What with pretty paper and other holiday goals, Some of yall may have missed Edd Hurt's last-minute contributions to RC 17; they're worth a reprise, so here:
― dow, Monday, 15 January 2018 19:06 (nine months ago) Permalink
Talking about Caroline Spence: she's doing a residency in January here at the Basement. Wrote this about her recently:
Virginia-born singer-songwriter Caroline Spence released a remarkable track about the limits of Nashville songwriting on her 2013 EP You Know the Feeling. “Whiskey Watered Down” takes down a shallow tunesmith who, Spence declares, will never be “Parsons, Earle or Van Zandt.” What makes “Whiskey Watered Down” a definitive song about a particular strain of Music City songwriting is her choice of role models, but the tune also equates bad songwriting with bad relationships. A Nashville resident since 2011, Spence continued to work in classic singer-songwriter mode on her 2015 full-length Somehow, which includes a full-band rendition of “Whiskey Watered Down” that I find less effective than the acoustic reading she performed on the 2013 EP. I admire Spence’s writing on this year’s album Spades & Roses, which contains the excellent track “You Don’t Look So Good (Cocaine)” and the equally fine “Softball,” about sexism and what it takes to become a big-league songwriter. Spence, who recently released a five-song EP called Secret Garden, has potential — she bears watching. EDD HURT
I didn't vote for Nicole Atkins' new one in the Scene poll I just finished. Not even tangentially "country," which makes sense for a Jersey-bred singer who sounds like Cass Elliot. But a really good album. I like her; she's tough and funny. Did this piece on her in July: https://www.nashvillescene.com/music/features/article/20867860/nicole-atkins-explores-the-joys-of-organic-songwriting-and-production
― eddhurt, Tuesday, December 26, 2017 5:22 AM (two weeks ago) Bookmark Flag Post Permalink
Thanks! Well, some of us heard Atkins' latest as having kind of a Dusty In Memphis vibe, not country but some urban country appeal and sensibility (broody and drinking and poised after midnight)--sooo, I put her in my gratuitous made-up motley Countryoid/Americana/Related category on the Scene ballot, which I'll post on RC 2018 when the issue comes out.Kind of off-putting that Spence or whomever harps on this "not as good as such-and-such" bit; once when I was stressing over comparing myself, a photog friend said, "Well I know I'm not the best, but I just want to drink and take pictures." It's worked out pretty well for him.(And as usual, Earle's latest made my gratutitous made-up About Half Good category; both Earles did, although I may have been too kind to JT, who's convened some motorvatiing musicians, but is so abashed and maybe wasted [on abashment, at least] that he usually sounds like a bug on the windshield of life).Back to Spence, thanx also for reminder of the new EP, which I think is acoustic? Will check.
― dow, Thursday, December 28, 2017 11:21 AM (two weeks ago) Bookmark Flag Post Permalink
Oh, and I got tired enough of the "sounds like" aspect, even on so many of my favorite albums---self-expression via retro seemed especially prevalent this year--that I took Langford from Related to the real Top Ten, because he doesn't sound like anybody else, even or especially in Muscle Shoals, where he also sounds at home.
― dow, Thursday, December 28, 2017 11:31 AM (two weeks ago) Bookmark Flag Post Permalink
I thought Robert Ellis' piano playing made the Atkins album. Yeah, Langford's Norbert Putnam record transcended local color but barely. "Natchez Trace" is good, "Snake Behind Glass" the best song on the record. I saw him play here this fall. I also found some things to say about Chris Gantry's 1974 album, which is a beatnk kinda thing. Far better guitar player than singer or even songwriter--Motormouth, from '70, is just something else entirely and not necessarily a good thing, but I admire his gusto. https://www.nashvillescene.com/music/features/article/20982813/chris-gantrys-longshelved-lp-at-the-house-of-cash-is-progressive-even-by-2017-standards
I also investigated the work of producer-songwriter-singer Norro Wilson, who died this year. Worked on a bunch of pivotal '70s country records by Wynette and Jones. Undoubtedly one of the savviest singers in "country," a pop-country genius whose '60s and '70s solo records are country, folk, Atlantic-style r&b, West Coast pop, shlock-pop-country in the style of Dickey Lee, Billy Swan or Bergen White. Amazing shit. Got to find his Smash LP Dedicated to: Only You. This is from the 70s:https://www.youtube.com/watch?v=80DECm61mIE
Tyler Coe, one of David Allan Coe's children, has been putting together excellent podcasts about country. Maybe the best so far is on Shelby Singleton, but the Bobbie Gentry episode is really good too. Coe gets the business side of the equation really well, is hardheaded. He also provides transcriptions if you just wanna read: https://cocaineandrhinestones.com/
The highlight of my Americana-fest experience was seeing Little Bandit, a kind of Charlie Rich-depressive-funny band featuring Alex Caress, the brother of former Nashville bassist-singer Jordan Caress. Comes at his "country-soul" from a queer perspective. Breakfast Alone made my Scene ballot. Another hit at the fest I didn't see was the War & Treaty, a gospel-soul duo. Their EP is promising:
CRITICS' PICKThe War and TreatyThis event is over. The High WattLord have mercy, here’s another soul-gospel-pop Americana amalgam. Husband-and-wife duo The War and Treaty, who recently moved to Nashville from Albion, Mich., performed a well-received set in town at this year’s AmericanaFest with backing from Nashville guitarist Buddy Miller’s band, and Rolling Stone gave their turn at the festival a glowing review. Ohio-born singer Michael Trotter Jr. honed his piano chops while serving as a soldier during the Iraq War (somewhat improbably, he practiced on Saddam Hussein’s piano while his unit was encamped in one of the former Iraqi president’s palaces) and met singer Tanya Blount, a Washington, D.C., native, when he returned home. They’ve released their debut EP, Down to the River, which combines their gospel-influenced vocals with tough blues and soul grooves. Not everything works — the duo tends to approach their performances head-on, which sometimes obscures the quality of their songs. Still, material such as “Down to the River,” which features slide guitar, and “Hit Dawg Will Holla,” a stop-time blues shuffle, suggests they could develop into songwriters who know how to work an amalgam. EDD HURT
― eddhurt, Friday, December 29, 2017 8:46 PM (two weeks ago) Bookmark Flag Post Permalink
I think Carson McHone, who didn't make an album this year, deserves notice, up there with Whitney Rose, whose record I like a lot. Anyone else hear her?
The ongoing battle over the soul of country music seems like a necessary activity that tends to overstate the danger that commercialism poses. Time and time again, country music has demonstrated its ability to absorb folk, rock, country-rock, schlock, disco, patriotism and regionalism, and young singers continue to discover new ways to syncretize the music of Williams and Wells with pop without pandering to the let’s-save-country ideologues. Hailing from ostentatious Austin, Texas, singer Carson McHone is a young country singer who expresses herself through the form while avoiding the formalism that etiolates the work of many country purists. In other words, she controls an aching break into her head voice that marks her as a stone country vocalist, and her 2015 album Goodluck Man brims with tunes that evoke the spirit of early-’70s country without wandering off into retro. McHone has been working on a new album in Nashville with Spoon producer Mike McCarthy — let’s hope it’s commercial as hell. EDD HURT
― eddhurt, Friday, December 29, 2017 8:52 PM (two weeks ago) Bookmark Flag Post Permalink
I nommed the Whitney Rose on the ILM poll (I think???) I came across her while browsing year end lists. Love her album.
― omar little, Friday, December 29, 2017 9:22 PM (two weeks ago) Bookmark Flag Post Permalink
yeah, and her other 2017 release, South Texaz Suite, an EP. Kinda wish she'd saved the best tracks for the full-length, but it's worth checking out for sure, especially "Three Minute Love Affair."
― dow, Friday, December 29, 2017 9:58 PM (two weeks ago) Bookmark Flag Post Permalink
Texas, that is.
― dow, Monday, 15 January 2018 19:11 (nine months ago) Permalink
Sorry, I led the way to the end of the road (by going back to RC 17):
Now, starting to look ahead:https://www.rollingstone.com/country/lists/2018-country-music-preview-30-most-anticipated-albums-tours-w514999/loretta-lynn-wouldnt-it-be-great-w515083
here's one:Loretta Lynn
Album: Wouldn't It Be GreatRelease Date: TBAThe Country Music Hall of Fame vocalist delayed the release of her already-recorded new album Wouldn't It Be Great until 2018 after suffering a stroke last May. Like the Grammy-nominated Full Circle that preceded it, the LP was co-produced by John Carter Cash and Lynn's daughter Patsy Lynn Russell and cut at Johnny Cash's cabin studio in Hendersonville, Tennessee. Boasting new songs like "I'm Dying for Someone to Live For" and "Ruby's Stool," written with songwriter Shawn Camp, Wouldn't It Be Great also includes new versions of Lynn staples "Don't Come Home a-Drinkin'" and "Coal Miner's Daughter." "You can't get them anymore," Lynn told Rolling Stone in 2016 of her decision to update her classics. "You've got fans that want it. So we will give them to 'em." Full Circle was a satisfying blend of old & new, glad she's still in the circle game.
― dow, Monday, January 15, 2018 1:19 PM (forty-five minutes ago) Bookmark Flag Post Permalink
brother colter wall's new one was my album of the year by the way
― infinity (∞), Monday, January 15, 2018 1:28 PM (thirty-seven minutes ago) Bookmark Flag Post Permalink
He made it into one of my Best New Artist slots on the Scene ballot. I still need to check his Imaginary Appalachia EP, have you heard it?Another one from the Stone link. She's always sounded like she probably likes Elton John, David Bowie, Patsy Cline: "Americana"? OK!
Album: By the Way, I Forgive YouRelease Date: February 16thOn her sixth studio album, Americana heroine Brandi Carlile ramps everything up a notch, working with Waylon Jennings' rebel-yell son Shooter, who co-produced with Dave Cobb. She takes deep dives into her family history ("Most of All") and offers up an anthem for the downtrodden ("The Joke," a chin-up call to arms for anyone feeling oppressed, was blasted out in a recent appearance on Jimmy Kimmel Live!). While largely adhering to her unplugged, modern-Appalachian approach, Carlile also pushes a few musical envelopes: "Harder to Forgive" is swoony, luxurious pop, "Hold Out Your Hand" has a wall-of-drums wallop and "Party of One" wraps up with shivery orchestration. D.B.
― dow, Monday, January 15, 2018 1:32 PM (thirty-three minutes ago) Bookmark Flag Post Permalink
I keep confusing him with music writer Seth Colter Walls in searches (still not quite sure they're two diff people).
― dow, Monday, January 15, 2018 1:34 PM (thirty-one minutes ago) Bookmark Flag Post Permalink
definitely different people
and i have heard IA a few times actually, yes
it's good but i like his self-titled release better, though sleeping on the blacktop is equally as good as say thirteen silver dollars (similar vibe)
― infinity (∞), Monday, January 15, 2018 1:38 PM (twenty-six minutes ago) Bookmark Flag Post Permalink
― dow, Monday, 15 January 2018 20:09 (nine months ago) Permalink
Caitlyn Smith's Starfire looks interesting.
― eddhurt, Monday, 15 January 2018 21:37 (nine months ago) Permalink
A record I missed last year is the Kernal's Light Country, on Single Lock out of Florence, Alabama. I recently listened to a couple of prime Jim Nesbitt country albums, '69's Truck Driving Cat with Nine Wives and '70's Runnin' Bare, Nixononian novelty country about how the U.S.A. has trucks and humor and country music. The Kernal is like the Great Nesbitt thrust into post-modernity in a manner I think may kind of help to summarize the shift in 2017 country from bro- to exploratory essays into something resembling...history, maybe, reality. Perhaps the generational shifts have temporarily made it cool for younger folks into country to access some of the more congenially banal aspects of its post-countrypolitan phases. Dave Dudley himself did many pretty damned good albums in the '60s and early '70s, and Moe Bandy was also really cool. I also think Midland is a great Dallas-era country throwback band, like they cut it that record on Dec. 12, 1979. I think it's now cool(er) to embrace the tacky, the banal, the failed, the small-scale, and perhaps this attitude has found its way into Mainstream Country in 2017? Dunno. To that end I think the Himes-ian yearly Country Essay may be along those lines: the year of the gun and the toppling of the white male ethos. I see it as a year in which the immersion in formerly declasse old-school kountry and also, various now-idiosyncratic roots forms (John Moreland's use of Excello r*b on Big Bad Luv that have merged with the strictures of country songwriting, has produced a hybrid Americana-country music. No doubt few in mainstream, poptimist country this year produced any song quite as fatalistic as Jason Isbell's "If We Were Vampires" or flat-out condemned the bad old white prerogatives of power as straightforwardly as Margo Price on All American. I also thought Daniel Romano's record, for better or worse considering its mannerist tendencies and out-front let's-fuck-with-stuff aesthetic, was the most interesting thing I heard in 2017 in country, but not the most enjoyable.
― eddhurt, Tuesday, 16 January 2018 20:16 (nine months ago) Permalink
Come to think of it, in the 90s I started getting self-released promos with press sheets sometimes claiming Sonny & Cher as country inspirations--even before encounters with Dolly Parton and Hee-Haw---and especially The Sonny and Cher Show, though the self-promoters also claimed to be in their early-to-mid-20s, for the most part: too young to have seen it, and this was before YouTube---but maybe it was the idea, the vision of the show they had, while listening to "You Better Sit Down, Kids" and "Gypsies, Tramps and Thieves." The connection was not always audible, but good to know. One act that stood out was basically a duo, Y'all, with some fairly seriocomic, fleetingly bittersweet original material among the campy laffs (closer to Shel Silverstein than Sonny Bono). Think that's right--can't find the promos now, and the name is hard to google, even putting in "band."Countrypolitan is real easy to mess with, it got weird pretty readily---there was research on what kind of music led to serious thinking and drinking of the more expensive booze, thus favored by patrons of establishments with classy cover bands and jukeboxes (ditto the solemn, readily weird Romance of Sinatra and Jimmy Webb---the latter evoked by certain Lukas Nelson-written tracks on Willie's Heroes and '17's Lukas Nelson and Promise of the Real, also thinking of the even moodier//more perverse/sometimes deadpan jokesters like Lee Hazlewood and Serge G.)I like Stugill's use of Waylonesque "Eat-Shit, Eat-Shit" beat for orchestral disco (he seems to like Love Unlimited etc) on A Sailor's Guide To Earth---playing it straight(er) on the ones that seem closer to early 70s Van Morrison's Caledonia Soul Orchestra.Oh and you're also reminded me of this---if doesn't play, it's "Goodbye Squirrel" by Cletus T. Judd (he of "Man of Constant Borrow", "My Cellmate Thinks I'm Sexy" and many more)https://www.youtube.com/watch?v=1NyogxL54NE
― dow, Tuesday, 16 January 2018 22:02 (nine months ago) Permalink
And I hope young artists are drinking in the camp fire of Jim Stafford: "Spiders and Snakes", "Swamp Witch", and o course "Wildwood Weed", theme song of some of usens' early 70s---can't find any promising vids of this, screw it.
― dow, Tuesday, 16 January 2018 22:13 (nine months ago) Permalink
that Anderson East album has some...interesting singing choices.
― morning wood truancy (Alfred, Lord Sotosyn), Tuesday, 16 January 2018 22:17 (nine months ago) Permalink
Edd's not just woofin' about xpost The War and Treaty and Little Bandit. On first stream, LB alb is okay-to-hey!, ending with a couple of stunners: Womack please cover "Get Me Out of This", Lambert and/or Whitney Rose do "Sinking." (I don't get what's supposed to be so queer about all this, though his writing does sometimes remind me of Stephen Merritt; the voice wears on me better than M.'s) https://littlebanditmusic.bandcamp.com/album/breakfast-aloneThe War and Treaty blew my mind, may try to say more about both acts later. The War's EP is 7 tracks, but surely more of a full-album experience than many albums. Brace yourself:https://soundcloud.com/thewarandtreaty
― dow, Wednesday, 17 January 2018 03:51 (nine months ago) Permalink
new Western Centuries album out April 6. my favorite country band goin'...
― alpine static, Thursday, 18 January 2018 18:26 (nine months ago) Permalink
Looking fwd to that---their previous made my Scene ballot Top Ten, thanks to your tip.
Note To Self and others (from Sounds Of The Universe, Soul Jazz Records storefront):
Like Nashville In Naija: Nigeria's Romance with Country Music, Yesterday and TodayCOMB & RAZOR SOUNDCountry music is big in Africa. Yes, we realise how absurd that probably sounds to most ears, but it’s really true: American country & western records have been tremendously popular and deeply beloved across the continent for almost a century. The people of the West African nation of Nigeria have long been not only voracious consumers of country music, but fairly enthusiastic performers of it as well. Cowboy songs have remained a consistent part of most bands’ live repertoire, but relatively few artists have dedicated themselves to actually recording country music. They did exist, though; mostly in the1970s and 80s, but they were rarely heard outside the country, and in the intervening years, most of their output has fallen through the cracks of posterity, forgotten even by ardent music fans at home. Until now. Like Nashville in Naija: Nigeria’s Romance with Country Music, Yesterday and Today collects some of the best country recordings as a loving tribute to Nigeria’s cowboy troubadours of yore. To the best of our knowledge, only in Nigeria.More Info, Audio:https://soundsoftheuniverse.com/product/various-like-nashville-in-naija"> https://soundsoftheuniverse.com/product/various-like-nashville-in-naija
― dow, Thursday, 18 January 2018 20:49 (nine months ago) Permalink
Forced by the voting thread to finally nail down my best of 2017 list:
Tyler Childers - PurgatoryNatalie Hemby - PuxicoJaime Wyatt - Felony Blues (sad to see this not get nom'd in the albums poll)Hiss Golden Messenger - Hallelujah AnyhowRaeLynn- WildHorseColter Wall - Colter WallJason Eady - Jason EadyTurnpike Troubadours - A Long Way From Your HeartChris Stapleton - From A Room: Volume 1Lee Ann Womack - The Lonely, the Lonesome & the Gone
― Indexed, Friday, 19 January 2018 18:34 (nine months ago) Permalink
Thanks---several of these I still need to check---Stapleton was a finalist for my Scene Top Ten 'til Himes announced that we had to consider Volume 1 and Volume 2] as one album---which ended up in my hacked-in imaginary category of About Half Good (60-45%). Most of Volume 1, with just few from 2= my keeper folder. Womack rools, as usual.
― dow, Friday, 19 January 2018 19:10 (nine months ago) Permalink
i get to see Womack in a tiny 100-yr-old (former) church bldg next month, i'm excited
― alpine static, Friday, 19 January 2018 22:18 (nine months ago) Permalink
Maren Morris hits with her first No. 1, as Nashville Scene's Stephen Trageser reports.
― eddhurt, Saturday, 20 January 2018 04:08 (nine months ago) Permalink
Start here: https://www.nashvillescene.com/music/cover-story/article/20990010/18th-annual-country-music-critics-poll and scroll on down to select: the results, the comments, factoids, down a little further for "Lee Ann Womack: Lonely At The Top..." and "How Jason Isbell Changed That Nashville Sound" (might not read that 'un).
― dow, Thursday, 25 January 2018 17:35 (eight months ago) Permalink
xpost Loved Maren Morris's debut alb, as I said last year, except for the radio-bait track re country music as religion. Also grabbed by her duet w T. Rhett, opening his otherworse redonkulous follow-up to the appealing Tangled Up.
― dow, Thursday, 25 January 2018 17:40 (eight months ago) Permalink
The Scene round-up never has incl. individual ballots, so post y'all's here, even if you didn't send one. I'll start o course---added a few from this thread's mentions; final edition, with all my comments, will be blogged (and linked here natch). I's still catching up with yr. mentions, and may downgrade some of the Imaginary picks, prob too kind to JT Earle and Keith and Isbell, for inst. Anyway this is what I sent, plus a *few* more I didn't know about then:
TOP TEN COUNTRY ALBUMS OF 2017:(just in the order they come to mind)1. Lee Ann Womack: The Lonely, The Lonesome & The Gone (ATO)2. Whitney Rose: Rule 62 (Six Shooter)3. Rodney Crowell: Close Ties (New West)4. Amanda Anne Platt/Honeycutters: S/T (Organic/Crossroads)5. Margo Price: All American Made (Third Man)6. Shelby Lynne & Allison Moorer: Not Dark Yet (Thirty Tigers/Silver Cross)7. Caroline Spence: Spades and Roses (Tone Tree)8. John Moreland: Big Bad Luv (4AD)9. Willie Nelson: God’s Problem Child (Legacy)10. Jon Langford’s Four Lost Souls: S/T (Bloodshot)
TOP FIVE COUNTRY REISSUES OF 2017:1. Various Artists: American Epic: The Best of Country (Lo-Max/Third Man/Columbia/Legacy)
COUNTRY MUSIC’S THREE BEST MALE VOCALISTS OF 2017:1. Willie Nelson2. Rodney Crowell3. John Moreland
COUNTRY MUSIC’S THREE BEST FEMALE VOCALISTS OF 2017:1. Lee Ann Womack2. Whitney Rose3. Margo Price
COUNTRY MUSIC’S THREE BEST SONGWRITERS OF 2017:
1. Willie Nelson2. Margo Price3. Rodney Crowell(and their collaborators)
COUNTRY MUSIC’S THREE BEST DUOS, TRIOS OR GROUPS OF 2017:
1. Margo Price & the Price Tags2. Amanda Anne Platt & the Honeycutters3. Willie Nelson, Lukas Nelson, Micah Nelson
COUNTRY MUSIC’S THREE BEST NEW ACTS OF 2017:
1. Alex Williams2. Carly Spence3. Colter Wall
COUNTRY MUSIC’S THREE BEST OVERALL ACTS OF 2017:
1. Willie Nelson2. Jon Langford’s Four Lost Souls3. Lee Ann Womack***************************************************************************************************************Imaginary categories:Hon. Mention: Willie Nelson (w Lukas Nelson & Michah Nelson): Willie’s Stash Vol. 2: Willie and the Boys, Alex Williams: Better Than Myself, Carly Pearce:Every Little Thing, Marty Stuart:Way Out West, Lorrie Morgan & Pam Tillis: Come Lonely and Come Lost, Whitney Rose: South Texas Suite, Shovels & Rope: Busted Jukebox Vol. 2, RaeLynn: Wildhorse, Little Bandit:Breakfast Alone
Borderline: Sunny Sweeney: Trophy
About Half Good (60-45%): Nikki Lane: Highway Queen, Chris Stapleton: Songs From A Room, Vols. 1 & 2, Colter Wall: S/T, Angaleena Presley: Wrangled, Jason Isbell: The Nashville Sound, Justin Townes Earle: Kids In The Street, Steve Earle: So You Wanna Be An Outlaw, Midland: On The RocksBorderline: Toby Keith: Songs From The Bus, Various Artists:Gentle Giants: The Songs of Don WilliamsLess Than Half Good: Banditos: VisionLand, Thomas Rhett: Life Changes, Bruce Robison & The Back Porch Band: S/T
Countryoid/Americana/Related:Nicole Atkins: Goodnight Rhonda LeeLucinda Williams: This Sweet Old World Jessi Colter feat. Lenny Kaye: The Psalms Lukas Nelson & Promise Of The Real: S/T Gregg Allman: Southern Blood Otis Taylor: Fantasizing About Being BlackPeter Stampfel & The Atomic Mega Pagans: Cambrian Explosion David Rawlings: Poor David’s AlmanackBonsoir, Catin: L’AuroreThe War and Treaty: Down To The River
Related Reissues:1. Marisa Anderson: Traditional and Public Domain Songs 2. Various Artists: American Epic: The Collection3. Lydia Loveless: Boy Crazy and Single(s) 4. Various Artists: Rough Guide To Jugband Blues 5. Various Artists: American Epic: The Soundtrack6. James Luther Dickinson: I’m Just Dead, I’m Not Gone: Lazarus Edition
Related Hon. Mention: Pinegrove: Elsewhere, Valerie June: The Order of Time
Related Borderline:Deer Tick: Vol. 1, Rhiannon Giddens: Freedom Highway, John Mellencamp feat. Carlene Carter: Sad Clowns and Hillbillies, Arthur Alexander: S/T
― dow, Thursday, 25 January 2018 18:42 (eight months ago) Permalink
Should be "I'm catching up," not "I's, " jeez (typo I swear).
― dow, Thursday, 25 January 2018 18:44 (eight months ago) Permalink
i love John Moreland but Isbell's album runs circles around Big Bad Luv. In The Throes would be a fairer fight.
wouldn't have said anything about "About Half Good" ain't quite right. :)
― alpine static, Thursday, 25 January 2018 20:05 (eight months ago) Permalink
d'oh! i mean:
wouldn't have said anything *BUT* "About Half Good" ain't quite right.
― alpine static, Thursday, 25 January 2018 20:06 (eight months ago) Permalink
Himes says Isbell and Price are spurring the industry to become more adult, tell stories. I'd say the list reflects Americana as it has usually (always?) done. Valorizing Marty Stuart's pale Byrds imitation, tut tut. No doubt Isbell's "If We Were Vampires" is a good song and Prices made a good album. I think the real action is the music that searches for a new form for country--Walker Hayes, whose record has been condemned as escapist pop (thanks to Chuck for alerting me to Hayes), the Kernal (whom I saw the other nite, fabulous, stepped right out of Nashville Now in 1975, and Daniel Romana (whom I voted for No. 1 and who didn't make the list at all I could see). The Crowell record was like every other well-made country-folk-art song effort he's done; the Stuart record was a well-lit museum exhibit. I dunno how any country poll can really reconcile country with Americana these days, anyway. They have to be together because the relationship is symbiotic. I wonder how accurate it is to say as Himes does that the Industry is laying out Capital for these Isbell-esque and Price-ian mini-Sturgills? I did like the Moreland album OK as a modern Excello record. Which contains the rub re the labels: The critics go for the genteel-isms and retro leanings of Americana kountry, but even Moreland can be just a plain old country writer, which I don't think Isbell is so much? Will the smell of retro kill the Americanaixation of country? Dunno.
― eddhurt, Friday, 26 January 2018 14:23 (eight months ago) Permalink
Here's the albums list I submitted for the Nashville Scene poll. I beat the deadline by about 10 minutes (the year before I didn't make it in time) so I did't end up getting a songs list done in time. I think I did quickly answer some of the artist, singer, etc. categories but I never feel great about those for some reason (I end up just repeating the choices I made for albums and songs).
TOP TEN COUNTRY ALBUMS OF 2017:
1. Carly Pearce, Every Little Thing 2. Charlie Worsham, Beginning of Things 3. Sunny Sweeney, Trophy4. Brett Eldredge, Brett Eldredge5. Lee Ann Womack, The Lonely, The Lonesome and the Gone 6. Lillie Mae, Forever And Then Some 7. Little Big Town, The Breaker8. Kip Moore, Slowheart9. Kelsea Ballerini, Unapologetic 10.Margo Price, All American Made
― erasingclouds, Friday, 26 January 2018 15:11 (eight months ago) Permalink
very bummed that brandy clark and angaleena presley are playing boston sunday, when i have to cover the grammys
― maura, Friday, 26 January 2018 15:12 (eight months ago) Permalink
About Half Good (60-45%): Nikki Lane: Highway Queen
Sounds low. I don't know if I listened to any other 2017 album more times in 2017 than this one, and it all seems absolutely perfect to me.
― Johnny Fever, Friday, 26 January 2018 15:17 (eight months ago) Permalink
I think Nikki's all right. Not sure her concept goes that deep but Highway Queen has to be her best album to date.
― eddhurt, Friday, 26 January 2018 16:58 (eight months ago) Permalink
Here's my Scene ballot:TOP TEN COUNTRY ALBUMS OF 2017:
1. Daniel Romano Modern Pressure New West2. Midland On the Rocks Big Machine3. Tyler Childers Purgatory Hickman Holler4. Lee Ann Womack The Lonely, the Lonesome & the Gone ATO5. Walker Hayes Boom Monument6. Angaleena Presley Wrangled Thirty Tigers7. Little Bandit Breakfast Alone yk 8. Juanita Stein America Nude Records9. Whitney Rose Rule 62 Six Shooter/Thirty Tigers10. Little Big Town The Breaker Capitol Nashville
TOP TEN COUNTRY SINGLES OF 2017:
1. Check Cashing Country--Midland2. Last Time for Everything--Brad Paisley3. Every Little Thing--Carly Pearce4. Tin Man--Miranda Lambert5. Round Here Buzz--Eric Church6. Softball--Caroline Spence7. I Saw Jesus Peekin' Thru a Hole in the Sky--Will Beeley8. Body Like a Back Road--Sam Hunt9. Better Man--Little Big Town10. You Broke up with Me--Walker Hayes
TOP FIVE COUNTRY REISSUES OF 2017:
1. Will Beeley Passing Dream Tompkins Square2. Lydia Loveless Boy Crazy and Single(s) Bloodshot3. Various Stax Country Craft4. Will Beeley Gallivantin' Tompkins Square5. Arthur Alexander Arthur Alexander Omnivore
― eddhurt, Friday, 26 January 2018 17:12 (eight months ago) Permalink
might be seeing Whitney Rose at a BBQ joint in a few weeks. a free lunchtime show! though i think they violated a health code and are currently closed, so i'm not sure it's gonna happen. if it doesn't she playing another show at a cantina nearby the night previous.
― omar little, Friday, 26 January 2018 18:46 (eight months ago) Permalink
TOP TEN COUNTRY ALBUMS OF 2017:1. Charlie Worsham – Beginning Of Things (Warner Bros.)2. Walker Hayes – Boom (Monument)3. Kelsea Ballerini – Unapologetically (Black River Entertainment)4. Jace Everett – Dust & Dirt (Weston Boys)5. Liz Rose – Swimming Alone (Liz Rose)6. Sunny Sweeney – Trophy (Aunt Daddy)7. Lauren Alaina – Road Less Traveled (Mercury Nashville/19/Interscope)8. Lee Ann Womack – The Lonely, The Lonesome & The Gone (Ato)9. Darius Rucker – When Was the Last Time (Capitol Nashville)10. Nikki Lane – Highway Queen (New West)
TOP TEN COUNTRY SINGLES OF 2017:1. Haley Georgia – “Shots” 2. Haley Georgia – “Becky”3. Ashley McBride – “A Little Dive Bar in Dahlonega”4. Jessie James Decker feat. Randy Houser – “Almost Over You”5. Brandy Clark – “You’re Drunk”6. Midland –“Drinkin’ Problem”7. Bailey Bryan – “Own It”8. Nellie Tiger Travis – “Walking in the Rain in Memphis”9. Hurray for the Riff Raff – “Living in the City”10. Olivia Lane – “Wrong Girl”
― xheddy, Saturday, 27 January 2018 15:04 (eight months ago) Permalink
Guess I need to revisit the Jace Everett album, I liked the Live at Alex the Great. Saw the Kernal and Nicole Atkins at the Single Lock Records showcase here--Kernal was the embodiment of down-at-the-heel '70s country, and Atkins did material from Goodnight Rhonda Lee to great effect. Tight band who bore down on that record's '60s-'70s soul usages, and Atkins is a very convincing white-soul Jersey girl who wears what looks like lounge pants and slippers on stage. That's definitely one of the best Nashville records of the year, but I couldn't shoehorn her Lorraine Ellison soul into country, too uptown, basically.
― eddhurt, Saturday, 27 January 2018 16:40 (eight months ago) Permalink
What did you think of this one, or his others, Edd? Jeez, touring behind it even (Drag City prose ahead,, adjust shades accordingly)
CHRIS GANTRY BRINGS PSYCHOACTIVE OUTLAW COUNTRY TUNES TO CHICAGO
Step back in time and land smack dab in the middle of Music Row with Nashville's living legend and ORIGINAL outlaw country badass, Chris Gantry! At The Hideout next month, for his first performance in Chicago ever, the troubadour will sling tunes from the newly unearthed, early-70s lysergic classic, At The House of Cash and more! Gantry has been writing and recording songs for 40 years, cutting his teeth with solo albums in the late 1960s and 1970s featuring tunes that would be made famous by Glen Campbell ("Dreams of the Everyday Housewife") and Johnny Cash ("Allegheny")-and in true outlaw fashion, Chris continues to write and perform to this day, into his 70s. Gantry's ragged and rowdy maverick spirit, one he cultivated while paling around with Kris Kristofferson, Cash, and Shel Silverstein, is fully evident on his recordings and in his live performances - hell, he's such a wild card even in retirement years, he was cast by Harmony Korine for a role in his film, Trash Humpers.
With sheer wit and judicious charisma, Chris is neither country nor pop, not quite rock but not avant garde, either - like the best artists, his music can't quite be reduced to any one thing, which is exactly the kind of artist we love most! Since Chris' songs are unique and don't succumb to strict definition, it kinda makes sense that an album like At The House Of Cash was never released back when - recorded at Johnny Cash's home studio while Chris got back on his feet there following a marijuana bust and a peyote-enhanced trip to Mexico, it was so singular and strange for its time (particularly trying to imagine it being marketed to a Nashville audience) that it prompted Cash to exclaim, "Chris, June and I listened to your record last night, and I don't think even the drug people are gonna understand it." But we've discovered they do, and so too do the folks on the straight and narrow - Gantry's music is for all, and so we're inviting all Chicagoans to come out for what is quite possibly a once in a lifetime event!
Start hoarding your psychoatives now, Chris Gantry comes to The Hideout on February 22nd, with special guest Jon Langford!CHRIS GANTRY LIVE:
February 22nd at The Hideout in Chicago, IL
Chris Gantry Online: http://www.dragcity.com/artists/chris-gantryhttps://chrisgantrynashville.bandcamp.com/album/at-the-house-of-cash (2 tracks free) https://itunes.apple.com/album/id1276375362
― dow, Saturday, 27 January 2018 21:46 (eight months ago) Permalink
I like Gantry's Fred Foster-produced 1968 Introspection in the Hartford-Campbell-Jack Clement-Fred Neil mode of the day. Motor Mouth from '70 on a Monument imprint is...insane, a kind of Beat poetry reading with one or two really impressive subversions of song form. I think the House of Cash record is typical 1974 art song, nowhere near as good as Big Star's Third but ahead of Vince Martin or Mickey Newbury. I don't think the subversion on the Cash recordings adds up to much; Gantry is surrealistic without a grounding principle, but it's listenable. He really did take the time to distance himself from Newbery when I talked to him last fall, he was the new generation in Nashville.
― eddhurt, Saturday, 27 January 2018 22:05 (eight months ago) Permalink
Himes says Isbell and Price are spurring the industry to become more adult, tell stories. I'd say the list reflects Americana as it has usually (always?) done
Sounds right Edd.
Walker Hayes has that Sam Hunt rap-inspired vocal style plus Shane McAnally assistance, but I still can't make up my mind whether I like it.
― curmudgeon, Monday, 29 January 2018 20:19 (eight months ago) Permalink
Might as well post this here -- a fine new project, inspired by Tom Ewing
― Ned Raggett, Monday, 29 January 2018 20:19 (eight months ago) Permalink
(Should add this is by Robert Ham.)
― Ned Raggett, Monday, 29 January 2018 20:20 (eight months ago) Permalink
Still listening to ones from yall's lists, tweaking the Imaginary Categories before officially blogging the ballot. Thinking about adding this IC, for that doesn't even seem Related, quite:They Came To And/or From Nashville: Walker Hayes, Kelsea Ballerini, and mebbe Nicole Atkins (although I do still think of her as Related via the Dusty In Memphis approach, but that would free up a slot in the Related Top Ten, which I might need...)I really like Walker Hayes, and might add him to Country Hon. Mentions anyway, especially like "Dollar Store," cos Strip Mall Country is way overdue, and I was hoping Midland's "Check-Cashing Country" would be the check-cashing place/wire money place. next to or also with the title pawn, next to tobacco shop, gun & pawn, phone repair & vape, Little Caesar's, and Rite-Aid, now with Pharmacy By Walgreen's.Instead, it's 'bout how they *aren't* check-cashing country, they're into journeyman Dallas-era country, as Edd says, for the love of it, a band full 'o' Ringos---well okay, but so far I suspect the Randy Rogers Band do it better, will keep listening tho.Reminds me: some have objected to their faves being (so far) consigned to About Half Good (60-45%), but this is no diss--a lot of albums in every genre work mich better when filed down to EPs--and the top end of that could put somebody into Hon. Mention or even possibly Top Ten, if the songs are truly outstanding. Also, it can be the overall effect, more than any particular picks. Like xpost Kip Moore's Slowheart, with that sly (incl. sensitive when need-be) voice and beat.
― dow, Thursday, 1 February 2018 19:04 (eight months ago) Permalink
Talking about Caroline Spence: she's doing a residency in January here at the Basement.
Caught the finale of her residency last night. Solid performer, decent band, and the four new songs she played were quite good. Highlight was "You Don't Look So Good (Cocaine)".
― EZ Snappin, Thursday, 1 February 2018 20:26 (eight months ago) Permalink
Was thinking of xpost freeing up a slot in Related Top Ten because so far xpost Jace Everett's Dust & Dirt seems deserving of some Top Ten and I can't revise the Country Top Ten since I already submitted it to the Scene polling (also sent the Related o course but it's Imaginary and doesn't count for Himes's purposes). The production here, especially the vocal, sometimes seemed drier than I was expecting, given the reverb etc. shadows of tumultuous Red Revelations, which made my 2009 Top Ten and incl. "Bad Things," the theme from True Blood. But this is more subtle, though straightforwardly re the spookiness of realer worlds (would still fit the satirical implications of TB, which is now RIP, I think).There's one about love setting him free from the black-and-white view, although he's still not sure if your eyes are Green or Blue." It's okay though, so far.He announces he's back in the b-&-w (more as an overall rigid dichotomy than racial per se, here, maybe) in "Free (Don't Ask Me)." Followed by the even more ominous "Love's Not What We Do"---though the dryness keeps the atmospherics from getting too heavy. Ditto on his lean-groove cover of Guy Clark's "The Last Gunfighter Ballad," where the G. ends up waving his weapon at "the ghosts in the street", which Everett's shrewd Clark-style delivery has me thinking might well be the cops, or Stand-Your-Ground civilians.There are also a few conventional love songs, or they seem so pro forma because of the understated delivery. But the total effect was pretty involving right off. Will check it some more, like these others.
― dow, Thursday, 1 February 2018 20:28 (eight months ago) Permalink
Still gotta check that Spence acoustic EP.
― dow, Thursday, 1 February 2018 20:32 (eight months ago) Permalink
It's good. I like the album versions more though.
She said there's going to be a release of duets she recorded with Robby Hecht in May. Not sure if it's an EP or an LP. He joined her to sing "Parallel Lines" which was one of the best songs in the set. I believe her next album is done, too, but she didn't mention it.
― EZ Snappin, Thursday, 1 February 2018 20:38 (eight months ago) Permalink
Yeah, EZ, she told me last month that she was going to record one of the nights of the residency for release. Wish I could've caught one of them. Dow, I think the Jace album from last year is really good, and he cut an interesting live thing with his trio couple years ago too. Xhuxkk was the one who got me onto the Jace album, which would've made my top ten, probably, had I known about it, missed it.
― eddhurt, Thursday, 1 February 2018 21:14 (eight months ago) Permalink
Same here, I wouldn't have known about the latest Jace if Xhuxcx hadn't just dropped in with his Top Tens, thanx xhuddy.Speaking of discreet delivery of sometimes weird product, consider also Stax Country, and thanks to Edd for listing this. Given the title, I was kind of hoping for, you know, country soul, country funk, just a little bit at least--the only one that's like I was imagining is Danny Bryan's version of "My Girl"--which is not the self-congratulatory, novelty approach sometimes found on Light In The Attic's Country Funk 2 (which is still real good and real stoned). It's just his thankful 'n' thoughtful, unpretentious voice, mostly solo, although there are occasional angels and strings way back there, otherwise, just him and the steel guitar, a little rhythm picking, piano, bass, drums. Of course, that's not the weirdo material---Paul Craft's "For Linda (Child In The Cradle," is a gentle waltz, which starts with a lyrical bang, "She's 27 going on 42, with a body that's just turned 16," and some think she's a crazy groupie, but "She's true to the friends and lovers she's made." Very nice tone to the verses, which doesn't break for the chorus, "She's a father, she's a bummer, she's a mother (or mutha), she's a hummer," whut which among other thangs sounds like a parody of Kristofferson's "He's a poet, he's a picker," or however it goes.(This album is apparently on the Craft label---he wrote a bunch of hits and some presumably lucrative album tracks, so maybe his estate is using some of those Eagles bucks for this?)Kind of an easier-breathing "Okie From Muskogee" feel to Roland Eaton's "Hippie From The Hills," which starts with "No my hair's not long because I'm cool, Pa broke the shears last winter, shearin' the family mule," and tells the bittersweet story of his young life so far. He's not complaining, and it's a nice vibe.Connie Eaton's "I Wanna Be Wrong Right Now" turns understatement to moist apology, but Paige O'Brian's "Satisfied Woman" is poised and "knows the score."O.B. McClinton claims that a lady raised among "The Finer Things In Life" has given them all up for his hobo ass, but Karen Casey's much more plausible "The River Is Too Wide" follows immediately, an answer song in this context.Not all tracks are all that good, but for instance Becki Bluefield gets points for repeatedly pronouncing "there" as "thar" unself-consciously, and elsewhere there is or are some calm plagiarism I can't mention.---
― dow, Friday, 2 February 2018 00:56 (eight months ago) Permalink
Sorry--"his crinkly-voice hobo ass" is what I meant to say: mellow tones don't hide the uncut wistful thinking BS, not here anyway.
― dow, Friday, 2 February 2018 01:10 (eight months ago) Permalink
Thanks to erasingclouds for posting the Top Ten incl. Lillie Mae's Forever and Then Some: startling degree of fairly intimate, vivid focus and shading right away, especially considering its her debut--but then, as she says in the following interview, "Ive been working since I was three," starting in the family bluegrass band, Jypsi, and later in a combo with some of her sibs, who (along with still more not in the post-Jypsi teen line-up) play on this set, very cohesively, and non-showboating, sometimes hooky mandolinist sister Scarlett also does some writing and aranging: the style is their own sort of folk-country, though bass & drums have some pop-rock (especially pop) appeal, with occasionally noticeable electric guitar---but def. don't hear it like this interviewer re "indie rock attack" behind the mando, fiddle and other strings (the closer goes into more of an exploratory electric folk modal thing, briefly, guess that could be considered indie-pop-rock).
Slender but effective voice, rec to fans of Victoria Williams, Whitney Rose, Natalie Maines and Sunny Sweeney (Louisiana-Texas-suggestive flexings and inflections at times, though don't think she's from that neck of the woods geographically), listened to subsets of tracks on Spotify during fairly hectic Monday, but no prob getting back into it; faves so far are "Loaner" and the title song.
Good intro and conversation:https://www.npr.org/sections/world-cafe/2017/06/30/529708788/world-cafe-nashville-lillie-mae
― dow, Monday, 5 February 2018 21:14 (eight months ago) Permalink
Is and sounds young, but has been around the block as well as the mountain.
― dow, Monday, 5 February 2018 21:16 (eight months ago) Permalink
Someone else sounding young but experienced and thoughtfully candid, and also from erasingclouds' xpost list: Brett Eldredge, on his s/t fourth album. Younger than Toby Keith was when he starting having hits BE's already had three country number ones), and minus the moods and shrewds just below the robust, sufficiently sensitive surface---also without the vocal range--but Eldredge knows how to use what he's got, and, although as with xpost Kip Moore's 2017 album, it's more about the overall effect here, but each track has its own themette, and "Superhero" rolls into its chorus like TK would approve, the singer kidding himself but into it too, on the look-out for Damsels In Distress, verse by sufficiently sensitive verse. He's into chasing the "Heartbreaker" too, no complaints, and he's pretty good (lots of practice) at the groveling, unnecessarily self-described drunk dial on another.His version of a bro song is "Brother", which starts like "We need to talk about why we've been playin' tough all these years"--instead it goes into okay bromantic nostalic anthemizing "You had my back when Dad got sick...you were my first call that night in jail, you raised my bail" later not quite rhyming it with "raised some hell." "Cycles" also philosophically overviewing, and another with a touch of the late-80s-early-90s headphones atmospherics (speaking or early Toby Keith). The Happy Hour cowpoke, always hopeful and cleaned up nice, in part because he may have just come from work.
― dow, Wednesday, 7 February 2018 20:45 (eight months ago) Permalink
Oops, meant to link! It's all here:https://bretteldredge.bandcamp.com/album/brett-eldredge
― dow, Wednesday, 7 February 2018 20:46 (eight months ago) Permalink
Y'all heard Zane Campbell? Check out the Washington Post piece on him. He's played with the great pedal-steel wiz Susan Alcorn, whom I saw last year in Nashville and who blew my mind. She does stuff undreamed of by Buddy Emmons and Weldon Myrick (and Sneaky Pete too). What I've heard of Campbell's music sounds pretty impressive.
― eddhurt, Wednesday, 7 February 2018 23:37 (eight months ago) Permalink
new Brandi Carlile streaming at NPRhttps://www.npr.org/2018/02/08/582106372/first-listen-brandi-carlile-by-the-way-i-forgive-you
― Simon H., Thursday, 8 February 2018 13:32 (eight months ago) Permalink
Yeah, gotta check that, I like her, gotta check Zane Campbell too. Just listened to Natalie Hemby's Puxico for the first time---will at least another spin or 2 or more to catch all the words in her murmuring condifence in both senses: so far her ruminations seem saved from too much singer-songwriter navelgazing by surefooted professionalism, most of the time. Her songs have been covered by Woamack and other worthies, and several of these could be singles. One of the initial stand-outs is especially lilting, as she walks through a town basking in the sunshine of your love, "you" being a local hero or heroine gone somewhere, but "They still tell your stories, swap your jokes," and as she walks the high school halls, sees "your pictures in the trophy cases." Next song is maybe sung by another character, who has found that the details of a past (?) relationship have become "trapped in the photographs,,,Just when I understand everything about our story, that's when I forget." Now it's all "feelings in the walls," but sounds like that's okay, more than okay,also part of the cycle, but nothing mystical. Her tunes and delivery are straightforward as always.
Which also helps with the likes of "Ferris Wheel," similar conceptually to "Circle Game," but her take is not a sing-along for sad Boomers: it seems like a good old sawdust county fair memory and theme song; she ain't sorry.
― dow, Friday, 9 February 2018 18:29 (eight months ago) Permalink
from now on when non-mainstream country/roots acts jump from 400- to 1200-cap rooms in 6 months, they're on The Sturgill Journey
― alpine static, Thursday, 9 August 2018 21:02 (two months ago) Permalink
mm i would talk to some people in saskatchewan about him being "non-mainstream"
― maura, Thursday, 9 August 2018 23:00 (two months ago) Permalink
just feel like it's worth noting that he's received pushback from people less than thrilled with his dad
(also what even is "mainstream" these days that isn't like... florida georgia line)
― F# A# (∞), Friday, 10 August 2018 00:21 (two months ago) Permalink
well there are these things called “legs up” you see and they tend to perpetuate hegemony on certain levels anyway i read stuff. i don’t know if i agree with their assessment. i’m just saying, “mainstream” or non is a slippery way to define quality, especially in this fragmented time.
― maura, Friday, 10 August 2018 02:30 (two months ago) Permalink
Paisley was on Fallon or Myers show this week; guess he's still the mainstream, despite that there Welcome Obama song, and the one about racial tolerance in general, which caught some flak from various sides, but so far he hasn't gotten the Dixie Chicks (and Eric Church?) treatment. Miranda Lambert had all them hits, but now she's kinda weird, on her own albums and w Pistol Annies (who have a third album at least in the planning stages, according to Monroe). Chesney still keeps everything paved over, so he's real dependable mainstream. Jason Aldean has probably had some discussions with his people re future venues, at least I would hope so, but no cracks in the pavement that I've noticed.Hot Buttered Rum have a somewhat misleading name, like they're some kind of lumberjack party band---true, they keep it moving---their mandolinist is also/maybe mainly their drummer---but one of the perkiest numbers on the well-titled Lonesome Panoramic is 'bout how when that lonesome feeling comes around, you better let it in, it might just tell you something; one of the catchiest (even some scat-singing at the end) is 'bout how "You don't know what lonesome is, 'til lonesome's gone." Some of it seems a bit murky so far, but also a spooky, almost country-noir ballad 'bout how there's shit you can't take back: a father's looking for his derelict son, his runaway daughter, while sort of acknowledging that he's not perfect.Rec to fans of Western Centuries, the pensive-yet-limber side of Hunter-Garcia, post-Marmaduke New Riders.
― dow, Friday, 10 August 2018 17:55 (two months ago) Permalink
Not that I'm anti-mainstream, but hard to find a mostly satisfying album of it these days (I'm mostly an album listener). Maybe I was spoiled by the late 90s-early 00s. Still, post-peak Tim McGraw units are always good for at least a few sparky, distinctive tracks, even the mostly ridiculous duet set w Faith Hill, which goes bad in a sparky, distinctive. listenable way---amwazingly bad! And how often does that happen, in any genre? Something went out of the music when the Four Seasons and Jefferson Starship stopped making new records (yes, they're probably still playing somewhere).
― dow, Saturday, 11 August 2018 14:16 (two months ago) Permalink
*amazingly* bad too
― dow, Saturday, 11 August 2018 14:22 (two months ago) Permalink
Although at least xgau is still/maybe more than ever capable of the occasional amazingly bad music pick---can't believe he recently gave Chicago Farmer's Quartet Past Midnight an A minus! A few decent tracks--though most of those don't urge me past a couple listens---but overall this is exactly the kind of cute corny cliche, self-promoting folkie sensitivity training he used to scorn. Of course he's an expert talker, even has a routine 'bout how you too can learn the faux-Arlo delivery, but all too often the songs seem anti-climatic after the set-ups, in that common folkie club way.But sometimes he does manage an effective anecdotal-musical merger, my fave being the one about his neighbors, offspring of the Chicago powerhouse-to-rustbelt working class, who start their own bakery, everything looking up 'til the '08 evaporation of credit etc., to which their response incl. working even harder, becoming closet methhheads. This comes to light after their children turn up at school "blind, and the other one couldn't see"---a uniquely tasteless joek/journalistic detail from the Farmer, maybe an actual anti-tearjerking move, even though this is one of his least tearjerking songs. Anyway, it's not too big a jolt, maybe because it's something a neighbor might gossip, at least to himself.Rec. to fans of early Prine, Silverstein, Steve Goodman, his buddy Arlo, but only if you're fairly desperate for more of that good old Old Town plaid yarntunespinning Chicago stuff.
― dow, Saturday, 11 August 2018 15:36 (two months ago) Permalink
Brothers Osborne, Port Saint Joe: Oho, I like Brother John's vintage-ish etc. as contemporary country instrumental settings very well and right away; famous geezers who know they need freshening up should borry him (and producer Jay Joyce's board team). Brother TJ's vocals tend to point up the limitations of the songs, but it all comes together sometimes, often enough that I'll keep listening for sure, whole or most of it may grow on me.
― dow, Monday, 13 August 2018 16:21 (two months ago) Permalink
xp Pistol Annies album is now far past prev. announced "planning stages," reports A Taste of Country:
The country-singing trio have been in the studio this year working on their third album. Presley reveals to the Boot that she and her Annies partners have finished recording at least an album's worth of new material, saying: "We just finished our third record."
― dow, Tuesday, 14 August 2018 00:33 (two months ago) Permalink
Ruby Boots' Don't Talk About runs the two-lane from Brenda Lee to Nikki Lane (was thinking that before I read that the actual NL co-writes and sings on some of this), also Nashville to British Invasionville and back, country enough (via twangy vocal linchpin, for inst) that nearly a cappella gospelly waltz "I Am A Woman" sounds at home between garage stompers "Somebody Else" and "Infatuation" (former also feat. good fuzztone---Texas Gentlemen can go wherever she leads). Finale "Don't Give A Damn" starts with acoustic strum and shaker, goes to full kit and randomized electric howls, keeping that Maro Price Mellencamp, born-in-a-barn catchiness (yes, it's on Bloodshot). Not original atall, but/and so far mostly good.Although a few tracks do have me looking at my watch---one prob w hot chesnut associations is when you might start to recall that old tyme radio edits weren't much over 3'30", at most, while most of these go on up for to a minute longer
― dow, Wednesday, 15 August 2018 20:29 (two months ago) Permalink
Don't Talk About *It*(emphasis added)!
― dow, Wednesday, 15 August 2018 20:31 (two months ago) Permalink
Margo Margo *Margo*---sorry again!
― dow, Wednesday, 15 August 2018 20:32 (two months ago) Permalink
Not sure if this is for this thread or the world music one, but I've been enjoying the reissue of Jess Sah Bi & Peter One's Our Garden Needs Its Flowers - mid-80s Cote D'Ivoire take on 70s US country & folk-rock.
― etc, Monday, 20 August 2018 04:42 (two months ago) Permalink
on first listen "To The Sunset" by Amanda Shires sounds like a good album from a promising artist
other ilxors hold it in high regard, so I'm thinking it may be a grower
― niels, Monday, 20 August 2018 15:06 (two months ago) Permalink
xp Thanks, etc.! Got into it right away. Incl. lots of good info & descriptions: ... fusion of traditional Ivorian village songs and American and English country and folk-rock music. Jess and Peter sang in French and English, delivering beautifully harmonized meditations on social injustice and inequality, calls for unity across the African continent, an end to apartheid in South Africa and the odd song for the ladies, all set against lush guitar riffs, rustic harmonica and rollicking feel-good rhythms. Although I'd say "sophisticated," not "lush," the way they take what they need from what they like---title track suggests Don Williams guiding Crosby Stills & Nash in a non-snoozey, shuffley direction---"rollicking" is an overstatement, but on a foggy morning this set cleared my head right up.
― dow, Tuesday, 21 August 2018 17:35 (two months ago) Permalink
Aug. 24 press release onslaught:
COLTER WALL’S “SASKATCHEWAN IN 1881” PREMIERES TODAYNEW ALBUM “SONGS OF THE PLAINS” OUT OCTOBER 12EXTENSIVE HEADLINE TOUR CONFIMRED
“AMONG THE MOST REFLECTIVE YOUNG COUNTRY SINGERS OF HIS GENERATION”---The New Yorker
Colter Wall’s new song “Saskatchewan in 1881” is premiering today. Listen/share HERE. The song comes from Wall’s highly anticipated new album, Songs of the Plains, which will be released October 12 on Young Mary’s Record Co. via Thirty Tigers and is now available for pre-order.Recorded at Nashville’s RCA Studio A with Grammy Award-winning producer Dave Cobb, the album features eleven songs including seven original songs written by Wall, versions of Billy Don Burns’ “Wild Dogs” and Wilf Carter’s “Calgary Round-Up” as well as two cowboy traditionals, “Night Herding Song” and “Tying Knots in the Devil’s Tail.” Each digital pre-order comes with an immediate download of three album tracks: “Saskatchewan in 1881,” “Calgary Round-Up” and “Plain to See Plainsman,” which was released earlier this summer. Of the song, Rolling Stone declares, “…Colter Wall delivers this classic-minded cowboy song in a leathery, lived-in baritone. There’s some soft percussion and honking harmonica tossed into the mix, too, but Wall’s voice is the biggest attraction here, sounding less like the croon of a Canadian-born Millennial and more like Roger Miller after a long night of drinking.”Of the album, Wall comments, “One thing I’ve noticed over the last few years, in the United States and playing in Europe, is that people all over the world really don’t know much about Canada at all…When you talk about Saskatchewan, people really have no idea. Part of it is because there are so few people there. It’s an empty place—it makes sense that people don’t know much about it. But that’s my home, so naturally I’m passionate about it. With this record, I really wanted people to look at our Western heritage and our culture.”In addition to Wall (vocals, acoustic guitar), the album also features Cobb (acoustic guitar), Lloyd Green (pedal steel), Chris Powell (drums, spoons), Jason Simpson (bass), Mickey Raphael (harmonica), Blake Berglund (vocals) and Corb Lund (vocals). The Saskatchewan native will tour extensively this fall in celebration of the release with headline shows at New York’s Irving Plaza, Nashville’s The Basement East (two nights), Washington D.C.’s 9:30 Club, Seattle’s Showbox @ The Market and Atlanta’s Variety Playhouse among many others. Tickets are on sale now. See below for complete details.
Photo credit: Little Jack FilmsThe release of Songs of the Plains follows a breakthrough year for the Canadian artist, whose self-titled debut album was released last May to widespread critical acclaim. The album entered the Billboard charts at #2 on “Top New Artist Albums” as well as #6 on the “Americana/Folk Albums” chart, #11 on the “Independent Current Albums” chart and #14 on the “Current Country Albums” chart. Additionally, it landed on several “Best of 2017” lists including Rolling Stone, Paste, Stereogum, The Boston Globe and UPROXX, who praised, “…this self-titled slow burner is surprisingly fresh, full of existential dread and gorgeous, meandering melodies that occasionally whip themselves up into frenzies. For all your friends who declare pop has cannibalized country, play Colter Wall for them, and watch them slip back into the outlaw past with glee.” Moreover, The New Yorker declared, “Wall is among the most reflective young country singers of his generation... His ace in the hole is his showstopping voice: a resonant, husky baritone, wounded and vulnerable.” SONGS OF THE PLAINS TRACK LIST:1. “Plain to See Plainsman” (written by Colter Wall)2. “Saskatchewan In 1881” (written by Colter Wall)3. “John Beyers (Camaro Song)” (written by Colter Wall)4. “Wild Dogs” (written by Billy Don Burns)5. “Calgary Round-Up” (written by Wilf Carter)6. “Night Herding Song” (Cowboy Traditional)7. “Wild Bill Hickok” (written by Colter Wall)8. “The Trains are Gone” (written by Colter Wall)9. “Thinkin’ on a Woman” (written by Colter Wall)10. “Manitoba Man” (written by Colter Wall)11. “Tying Knots in the Devil’s Tail” (Cowboy Traditional)COLTER WALL CONFIRMED TOUR DATESAugust 24—Tonder, Denmark—Tonder FestivalAugust 29—London, U.K. —ScalaAugust 30—Manchester, U.K. —GorillaSeptember 1—Salisbury, U.K. —End of the Road FestivalSeptember 2—Stradbally, Ireland—Electric PicnicSeptember 12—Nashville, TN—AmericanaFestSeptember 14-15—Athens, Ontario—Festival of Small HallsSeptember 16—Lansdowne Park, Ottawa—City FolkSeptember 23—Indianapolis, IN—Holler on the Hill FestivalOctober 12—Saskatoon, Saskatchewan—O’Brian’s Event CentreOctober 13—Saskatoon, Saskatchewan—O’Brian’s Event Centre (SOLD-OUT)October 16—Regina, Saskatchewan—Conexus Convention HallOctober 18—Edmonton, Alberta—Union HallOctober 19—Calgary, Alberta—Macewan Hall BallroomOctober 21—Missoula, MT—Top HatOctober 22—Bozeman, MT—The RialtoOctober 23—Billings, MT—Pub Station TaproomOctober 25—Omaha, NE—The Waiting RoomOctober 26—Des Moines, IA—WoolysOctober 27—Maquoketa, IA—Codfish Hollow BarnOctober 28—Detroit, MI—Majestic TheatreOctober 30—Columbus, OH—A&R Music BarOctober 31—Pittsburgh, PA—Club AENovember 2—Somerville, MA—Somerville TheaterNovember 3—South Burlington, VT—Higher Ground BallroomNovember 5—New York, NY—Irving PlazaNovember 8—Charlotte, NC—Neighborhood TheatreNovember 9—Richmond, VA—Richmond Music Hall November 11—Carrboro, NC—Cats CradleNovember 14—Nashville, TN—The Basement EastNovember 15—Nashville, TN—The Basement EastNovember 16—Asheville, NC—The Grey EagleNovember 17—Atlanta, GA—Variety PlayhouseNovember 18—Charleston, SC—Charleston Music HallNovember 24—Toronto, Ontario—Opera HouseNovember 28—Washington, D.C. —9:30 ClubDecember 1—Madison, WI—Majestic TheatreDecember 2—Columbia, MO—The Blue NoteDecember 10—Santa Fe, NM—Meow WolfDecember 12—Solana Beach, CA—Belly UpDecember 14—Los Angeles, CA—El Rey TheatreJanuary 19, 2019—Vancouver, British Columbia—Commodore BallroomJanuary 20, 2019—Seattle, WA—The Showbox @ The Market www.colterwall.com
― dow, Sunday, 26 August 2018 19:20 (one month ago) Permalink
i've been listening to sask in 1881 a lot for over a year now
i think this one is better than the studio version
― F# A# (∞), Sunday, 26 August 2018 20:23 (one month ago) Permalink
this is good, brings the Whiskeytown/RA vibes:
― alpine static, Tuesday, 11 September 2018 18:09 (one month ago) Permalink
ugh, yeah some of those tracks/lines hit me hard
― F# A# (∞), Wednesday, 12 September 2018 03:58 (one month ago) Permalink
Got memo @4:14 CST, no idear how long offer is good for:Announcing a free download of Garth Brooks' latest album, Triple Live Fresh off this week's appearance on America's Got Talent, Garth Brooks has announced his newest album, Triple Live, is available to download on Amazon, free for a limited time! This new collection of music features 26 tracks taken from live performances throughout his recent world tour.
Click below for your free download of Triple Live, as well as two of his other blockbuster albums, The Chase and In Pieces. Amazon is what it is. Just now downloaded Triple Live( w/o Amazon Music app), and I'll do well to make it through all of that, so may not get the earlier ones.
― dow, Thursday, 20 September 2018 21:45 (one month ago) Permalink
What the heck, I got those too.
― dow, Thursday, 20 September 2018 21:54 (one month ago) Permalink
― Machine Gunk Jelly (Spottie), Thursday, 20 September 2018 23:24 (one month ago) Permalink
i pressed play on her album on spotify just bc i liked the cover art but lydia luce's azalea is kind of a surprisingly good countryish folk/folkish country record so far
― princess of hell (BradNelson), Friday, 21 September 2018 17:09 (one month ago) Permalink
― princess of hell (BradNelson), Friday, 21 September 2018 17:10 (one month ago) Permalink
piece re: missing country music on the Pitchfork '80s list
― omar little, Friday, 21 September 2018 17:16 (one month ago) Permalink
Charlie Robison is retiring from music due to complications from surgery that left him unable to sing. I haven't listened to anything of his in a while, but his 2004 Good Times album has some favorites on it.
― how's life, Tuesday, 25 September 2018 15:17 (three weeks ago) Permalink
xpost Garth's Triple Livetook some getting used to on the first set, with distracting sound quality and badly timed blurts, also massive audience chant-alongs, sometimes overemphasizing the more simplistic lyrics and less hooky tunes, which is most of 'em, at least as presented here (dude obv luvs pop-rock so wot's, uh, the deal) despite the okay band and occasional back-up vocalists--the on-stage ones that, is---but it gets better, and overall seems like at least a (shortish) LP's worth of striking songs and performances. He presents and testifies and is a quick change artist in the hot midst of the blistery mystery of life and love and fun and sorrow, hallelujah.Will def have to check studio version of "In Another's Eyes," re inttriguing lyrics partially blotted here ( nevertheless, we get good duet w Trisha, whom I prev. considerd the definition of boredom). Especially impressed by "Mom":child scared of being born, is reassured by God re soon will meet an Earthly guide on the patch back to Himself: just barely time enough for that to seem a little spooky, and then look out for "Mama sure was a looker...Daddy's in the pen," cheatin' and Maker-meetin' in between, wheee---somewhere down the road, the responsible salaryman who knows he works so hard because he's controlled by somebody else, transmutes into your "Shameless" and triumphant madman, higher and higher on risk and sacrifice. This is the best of his gut-swaying Elton John-like anthems, at least in this setting; others can seem redundant, over-explaining his principles---"Whiskey to Wine" (it's not the same high") comes close to overexplaining, but it's a supple toon, another good duet with Trisha, as they settle for each other, but not really, so their secret or maybe post-counselling/too-amicably-separating selves sing to and with each other.Then there's angry suicide as creative breakthrough in "The Beaches of Cheyenne," and then there's "The River," "changing all the time," and then there's "The Fireman," "makin' my rounds all over town, puttin' out old flames," and then he gets progressive in a natural and chosen way on the finale,"We Shall Be Free."But in between those and a few others, like "Friends in Low Places," o mannn----howsomeever, I now find myself seriously wondering if I will buy his ten-disc set, on Amazon for 15.98 (no shipping & handling if Prime).
― dow, Tuesday, 25 September 2018 19:22 (three weeks ago) Permalink
the *path* back to Himself (of course it is but a patchy path, this life and world)
― dow, Tuesday, 25 September 2018 19:24 (three weeks ago) Permalink
However the movie story goes, and I hope it's not this relaxed, Blaze Original Soundtrack (type it that way if you look up on Spotify, although looks like I should check out that guy's Blaze Sountrack playlist) calmly presents the title character as a reflective fella, riding the bus and occasionally venturing into the bar, sitting by the road, frequently dubious of his choices and acutely aware of the gaps in himself and in crowds, distrusting the flow and churn and everything else except his baby. Sounds like she (played by Alia Shawkat, who brings more definition to the better Ben-as-Blaze ruminations) might be what keeps him so sweet (though the real-life Blaze was brave and honorable enough to die defending a friend, trying to defuse a confrontation). The tumult, incl. the actual lifestyle miles, does come outside in the closer, "Drunken Angel," written about him by Lucinda Williams, sung here by Alynda Segarra, with none of the Snorah Jones tendencies of he Hurry For The Riff Raff breakthrough (guess I better check the follow-up, which is said to be more dynamic, and the previous set had its keepers for sure). She's also good w lead actor-singer Ben Dickey on Blind Willie McTell's "Pearly Gates, " another wake-up change of pace, which gets jokey at one point, without disturbing the overall sense of aspiration and conviction---"When this short life is over," he means to keep fingerpicking through yon portals. Which goes right with the brief glimpse of Robin and Little John bopping through Sherwood Forest, not knowing or caring about bad water or the bad Sheriff, in Roger Miller's brief "Od-De-Lally" (so I guess I better check out that 2018 Roger Miller tribute collection too).The shadings in Foley's better originals aren't eclipsed by the covers, even of Townes Van Zandt's stark "Marie," a tale of what might have happened to Foley and his Sylvia, did happen to many others, on the street and under the bridge, with just a few wronger turns. Though it's performed here by Charlie Sexton, mainly a guitarist, and his sincere, sometimes soft vocal begs comparison's with TVZ's unrelenting clarity, though they're equally succinct.Starts and stays snoozey for a while, but seems like 8 out of 12 good 'uns (though maybe I'm too just dried up for "Blaze & Sylvia's Lullaby," another duet with Alia Shawkat, and it's the lone Dickey original, no snoozier than the preceding Foley originals--what the hell, I admire it from afar. Cute couple.)Grab a coffee and turn it up, or just listen near bedtime.
― dow, Friday, 28 September 2018 03:16 (three weeks ago) Permalink
Yep "Od-De-Lally" sounds good on the Roger Miller tribute too, even though I usually don't like Eric Church's little voice, but he sounds hearty and absurdist here, jumpin' through the hoops of careless and outrageous fortune, incl. good luck and the Sheriff's traps too (bass shadows keep coming up). 37 tracks and I gotta listen some more, but pretty sure Ringo's version of "Hey Would You It Down" is one for my Beatles and Ex-Beatles tape, and overall sense that the Bird of Paradise has long since flown up yore nose and is still flying and bouncing off the dusty walls of all that room up there, which (so far) gets me through some of the more woeful ballads, cos whut does he know other than happy and sad and life and death and bippity dang boppa=me. We'll see. Cool cracks and zesty-old-guesty remakes (not rowdy enough to alarm the caretakers) from the man himself.
― dow, Monday, 8 October 2018 21:47 (two weeks ago) Permalink
Also enjoying Roland White and Friends' A Tribute To The Kentucky Colonels, which comes out Oct. 26 and reworks several tracks from the KC's 1964(before Clarence joined the Byrds) Appalachian Swing. If that title appeals to you, you'll probably dig this set.
― dow, Monday, 8 October 2018 22:11 (two weeks ago) Permalink
Also getting into Mary Gauthier's Rifles and Rosary Beads, songs written with soldiers--had assumed that these last were all vets of Afghanistan and Iraq, but no reason they couldn't have been in Vietnam or elsewhere. Incisive details of experience, Over There and Homefront, keep it grounded, not too anthemy or sloggy, past maybe the opener. MG's got the wiry arrangements, spare and flexible, and enough voice for whatever occasion, without over- or underdoing it (I'm always startled by the various ways she repeats the title phrase of the always startled "It's Your Love." "Morphine 1, 2" gradually turns into something like a country Lou Reed song, but it fits. "I Got Your 6" is a sly little possum, "Iraq" is a furtive message with no time for all the details, but the singer, male or female, is "a mechanic...I try to fit in...what I don't give they take..." Others are def guys or gals, in particular circumstances, incl. marital and professional.Lots more here, incl, co-writes w SWS co-founder Darden Smith and many others, ongoing:https://songwritingwithsoldiers.bandcamp.com/
― dow, Monday, 8 October 2018 22:32 (two weeks ago) Permalink
I'm liking the Eric Church record, which is sparer than a country superstar's needs to be.
― You like queer? I like queer. Still like queer. (Alfred, Lord Sotosyn), Monday, 8 October 2018 22:40 (two weeks ago) Permalink
Just listened to that, and I'm more than pleasantly surprised! The spareness seems relaxed, confident, thoughtful--even "Monsters,", which he has learned are not under the bed, so he's grateful that he also learned to pray, sounds like a humble sop, but is not overundersold, and mention of letting his little son sleep next to him to keep the monsters at bay, does not incl. teaching said son to pray; he seems to be letting him learn at his own pace, as Daddy apparently did (no memories of Churches at church, choirs fading in and out etc. etc.).The writing and arrangements are usually taut, resourceful, even daring at times, like he's really learned from hippie radio, and not the one in the disappointing track of that title. Most startling moment is when he suddenly starts wobbling that note in "Higher Wire," fixing to take off---also like the quavery verse voice on "Solid," setting up the chorus. and the way the back-to-basics "Jukebox and A Bar" sets up the attempt to chill of "Drowning Man, " in which thinking about politics has driven him to drink once more; weed's not gonna cut it tonight or today.
― dow, Tuesday, 9 October 2018 21:05 (one week ago) Permalink
Because--monsters really aren't under the bed! Well not all of 'em, nosiree.
― dow, Tuesday, 9 October 2018 21:09 (one week ago) Permalink
colter doing a traditional cowboy ballad
― F# A# (∞), Sunday, 14 October 2018 05:45 (one week ago) Permalink
I'm convinced: the Church is his best since Chief and when it's on ("Higher Wire," "Solid," "Some of It") his best ever.
― You like queer? I like queer. Still like queer. (Alfred, Lord Sotosyn), Sunday, 14 October 2018 12:41 (one week ago) Permalink
Not wowed by big hit “Life Changes,” by Thomas Rhett (from 2017 album still getting radio airplay this year)
His country songwriter Dad is proud of him:
“He doesn’t sit down and say, ‘I’m going to write the most different song today.’ His songs just come out pushing the envelope naturally,” Akins said. “You have to learn that Thomas Rhett has always known since he was a kid, since he was old enough to know what was cool and what wasn’t cool, he knows the trends before they’re going to happen.”
― curmudgeon, Monday, 15 October 2018 04:09 (one week ago) Permalink
Did this on the Watson twins: https://www.nashvillescene.com/music/spin/article/21027316/the-watson-twins-bring-heavenly-vocals-and-special-guests-to-the-basement
and on Austin Lucas: https://www.nashvillescene.com/music/features/article/21023914/austin-lucas-transcends-americana-on-his-new-lp-immortal-americans
― eddhurt, Tuesday, 16 October 2018 00:19 (six days ago) Permalink
Albini production on Austin Lucas....interesting. Will check it out
― curmudgeon, Wednesday, 17 October 2018 18:26 (five days ago) Permalink
Eric Church channeling/ripping off "Sympathy for the Devil" on "Desperate Man" not bad
― niels, Friday, 19 October 2018 09:22 (three days ago) Permalink
Rhett's 2015 Tangled Up was really fun; didn't nec. think of it as bro country, but if so, as some tagged it, he was the only country bro good for a whole album. Past the duet with Maren Morris, Life Changes was disappointing."Lake of Fire," written by Christy Hays, was one of the few good tracks on last year's Bruce Robison & The Back Porch Band (although they spelled her name wrong). 2018's River Swimmer presents her as a true lady of the canyon, with a big chunk of aural atmosphere down and up there, incl. good drummer and/or programming digging in---touchstone might be Emmylou's Wrecking Ball, also the more recent Lucinda Williams albums, though without vocal slurs or drunken angels or ghosts on the highway. Plenty of shadows and light, re sense of time (of day and season and sometimes lifespan) and place (usually out west, but sometimes just east of the Mississippi, and then there's that "Town Under The Ground," where I wanna go). Some substantial songwriting for sure, restless and grounded, but a couple mostly going for Americana airplay, and the sonics can be too rich for me to digest the whole set in a single listening. That's okay though. It's all here, along with some earlier releases, which I haven't checked yet:https://christyhays.bandcamp.com/
― dow, Friday, 19 October 2018 16:09 (three days ago) Permalink
I really like those Lucinda albums, for the most part, but glad that this isn't too close!
― dow, Friday, 19 October 2018 16:11 (three days ago) Permalink
Good to know there's a new Austin Lucas!
― dow, Friday, 19 October 2018 16:14 (three days ago) Permalink
Listening to the Hays again: no prob this time w the sound design, which I'm absorbing and being absorbed by/accepting as such, with conversational appeal in the foreground, and lots of good lines in the verses, but somehow they don't pull me in as consistently as the choruses---would rather have it that way than the reverse, if I had to choose, so I just did---but some of that effect comes from the way lines in the verses get me thinking, so that I may miss the next thing she says, as can happen in good non-musical conversations---but some other times my mind just wanders away completely, for the next line or two, and I blame her more than me. Maybe unfairly, and good album overall, but for now I'm going onto something else (the latest Loretta Lynn, most likely, or Garcia's Before The Dead box).
― dow, Saturday, 20 October 2018 04:59 (two days ago) Permalink
One more bit about Hays and then I'll shut up: For once, the traveler sounds positively proud of herself for reaching a destination. Then gradually not so much, and then, "I hate it when you worry about me!" Settles back down, before sliding into the chorus and title, "Don't let me diiie/In California." A call, not a cry, and commanding, robust (might not know anything was wrong if she didn't imply it, or if you didn't know her too well, as apparently somebody dies). The call keeps rising and falling, staying in place, being answered by a nagging little guitar figure, suggesting a shriveled McGuinn.
― dow, Sunday, 21 October 2018 00:19 (yesterday) Permalink