This isn’t just your average album release, or even your average album release from Lee Ann Womack. There’s a lot of moving parts involved here that make this album one to watch, and one to pay a little extra attention to. Lee Ann Womack has earned the listening public’s undivided attention already from her years of stellar contributions, but this one has a little more special meaning for Womack since it is her first release without a major label, and a release that helps rate of progress for both women and traditional country artists looking to revitalize their place to a wider audience.
The evolution of The Way I’m Livin’ was a little strange. Made with Lee Ann’s husband Frank Liddell (producer for Miranda Lambert, Eli Young Band, others), the album has been finished now for two years and just sitting on a shelf. While still signed with MCA Nashville, label head Luke Lewis told Lee Ann to make the album that she wanted, to pick the songs herself and not worry about any commercial concerns. And so that is what she did.
The choices of where to find songs to record in Nashville are endless, but Lee Ann took a unique approach, especially for an artist who has amassed as many industry trophies as she has over the years. Her litmus test was that the song had to be written with the intent of being performed by that writer. Think of the exact opposite of Music Row’s songwriting-by-committee approach. She wanted songs culled from inspiration. This resulted in Womack acquiring material from a list of artists that is mouth watering all to itself: Chris Knight, Bruce Robison, Hayes Carll, Brennen Leigh, and Mando Saenz just to name some of them. This isn’t a rundown of the songwriting credits from a major Nashville release, this is an All-Star guitar pull lineup in Austin, TX on a Saturday night.
“In the past, Merle and Willie and Hank would sing real lyrics about life,” Womack tells Dallas News. “But today’s Music Row records don’t talk about those subjects, at least not in a grownup way. That’s one reason all these songs spoke to me.”
And though The Way I’m Livin’ began on Music Row with a major label, that’s not where it ended up. After Womack wiggled her way out of her MCA Nashville contract, she ended up working with the independent bluegrass label Sugar Hill Records to finally release this album. Even though it might officially symbolize Lee Ann taking a step down from the top-tier level she’s enjoyed for most of her career, she seems perfectly fine with that. “Let’s face it. Award shows are not really about who was best,” Womack continues to Dallas News. “They’re about selling advertising. I’m grateful for the awards I have, but if you came to our house, you’re not going to see any of them out. You’re gonna see guitars and music everywhere, but not awards or platinum records on the wall.”
This is still Lee Ann Womack though, and don’t think the industry isn’t paying close attention. That voice is too powerful, and her fans are too loyal to ignore. The title track off this album was the very first single to be added to Cumulus Media’s NASH Icon network as an example of new music from a seasoned artist that the new radio format boasts as wanting to champion. Lee Ann Womack hasn’t been put out to pasture by any stretch. She’s the female that is leading the pack of artists left behind by country radio and trying to revitalize the market for more classic-sounding country, and The Way I’m Livin’ is just the album to do it with both country roots and relevancy embedded in its songs, and a salivating public who’s waited six years for new, original music from the singer.
Recorded mostly live, The Way I’m Livin’ pins its eye to Lee Ann’s voice as its focal point, and never strays. You hear this emphasis immediately on the very first track “Prelude: Fly,” which leaves you inspired and primed for what lies ahead. The Way I’m Livin’ pulls from two primary influences: traditional country marked with loud and present steel guitar, and a more progressive “Americana” approach that has a lot of gospel and blues textures intermixed with a rootsy feel. God and Mammon are at war in The Way I’m Livin’ for the soul of the song’s protagonists more often than not, and though it would be a misnomer to label it a concept album, this battle is a recurring theme of the album, and one that illustrates the more true reality of things where good and evil are not always polar opposites separated by tremendous space, but side by side separated only by a thin membrane that temptation is always trying to pull you across.
This eternal pull and tug gives The Way I’m Living a vitality, whether it is portrayed in a gospel tradition like the song “All His Saints,” a more grounded atmosphere like in her take on Hayes Carll’s “Chances Are,” or the traditional country, folklore-style approach like on Brennen Leigh’s “Sleeping With The Devil.” These are story songs one after another filled with internal strife, and the arrangement present on The Way I’m Livin’ is truly masterful one track after another. There’s both a sparsity, and a robust presence to the instrumentation that makes sure nothing suffocates, and everything soars. There’s not a lot of layering that goes on here. You have your primary instruments only, and if there’s anything diverting your attention from Lee Ann’s voice, it is a singular lead instrument, usually a steel guitar set high in the mix that eventually gives way once again to Lee Ann. The song “Nightwind” isolates Lee Ann’s voice once again, and never on this album do you feel as if doubt or indecision filled what direction this record should take.
The Way I’m Livin‘s true country songs are slightly more backloaded towards the end of the project, but no matter where you start this album, it’s hard not to land on something to like. A few of the tracks came across as a little bit sleepy towards the center, and initially I was concerned that the song “Don’t Listen to the Wind” borrowed too much of the melody from the song “All My Tears” from Emmylou Harris’s Wrecking Ball album until I deduced both songs were written by Julie Miller.
Lee Ann Womack seems almost ethereal at this point in her career: timeless, and like an apparition of authentic country music who drifts above the rest of the genre’s singers and pickers as they slave away at their little songs and albums and daily deeds and dilemmas. Yet she still has that endearing element of the small town girl at home in the Texas pines, simply wanting to make a career out of what she would be doing if nobody was listening or watching. She’s an artist who has the freedom to truly do what she wants, while she still enjoys the attention of the industry, however muted it might be these days.
There may be a few more albums that are better than The Way I’m Livin’ that will be released this year, but none that are this good that will reach as many ears. Lee Ann Womack is a heavyweight for women, for hard country, and now for independent artists, and with this Sugar Hill release she releases and lands a haymaker.
1 3/4 of 2 Guns Up.
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When you sit down to assemble a list of candidates for Song of the Year, you almost start to tremble in the face of so much creativity, inspiration, and insight, and grow humbled by how fortunate we are to live in such a bountiful time for music. Candidates for Song of the Year can’t just be songs we enjoy, they are songs that make you change the way you see the world, or change the way you see yourself.
Honorable mentions go to just about any song on John Moreland‘s Album of the Year candidate In The Throes. There were a few on the Brennen Leigh & Noel McKay‘s Before The World Was Made that nearly made it. Hank3‘s “Broken Boogie” was on the bubble, and would have made it in a year with a less-crowded field, and so would songs from some of 2013′s breakout female songwriters like Ashley Monroe, Caitlin Rose, Valerie June, and Brandy Clark, whose “Stripes” could have very well made it if the candidates were extended beyond the already hefty field of 10.
Audience participation is strongly encouraged, and will influence the outcome. Leave your opinions, write-in candidates, or other observations or opinions below in the comments section. This is not simply an up and down vote though. I make the final decision, so it is your job to convince me why the album you feel deserves to win is the right pick.
Josh Abbott Band – “I’ll Sing About Mine” from Small Town Family Dream
Written by Adam Hood and Brian Keane, “I’ll Sing About Mine” appears on 2012′s Small Town Family Dream, but was released as a single with a new video in early 2013. It was 2013′s first strong Song of the Year candidate, and very well may be the best.
“The great thing about “I’ll Sing About Mine” is the non-judgmental, even-keeled manner with which it delivers its message. It takes a lot of patience and a lot of heart to say what this song says without flying off the handle or flipping birds. It makes its point with as few pointed words as possible… It understands that really, few words need to be said, because deep down every human knows what’s real and what isn’t. They just have to be reminded, and then the momentum of the truth will do the rest.” (read full review)
Matt Woods – “Deadman’s Blues”
There are so many artists, so many songs and albums out there today, for any individual artist to stand out, they darn near have to stand on their head and turn somersaults to get our attention. It’s sad but true, but that’s what Matt Woods does with “Deadman’s Blues.”
“We ask a lot of our independent country and roots artists. We want them to release new music early and often, even though it stings them in the pocketbook to record. We want them to play our stupid town, even though it is way out of their way and the turnout will be light. We want them to perform in small, intimate venues, even though it’s not financially feasible for trying to take care of themselves, or God forbid, raise a family. We don’t want them to be too successful, lest their music loses its pain and soul. We don’t want them to age. We want them to see all the places, and do all the things we can’t, and maintain a party-filled lifestyle so we can then live vicariously though them as our own legs grow roots and our lives prosper from stability.” (read full review)
Wade Bowen – “Songs About Trucks”
Written by Brandy Clark and Shane McAnally, “Songs About Trucks” is 2013′s most cunning protest song. But it’s a protest song that offers a little something more.
“Once again a member of the Texas music scene has delivered a song that gives voice and reason to how the rest of us feel. Wade Bowen’s “Trucks” aims its big, diamond-plated bumper at the incessant references to tailgates and four wheel drives in modern pop country songs and slams on the gas. At the same time, it practices what it preaches, making sure to instill some story and soul into the song along the way, instead of just being a vehicle for protest.” (read full review)
Lindi Ortega – “Tin Star” from Tin Star
Lindi Ortega can melt your heart and make you feel the pain of a song like few others, and the beauty of “Tin Star” is the personal nature of the narrative, and how Lindi delivers it’s humble message with such loving care. She coddles this song like one would a malnourished kitten that shows up on your doorstep, or and old pair of scuffed and dusty boots found at a thrift store that she then nurses back to health and vitality, polishes and buffs up to shine to present to the world proudly.
“It’s admittedly hard to hold on to your objectivity when this raven from the Great White North rises in song and such a wave of emotion and beauty grips you that your rationality is sent reeling and all your senses are completely submerged and made submissive to her sway. Lindi Ortega is a creature of the darkness. She highlights the beauty in the world not by shining a light on it, but painting the rest black until the beauty is all that is left. She cherishes life by celebrating death. She makes you feel joy by bringing you to tears. She is the antithesis to an obvious, transparent world, all freshly fallen snow and onyx—biting, contrasting, revitalizing the attention to life and its many dark beauties simply by her presence.” (read full review of the album Tin Star)
Charlie Robison – “Monte Carlo” – from High Life
I’m nominating “Monte Carlo” here officially, but it has a companion song “Out Of These Blues” that is also on High Life and that pairs with it so perfectly, and is also written by Robison’s sister Robyn Ludwick. If someone asked me to play them an example of quintessential Texas country music, these would be the songs I would choose. Texas country masterpieces.
“Can’t say enough about these tracks, the excellence in songwriting they achieve, and Charlie’s ability to interpret their stories perfectly through song. They’re both very similar, and different all the same in the way they convey a feeling of forlornness, but still are imbibed with such a warm sense of memory that a sad story leaves you filled with a happy feeling. The way the chorus of ‘Monte Carlo’ strings you out for so long, hanging in the bubbly moments only the best music can attain, you wish this song could go on forever, and it’s so good it probably could.” (read full review of High Life)
Austin Lucas – “Alone In Memphis” from Stay Reckless
Austin Lucas proves he’s worth the label as one of 2013′s breakout artists with this lead single from his New West debut, Stay Reckless.
“Whether electric or acoustic, Austin only knows one way to perform a song: with 100% passion, until the song’s inspiration manifests right there on stage and coats every word. Even if you hate the lyrics, or can’t connect to the story of ‘Alone In Memphis,’ it is written perfectly to pull the emotion right out of Austin every time and spill it out amongst the audience in a moment of shared reflection and commiseration on one of the most fundamental failings of the human condition—our inability to feel stable without the company of another.
“Great songwriters know how to write to their strengths, and that is what Austin does in ‘Alone in Memphis.’” (read full review)
Sturgill Simpson – “Life Ain’t Fair and the World Is Mean” from High Top Mountain
Due to a technicality in Saving Country Music’s vast and complex bylaws, even though this song was considered for Song of the Year in 2012, since it was released on an album this year, it qualifies to be considered again.
“The magic of “Life Ain’t Fair” is the way it trivializes all the issues it raises by simply pointing out the obvious: that life’s unfairness is inherent, and complaining about it or using it as an excuse to not pursue your dreams is foolish. It’s cynical and inspirational all at the same time, and that feat of acrobatics can’t be performed without some acute dexterity and prowess with the pen.” (read full review)
JB Beverley – “Disappear On Down The Line” from Stripped to the Root
It’s a shame that the best songs tend to come from the deepest despair, creating the paradoxical, and sometimes self-destructive existence that many of the most talented and storied songwriters live. As JB Beverley says about “Disappear On Down The Line”:
“I was in my home, totally isolated and alone, my woman had left, I’d buried my friends, and all the proverbial voices of doubt and chaos, and all this negative stuff was fueling my mind at the time. I use the parable that the demons were dragging me down. Granted, there weren’t literally ghouls in the room tugging me through the floorboards, but as far as the emotional, spiritual, and mental direst and in some instances torment I was under, it was very real.” (read full interview)
Holly Williams – “Drinkin’” – from The Highway
This is one of those songs every other songwriter beats themselves up for not writing. Beautifully complex in its simplicity, both enigmatically deep and pleasantly colloquial, Holly Williams proves the Williams’ bloodline is still virile with an unconventional tune with universal impact on the weary soul yearning for respite. Where has Holly Williams been? She may have taken the roundabout way to finding herself, but she’s here now, and our ears couldn’t be happier.
“Where Holly Williams’ career and releases left her neither here nor there before, now she has found her voice, has found her place, and that place is amongst the talented women doing what they can to return the greater country music world to a place of substance.” (read full review for The Highway)
Jason Isbell – “Elephant” from Southeastern
Trying to pick one song from Jason Isbell’s album Southeastern to represent on this list is like asking a rainbow its favorite color. So if you think another song is more worthy, you’re opinion is probably warranted, so just put your chips on “Elephant” in its stead.
“‘Elephant’ is just downright unfair. Though this trend of token Cancer songs dotting nearly every country album released in the past few years is alarming, Isbell’s offering is far from a saccharine and sappy vie for radio play. It is a complete deconstruction and compromising of the emotional guards protecting a listener’s heart told in shockingly-real language, allowing the chemicals of empathetic response to run pure.” (read full review of Southeastern)
Gone are the days of the legendary duet pairings in country music like George and Tammy, Loretta and Conway, right? Well they may not boast beehive doos or lamb chops, or grace the stage of the CMA Awards or come beaming into your home or buggy via the miracle of Clear Channel radio, but the Austin country scene’s power couple of Brennen Leigh and Noel McKay have revitalized the country duet concept album in a smart, brilliant, hilarious, and sweet offering called Before The World Was Made.
You’ll be sorely disappointed if you’re in the mood for sappy sonnets serenading the human love quotient. This is a love album for lovers who hate each other, and love each other all the same. It’s not that sentimentality doesn’t show its face here, but just like the real world, Before The World Was Made is not afraid to delve into the turbulence of love, to tickle the funny bone, and to tell it like it is.
This album is the perfect soundtrack to an “it’s complicated” relationship status, with ingenious songs like “Breaking Up Is Easy,” “Breaking Up and Making Up Again,” “Be My Ball and Chain,” and “Let’s Don’t Get Married.” Yes, it sounds like a gloomy outlook, but underlying every song of this “on again, off again” album is a sweet love story that you can’t help believing mirrors Brennen Leigh’s and Noel McKay’s real-life narrative.
You can relate to their silly little squabbles and how they plot to resolve them with a positive ending. The way these songs work is both classic and fresh. Even walking in to Before The World Was Made with a deep appreciation for the songwriting chops of both parties, you are still perplexed at how Brennen and Noel wrote this entire album themselves, simply from the strength and the “instant classic” caliber of these songs.
Even the more straightforward love songs like “The Only Person In The Room” and “Salty Kisses In The Sand” are so fresh and clever, they fit right in to the cunning style of this record. “Let’s Go To Lubbock on Vacation” is downright side-splitting (sorry Lubbock readers), while still at its core being a nectarous little love story.
Before The World Was Made doesn’t let up for one moment, and it’s not just all about the words. The album is bolstered by tasteful, classic country arrangements, edified by producer extraordinaire Gurf Morlix. This is a neo-traditional country album at its heart, and the music offers tasty accompaniment to these high-caliber compositions.
Can’t say enough about Brennen, Noel, and Before The World Was Made. They may not be willing to commit to each other, but the music they make together is definitely a keeper.
Two guns up.
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Listen to album below.
Best of luck pigeon-holing Leo Rondeau, the man or his music. The North Dakota-born, Austin, TX-based singer songwriter boasts about as many influences and textures as a patch quilt of found fabrics. A distinctly Italian first name, a last name that describes a form of old French poetry, and enough Native blood in him to be able to say in one song on his latest album Take It And Break It that his ancestors “fought the white man,” Rondeau speaks for many voices of the American experience. He’ll throw out a Cajun tune complete with accordion, and transition from rock to folk without a blink. But at his core is a country music songwriter in the legendary Austin mold, wowing you with his ease at turning a phrase and illuminating emotion and perspective in his songs.
For years Leo could be seen holding down a residence at Austin’s famed “Hole In The Wall” venue, and playing his part in a defiant scene of independent-minded country musicians, some of which appear on Take It And Break It like Jim Stringer, Brennen Leigh, and Beth Chrisman of The Carper Family. These artists both create a support network, and push each other stylistically. And as a respected songwriter, Rondeau songs have been recorded by folks like The Carper Family and Mike and the Moonpies.
Take It And Break It affords nine new original tracks from Rondeau, and is produced by R.S. Field who has previously worked with folks like Billy Joe Shaver and Hayes Carll, and produced Justin Townes Earle’s first two LP’s.
In Rondeau’s “Here’s My Heart,” he reveals the dichotomy inherent in many males—one of displaying a bellicose, bawdy front to the world, while hiding an inherently fragile romantic state beneath. “Bound To Be A Winner” has one of the most finely-crafted choruses you will find, reminding you of Tom Petty in his prime in its distinctly American candor and tone. “When It Was Around” also speaks to Petty in its driving beat and infectiousness.
“Blackjack Davey Revisited” is pure poetry from Rondeau. Its wit is delivered with dizzying rapidity, while the melody takes you right to the time and place of its sad story. “Alligator Man” gives Take It And Break It a bit of a spicy Cajun kick, while the epic “Whaler’s Tale” finishes out the album in an immersive audio experience. For years I’ve believed that Cajun music sits right on the edge of a big revival, just like we’ve seen recently in other sectors of the roots world. Rondeau could be an artist who has just enough Cajun texture mixed with country and rock sensibilities to benefit from that wave if it ever occurs.
But even if it doesn’t, Leo Rondeau is a songwriting lifer who you sense takes a wide, patient perspective, and has a belief in the power of song to outlast trends, obscurity, or even a song’s original creator when it is approached with heart. Rondeau and Take It And Break It are probably not for everyone. There was a slight lack of presence on this album that I found hard to pin down or explain that may hold it at arm’s length from some listeners. But this album has a great spirit and is a worthy receptacle for these original songs that now get to go out into the world and find inviting hearts.
1 1/2 of 2 guns up.
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The Carper Family is at it again with a brand new album called Old-Fashioned Gal, and it’s a family affair featuring The Carper Family troika of Melissa Carper, Beth Crisman, and Jenn Miori, right beside some of the brightest talents of Austin, TX’s old-school country scene. Produced and embellished with the lonesome sounds of Grammy-winning Cindy Cashdollar‘s steel guitar, and featuring performances by Carper Family cousin (as it were) Brennen Leigh, and the famous telecaster of notorious Commander Cody guitar player Bill Kirchen, Old-Fshioned Gal works like a sampler of the defiant spirit amongst Austin’s roots musicians still fighting for life in between encroaching condominium complexes and California incursion.
With aptitude, The Carper Family girls can shift from Western Swing, old-school country, folk, covers and originals, embellishing it all with tasteful instrumentation and exquisite three-part harmony. Each player brings a unique skill set that blends so well with their counterparts. Melissa Carper’s voice has the auspicious, wise, vintage tone of a natural born storyteller, while Jenn Miori’s is the classic sweet and supple sound of the simple country life. Beth Chrisman can blend tone with anything, while providing the solo parts for the music on the fiddle, and a battery of original songs like Old-Fashioned Gal standouts “Dollar Bill” and “Foolish Ramblin’ Man.”
A new batch of songs from Melissa Carper is something to smile and rub your hands together about like waiting for permission to cut into an apple pie. When you pop Old-Fashioned Gal out of the CD case, the first question you get served is who these people are in an old photograph under the CD tray standing in front of the Deeny Mogis Chevrolet dealership circa 1980-something. This is answered by the song “My Old Chevy Van” where Melissa superimposes the senses of love on a sentimental object. All three Carper girls collaborate on one of the funnest tracks of the album, “Fancy Pants.” which showcases how The Carper Family instills modern, relevant themes into their old-fashioned music—a signature of their fun and compelling sound.
Additional songwriters on the album include Brennen Leigh with the song “Precious Jewel” that her beau Noel McKay plays guitar on, and “Aunt Rose” by Gina Gallina who once shared the stage with Melissa Carper and Beth Chrisman in a group called The Camptown Ladies. “Aunt Rose” is one of the jewels of Old Fashioned Gal with its a capella arrangement really bringing out the 3-part harmonies of The Carper Family, and giving the album a little needed spice.
Another Jewel is The Carper Family’s rendition of Neil Young’s “Comes A Time.” Picking covers songs is more of an art than people think, and what the Carper girl’s do to Neil’s chorus invites shivers. Another excellent cover is Floyd Tillman’s “I Gotta Have My Back Back” driven by Jenn Miori’s confident performance, and piano by another Austin notable, Emily Gimble.
Co-produced by Billy Lee Myers Jr., Old-Fashioned Gal is probably not the selection to convert your Taylor Swift-listening fans over to the real stuff, but certainly is sweetness to the ear of folks who prefer the way things were. Old-Fashioned Gal is the soundtrack to simple pleasures.
1 1/2 of 2 guns up.
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I remember a few years ago I was at the Hole in the Wall bar in Austin, TX, right by the UT campus, watching songwriting couple Brennen Leigh and Noel McKay perform. Brennen Leigh told the crowd that right after the show, her and Noel had to drive to Nashville, and how she was dreading the trip. “But then Noel reminded me that since we’re going north, we get to stop in West for kolaches, and so now I’m super excited.”
What is a kolache? It is the baked pastry treat that West, TX is known for by many Texans and musicians. Situated right on the I-35 corridor running out of the world’s “Live Music Capital” of Austin, it is tradition for touring bands to stop in West and resuscitate or provision for the road from the “Czech Stop” gas station and bakery just off the highway. As you walk inside, you see the cases full of fresh kolaches, and autographed pictures of famous musicians from all around the world who’ve visited the Czech Stop lining the walls.
Aside from the kolaches or West’s premier location for road-bound musicians, there’s a warmth about the town that begs you to want to stop there, and makes you feel guilty if you don’t. Yes, the kolaches are tasty, but they’re simple bread and toppings. It’s the simple pleasure they convey that is important. West is one of the few places left in America where you feel like its still possible to live in the moment. There was never a town that deserved a tragedy less than West, TX.
About 6 weeks ago I stopped in West, for kolaches of course, and to drive through the town to take pictures. Country music artist James Hand, formerly singed with Rounder Records and now an artist for Hillgrass Bluebilly Records is from West, and I was working on a story about James’ new album Mighty Lonesome Man and the special relationship James has with his hometown.
“We moved up there in 1959.” James told me. “Boy there’s been a lot of changes. I told someone the other day, ‘If a man wants to make some money, all he’s got to do is open a hardware store and sell nothing but pulleys and sash cord.’ And the man said, ‘Why?’ And I said, “Because everyone’s gonna have the same clothesline before long.’ He said, “Let me tell you something you hillbilly, don’t you know people got washers and dryers now?’
James makes it sound like West is a boom town. When you’ve lived there for over 50 years, it may seem that way, but the population of West is a mere 2,800, with the town square giving off the same quaint feel it has for years. It’s not the kolaches that make West residents want to stay; they get tired of those things quickly. It’s because West looks and feels the same way it always has with the small town, Czech-settled quaintness. It’s the sincere sense of place that sets West apart.
“You live a couple of hours north of Austin, and you could have moved to Austin at some point,” I told James. “Or you could have moved to Dallas, or you could have gone to Nashville or somewhere else. You seem to have a pretty intimate relationship with West, and the land that you live on. What does West, TX mean to you?”
“Well, I know everybody there.” James answered. “I live in the exact same house where momma and daddy lived, and where my family was raised. I can’t throw nothing away hardly. There’s still drawers in there that I open up every now and then so I can smell momma and daddy. I don’t mean to be so sentimental about it, but I try to clean stuff up and clean the house up, and I see something I recognize from 15 or 20 years ago and I can’t do it. I just put it back in the drawer.”
I talked to a young West resident Shelby Janek about James, and West.
“One of those ‘everybody knows everybody’ towns. Once my younger brother was old enough and became aware of the music and James’ playing, he started asking about ‘Song Boy.’ It just stuck amongst my family, and we all still call him that to this day. And I’m damn proud that James is from my town.”
Highway 81 as it runs out of West is named “Willie Nelson Rd.” Willie’s hometown and birthplace, Abbott, TX, is only 7 miles north of West. Some residents in Abbott had their windows blown out from the force of Wednesday night’s blast.
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One of the reasons we all love music so much is because it gives you a feeling that nobody, and nothing can ever take away from you. Buildings, things, friends, family, and our own lives can be taken at a moment’s notice, but the memories will always remain ours and be forever precious.
So no matter what numbers end up being assigned to this tragedy, I will always remember the town of West, TX first for James Hand, Shelby Janek, The Czech Stop, all the towns beautiful people and their timeless spirit, and for the best damn kolcaches this side of Prague.
“There’s shadows where the magic was.”– James Hand
From Austin, TX comes a new album by The Carper Family, an Austin superband of sorts, as three women who’ve sat in with some of Austin’s most legendary country artists band together to make some legendary music of their own.
You might recognize Melissa Carper (aka Daddy Carper), and Beth Chrisman (aka Mama Carper) from the group The Camptown Ladies that also featured Gina Gallina. They join forces with Jenn Miori (aka Little Sister Carper) who played with The Corn Ponies amongst others, and with help from Austin country luminaries Brennen Leigh, and Cindy Cashdollar, they create excellent and authentic arrangements, and three part harmonies out of a tasteful selection of original and traditional songs.
Like all good country music, The Carper Family starts with strong songwriting and build out from there. I’ve been admiring Melissa Carper and her seemingly-effortless use of vintage country language in her songs for years, and she tops herself a couple of times on Back When. The country idiom in “Would You Like to Get Some Goats?” is absolutely sublime, where she uses farm chores and an idea for a “new brand of hot sauce” in allusion to love.
One of my music pet peeves is referening “texting” in songs because it seems so inevitable to be dated at some point, and it drives me even more crazy when modern references are mixed with a neo-traditional style like The Carper Family employs. But with Melissa’s swing-time song ‘Who R U Texting 2Nite?” she plays off of that anachronistic anomaly with such cunning wit, making tie-ins with past loves and land lines to where you can help but laugh out loud. (Sorry, too easy.)
…as you work that phone, with a true passion. Our love’s in the days by gone.
Beth Christman delivers her own stellar composition with the counter-intuitive “Don’t Treat Me Too Nice.” Is she being honest or ironic? Is she making reference to the fickle nature of the modern female heart? I prefer to leave that a mystery, because the ambiguity is one of the best elements of the song.
The song I liked the best was the opening “Loving Me Like You Do,” which puts in perspective that no matter how much Music Row wants to try and write authenticity into a female group like The Pistol Annies or the JanDear Girls, you can’t top three girls with true passion for the music singing for next month’s rent.
The cover songs on the album are all well-selected, and most fit into the Gene Autry, singing Cowboy, silver screen-era of country, songs like “There’s a Rainbow on the Rio Colorado” or “Pale Moon” that slip in smoothly amongst the Carper Family originals like “Texas, Texas, Texas.” There’s a lot of Western swing influence here, and a lot of just “Texan” influence. This is the kind of music you expect to hear when hanging out in an authentic Texas honky-tonk.
Criticisms? I don’t know, I guess at 15 songs, they could have weeded out a couple of the weaker tracks, and they maybe could’ve had a little more fun with the production, done an a cappella song to feature their harmony strengths, or messed with a little more reverb or dabbled with some percussion here and there to help separate the songs in style. But the album has such a good cohesiveness, how it works smoothly between the originals and covers, that I’m not sure I’d want to mess with it too much.
The Carper Family illustrates the unfair, unreasonable amount of talent, and specifically female talent, that can be found in Austin, TX on any given night. And that is what The Carper Family does; they are a working, local band, playing many nights a week at various Austin venues. Back When proves that this local band deserves more national, and international attention.
1 3/4 of 2 guns up!
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