Left Lane Cruiser has now released nine of these ornery sons of bitches, and each one spitting venom and hitting the groove with the same ferocity. Where so many hard charging bands lose their edge as they age and their output gets stale, or they decide they need to wisen up and start singing lullabies, Left Lane Cruiser keeps on digging.
For 21 years, The Americana Music Jam has assembled some of the finest talent in Texas music to raise funds for worthy causes. Co-sponsored by Gruene Hall, and hosted by KNBT 92.1 FM out of New Braunfels, this year proceeds went to benefit Hope Hospice and Communities in Schools of South Central Texas.
Americana Music Jam, Cody Canada, Dalton Domino, Drew Kennedy, Flatland Cavalry, Gruene Hall, Josh Grider, Lloyd Maines, MIke McClure, Randy Rogers, Robert Earl Keen, Terri Hendrix, The Statesboro Revue, William Clark Green
Nashville’s Gaylord Opryland Resort and the greater Music Valley portion of the city filled up this weekend with thousands of revelers in throwback duds celebrating the annual Nashville Boogie Vintage Weekender presented by Muddy Roots. Over 90 acts on 5 different stages and at three separate venues.
Asleep at the Wheel, Big Sandy, Bobby Bare, Chris Casello, Country Side of Harmonica Sam, Deke Dickerson, Gaylord Opryland, Grand Ole Opry House, J.P. Harris, Jerry Jeff Walker, JM "Jimmy" Van Eaton, Joshua Hedley, Kristina Murray, Nashville Boogie, Nashville Palace, Nikki Lane, Ray Benson, W.S. "Fluke" Holland, Wanda Jackson
Lee Brice has built his career not off of catchy singles, but songs that straddle the lines between emotional substance and commercial aptitude, making him a bright spot of Music Row, despite a few blemishes and his spurious label situation. You really have to search for things to dislike about “Boy,” when you really should just sit back and enjoy it.
A love song with avid participation from his wife and singing partner Amanda Shires, the song delves into the sad perspective that forever in a marriage or a relationship is ultimately a relative term. But Isbell doesn’t point these things out just as a lament or a sharp lesson of reality.
You may have never heard of Carly Pearce or her debut single “Every Little Thing,” but you soon will. As the latest benefactor of iHeartMedia’s “On The Verge” radio program that puts a shot of adrenaline behind the single from an emerging star, it’s virtually guaranteed to rocket to the top of the charts.
Don’t think of Swimming Alone as a commercial release. Think of it as something Liz Rose made for herself and maybe a few close friends and family that you somehow got a copy of. It’s sweet, quirky, funny at times, delightfully dated, refreshingly honest, and just a simple joy to listen to.
Give Zac Brown credit. He listened to his fans, as opposed to speaking down to them about how music needs to evolve, or some other line of flawed reasoning where he could justify his actions to himself if nobody else. It’s hard to describe Zac Brown Band’s ‘Welcome Home’ as anything but what it is, which is a complete about-face.
Strap yourself in, buckle up, and mentally prepare yourself as best you can, because there isn’t anywhere Robyn Ludwick won’t go on ‘This Tall To Ride.’ Unabashedly exploring the dark underbelly of life where cocaine and sex are the ruling currency, and creatures of the night cuddle up with each other for comfort…
For six years straight, the Turnpike Troubadours have celebrated a self-appointed holidays each Spring called Dia Del Gallo at the historic Floore’s Country Store on the outskirts of San Antonio. The city has always been a crossroads of cultures, and the rooster (“gallo” in Spanish) has always been the band’s official mascot.
Styles and dialects and phonetics change, but the eternal themes that stir the soul remain, and it’s the seamless tie to what Colter sings about and how he sings it that makes the experience something beyond music. It is the ability to introduce the element of time into the mix, not just as a texture, but as a vehicle for transporting perspective….
‘Big Bad Luv’ is exactly the type of album that John Moreland needed to make, where his songcraft suffers none, but is bolstered by the virtue of a more compositional approach to the music itself. And this is the only place he could improve or “evolve,” because the songwriting was already at the pinnacle.
In many sectors, the future of country music is rife with uncertainty as you’re forced to squint hard at the current tiers of top stars and up-and-comers and wonder where this all will lead us years down the road. But when it comes to the Texas country scene, there is no cause for concern for who’s gonna fill the shoes.
The biggest adversity to independent music is success. Independent fans score higher grades in so many categories compared to their mainstream and passive listening counterparts, but their one failing is their need for a sense of exclusivity. As soon as something they like becomes popular, it no longer seems to have the same magic.
To us, it’s a sad state of affairs that Guy, Susanna, Townes, and so many more that made up the core of the alternative to country in the 70’s and 80’s are gone, but to Rodney Crowell, these weren’t just distant stars on some stage that perhaps he got to see once or twice in his life, these were his close personal friends.
‘Corners’ feels like an important project in country music, and in Texas music specifically. Dalton Domino is bringing influences to the region that are not entirely foreign to roots music, but do feel lost in the viewshed in the otherwise expansive and diverse Texas scene. It also announces Domino has a creative force
One day, and maybe not too far off in the distant future, you will be bragging about how you lived in the time of Willie Nelson. Whether you’re an oldtimer and remember buying his records new on vinyl, or you discovered Willie in your college years as a back catalog artist, you lived on Planet Earth at the same time as Willie Nelson.
Just making music that sounds “country” is not enough. Just because something is real country doesn’t mean it’s real good. As alluring as the steel guitar, the twang, the cut of the fiddle and the yodel in the voice is to traditional country fans, these things in themselves are not enough to keep the music alive forever.
The second song from Jason Isbell’s impending album ‘The Nashville Sound’ all but certifies what we had suspicions of before and what Isbell has been saying in the media previously, which is the June 16th release will be a much more rock ‘n roll affair than some of his recent efforts, and the title is more tongue-in-cheek
Are we just so happy to hear a mainstream record that doesn’t alienate us or let us down that we can construe a few good songs into a strong effort? Maybe that’s the case, but any work is only fair to judge beside its peers, and right now Paisley is one of the few setting the pace for decency in popular country music.