Ryan Bingham Burns Country Bridge

(Ryan Bingham’s new album Junky Star is on sale for a limited time through Amazon for $3.99. CLICK HERE.)

Hey Ryan, it’s me, Country Music. I’ve been hearing some interesting things lately, about how you’re eager to dispel that your music is country. This puts me in a weird position, because I’m used to people using my name to call things “country” that are not. But I heard your first two albums, and though I wouldn’t say they are solidly country projects, without question there some country there, more country than most that fly my flag. And how about that Oscar, for a country song in a movie about a country star? Do you really think its that perplexing that some people think your music is country? It can’t be nearly as perplexing as some of your moves lately, including this one.

I mean what’s going on here Ryan, I thought we were buds? What, are you ashamed of me? Is it a sore subject with all of your new friends out in LA? If this is about you being ashamed that country has been overrun by pop then say so, but you didn’t seem so quick to distance from country when you were living in Texas and using traditional country infrastructure to make a name for yourself.

I mean, didn’t Lone Star Music help fund your first two self-releases? Didn’t your appearance on the BBC’s Bob Harris Country help you get your name out there? How about you playing on the COUNTRY Throwdown tour this summer, with Hank Jr., Jamey Johnson, Eric Church, etc.? Didn’t you spend years on the bull riding circuit? It doesn’t get more country than that!

If you want to burn bridges, well hell man, don’t let me stand in your way, in fact I’ll light the torch myself! But I don’t want to see a Waylon Jennings album or a pearl snap shirt near your new hatless, Hollywood Heights scene, and don’t come crying back to me if Marc Ford and the rest of your LA good time buddies leave you high and dry. No country concept albums, no “reconnecting with your roots” projects in the future. You don’t want to be known as country, then fine. ITS OVER!!!

Have fun stroking your Oscar.

–Country.

Listen To New Justin Townes Earle & NPR Revisited

Man it is fun to be spot on right. But let’s not bury the lead, that being that you can now listen to Justin Townes Earle’s new album Harlem River Blues in its entirety through NPR’s First Listen. These are not previews, this is every song, and they will be available until the release date of September 14th.

Since your lovable, huggable Triggerman is such a titan of the music world, I have a had a copy of this album for a few weeks now, and when I first heard it, all of my fears about the direction of Justin Townes’ music were realized. Since then I have warmed up to it a little more, but what I was hearing was JTE catering his sound to what I’ve characterized many times as the “NPR bumper music” crowd.

This was the inspiration for a story I wrote called NPR’s Adverse Effect on Country & Roots Music. I honestly had no idea at the time that NPR would be the advertising vehicle the JTE camp would use, but simply from just listening to the music, I could tell that is what they were aiming for. A quote from that article:

“Another (album) is Justin Townes Earle’s upcoming Harlem River Blues. I predict this album will be huge, even though there’s a good chance it will get a neutral, or even a negative review from me. There’s just no direct connection with the roots in his music any more. It has been cleansed for top NPR compatibility. As his press release reads, it’s “more mature” than his previous albums. Well I guess that makes me immature.”

And make no mistake, I am a Justin Townes Earle fan. I named his album Midnight at the Movies my Album of The Year last year. I’m a huge supporter of his label Bloodshot Records, and believe it or not, a supporter of NPR. It’s good that JTE and other artists have an outlet for their music through NPR. And it’s not that this album is bad, its just not what I go dumping my bucket into the JTE well for.

I will have a full review coming up soon, but in the meantime give a listen yourself and leave your thoughts below. I want to be wrong about this album, but as the release date marches closer, I just keep being proved right.

A Letter To Ruby Jane Smith

On Friday (8-27-10) I saw Ruby Jane Smith perform at The Kessler Theater in Dallas, TX. I was going to write a review for the show, and then write Ruby a fan letter because I was so moved by the performance. As I was writing the letter I noticed I was writing a quasi review as well, and so I decided to post it here in lieu of a traditional review.

Do yourself a favor if you haven’t already and check Ruby Jame out at www.therubyjaneshow.com, or better yet go to YouTube and do a search. As I said once before, you need Ruby Jane in your life.

Listen. I’m a man from Texas, and men from Texas are taught not to wear their emotions on their sleeve. But as simply as I can put it, you have touched my life in an indelible way. You have given me hope for the state of music and life in general where before there was only dejection.

I may be twice your age, but when I look at you, I look up. Music has been the passion of my life, and in 32 years, I have never been so moved as I have been by you and your music.

I saw you for the first time just two short months ago and was blown away, with very few criticisms I could draw from the performance. Somehow in such a short time and from such a lofty perch, with dedication and talent you were able to soar to even newer heights that I never thought would be possible, for any one of any age. And what makes my mind stir with rabid curiosity and wonder is what will the next two months bring, let alone two years, and a lifetime of musical expansion ahead of you.

This time the stage show was much more refined. It was wise for you not to show up on stage until it was time to play. Keep the audience tickled with anticipation until the music is ready to start. I also though you handled yourself on stage better. You talked less than the last time, though when you did talk you endeared yourself to the crowd with your humility and pureness. You’re more comfortable with your vocal style now, it comes more natural. And somehow you figured out how to take your violin playing up another notch, with your solos featuring even more blazing runs and attack, but still they were articulated with tremendous feeling.

Still I look at your music and wonder why I am so passionate about it, and I have come to realize that it has only partly to do with the music Ruby Jane. A lot of it has to do with you, as a person. There are many great musicians out there, many great songwriters and singers, many prodigies. But there’s only one Ruby Jane. The music is sort of like a spotlight. Life is so cluttered, and there’s so many people in the world that the beauty of the individual can so easily get lost. Your music says to people, “Hey, look at me,” but when they see you as a person, that is what creates such intrigue and delight, and what makes Ruby Jane an artist for the ages.

Since the history of mankind, humans have had a tendency to unrealistically romanticize that they live in the worst of times, whether they are referring to the economy, crime, culture, etc. So I don’t want to come across as too dramatic, but I will say that our world right now is severely lacking in young girls to look up to, especially in music. You are what the world needs right now Ruby Jane, and all you have to do to show thousands of little girls that is to be yourself. You don’t need to give any long speeches or public service announcements, you can prove to them how beautiful they can be if they insist on being themselves, and not what a hyper-commercial, oversexed society wants them to be.

I myself have said, “Ruby Jane was sent to earth by God to save country music.” But this is me putting my desires and expectations on to you. Ruby Jane was sent to earth to be Ruby Jane, and the reason that you have drawn the attention of so many so far is by being yourself, and being afforded through fortunate circumstances to follow your dreams.

Though you have to keep your humility, even when fans like me pump you up and throw all manner of compliments your way. You will have demons and failings, but you will learn from them. And we all can learn from you as well.

I sometimes wonder if adults and people your age frustrate you, if you see them doing things that are self-destructive and wonder, why? Its because if they’re not being themselves, a bottomless hole opens in their soul and insists on being filled. Bad things can fill that whole, but so can music, and music can inspire and fulfill and bring people back to where they belong. As much as I can write and promote music, I can never fill the hole myself. You can, and you do.

But of course you already know all of this Ruby, you’re so wise. It’s almost silly for others to try to give you advise. Instead we should try to step back and watch the flower bloom, and provide it with support and nourishment. Though advise should never be taken fleetingly or as an insult.

I’m a fighter Ruby, not a lover, which makes my wild passion for your music a little curious to many I’m sure, including myself. If they saw you perform live once though, they would understand. Videos and recordings do no justice. I will fight for you Ruby, that is my promise. And this is no charity. No amount of hours pecking at a keyboard could ever repay the amount of grace I have been afforded through the Ruby Jane experience.

And maybe I am more of a lover than I am willing to admit. Maybe your music has helped me realize that. Because the love and passion I have for you and your music is not normally what a fan would have for an artist, it is more the passion one would have for family. And I have a feeling most of your fans would say the same thing.

Thank you, Ruby.

Kyle “The Triggerman” Coroneos

Nashville Convention Center Controversy Not Over

Earlier this week it was announced that Omni Hotels would be participating in a new massive convention center project in downtown Nashville, and that this project would include an expansion of the Country Music Hall of Fame, doubling the size of the Hall. (You can read details of the project HERE).

Many music lovers and country music traditionalists are excited by the announcement. As much as many Nashville institutions such as Gaylord Entertainment and major labels are seen as robbers barons of the best music interests of Music City, the Hall of Fame has been an exception to the rule.

But some applauding the expansion have maybe forgotten where this convention center project started, and how we got to this point, specifically that another hall of fame, The Musician’s Hall of Fame, was eminent domained by the City of Nashville and bulldozed to make way for the new building. And that since the Musician’s HOF was only given 10 days to vacate, many of its antiquities were caught in the Nashville flood this Spring and destroyed.

Another interesting wrinkle to this story is that one of the reasons the Musician’s HOF and Nashville could not come to a buyout agreement before the building was bulldozed is because the operators of the Musician’s HOF said they were promised space in the new convention center where they could re-create the Hall, but later that proposal was pulled.

“We were told that they would provide us a place to go for free while the construction was goin’ on for the convention center for the next three years, and then we would move into the new convention center. They brought plans over, they had the plans drawn out for us.” says Joe Chambers, owner/operator of the Musician’s Hall.

At that time there was no mention of expanding the Country Music HOF as part of the convention center project. As much as I’m am happy to see such a large commitment to the Country Music HOF by Nashville through the convention center, it’s hard not to wonder if the dissolving of the offer to the Musicians HOF came about after the City approached the Country HOF to be part of the project, or vice versa.

And the Musician’s HOF isn’t the only one feeling wronged by the convention center project. The other jilted lover in this sticky game of city politics is none other than Gaylord Entertainment, Nashville’s second-largest employer, and right now the keyholder to the mother church of country music, The Ryman Auditorium, and WSM’s Grand Ole Opry.

They say politics makes strange bedfellows, and this was the case with opposition to the new convention center. Gaylord, not really known as a champion of the little guy, gave $8,500 to an organization called “Nashville’s Priorities” when the convention center was just a proposal. The group was constructed to fight the project, and by proxy, save the Musician’s HOF.

But Gaylord was being no steward of history. The reason Gaylord fought the new convention center is because at the time their Opryland convention center was the only big game in town. Nashville’s relationship with Omni was a direct threat to Gaylord’s convention revenue, which has caused a major strain between Nashville and one of its largest land owners and corporate citizens. (Read more about the reasons for the Nashville/Gaylord strained relationship and the implications).

Gaylord’s biggest beef is that public money will be used to build the convention center that Omni will profit from. Omni will also receive tax breaks from the city, with the idea that a new employer and new tax revenue from more conventions will in the long run benefit the city.

“Mayor Karl Dean is proposing that Metro government chip in some hefty incentives, including $103 million in tourism taxes over 20 years, $25 million in tax increment financing in 2011 and a partial abatement of 62.5 percent of Omni’s property taxes.”

So what does all this have to do with Saving Country Music?

The lower Broadway region of downtown Nashville is the last bastion of what Music City used to be. Large civic projects like the new convention center continue to gobble up landmarks and venue space that keeps the music in Music City. Furthermore strains in the relationship between Gaylord and Nashville could have long term implications on Nashville landmarks like the Grand Ole Opry. If Gaylord decides Nashville is no longer a good place to do business, they may start to sell off their properties in the downtown corridor, or restrain future projects, like reopening the Opryland Themepark.

Right now there is a war raging for the heart of Nashville, and the city-backed convention center is where the battle is being fought. The Country Music HOF expansion was likely brought up as a way to appease the grass roots concerns for the project. Though the idea sounds good, I will be a little speculative until we see just how this expansion fleshes out. And as for Gaylord, they could go a long way toward appeasing the grass roots themselves.

Willis Alan Ramsey Delivers in Dallas

I had no idea what to expect when driving down into Dallas to see Willis Alan Ramsey perform. Information on the legendary, but somewhat reclusive songwriter is scant at best. No website, no calendar or social network sites to help. If you’re not religiously scanning the fine print of your local alternative newsweekly, and you don’t live in or near Texas, you’re likely to miss him.

And when you’re dealing with a singer/songwriter playing acoustic solo, especially when it is one known in many circles for his songs that other people performed, you never know what the quality of the performance is going to be. Is the show going to be built around the novelty of seeing this person perform their own songs live, with no real value in the performance itself? Fortunately with Ramsey, the performance had value–high value–vaulting his legend and his top shelf songs even higher into my musical ethos.

Willis Alan Ramsey’s legacy began in the mid-70′s Texas Outlaws music scene in Austin. His first and only 1972 self-titled album released on Leon Russell’s “Shelter” label became a thing of legend. It was the album Austin’s top musicians recommended to each other, with Waylon, Jimmy Buffet, Jerry Jeff Walker and others covering songs from the LP. His second album, whose release has been rumored for going on 40 years now, has become just as legendary, with ravished Ramsey fans craving more of the magic the first album delivered.

But no album has been released, codifying Ramsey’s mystique. At the same time Ramsey-penned songs have slowly creeped out into the public conciseness, songs like Lyle Lovett’s “North Dakota” and “That’s Right You’re Not From Texas,” teasing Ramsey nation that his songwriter heart was dormant, but not extinct.

Ramsey was first presented to me by Jan Reed’s definitive book on the Texas Outlaw scene, The Improbable Rise of Redneck Rock as a reclusive, withdrawn songwriter conflicted by the music business. My curiosity pricked, I got a hold of his virtually unavailable album and drank the Kool-Aid whole.

Live Willis Alan Ramsey gives up nothing to any acoustic performer or signer/songwriter you can name. What surprised me most was his soul. On the album his voice is somewhere between Kermit the Frog and Kenny Rodgers, but especially at the beginning of his set, he was more Taj Mahal, with an ebony heart belting out ridiculously rich dirty muddy bloody blues. Ramsey plays guitar with a pick on his thumb, making occasional use of the harmonica harness and a glass slide. His fingerwork is entrancing, but the best part is the ragtime-era blues inflections he sings with and the way he uses his depth from the microphone to create stress and emphasis to the phrases, all while his foot taps the beat on the bottom of the mic stand.

If lack of long haul touring had allowed rust to form, I couldn’t tell, in his performance and in the stage banter and stories between songs. Though there was one rusty moment during his song “Northeast Texas Women” that turned into probably the most memorable moment of the night. Ramsey was born in Birmingham and now lives in Colorado, but Dallas can hold claim to him as much as any city. If you want to see Dale Watson, you must see him in Austin to get the full effect. You could make the same case for Ramsey in Dallas. And during his tribute to Dallas women he garbled the words, but the hometown crowd was right there to rally around him, singing him back on track until Poor David’s Pub was a virtual choir carrying the song made famous by Jimmy Buffet and Jerry Jeff Walker to the rafters.

Ramsey’s wife, singer/songwriter Alison Rogers (also a Dallas native) spelled him between sets and is an enigma of her own. She was admittedly rusty, but delivered solid performances and later joined Willis on harmonies. Alison has a very intriguing air to her. She has eyes the size of Cajun tires, and just by looking at her there’s something that makes you think that in 15 minutes she could impart enough wisdom to you to make you cry. My guess is in her day she left men dead in her wake.

Willis Alan Ramsey may only have one album to his credit, but he had plenty of material, even with leaving possibly his best known song “Muskrat Candlelight” (turned into the hit “Muskrat Love” by America and Captain & Tennille) on the bench. He played until 12:30, nearly three hours of music and banter, until Poor David’s Pub felt like a living room and a private concert.

Two guns up!

Chat LIVE With Tonya Watts

On Thursday (8-26), former body double, current heartfelt songwriter, and overall general badass Tonya Watts will be chatting LIVE with YOU, if you so choose. The deal will go down at 7 PM time of the Central persuasion, in the live chat room of www.am1670.org. This will all transpire during the airing of the Highwaywoman Radio Show starring Brigitte London, and this episode will include an interview with Miss Tonya as well.

Among other things you could discuss with Tonya might be her upcoming California tour dates, which include a reunion of the quasi supergroup “It Came From Nashville” that includes Tonya, Waylon Payne, Travis Howard, and Austin Hanks.

Clay Walker Clashes With Curb Records

Looks like I’m a step behind this story, but apparently country star Clay Walker has joined a growing list of artists sideways with country label Curb Records. That list includes heavy hitters Leanne Rimes, perfume magnate Tim McGraw, and the Hank Williams legacy of Hank Williams Jr. and Hank III.

Just like with Tim McGraw and Leanne Rimes, Walker disapproves with how Curb packages and releases music among other things. Curb’s attempt is to boost sales, but releasing previous material along with new material in a non-cohesive manner confuses fans and makes artists look like money grubbers.

Clay’s most recent album She Won’t Be Lonely Long was released on June 8th, but in February, in a very unusual move, Curb released a five song EP with the same exact name, which included two new songs and three old ones from his previous album Fall.

When interviewed by CMT, Clay said “That’s a pretty sore subject with me. I just try to avoid talking about it.” But as the interview went on, Clay let slide some hints of where his problems with Curb lie. “The only thing that strikes me is that we need to get more music out quicker to the fans,” says Walker, who had to wait 3 years between the Fall and She Won’t Be Lonely Long releases, not including the clumsy EP project. Part of the problem was a producer change in the middle of recording. Tim McGraw and Hank III have also battled Curb over timely release of their material.

Another beef has to do with single releases. Clay asserted that a track he wrote himself called “Summertime Song” would have been a better single, but Curb released “Where Do I Go From You” instead. “There can only be one boss,” Clay said, “and we know who that is. But it’s OK. That’s the way it goes.”

Clay also hinted that music gets “manipulated” by Curb, and that all the he can contribute that doesn’t get manipulated is the song structure and words.

“You still have to write great songs for people to live with. It’s something that can’t be manipulated. You can manipulate music with Pro Tools. You can manipulate voices. But you cannot manipulate words. They are what they are. And the melody is what it is. So the song’s the only thing that’s non-changing in our business.”

Clay does give credit to Curb for their “promotional muscle,” but in what appears to be a three year running battle, Curb has figured out how to get sideways with yet another one of its superstars.

Corsicana Set to Honor Billy Joe Shaver

Organizers are working on plans for original country music Outlaw Billy Joe Shaver to be honored by Corsicana, TX, the town he was born in.

Tentative plans include renaming a portion of the street Billy Joe grew up on in Corsicana to “Billy Joe Shaver Way,” as well as adding a prominent “Billy Joe Shaver Way” exit off of Interstate 45. Shaver’s dad left before he was born, and so his grandmother would watch him while his mother traveled to Waco for work. Corsicana is where he received his “8th Grade education” made famous by his hit “Georgia On A Fast Train.” (Shaver dropped out to pick cotton with his uncles.)

There’s also plans for a Billy Joe “Appreciation Day,” tentatively set for Tuesday, October 12, with “several Texas and some out of state artists who have agreed to appear.”

Billy Joe’s 2002 album Freedom’s Child includes a song called Corsicana Daily Sun in which Billy Joe recalls leaving his grandmother’s side, and later reminisces about the simple pleasures of Corsicana life.

*****UPDATE*****UPDATE*****UPDATE*****

AJ, whose been a big help with this story, just posted some additional info in the comments:

“This was the brainchild of Kris Smith, music writer for the Navarro County Times. She also said they would likely have an unveiling of the I45 signs around 4:00 in the afternoon, and then a tribute concert beginning at 6:30 (on Oct 12th, 2010).

James G. Odom said, “Billy will be there. He seemed to get a big lift when I told him about it Friday. The show will be acoustic, and participants will sing Shaver songs only. No one is being paid. Whether Billy plays is purely up to him.”

Please note: These events are still being planned and organized so details might change in the future. I’ll try to keep everyone updated when times, places, and people are set in stone.

I’m Impressed by Possesed by Paul James

(Possessed just released his latest album “Feed the Family” through Hillgrass Bluebilly Records, and it will be released worldwide Sep. 21st.)

After recently reviewing the underground film The Folk Singer, I wanted to get more information about the “main character” (so to speak), the artist Possessed by Paul James, and luckily a check of his tour schedule put him just north of me last Saturday, which allowed me to check out his live show for the first time, and get to know the man beyond the semi-fictitious portrayal from the movie.

What I found was one of the most unique music experiences I’ve ever witnessed, performed by a truly unique individual.

Technically, Possessed (aka Konrad Wert) is a One Man Band. He has all the OMB staples: the stomp box, the bluesy style. But I don’t think it is completely fair to fit him in that niche. Instead of watching one man put out a band’s worth of energy, you’re really witnessing multiple shows at the same time, at a high energy level. When Konrad references the stage show, he talks about it by saying “we,” referencing the “Paul” and the “James”; names pulled from his father and grandfather. “They” pull off what can only be described as a poetry reading set to addicting, living music that on the soul level pegs the meter at 10.

Possessed makes any venue he’s working in into a living room. Unlike many OMB’s that command attention from the rawness of the experience, he is tantrically personable, engaging the crowd, pulling back the curtain as he explains how the show must crescendo in energy, toying with the melody or the chords as he narrates to the crowd how he must feel the song before he gets deep into it, lest he perform it disingenuously.

Every song is an experience, a moment in time that must be cherished, and it is a shame for it to be rushed or wantonly regarded. Possessed plays the banjo, guitar, and violin, and before each song, he’ll carefully consider each instrument, wondering what song will be just right for the upcoming moments. He gazes at his tools like one might into the refrigerator right before an important meal, perusing the options, wanting with a pure heart for the meal to be memorable, and worth the dedication and energy that must be consumed in its preparation.

Konrad Wert the person is just as magnanimous. His full-time profession is a school teacher. If you’re anything like me, you probably thought that half your school teachers should have been fired on the spot, but every grade you had that one teacher that “got it.” Konrad hit me as that one: the 10%’er that teaches to live, and lives to play music.

When I first began talking to him, be immediately began to make excuses for his voice, which was ruptured a year before in the same town I saw him in. I found Possessed’s voice to be noting less than superb, and I let him know in no uncertain terms after the show that I thought he was bullshitting me about his voice problems.

Yeah, at a Rubber Gloves show (another Denton, TX venue). It went by the third song. And when we went home to Burney (TX) the doctor said you ruptured your vocal chord. And I was like “What does that mean?” He’s like “Well, its the fleshy part of the chord tearing.” And I said “What do you do about that? Do you do arthroscopic surgery or something?” And he said “No, you just have to rest it and let it heal.” And I asked “Will we have full range of the voice again?” And he said “No, no. You’ll just have to watch it.

And that’s partly why. Actually two parts: We had our first baby in 2008, and now we have our second one coming in October this year. So we opted to be grounded and raise family. So we’ve really pulled back from playing, a lot. And the other part is, sometimes the shows will be wonderful, and its like a crap shoot, and other times the voice just won’t have it. The nice thing about that is it keeps me close to home. And the recordings are still really nice. We go in one day and record two songs, because the voice is shot for trying to make it real pretty.

You can read the meat of the rest of my interview below, or listen to it in its entirety by the following link.

LISTEN HERE

Triggerman: I just watched the movie The Folk Singer of which you’re kind of the star of.

Possessed: Mark Littler, who does Slowboat Films, we met on our first tour in 2006 in Europe, and we hit it off. He proposed the idea, but its fictional in so many ways. Because there was actually a script that he brought and wanted us all to read. He asked Scott (Scott Biram), and when we tried to sit down and actually do it, it was horrible because none of us are actors. It was ridiculously bad. So he said why don’t you kinda make it up as we go. So it wasn’t really a tour. We had a friend out in Louisiana, and he wanted to give the appearance that we were on a tour and all of that.

Triggerman: That’s interesting because when I saw it and I was trying to tell people about it, I said you can’t go into this thing saying “I’m watching a documentary,” and you can’t look at it and say “I’m watching a fictitious thing” because it’s somewhere in the middle.

Possessed: One thing I always like to point out is the one scene where Scott and I and this young fella from California are at a bar in Lockhart. That was completely staged. Mark wanted us to get, kinda present a confrontation, and he said “You’re gonna have to be really rude. You’re gonna have to be aggressive.” That’s not really my nature. I’m generally one to say “Hey if you got good music let’s all sit around and listen.” This was really a story about Mark, the director guy. He struggled with his drinking. He wanted alcoholism to be an undertone. I’m a Pabst Blue Ribbon guy.

But I think the premise of that film was really good because it talked about the struggles of how you’re going to make the choices as you grow older, if you decide to have a family. What’s going to be the path you take? I feel like we’ve taken the right path for our family, by looking at the other passions we have. I’ve been a social worker and a school teacher since ’98-’99. I’ve never been a working musician. I’ve never supported our family with music. Music was always a way where I could work within my schedules as a case manager, as a mentor who worked with men and women with multiple disabilities. Working with the School for the Blind in Austin, the School for the Deaf. I’ve been a social worker since we moved to Austin in 2003. And since 2008 I’ve been a school teacher.

Triggerman: So you’re a certified teacher?

Possessed: Oh yes sir. My background was always focused on social services, community development because my father was a pastor (Mennonite).

We recently just finished the third album called Feed The Family. The first record got picked up by Shake Your Ass out of Italy. The second record got picked up by Voodoo Rhythm out of Switzerland. And we hadn’t really done anything in The States, in terms of a production group. And Hillgrass Bluebilly, these guys out of Austin,picked this record up. I think the premise of the music is to say, there’s so much wonderful music out there, but you got to be willing to look and research. Too many times people are so quick to say there’s just shit that they hear. I don’t agree with that. There’s such a wide, wonderful independent variety of music, but you have to be willing to look under the rock.

Triggerman: Why does Europe support this kind of music more than The States?

Possessed: Because there’s not as much. It’s a numbers game. That’s my opinion. If we wanted to make a living solely playing music in The States, I think we could. I could probably make more income as a musician than as a school teacher. When we crunch the numbers, we know it’s marketable. I think Europe appreciates it a little bit more also because of the culture. The culture really recognizes musicians and artists as representing something that’s very valuable.

No More Hank III Openers…For Now

In about a week, Hank Williams III will be hitting the road on an East Coast tour, and for the first time in a long time he won’t be carrying an opening band.

With one of the biggest and most loyal fan bases in non-mainstream country, Hank III’s opening slot has been coveted for years, but recently it has been controversial. Months before a West Coast/Texas tour this past Spring, Lucky Tubb was saying he was promised the opening spot that eventually was given to former football player Kyle Turley. Then earlier in the summer on a stint of show back home after a Canadian tour, opener Izzy Cox was kicked off mid trip for unprofessional behavior.

Now apparently Hank III would rather not deal with that can of worms, and will ride solo. But with a show that usually lasts about 2 ½ hours and includes 3 quite different sets of music, it’s hard to say an opening band will be missed. However for artists like Lucky Tubb and Those Poor Bastards who have used that opening slot to create loyal fan bases of their own, and for up and coming bands that might have been eyeing that opening slot, this news is tough.

Hopefully in the future we will see more Hank III opening bands. What do you think? Do you think Hank III needs an opener? Who would you like to see opening for Hank III?

Hank III Tour Dates

I’m Doing The Best I Can (Site Hacked)

First off thanks to the few, but vocal readers that reached out to me in the past few days, wondering if I was passed out in a ditch or something after a week elapsed without any new articles. No, I was not on a vacation. Truth is I’ve been working as hard as ever to Save Country Music, but unfortunately that work involved trying to figure out how to regain control of savingcountrymusic.com.

Yes my friends, the site was hacked. Though people were still able to leave comments, and the calendar, message board, etc. was unaffected, I was unable to add or edit any content on the main site. I would love to say that this “hack” came from a malevolent source. When you’ve sqeezed off as many rounds as I have, you have to expect return fire. Like FDR once said “Judge me by the enemies I have made.” Though this certainly is a possibility, it could have been caused by some hackbot that didn’t know this site from Adam.

But all is well now, and further precautions have been made to make sure this doesn’t happen again. Only casualty has been the wonderful comments left on the last five articles that were deleted in the reboot. Like I always say, the best part about what happens here is YOUR comments, and I’ll be working to restore them. Except for that, we’re good to go, and we’ve laid some groundwork on getting a whole new site put together that will hopefully be debuting shortly, with many new features like nesting comments, easier ways for you to share articles and other content through Facebook/Twitter/MySpace etc, and other new toys.

And since this is a non-music, house-cleaning post, I think this is a good place to explain to everyone that I am doing the best I can.

It has come to my attention recently that there are a few bands, podcasters, and individuals that don’t think too highly of me, or what I am doing here, sometimes because of what I cover, and sometimes because I do not cover them enough. In the ideal world I wouldn’t have to work a full time job and could devote my life to this site, but since it is anti-profit (I spend more than I make), I have limited time and resources.

With the time I do have to spend on it, I do my best to cover what I think needs to be covered, and what I can cover passionately, and what I think people want to read about. Sometimes I hit, sometimes I miss. In an ideal world, everyone would get the attention they deserve. But we don’t live in an ideal world. For 2 ½ years I’ve been working many hours a week pro bono trying to get attention for people that deserve more than they’re getting.

Every week I get loaded down with requests for reviews and promotion. I do the best I can. I have also created other resources like the message board, podcast page and the calendar to help promote bands and podcasts, and give YOU the opportunity to talk about/promote bands or other things that you think deserve it.

Another thing that has weighed me down is the death of MySpace, the rise of Facebook, and the polarization of Hank III. There are people who’ve been loyal readers for years that no longer come here because they think I hate Hank III. There’s probably an equal amount of people who don’t come here because they think I’m Hank III’s house organ. Of course the truth is somewhere in the middle.

Back in the MySpace days, I could keep up with everyone on a personal level. Now that there are so many daily readers, it is hard to, and harder to keep up with people through Facebook. Sometimes things need to be promoted that I never see, but people just expect or assume I do. People get mad that I don’t comment on their status that I never see because of Facebook’s dumb format. Please, feel free to send me a direct message any time. I love feedback and suggestions.

There’s also a ton of work I do behind the scenes, whether it is fixing a hacked site, helping touring bands book shows, pushing causes and leaving comments on other sites, writing for other sites, etc.

And please, I’m not fishing for pity or praise. I’m just trying to explain the daunting task I wake up to every morning by some ill-advised, monetarily-compromising drive I have to promote music that deserves its due.

So yes, I may not fulfill everyone’s desires or expectations, but I’m doing the best I can, and that is all I can do.

Now, let’s go save country music.

NPR’s Adverse Effect on Country & Roots Music

Last week an article was posted on No Depression lamenting the glossification of bluegrass. Of course my first thought was to point out bands like Trampled By Turtles, The .357 String Band, Split Lip Rayfield, The Hackensaw Boys, Larry & His Flask, and many others. But aside from that, I think you can make a case that all mass produced music IS going through glossification. Certainly mainstream and pop country is, as nobody is willing to take big risks or have the music sound too dirty. The formula works, so they stick with it.

But specifically why are mainstream bluegrass bands and other alt-country/Americana/roots-based bands and legacy country acts whose music would never be played on mainstream corporate-owned radio anyway sounding so clean? I think National Public Radio is to blame, at least partly, and here’s why:

First you must appreciate just how big NPR’s audience is, and how much it is growing while most radio is experiencing dramatic contraction from digital technology and the economy. In 2000 NPR had 14.1 million listeners. In 2008 that number jumped to 20.9 million during a period when most of radio’s listernship was shrinking. NPR’s numbers increased 9% from 2007 to 2008. And with NPR’s national syndication, public funding, and saturation of markets with sometimes multiple affiliates, NPR has a dramatic strategic advantage over local-based radio. (Read more about NPR’s rapid growth HERE.)

NPR also has a huge web presence, with NPR Music receiving a whopping 1.7 million unique visitors each month, and growing. NPR also has one of the largest and most listened to podcast networks and podcast subscription bases ever assembled. And NPR is increasingly focusing more on music comparatively to other interests throughout its platform.

One of the reasons NPR’s music coverage is growing is because the music covered on mainstream radio is shrinking. In this regard, NPR’s music coverage is a good thing. However when you command such a large audience–an audience much bigger than any one local radio station–homogenization can set in. And then you can have artists and labels creating music not oriented in trying to mine the heart of a song, but to what they think a specific target audience wants to hear; no different than the same criticisms that haunt mainstream country radio and radio in general.

My first beef with NPR music had to do with The Dixie Chicks. In the early 2000′s, The Dixie Chicks enjoyed unlimited support from country radio…until Natalie Maines said she was ashamed that George Bush was a Texan. And as their corporate-owned radio support dwindled to virtually nothing, NPR affiliates began to pick up the slack, playing The Dixie Chicks not only in locally-produced radio shows, but as the “bumper” or “return” music to their huge nationally-syndicated news shows like “Fresh Air” and “Morning Edition”–return music being the songs they play in and out of commercial/sponsor/news breaks.

This was good for the Dixie Chicks, but I wondered why had NPR ignored this band for years as hayseed Texans, and then all of a sudden they were part of the Dixie Chick fan club. One word: politics.

NPR has one of the least diverse, most narrowly-oriented demographic makeups ever assembled in media, especially when considering the dramatic size of their audience. For example NPR’s listenership is 86% white. They are described as “extraordinarily well educated,” with 65% owning bachelor’s degrees, while only 25% of the US population can say the same. The NPR listener is older, with their median age at 50, and they are more affluent, with an average annual income of $86,000/yr compared to the national average of $55,000. They live in cities, especially on the West Coast. And the NPR listener is decisively liberal. (See all the demographics HERE.)

Songs and artists with a left-leaning agenda tend to get preferential treatment on NPR. But this isn’t about politics, this is about music. With such a focused, attentive, affluent, and large audience all in one place, it is only natural that artists and record labels would start manufacturing music to attempt to court NPR and the massive audience that they command. What makes the courtship sinister is that NPR prides itself in promoting music regardless of commercial value. And as a news organization first, their opinions hold more credence with listeners as publicist Lois Najarian O’Neill explained in the New York Times:

“it feels like a pure, unadulterated and credible endorsement from a press outlet.”

In fairness to NPR, there are many locally-produced radio shows on affiliates that choose their own music, some of which pride themselves in giving local bands and smaller artists the same exposure as national acts. But these slots are not nearly as sought after as the ones on the nationally syndicated shows or on the NPR music website.

Could NPR’s demographics be one of the primary reasons for the “glossification” of country and roots music not slated for mainstream traditional radio airplay? Affluent, white, educated, urban-based older people want to hear clean, refined, mature music. They want a resemblance of the roots, but they don’t want harsh tones or messy recordings. They don’t want to touch the roots, just get close to them, like hovering over a public toilet seat.

And so artists and labels looking for an outlet for their music, being turned down by “mainstream” radio (but with their huge listenership, NPR could easily be considered in the mainstream), they happily cater, or pander, to the wishes of NPR’s extremely strict demographics.

What are some examples? Take Old Crow Medicine Show’s last album Tennessee Pusher. I’m a fan of the producer Don Was, but why did we need Don Was to produce an album that is supposed to be old timey string music? Some fans complained the album was missing something, that edginess, that dirtyness. It was glossy.

Another is Justin Townes Earle’s upcoming Harlem River Blues. I predict this album will be huge, even though there’s a good chance it will get a neutral, or even a negative review from me. There’s just no direct connection with the roots in his music any more. It has been cleansed for top NPR compatibility. As his press release reads, it’s “more mature” than his previous albums. Well I guess that makes me immature.

There are many other examples that can be found throughout the alt-country catalog, and as No Depression pointed out, through the bluegrass catalog. And I’m sure this effect is not limited just to music under the country music umbrella. And I don’t mean to criticize people just because they listen to NPR. I happen to be a fan of many NPR programs. But I’m also a fan of keeping music as pure as possible to the vision of what artists have for songs and albums. NPR holds its nose high for not just pandering to what’s popular, but to what is good. But as NPR grows, the roots, the dirt, the devil that ignites something in fans is being bled out of the music, and this is a bad trend that is no different than the trends that have infected corporate-owned, mainstream radio.

Whitey Morgan & The 78′s Due out Oct. 12th

Flint, Michigan’s Whitey Morgan & The 78′s eponymous album recorded at Levon Helm’s recording studio will be out on October 12th via Bloodshot Records. From Bloodshot:

“Outlaw’s always been the rough-around-the-edges, tough guy uncle at the country music family picnic. Denim and leather, not Stetson and Nudie. Hair by Pennzoil, not Pomade. But in the right hands–Haggard, Paycheck, Junior, Willie and Waylon and now Whitey Morgan–Outlaw is more than beards and bandanas, ink and attitude, its goddamn folk music.”

“With several songs based around the classic half-time drumbeat creating a tension between the languid and the hardheaded, others like Paycheck’s “Meanest Jukebox In Town” (with the killer Bob Wills infected fiddle) and “I Ain’t Drunk” kicking out the hard swing, and the badass boogie of “Buick City” and “Where Do You Want It?” (a song gifted to Whitey by Dale Watson, about an infamous shooting involving Outlaw legend Billy Joe Shaver), the album’s got an edge that Nashville’s forgotten or misplaced entirely.”

Also from Bloodshot, you can now download the title track from Justin Townes Earle’s upcoming album Harlem River Blues by CLICKING HERE. Plus the album is now available for pre-order. (Due out Sep. 14th)

Bob Wayne’s Big Push & Century Media

Last October, I stepped onto Joe Buck’s legendary motorhome for an interview, and during our conversation he dropped the bomb that he’d signed to Century Media and was going to be working on a record with legendary producer Jack Endino.

This was big news, because Joe Buck was about the last person I envisioned signing to a record label. The only person more unlikely was Bob Wayne. In the first song on his first album, Bob says “As far as selling out goes I ain’t even looking for a deal.”

Weather he was looking for it or not, a deal found him, and as announced first on Outlaw Radio Chicago Episode 100, it was with Century Media as well. Since that news it looks like Joe Buck will NOT be moving forward with Century, though he is still going forward with the Jack Endino project. But Bob Wayne rolls on.

Last week Century sent out a press release and released a couple of videos of Bob being backed by the .357 String Band (see below). And it doesn’t end there. He’s also announced a tour with Th’ Legendary Shack Shakers, and he’s now working with Coffin Case. There’s rumors of movie projects and video shorts, and word is Wayne Hancock makes an appearance on the new album Outlaw Carnie due out October 26th. Our little Bob Wayne is all growns up, and things are clicking for him finally.

If there’s a hitch, it’s that some Century Media faithful are crying foul. Century is a pure heavy metal label, and has been for years. One reason I’m hearing that the Joe Buck deal didn’t go down is that Century was planning to open a new division or imprint, and Joe Buck was part of that plan until Century decided not to go in that direction. Joe Buck and Bob Wayne together maybe on a sub-label would have seemed more plausible. But to the casual Century fan, I can see how this signing and media push could come out of left field. Think of how insurgent country fans would feel if Bloodshot started signing metal bands.

As I’ve been saying for years, Bob Wayne is one of the best pure songwriters in country today. He’s spent years paying his dues touring tirelessly for little money. If people want to hate his music simply because it’s not metal, that’s their loss. And for the record, Bob Wayne was playing metal in the metal band Stickman when some of these whiners were still shitting their Pampers.

Century has decided to go in this direction because the fandom of punk and metal music is shifting to roots based music. Century doesn’t want to be left in the cold. Having said that, there’s two sides to Bob Wayne, and the promotion videos only show one, leaving out the Cash-esque superlative songwriter. Doesn’t help that the audio quality is sub-par as well. Still, if you’ve been a Bob Wayne fan like me, head over to YouTube and let Bob, Century, and the close-minded metal nerds know what YOU think about the Devil’s Son.

Taylor Swift Tops Sugarland’s Steampunk w/ Splatterpunk

This week pop country duo Sugarland released a video for their first single off the album The Incredible Machine due out in October. The album is supposedly inspired by “Steampunk,” a brand of science fiction set in an era when steam power is still widely used, but there’s also futuristic and sometimes fantasy elements.

The Sugarland single is called “Stuck Like Glue” and the video (watch here) features singer Jennifer Nettles kidnapping a man, then torturing him by playing reggae and dancing in choreographed pop moves, all while wearing outfits that accentuate the pancake nature of her breasts.

Well Saving Country Music has learned that Taylor Swift, who has a rival album due out in October also, does not want to be outdone by Sugarland. So she is working on her own video based on a sci-fi sub-genre. But it’s not steampunk, it is the excessively-graphic, hyperintensive horror of splatterpunk.

“It starts off innocent enough,” said a member of the production crew, speaking on condition of anonymity. “It begins like the Taylor Swift songs we’re all used to, about a High School sweetheart. But when she goes to a party and finds her new beau on the arm of another girl, the blood and guts start flying.”

Apparently the video called for 600 pounds of bovine intestines and 90 barrels of fake blood, along with scores of latex human limbs and other props to recreate a killing spree.

“When Taylor walks in, the lights dim, party streamers hanging from the ceiling are replaced with meat hooks dripping blood, and a jilted Taylor, decked out in a form fitting full leather suit, descends from the rafters upside down with two machine guns blazing in what can only be called a “killing orgy.” We all know that Taylor can’t hit a note to save her life, so we thought hell, give her two Tek 9′s and more unlimited ammo than Duke Nukem, and she’s bound to hit something!

“Then she repels to the ground, unsheathes two machetes, and starts hacking away, with blood squirting and guts spilling.”

Apparently no expense was spared, with Taylor bringing in Stanton LaVey and Rob Zombie as creative consultants.

No word as of yet on a release date for the video, but a screen shot has leaked out and its pretty disturbing:

Amazon’s 50 $5 Country Albums For August

The best way to buy records is directly from artists at the merch table, or directly from their website if possible. This way the biggest chunk goes directly to the artist. The next best thing is to buy from one of the last of the dying local record stores, though this is becoming less of an option for most people. And if you really want to support the band, buy merch.

But in lieu of these options, Amazon.com and CD Baby have created a mainstream distribution channel for independent artists that years ago would have had only one option for distributing their music: record labels.

Amazon also goes out of their way to promote not just the most popular music, but the cool music as picked by critics and underground fans, and then make creative ways to get that music to people. For all of August, Amazon is offering 50 MP3 country albums for $5. Yeah there’s some Keith Urban crap, but there’s also smaller artists that they put right beside the bigger artists, unlike country radio which only caters to the big boys. Even if people don’t by the albums, seeing Hank III and Ray Wylie Hubbard right beside Eric Church and Tim McGraw gives ALL artists equal footing. No I’m not whoring myself out, I just think its really cool Amazon is doing this. Check it out:

One of the most significant and influential albums of our generation, though the rest of country hasn’t realized that yet.

A Saving Country Music Album Of The Year candidate featuring blazing fast bluegrass. Read my review by CLICKING HERE.

Another Album Of The Year Candidate from a living legend. Read My Review.

Why the super hot, highly talented, alcohol swigging supergirls known as Those Darlins do not get more mentions around here, I don’t know. My REAL country license should probably be revoked for this offense. At $5 this album is a no brainer. Don’t miss the live show if its rolling through your town either.

Also not part of this promotion, but Th’ Legendary Shack Shaker’s Agridustrial is only $5 for a limited time.

Rachel Brooke Announces New Album & Tour

The female reincarnation of Hank Williams, one Rachel Brooke, has announced she will have a new album coming out this Fall called Down in the Barnyard. No specific release date yet, stay tuned.

This comes on the heels of some concert dates she will be sharing with Jayke Orvis coming up in late September, early October. The tour will also feature James Hunnicutt, and members of The Goddamn Gallows fleshing out the band.

She also has been working with Lonesome Wyatt of Those Poor Bastards on a followup to the album A Bitter Harvest.

“There are other projects in the works, including another album with Lonesome Wyatt, which I have also been working on. More info on that later!”

And she’s now drumming for a punk band called The Clots. AND she’s hot. Real hot. That’s makes Rachel Brooke officially cooler than everyone else in the world, and I hate her for it.

Here’s the concert dates so far, more coming:

• Sep 23 2010 8:00P Linnemans Milwaukee, WI
• Sep 24 2010 9:30P Bottoms Up Pekin, Illinois
• Sep 28 2010 8:00P Brass Rail Fort Wayne, IN
• Sep 30 2010 8:00P Handlebar Greenville, SC
• Oct 2 2010 8:00P Kung Fu Neck Tie Philadelphia, Pennsylvania
• Oct 5 2010 8:30P Belvedere’s Pittsburgh, PA
• Oct 6 2010 8:30P The Crooked I Erie, PA

Hellbound Glory Heads East

Ever since I got my dirty little hands on a copy of Old High and New Lows I’ve been an outright whore for Reno’s Hellbound Glory, but prefaced my enthusiasm by say they need to make it back east. Well now Leroy Virgil and the boys have called my bluff, and built up enough of a head of steam to hopscotch the Rockies a cruise all the way to South Carolina. Hot damn!

Come August 20th they’ll be heading out and won’t stop till they hit the coast. On their way they’ll hook up with some other great acts, including Six Gun Britt and Last False Hope in Chi Town, The Flat Tires in North Carolina, and Aran Buzzas in Montana.

Recently Hellbound has been enjoying some good strong mainstream press and exposure, including a favorable review from my favorite country writer Juli Thanki. And CM Wilcox recently debuted a new song “Malt Liquor”. Hey I thought Hellbound Glory was supposed to be our little scumbag secret? But I tell you what, if this small success keeps Leroy & Co. in beer and hot dogs, that means the music can keep flowing uninterrupted by day labor and dead end jobs, so I’m all for it!

You can find these dates, and ALL important concert dates where? All together class, “At savingcountrymusic.com/calendar.”

Listen to Lucky Tubb LIVE @ The Granada

At some point the world is going to have to wake up to just what an amazing talent Lucky Tubb is. This is not just another guy with a famous name doing a hokey neo-traditional bit, this is a singular talent with generations of music history to uphold and move forward. In my review of Lucky at The Granada, I said “something had clicked,” with The Modern Day Troubadours. The effect was a superlative set of music, played in front of a great crowd in a legendary venue.

After the show that night a drunken Lucky handed me a bootleg CD of the show and told me to do my worst. After spending some time cutting it up into tracks, cleaning up the levels a bit, and obtaining sober permission to post it, I now can present to you the entire Lucky Tubb concert on July 9th, 2010 at The Granada.

1. Intro
2. Honky Tonkin’ Is All We Got
3. It’s Your Wagon
4. Walkin’ The Floor Over You
5. Mental Revenge
6. Highway Patrol
7. Takin’ It Back
8. Used Up Love
9. Ramblin’
10. Huntsville
11. Waltz Across Texas
12. Honky Tonkin’
13. Jackson
14. Tired Of What You Don’t Do
15. Sweet Sweet Kisses
16. Damn The Luck

All tracks are in MP3 format and should be downloadable and/or they should pop up with your media player. If you are having trouble, please refer to the Saving Country Music Help Desk / Complaints Department.

Peewee Moore Hits The Outlaw Mark

If someone asks you to define just what exactly you mean when you say “REAL” country or when you call someone an “Outlaw.” If words fail you when someone asks you to clarify what you mean when you say your music has to have “that sound.” When you say “I know it when I hear it,” and someone asks for an example, play them a little Peewee Moore & The Awful Dreadful Snakes.

If I were to trace the genealogy of the country music Outlaw, it would start with Bobby Bare, roll through Willie & Waylon and that whole gang, follow Cash through the late 90′s, and end up in the country music underground with people like Peewee Moore as possibly the perfect example of the Outlaw lineage in the present day.

Peewee Moore has figured out how to move the classic country sound from the late 60′s to the mid 70′s to the here and now, while still keeping the music passionately relevant. Many bands have tried to do this before, but their punk/metal leanings get in the way, or maybe there are elements of the classic sound, but they miss the mark when trying to put the whole package together. To the guitar tones, to the amount of return and reverb, to the lyrics and themes of the songs, Peewee Moore hits the mark.

Something that really helps this along is Peewee’s insistence on having drums, but having them almost exclusively involve just the snare drum. This is beyond a wise move, as is the most useful element in creating that old sound in Peewee’s music. Drumming is so often overlooked by bands trying to re-create that traditional sound, and Dreadful Snake Dud Wash deserves a lot of credit for playing back and doing what’s best for the music.

Same could be said for bass player Ivan Wilson. It’s almost expected now to see an upright bass at an underground country show, but Willie, Waylon, Cash, and Haggard all during the golden Outlaw period used electric basses, and that is the best way to tie the music to that era.

I will say Peewee’s lyricism doesn’t wow me. It’s not bad, it’s not superb. I’d classify it as hit or miss depending on the song. What I will give him credit for is clearly being a student of classic country, and knowing well the best themes to work from to fit his sound. But sometimes the themes come across as tired, like with his song “This Old House,” whose chorus goes, “This old house ain’t a home any more.” I’ve heard plenty of that.

On the flip side songs like his “Truck Driving Song” work off of often-used themes, but are pulled off well by the sheer coolness of the song and the cleverness of the lines. Another one of my favorite Peewee songs is “Leaving With The Band.” All the themes are fairly common, but that also ties them back to that classic era, so this is a forgivable and understandable offense.

Pewee’s album The Leaving Side of Gone is not groundbreaking, but is a solid offering, and is an essential for any true, REAL country fan. You can preview all the tracks and purchase the album by CLICKING HERE.

He is also heading out on tour to the Midwest in a few days so make sure to check out savingcountrymusic.com/calendar for the upcoming dates.