http://www.americanaroots.com/reviews/detail/ Each week our contributing writers from AmericanaRoots.com publish album reviews. en eric@americanaroots.com Copyright 2008 2008-10-08T11:55:33-06:00 http://www.americanaroots.com/reviews/detail/behind_the_grand_ole_opry_curtain_robert_k_oermann/ http://www.americanaroots.com/reviews/detail/behind_the_grand_ole_opry_curtain_robert_k_oermann/#When:11:55:33Z Is the book as salacious as the title suggests? In the brief introduction to his newest book longtime Nashville insider and music critic Robert K. Oermann notes that what has always set the Grand Ole Opry apart are the people, whether the people on the stage or the people in the audience. From the often told stories to the more obscure, Oermann goes on to tell about many of those artists who have throughout the years stood on that Opry stage. If you are looking for backstage gossip, as the title might suggest, you will be disappointed. The subtitle of the book, “Tales of Romance and Tragedy,” comes closer to being a more complete description of what you’ll find in the 33 chapters Oermann offers up. It seems his purpose was to draw back that Grand Ole Opry curtain and show the Opry members as more than just artists. Oermann goes to great efforts and research to show these artists as people. People that go through hard times, that love, and some that suffer. He does an admirable job of making that point. Each chapter is a stand alone mini-biography covering one or more of the Opry stars. Oermann covers some of the stories most familiar to fans of country music, such as those of the legends like Johnny Cash and June Carter Cash, Hank Williams, George Jones, Loretta Lynn and Willie Nelson whose stories have been told often. He also covers some of the “younger” members of the Opry like Hal Ketchum, Alan Jackson, Clint Black, Randy Travis, Dierks Bentley and Josh Turner. The book is heavy on the romance part of the equation telling of how these Opry members met their significant other and stories of their time together. It is this aspect of the story that goes the longest way in humanizing the artists we often only see on stage. Where the book really shines is in the exposition of stars that stand to be forgotten by many members of the audience due to their death or at least their music going out of favor with the public. Oermann gives detailed and well-researched accounts of the lives and careers of artists including The Wilburn Brothers, Johnny Paycheck, Faron Young, Little Jimmy Dickens and Mel Tillis. He devotes a chapter to the artists lost to the “Opry Curse” of the early 1960s, Patsy Cline, Hawkshaw Hawkins, Cowboy Copas, Jack Anglin and Texas Ruby. He also devotes a chapter to an overview of duet partners such as the Davis Sisters, The Osborne Brothers, The Stanley Brothers and Jim & Jesse. For the student of country music, one who has read widely in the field, this book probably won’t offer that much new information (although it is nice to have some of the facts and stories collected in a single volume), but for new fans of country music or longtime fans who want to dig a little deeper, Oermann offers a wide selection of artist that are sure to include at least a few favorites and enough information to either satisfy readers or allow them a place to jump off on their search for more information. 2008-10-08T11:55:33-06:00 http://www.americanaroots.com/reviews/detail/backyard_tire_fire_the_places_we_lived/ http://www.americanaroots.com/reviews/detail/backyard_tire_fire_the_places_we_lived/#When:19:39:31Z Backyard Tire Fire are back to burn again. Does it stack up to past efforts? This is a band that defies pigeon-holing into any specific genre. The Bloomington, Illinois based band’s new release The Places We Lived follows the successful ‘07 release Vagabonds and Hooligans. Backyard Tire Fire is Edward Anderson, who wrote all the songs, Matt Anderson and Tim Kramp. They have a whimsical side, such as on the title track “The Places We Lived,” which takes a look at a the mundane a bit like The Beatles’ “Penny Lane” or “A Day in the Life” ("woke up, got out of bed, dragged a comb across my head") does. Fred’s out on his tractor, and he’s drinkin’ a beer. Dad’s cursin’ at the TV again. Mom said to take a shower. Gotta get ready for church. She said “you gotta give an hour a week.” They also have the AAA (does this genre still exist?) ready “Shoulda Shut It” that has a bouncy feel to it with a very catchy “radio friendly” chorus. “Welcome to the Factory” has a Pink Floyd sound to it. Rock ‘n Roll lovers will like “How In The Hell Did You Get Back Here?,” and “Legal Crime.” The band even enlists the help of a string section on the closer, pretty ballad “Home Today.” The band is difficult to categorize, but that is often good. In this case it means they deliver a very diverse set of songs. You never really know what you’ll get next! One of our recent podcasts featured the band, so feel free to check out Ray Randall’s podcasts to hear this band, as well as many other great acts! 2008-10-03T19:39:31-06:00 http://www.americanaroots.com/reviews/detail/christy_clayton_devils_paradise/ http://www.americanaroots.com/reviews/detail/christy_clayton_devils_paradise/#When:13:46:31Z Don’s trail of discovery lands him in the Devil’s Paradise - but I think he likes the company. Yet another fine performer I’ve recently run across is Texan Christy Clayton whose debut CD Devil’s Paradise is another of my recent favorites. She sings with a cutting, forceful honesty that reminded me of a very young Melissa Etheridge. Her material is dark, and through the disc she gives us an intimate tour of the “Devil’s Paradise,” including the prostitution and stripper section ("Devil’s Paradise"); the lies and cries area, now serving alcohol ("One More Bottle"). Perhaps the largest section of the Devil’s Paradise is reserved for broken relationships, loneliness and love lost ("See You in the Morning,” “When I’m Gone,” and “Nowhere” which proclaims “since I’m goin’ nowhere with you, I might as well go nowhere alone"). Unlike the tour of the Hotel California, in which we’re reminded “you can check out any time you like, but you can never leave”, this tour ends with the aptly names “The End,” which gives us some hope there might be an escape from the Devil’s Paradise. “I know a change is taking place, staring us right in the face. You say ‘Hey, I don’t want to live that way, I’d rather close my eyes and pretend its not the end… No matter what the faith the message is the same Its time to open our eyes and our minds, fall on our knees and realize I know a change is taking place...” There’s some deep stuff in there, but if you think you can handle it, check out The Devil’s Paradise! 2008-10-02T13:46:31-06:00 http://www.americanaroots.com/reviews/detail/pauline_reese_and_high_country/ http://www.americanaroots.com/reviews/detail/pauline_reese_and_high_country/#When:12:35:04Z Don discovers a Texan spitfire in his trilogy of new discoveries. Another of the fine female performers new to me is Texan, Pauline Reese. The CD I received is entitled Pauline Reese and High Country: Live at Cherry Ridge. Pauline is one proud Texan and she starts off the CD with an ode to her home and the tough people from there (including Coach Landry and Stevie Ray) on Lone Star Flag. “On a calm day in Texas we chase tornadoes, and on a slow day we race our pickup trucks; and on a hot day down in Texas we drink Tabasco, and on a bad day we thank God for our good luck. May the Lone Star flag forever fly. May the spirit of the Alamo never die.” She is joined on the CD by High Country, which is composed of John “The Dude” Fannin on electric guitar, “Beau Jack” Johnson on drums and Jason “WC” Bryl on bass. Pauline adds acoustic guitar as well as lead vocals. I made it through high school on a steady diet of the Southern Rock of the Allman Brothers and many of the southern jam bands. Most of this disc would have fit right in at one of our parties. “The Dude” is one busy guitar player on this disc and I would guess probably has a place in his heart for Duane Allman. Her choice of cover tunes give a hint at her southern influences. The CD contains covers of Charlie Daniels’ tune “Caballo Diablo” as well as Townes Van Zandt’s classic “Pancho and Lefty.” Pauline’s strong voice is constant throughout. Besides her frequent live performances, Pauline is a budding movie star as well. She will be starring in the movie Far Enough, to be shot this fall. I’m also happy to report that if this CD whets your appetite, Pauline has a new CD, Rolling Stone, which has recently been released. I’m looking forward to hearing it as well. 2008-10-02T12:35:04-06:00 http://www.americanaroots.com/reviews/detail/sarah_benck_the_robbers/ http://www.americanaroots.com/reviews/detail/sarah_benck_the_robbers/#When:12:27:50Z Don discovers a 2007 gem he missed in Sarah Benck & The Robbers Every year we see countless “Best of” lists come out starting about November. These are interesting to come up with, but can lead to guilt and remorse because of glaring omissions noticed after the fact. While I’ve come in off the ledge and don’t plan on jumping anymore, my list would be different today if I had received all the ‘07 releases I have now actually IN 2007. One of the CDs that would be at or near the top is by one of several fine female artist that are new to me, Sarah Benck and her band The Robbers. The 2007 CD Neighbor’s Garden is a fantastic CD by a truly wonderful singer and songwriter. Neighbor’s Garden is the sophomore effort for the Omaha resident and her band, consisting of Jason Ferguson on guitar (a graduate of the Musicians Institute in Hollywood), James Carrig on bass and Scott “Zip” Zimmerman on drums. This CD had me from right from the first energetic beats of the opening title track. When Sarah opens her mouth its like she’s opening a can of “whup-ass” on you; you’d never imagine a package this petite could pack so much punch. After hearing all the styles she handles on this disc, I’m not sure there’s a style she couldn’t handle. Her bluesy-rock stuff is great, such as the title track. “Dump the Truck” has a bit of a funky feel to it. Slower ballad? Covered, with “Good Man.” She even straps on the acoustic guitar for a solo acoustic tune “Once a Week,” which also displays Sarah’s great vocal range. She adds a bluesy horn section to the upbeat “Trails,” another standout cut. This is definitely a performer you need to check out! 2008-10-02T12:27:50-06:00 http://www.americanaroots.com/reviews/detail/these_united_states_crimes/ http://www.americanaroots.com/reviews/detail/these_united_states_crimes/#When:17:13:25Z One band that’s fast drawing an adoring crowd around DC and the Internet is These United States. Their popularity on Amie Street is proving to be indicative of a deeper quality that many online commentators are recognizing, and they’ve been breathlessly touring the world for most of the year. After releasing their debut album in March, Jesse Elliott and company have apparently tried to fly in the face of conventional marketing and distribution practices by not only releasing another LP the same year, but also changing labels, modifying styles, adding members and just about anything else you might would try to pin down. When A Picture of the Three of Us at the Gate to the Garden of Eden came out earlier this year, I wasn’t shy about sending up flags of preeminence. The reason it’s a great record is mainly due to its cleverness; the jaunty style of colliding folk and electronica is a near-perfect complement to Elliott’s cognizant writing that recalls the brio hyper-symbolism invoked by, er, one particular mid-60s songsmith. But A Picture has never been reflective of their live show, especially as their latest lineup features multiple guitars driving a more boisterous rock sound. I became comfortable with this dichotomy as I identified two distinct bands in my head – the “album tUS” and the “live tUS.” With Crimes, however, These United States proclaims a unified identity, one that effortlessly rocks the face while sneakily taunting the mind. Crimes is indeed a rock and roll record. There are country tints in the steel flourishes and gospel notes in some of the balladic piano, but the overarching mood is one of raucous electricity. This fact hallmarks a departure for more than obvious stylistic reasons: although A Picture did display pieces of thematic continence, it was produced with different people at different times, leading to some natural discombobulating. Crimes, on the other hand, was recorded in a short period of time with clarity of direction. A Picture was a snapshot; Crimes is an album. “West Won,” the album opener, provides the perfect segue between the two modes, as a bit of psychedelia and electronic sustain marks the first few seconds of the album, commencing a slow build that leads into the next two rolling tracks, “Susie at the Seashore” and “Get Yourself Home (In Search of the Mistress Whose Kisses Are Famous),” the first single. Following is “Pleasure and Pain and Pride and Me,” which I only mention because it’s my favorite track on the album. Next, though, comes “We Go Down to That Corner,” which brings up the other significant characteristic of Crimes: the expert balladeering that accompanies their electric crooning. Although songs like “Burn That Bridge” have certainly displayed Elliott’s knack for crafting an effective serenade, the aforementioned fifth track, in addition to “Heaven Can Wait” and “Study the Moon” prominently display a slow style that has evolved full-circle, adding depth and contrast to this rollicking country-rock train. Overall – A Elliott’s Cheshire cat vocals and hyper-literate wordplay have never seen more at home on stage or on wax that when supercharged by a lightning storm of musical prowess, which is exactly what the current, greatly talented, tUS lineup provides. The textures appear simple but are hardly so and the album moves with the grace of a measured classic, yet never loses the freewheeling atmosphere that has always made These United States so much fun to listen to. 2008-09-30T17:13:25-06:00 http://www.americanaroots.com/reviews/detail/rattlin_bones_kasey_chambers_shane_nicholson/ http://www.americanaroots.com/reviews/detail/rattlin_bones_kasey_chambers_shane_nicholson/#When:20:37:35Z Simply put, Rattlin’ Bones is music in its purest form. Married duo Kasey Chambers and Shane Nicholson have created an inspiring masterpiece, with a mixture of Appalachian and bluegrass genres woven brilliantly together. The warm sounds inspire a feeling of sitting on the front porch; listening to these songs flow effortlessly by. The 14 songs are all written, or co-written, by Chambers and Nicholson. Each song is a casual journey, winding through the tales and woes of life. It is the harmonies that truly illuminate these songs, and drive them home. Chambers strong soaring vocals are contrasted pleasingly well by Nicholson’s. The title cut, which opens the CD, is a somewhat haunting tale of strife and despair. Nicholson’s banjo lead, along with a dreary heavy beat, paint an amazing picture of loneliness. The instrumentals throughout the CD do a very good job of creating a mood which flows well with the lyrical content, allowing the listener to feel the warmth and passion. The only negative to the CD is its lack of upbeat songs. While they are all well written and performed, the song material steers a bit more toward depression and loneliness than the positives in life. With songs such as “Once In A While,” which talks of grasping for only a moment of happiness, “One More Year,” that talks of holding onto hope a bit longer, and “The House That Never Was,” which portrays the lack of love leaves one with nothing. Most of the songs follow the path of dreary loneliness and sorrow. However, the pure roots of Appalachian and bluegrass each followed a similar dark path as well. Chambers has seen prior success with previous releases, and is one of Australia’s most respected female artists. Her husband Shane also got his music start in Australia. This CD is their first mutual release. With quality roots music like this, we can only hope there is more to come. 2008-09-24T20:37:35-06:00 http://www.americanaroots.com/reviews/detail/old_crow_medicine_show_tennessee_pusher/ http://www.americanaroots.com/reviews/detail/old_crow_medicine_show_tennessee_pusher/#When:14:40:52Z Anytime you put on an album by Old Crow Medicine Show, it’s like taking a step back in time.  It’d be best to put on a pair of worn overalls, fill your mason jar with some moonshine and watch the bug zapper for a while to truly take in the atmosphere that they effortlessly recreate, but if you don’t have the time or materials, can’t find a good stretch of dirt road and your wife just finished off the last bit of moonshine before you could get to it, maybe put on Tennessee Pusher instead of their earlier recordings, ‘cause it seems like the boys may have lost a step. Which doesn’t mean the record is bad: I’ll be the first to admit that Old Crow is one of my favorite bands and O.C.M.S. in particular is one of my favorite albums of this new millennium, so perhaps I’m being too hard on them.  Even when Big Iron World dropped, which itself was solid top to bottom with flashes of brilliance like “My Good Gal” and “James River Blues,” I was still less than enthused, mainly because I suffer from a strong resistance to the new coupled with a strict loyalty to what I dub an artist’s pinnacle achievement, which, in this case, is O.C.M.S. But that’s also why I like Old Crow so much: their hardheaded instrumentation, folk tales of moonshiners and riverboat gamblers and wailing, yawping vocals that sound ripped from a Jimmie Rodgers record is a bold affront to a music industry that revels in overproduction and sample demographics.  Old Crow’s ideal demographic listens to AM and would shoot you if asked how the record made them feel. For Tennessee Pusher, Nettwerk Records called in famed producer Don Was, who worked with Dylan and the Stones (among other greats), and has several Grammys and other independent awards that testify to his sterling reputation.  The fault of the album, though, is not that a famous producer came in and tried to rework Old Crow’s sound, though. Quite the contrary: it seems as if Was really allowed them to do what they wanted.  The pitfalls lie in several of the songs that tend to lose either the alternating jaunty cleverness or poetic sincerity that characterizes their best work.  “Alabama High Test,” the album opener, is a good song in the vein of their superb jugband covers like “Tell It To Me” or “Cocaine Habit,” and “Next Go ‘Round” touches on their country sentimentality like the aforementioned “My Good Gal” or “Trials & Troubles.” In between these and other strong tunes, however, they fail to maintain a high level of craftsmanship.  “Humdinger,” for example, was clearly intended to provide some fast-paced, lackadaisical relief, but falls short in light of the poor phrasing and thin political jabs.  “Hotel in Memphis,” too, begins with a flourish of dark fiddle and organ and holds amazing potential, but comes off as flat and uninteresting, particularly in light of the grave subject matter (the assassination of Dr. Martin Luther King); it’s not a bad song, but it could have been great, and the shortfall lends itself to distaste rather than allowance. Overall: B Even in light of its shortcomings, Tennessee Pusher is a good album by a great band and I enjoy listening to it.  I enjoy it even more, though, when I cut 3 or 4 tracks out. 2008-09-23T14:40:52-06:00 http://www.americanaroots.com/reviews/detail/micky_the_motorcars_naive/ http://www.americanaroots.com/reviews/detail/micky_the_motorcars_naive/#When:16:14:33Z It must have been noisy growing up in the Braun household in Idaho, what with 4 Braun brothers being musicians. There’s enough talent in this family for not one, but two fine Americana bands: Micky and the Motorcars and the other Braun brothers band Reckless Kelly. Younger brothers Micky and Gary Braun and childhood friend and bass player Mark McCoy founded “Micky” while older brothers Will and Cody founded Reckless Kelly. Well, apparently the “pick doesn’t fall far from the guitar;” all four brothers played in a group with their dad that twice appeared on The Tonight Show with Johnny Carson. Naive is the fourth album by the Austin based five piece. Drummer Shane Vannerson and new guitarist Kris Farrow round out the band, and the new disc features a guest appearance by the ubiquitous Lloyd Maines on pedal steel on several tunes. I imagine many fans of the band don’t even wait to hear their new releases anymore before ordering one, you know you are going to get some good stuff. Such as the opening track, the title track, which Micky says is “your classic wife-cheating-on-the-husband, husband-comes-home thing.” Sounds song-worthy. Lloyd Maines adds his pedal steel playing to my favorite song on the disc, “Long Enough to Leave,” written by Micky Braun and Randy Rogers. The band plays hundreds of shows a year and is constantly on the road, which inspired the tune. Micky says, “Every time you get comfortable you have to peel out.” The band even shows it’s tender, sorry boys, less boisterous side on the beautiful tune “Seashell.” If you want a no-brainer pick for a new Americana disc, this is a good pick! 2008-09-21T16:14:33-06:00 http://www.americanaroots.com/reviews/detail/rob_roy_parnell_lets_start_something/ http://www.americanaroots.com/reviews/detail/rob_roy_parnell_lets_start_something/#When:16:51:20Z I’ll be honest. I have not listened to a ton of Lee Roy Parnell’s more country tinged music and wasn’t aware he had a brother in the business as well.  I will tell you one thing - Rob Roy knows how to play the harmonica and his new CD Let’s Start Something is a blues winner! He calls his music Texas Roadhouse music, a very apt description. The CD is loaded with 12 tunes, most co-written by Rob Roy and other players on the CD. There are a couple of covers, including Percy Mayfield’s “Loose Lips.” “I Know Better” starts off the CD with a bang and a taste of things to come, hitting you right away with upbeat guitar and horn. Rob Roy has a rich voice with just a touch of Texas twang, perfect for “Roadhouse” Music. The Hammond B3 makes it’s presence known on a number of the cuts, including a nice serving on “Texas Love Machine.” There are horns-a-plenty as well too! Brother Lee Roy adds a slice of slide guitar to “Long Distance Love.” This is high energy stuff.  Don’t play this on a lazy Sunday afternoon, play it and share it with your friends on a lively Saturday night! All the tunes feature some nice harmonica work by Rob Roy, so if harmonica is your thing, check this out. The CD closes as it opens, with a bang, with the other cover tune on the CD, “Lollipop Mama,” by Roy Brown. Your arms and legs will be flapping for a while after listening to this, so I’d advise at least an hours rest after listening before swimming or trying to go to bed! 2008-09-04T16:51:20-06:00