2006 when different projects they were involved in ended about the same time.  They met at a show and just clicked. The band says that “there seemed to be a timeless bond that bound the bluesy edge of Kelly to the south Texas country charm of Churchill.” The two started performing together as an acoustic duo, but they eventually expanded to a full band. To really appreciate her soulful, expressive voice, listen to the bands excellent rendition of John Prine’s Angel From Montgomery. The band shows their fun, lighter side on the accordion accented honky-tonkin’ tune Broken White Line, written and sung by Joe Churchill.  The groups initial offering is certainly a winner.  I hope they’re able to parlay the success I anticipate with this CD into a nice long run! 2008-08-18T14:17:47-06:00 http://www.americanaroots.com/reviews/detail/gerry_hundt_since_way_back/ http://www.americanaroots.com/reviews/detail/gerry_hundt_since_way_back/#When:16:26:52Z A month or so ago I posted a review for a great new double CD by Nick Moss and the Flip Tops. I was then lucky enough to see the band live at a local club, Callahan’s in Auburn Hills, MI. I didn’t know much about the band before the show, but learned a lot at the show. Besides the great work of leader Nick Moss, I saw perhaps the best piano player I have seen live in many moons, Piano Willy Oshawny. He sat unassumingly in his plain white t-shirt and played the hell out of his electric piano. I hadn’t paid much attention to the bass player Gerry Hundt for the first portion of the show, but then he opened a small case and pulled out a mandolin. Blues band. Mandolin? Sure enough. We were treated to some of the most unusual and exciting mandolin playing I’ve ever seen. Gerry handled the lead on several tunes and eventually pulled out a slide. Slide mandolin. Now that’s something you don’t see (or hear) every day! I was hooked.  I spoke with Gerry at the break and found out he has a CD, which he was kind enough to give me a copy of. It turns out “blues mandolin” has a small but interesting history. The 31 year-old Chicago native lists Johnny Young and his record Chicago Blues as his earliest mandolin influence. Other influences are Yank Rachell (and his “Chicago Style,” which especially influenced Gerry’s tune “Here in Chicago") and Carl Martin. Apparently Gerry recognized the talent he frequently plays with and his list of players on this disc reads like a Nick Moss CD. Gerry handles lead vocals as well as electric and acoustic mandolin and is joined by Piano Willy Oshawny on piano and Nick Moss on bass and guitar. Josh Stimmel adds electric guitar, Bill Lupkin is on harmonica and Bob Carter adds drums. Barrelhouse Chuck guests on a duet with Gerry called “End of the Day Blues.” After listening to the disc the first time I wondered which old time blues players had written the tunes. I was surprised to find out that Gerry had written most of the tunes on the disc. Gerry’s voice would have had no problem fitting in years ago on much older blues tunes that obviously influenced him in his writing. “Since Way Back” is a good up-tempo tune featuring a good dose of harp and is a good showcase of Gerry’s vocal style. I imagine those most interested in this disc would be mandolin enthusiasts or those curious about “blues mandolin.” For those folks I suggest the great instrumental “The Union Meetin’,” which was presided over by Gerry and Piano Willie as well as another hoppin’ instrumental, “That Woman.” A couple of other high energy electric tunes that spotlight Gerry’s blues mandolin are “Whiskey Makes Me Mean” and “Trying Hard.” If you are a blues fan and enjoy mandolin then you really must ad this disc to your collection! 2008-08-17T16:26:52-06:00 http://www.americanaroots.com/reviews/detail/scotland_barr_the_slow_drags_all_the_great_aviators_agree/ http://www.americanaroots.com/reviews/detail/scotland_barr_the_slow_drags_all_the_great_aviators_agree/#When:15:19:34Z One of the great acts our esteemed podcast host Ray Randall has introduced me to via our podcast is Scotland Barr & the Slow Drags.  The Portland, Oregon group has recently released All The Great Aviators Agree, their 2008 follow up to their excellent 2005 debut Legionnaires’ Disease. What struck me right away about Scotland was his voice.  It’s one of those smoky, scratchy and very distinctive voices that really demands you pay attention.  Of course the songwriting and fine work by the Slow Drags make sure you pay attention to more than the vocals! The latest incarnation of the Slow Drags includes Bryan Daste on pedal steel, Zach Hinkelman on electric guitar, Chris Hubbard on keys, Nick Kostenborder on drums and of course Scotland on guitar and lead vocals. The latest disc opens with the great tune “Fall Hard” which is full of nice guitar and piano. The tune’s message is “you’ve got to fall hard to get the point”, which was definitely learned the hard way: “I trucked into Montana, three days out of Duluth. I met a flat chested girl in a Flat Head bar, who said she always spoke the truth. But liquor makes for liars. Well I guess she only lied to me twice. Once when she drank all my whiskey, the other when she stole my wife.” Ouch!  This CD’s required tune about a woman is a great one, Juanita, who sounds like fun: “I cracked the Sunday dawn, with a Leonard Cohen song. As I waltzed the wood floor I had nothing on, except......Juanita..... Stranger and darker than the other girls....Juanita..... Top of a missionary world.” The disc is full of interesting and catchy tunes with some great backing.  Another highlight, Something New leans a bit more country, featuring a good dose of pedal steel. Another country tinged tune is “5 Years in Nashville,” which is on Legionnaires’ Disease.  This is the kind of tune some supposed big talent on Music Row would snatch up and record, but of course the cover would be nowhere as good as the original! Catch it before someone else ruins it! 2008-08-11T15:19:34-06:00 http://www.americanaroots.com/reviews/detail/the_dedringers_sweetheart_of_the_neighborhood/ http://www.americanaroots.com/reviews/detail/the_dedringers_sweetheart_of_the_neighborhood/#When:04:42:42Z The Dedringers new CD Sweetheart of the Neighborhood has landed this young group of musicians into my top choice for best new band of the year.  This CD is a fresh and welcomed new sound with a great mixture of some great southern rock and alt.country.  Somewhere along the long, I’ve caught a live show of the Dedringers.  I can’t really say where but as soon as I popped in their new CD entitled Sweetheart of the Neighborhood it brought back my memory of what I saw live.  I love their sound that mixes in some great rock riffs along with a few subtle songs exposing their softer side.  The band is comprised of all 20-something guys living a dream: Sean Faires, Jonny Burke, John Schoepf and Josh Garner. Their tour schedule underlines the acceptance amongst some of Americana’s top musicians: Ray Wylie Hubbard, Joe Ely, James McMurtry and Hayes Carll.  Sweetheart of the Neighborhood is a wide variety of songs which all have a nice flair of southern rock flowing through out the CD.  My favorite track has to be the song “Institution” which has one of the catchiest chorus that has ever been stuck in my damn head.  “All of my friends are going into the Instituion… Looking for a new solution… come out clean like a pair of a jean out of the washing machine.. you know what I mean...” We all have friends like this which is probably why this song will no doubt be on these guys setlist for many years to come.  My other favorite tracks include “Heart of Gold” and “Sideman Blues”.  2008-08-03T04:42:42-06:00 http://www.americanaroots.com/reviews/detail/1100_springs_country_jam/ http://www.americanaroots.com/reviews/detail/1100_springs_country_jam/#When:12:51:26Z 2008 marks the 10 year anniversary for Dallas band 1100 springs.  That’s about 110 springs per year!  The band has recently released their latest cd, Country Jam, produced by Lloyd Maines, whose name is popping up everywhere as producer and player. The band is constantly working on its material live.  Last year included opening shows for ZZ Top and Willie Nelson, among others.  The band plays what they call a Texas brand of honky-tonk country.  Whatever it is, it’s fun. The band consists of Matt Hillyer-electric guitar and vocals; Steven F. Berg-bass; Danny Crelin- pedal steel guitar; Jordan W. Hendrix-fiddle; and Mark Reznicek on drums.  Lloyd Maines adds acoustic guitar and banjo as one of a number of guests on the disc. The bands laid back fun style is demonstrated right out of the gate with “Texas Afternoon;” one guy’s bid to get the girl to run away with him for a Texas Afternoon.  Some nice accordion gives the tune a Tex/Mex spicing. The band picks it up for several faster tunes, including “Every Time I Get Close To You” and a great cover of “Rocket 88,” which adds some great sax and closes out the disc with a bang. Sometimes bands try to slow things down and you wait impatiently for the next cut to start.  Not the case here. The bands slower numbers truly add to the disc here, highlighting the expressive voice of Matt Hillyer.  An especially nice slower number is “Nobody Told You About The Love.” The band pays homage to old time country with the classic sounding “Whose Heart Are You Breaking Tonight?” Great songs, great singing and playing and great production add up to a real winner! 2008-07-30T12:51:26-06:00 http://www.americanaroots.com/reviews/detail/seth_walker/ http://www.americanaroots.com/reviews/detail/seth_walker/#When:14:20:57Z If you are not familiar with Austin’s Seth Walker do yourself a favor and get to know him!  A good place to start is his excellent website http://www.sethwalker.com.  This guy does it all well, writes, plays, sings, he even has a number of very nice art prints available on his Web site that would be nice to stare at while you listen to his CD.  Seth has been sharpening his skills in Austin for about 10 years now.  His first recording came out in 1997 and his latest CD is this eponymously titled gem, his first release on the Pacific Blues label.  While Seth’s “first language” is blues, this is not strictly a “blues” CD.  His musical language consists of a “slang” of roots, blues, soul and rock accented by his expressive voice.  Following his first exposure to Seth, Taj Mahal described him as a “little, white Ray Charles.” Although his first instruments growing up in North Carolina were the violin and cello, Seth prefers not the piano of Ray Charles, but the guitar.  He sites T. Bone Walker, B.B. King and Snooks Eaglin as major influences. He is joined on the CD by Lindsay Greene on bass and vocals, Stefano Intelisano on keys, and Mark Hayes on drums. The CD is loaded with great songs, including a moody bluesy take on Hurricane Katrina called “2 Feet Left to the Ceiling.” My favorite track is probably the fast-stepping upbeat “Miss Ann.” Ace harmonica player Kim Wilson joins Seth on a cover of the Jimmy Reed tune “I Know It’s A Sin.” Also excellent are “Kick It Around” and Seth’s beautiful solo voice-piano version of the Tom Wait’s classic “Picture in a Frame.” The disc is worth the purchase price for this tune alone, but of course you get much more on this stellar CD! 2008-07-25T14:20:57-06:00 http://www.americanaroots.com/reviews/detail/the_avett_brothers_the_second_gleam/ http://www.americanaroots.com/reviews/detail/the_avett_brothers_the_second_gleam/#When:20:32:07Z The Avett Brothers have released their final EP for their long time indie label, Ramseur Records, before venturing out for major label American Recordings. They are currently working with renowned producer Rick Rubin for their first release there. The Second Gleam would have fit nicely into Rubin’s catalog, with its own bare boned acoustic quality. A collection of only six songs, much like the original “Gleam” which was released in September 2006, Scott and Seth Avett leave the rest of the band out, swapping strong melodic lead vocals and harmonies. Before you get the wrong impression thinking this is a step backwards by recording these six songs which have been in their library for a few years, listen closely to the vocals. The immense talents of these two have grown over the years, to a point they can tackle these songs about life in an extremely poignant way. The album begins with “Tear Down The House,” which is somewhat ironic with its message of leaving your roots behind and moving on, just as The Avetts are set to do. From the very first chords, the unique sound these two have created pours out vividly. “Murder In The City” is a strikingly touching song, and one of the highlights of the album with its strong sense of family. Delivered passionately as always by Scott Avett, the song of the importance of family ties and priorities is well written. Scott’s vocals are perfect for this type of song. Seth steps up next with “Bella Donna.” While perhaps the weakest of the six songs here, the strengths still far outweigh the pitfalls. Lacking the lyrical depth of the other songs, Seth’s vocals still carry it quite well. “The Greatest Sum” stands out as another highlight on the album. The strong instrumentals, backed by the powerful harmonies, drive this heartfelt love song. Scott again delivers the lead vocals on this one. Closing out the album are two songs, each carrying a message of hope. The idea of family togetherness, and being there when needed for each other, is the premise behind “St. Joseph’s.” Trying to leave a sordid past behind describes the final song, “Souls Like The Wheels.” While The Avett Brothers have released much more energetic and somewhat raucous material in the past, they show the depths of their talents here with this acoustic album. Their strong vocals and harmonies are fully displayed, supported quite well instrumentally. This album is just another stepping stone for these talented musicians. 2008-07-24T20:32:07-06:00 http://www.americanaroots.com/reviews/detail/donna_the_buffalo_silverlined/ http://www.americanaroots.com/reviews/detail/donna_the_buffalo_silverlined/#When:16:36:49Z Celebrating an achievement of 20 years in music, Donna The Buffalo have made an album that captures why they are one of the best live bands touring the festival circuits today.  The “Herd” as their loyal followers are called, will surely recognize a few of the 13 songs here. Included are some fan favorites which the band has been playing live, but have never recorded in studio. Even so, they have taken on a new life here, plus some other new additions are enough to keep both the dedicated and new listeners quite happy. Originally formed from the love of old time Appalachian fiddle music, Donna The Buffalo has continued to evolve by incorporating elements of rock, reggae, and even zydeco into their songs. They continue evolving here by adding some quality musical guests on almost every track. These guests include Bela Fleck on banjo, Clara Lynch, David Andersen, and David Hidalgo along with others helping out on background vocals. Duo lead singer/songwriters Tara Nevins and Jeb Puryear alternate songs, beginning with Nevins bouncy “Temporary Misery.” Fellow band member Kathy Ziegler carries this one on keyboards, perfectly complimenting the strong vocals by Nevins. Puryear takes over next with the mellow groove of “Tomorrow Still Knows,” supported aptly by bass player Bill Reynolds. Tom Gilbert on drums also contributes nicely here as well. Nevins returns once again with the upbeat “Locket and Key.” It is easy to see why Nevins stands out as such an accomplished singer here. Puryear steps up again next with “Garden of Eden.” This exchanging of songs between the two adds to their strength as a band, displaying the continuity of diverse talents throughout the CD. Highlighting the CD are two songs penned by Puryear, the humorous “Biggie K,” and a bluesy “Blue Eyes.” Each capture the depth of Puryear’s talents, with his ability to draw the listener in and entertain very well. This CD will be welcomed by avid followers, but is also a good introduction to a very diverse band. 2008-07-19T16:36:49-06:00 http://www.americanaroots.com/reviews/detail/jakob_dylan_seeing_things/ http://www.americanaroots.com/reviews/detail/jakob_dylan_seeing_things/#When:16:54:38Z Jakob Dylan has accomplished much thus far in his young music career. The lead singer for The Wallflowers has legitimately established his own fan base, separate from the enormous following of his famous father, Bob Dylan. So you may ask why venture away from his normal rock music, and enlist the help of Rick Rubin to produce a bare boned acoustic CD?  The answer is because he can. Seeing Things” captures another side of this talented artist very well. Rick Rubin is well known for producing the Johnny Cash American Recording releases, and his patented sparse acoustic arrangements that allow the artists passion to carry the songs. While Jakob’s lyrical content may not be equal yet with his fathers, and whose truly is, the depth is certainly there. The production by Rubin has added to the quality, letting Jakob’s strong vocals convey the melancholy atmosphere. Kicking off the CD with the dark “Evil Is Alive and Well” sets the somber tone of the CD. Dylan’s bleak look into the life around us paints an alarming picture that many do not care to see. His solemn vocals, accompanied by a lone guitar, are mesmerizing. Dylan’s songs preach much of sorrow and woe, sometimes subtly phrasing his lyrics as if to question everything, leaving no stone unturned. “Everybody Pays As They Go” states exactly that. His deep expression of despair is vividly up front here. One of the few more uplifting numbers on the CD is “On Up The Mountain.” Dylan states, “There’s a light making its way, on up the mountain night and day, you’ll get tired and you’ll get weak, but you won’t surrender your masterpiece.” The positive flow here is touchingly strong. Dylan lands firmly in his famous father’s shoes with three songs in particular. His lyrical genius, winding seamlessly to and fro, accompanied adeptly by his guitar, will surely bring back memories of his father for some. “Valley of The Low Sun” is a virtual lyrical canyon, with so much depth one wonders his true intentions. Dylan writes, “We bow down and worship these bandits and cowboys unable to hold their own guns. I know that soldiers are not paid to think, but something is making us sick. Onward and steady, able and young, in the valley of the low low sun.” One may think this is an anti-war song, but he continues “My dreams are humble, lean as arrows, streetwise ready and fair. As we bum rush the ages, tied to the rails, on high seas not fit to be sailed. Whatever we’ve taken, does feel like heaven, but baby we just look like hell. Act like you mean it where paradise was, in the valley of the low low sun.” Now the song takes on a different meaning. Perhaps. Only Jakob truly knows at this point, but its beauty is astounding. “All Day and All Night,” even with far less lyrical depth makes a poignant statement. Dylan’s upbeat guitar picking accentuates the strength he is attempting to portray in this song. He writes “Give what you’ve got, return what you use. Tell me young man, whose dog are you? Got bigger secrets than you do, all day and all night like a mule.” One can envision the stance of a proud stubborn man throughout this song. “This End of the Telescope” closes out the CD in grand fashion. This is a dark portrayal of a man who has reached his final limits. Dylan paints a picture of a man looking bitterly at the world through the telescope of perhaps a gun. He writes “Down the valley, deeper still it goes. Got my weapons out, laying low. On this end of the telescope.” He continues “Slow and easy you let your paddle go. Down at the bottom there is more hell to row. I see clear at last. I love. I loathe. On this end of the telescope.” The sober vocals by Dylan sell this very well. While the tone of Dylan’s initial solo release is somewhat dreary, it is definitely well done. His writing and vocal talents are on full display here. The true test of a musician is if you can listen to his music and come away feeling anything. Dylan drives this one straight through the heart. 2008-07-16T16:54:38-06:00