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- Hear Unreleased Joe Ely and Linda Ronstadt duet "Where Is My Love"
- If You Missed It: Willie Nelson and Billy Joe Shaver on Letterman
- 2015 Rock and Roll Hall of Fame Inductees
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- Hear New Joe Pug Song "If Still It Can Be Found"
- Houston Press: Is Country Music Ready For Sturgill Simpson?
- Blitzen Trapper Releases Free Live Album
- Eric Church's "The Outsiders" Goes Platinum
- Fatal South by Southwest Crash Brings First Wave of Lawsuits
- New Song from Cody Canada and the Departed "Easy"
- New York Times Runs Obituary on Outlaw Lawyer Neil Reshen
- Country Weekly's Top 10 Albums Incl. Sturgill, Old Crow, Billy Joe Shaver
- Nashville Scene Rips Into American Country Countdown Awards
- Ardent Studios Founder John Fry Dies at 69
- Windowing New Music May Not Goose Sales, Study Shows
- Engineer and Producer John Hampton Dies
- Famous Nashville Backup Singer Millie Kirkham Dies at 91
- Proof How Much The Music Industry Has Changed In The Last Ten Years
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This isn’t some beer league bar band made up of 2nd shifters from the machinist union out on a Friday night to give the jukebox a spell, this is Whitey Morgan & the 78′s dammit—the most wild-eyed honky tonk hard-stomping band ever to put their boots through a bass drum head. And to have a high quality rig on site recording it all in their home confines of The Machine Shop of Flint, Michigan as they wreak havoc on stage and sour their livers with enough sauce to stop a Russian racehorse, it could only resort in a must-have audio experience for hardcore twangers.
No offense to their two solid studio albums, but the live forum has always been the ideal place to witness the Whitey Morgan & the 78′s experience. They thrive in their natural honky tonk environment like caged country music animals let out on stage only for the occasion of entertainment, while still carrying a precision to their music, with little runs, stops, and rhythms worked out and worn in during darn near 300 some odd days of touring a year to where these guys could shit better music than many bands. So it’s about damn time a live album was released, especially since this particular set of music was recorded way back in 2011, and it’s been since 2010 that we’ve had a Whitey Morgan release of any kind.
Born, Raised, & LIVE From Flint captures a well-seasoned 78′s band with a couple of extra pieces like harmonica and organ/piano for good measure reprising Whitey’s most popular songs with a live energy any studio effort just can’t match. Along with being a live album, you could also consider this a Greatest Hits package from the first half decade-plus of the band. Whitey & Co. barrel into originals like “Buick City,” “Turn Up The Bottle,” and “I Ain’t Drunk,” along with their best-known covers like Johnny Paycheck’s “Cocaine Train,” Bruce Springsteen’s “I’m On Fire,” and the famous song written by Dale Watson about Billy Joe Shaver shooting a man in Waco “Where Do You Want It.” If you’re just stumbling onto Whitey right now and looking for a place to start, Born, Raised, & LIVE might not be a bad option.
Even for some hardcore fans, live albums can be tedious after you’ve listened to recorded versions of songs for years to the point where your brain is unreceptive to newer versions. But in the case of Born, Raised, & LIVE, there’s just enough wrinkles to make the songs unique and new. For example the inclusion of Mike Lynch on piano/organ really adds a richness to these tracks beyond the live energy. Also this recording was made right at the height of the classic version of this band with JD MacKinder on bass, Benny James Vermeylen on guitar, and Brett Robinson on steel guitar, after they’d been touring non-stop, resulting in arrangements and instrumental solos that are more tight and better developed than when they were in the studio. And since so many of Whitey’s covers are just as good as their originals, it’s good to get versions of those you can listen to when the next local Whitey show is months away.
This live album is being released right as a whole slew of new Whitey Morgan material is on its way, including a new studio album slated for sometime next year, and an acoustic album called Grandpa’s Guitar scheduled to be released December 16th. “I recorded this album all over this great country, including various shady motel rooms,” Whitey Morgan says about the upcoming acoustic release. “NO fancy production, just me and my guitar, lots of whiskey, a microphone and a whole lot of ME! I set out to capture those private, sometimes lonely moments on tape and I’m proud of the results. Hope you enjoy.”
The fact that Whitey Morgan & The 78′s are good live is one of the reasons they could go darn near half a decade now without releasing any new music, yet still build up their legacy and fan base to the point where they’ve never been bigger. Born, Raised, & LIVE gives hardcore Whitey fans a home version of the madness and magic that sets the hair of honky-tonk crowds on fire all across the country and beyond.
1 3/4 of 2 Guns Up.
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Fans of the hard driving, honky tonkin’ throwback country band of the new generation known as Whitey Morgan & the 78′s have been waiting a very long time to hear something new since the release of their self-titled Bloodshot Records debut in 2010, and the floodgates are about to open, beginning with the long-awaited release of Born, Raised & LIVE from Flint, a live album recorded at The Machine Shop in Whitey’s hometown of Flint, Michigan on November 25th, 2011. It will be released on December 2nd by Bloodshot.
The album finds Whitey & Co. reprising many of their signature original songs and timeless covers, including “Turn Up The Bottle,” “Buick City,” Johnny Paycheck’s “Stay Away From That Cocaine Train,” Bruce Springsteen’s “I’m On Fire,” and Dale Watson’s ‘Where Do You Want It?” (listen exclusively below).
“Twenty minutes outside of any city in Michigan could be northern Alabama,” Whitey told Saving Country Music in an interview about his hometown of Flint. “In the 70′s when my grandpa was playing music in Flint, almost a quarter of the population were transplants from the South that came to work at the factories. When you have a quarter of the population, and they start having babies, what you have is this Southern culture that is ingrained in them, even though some of them have never even been there. Like me when I was growing up, the things we ate, certain words that you said were Southern. To me it was normal. To my friends that were really Yankee’s, it was weird. They didn’t eat fried bologna sandwiches and drink sweet tea and listen to gospel and bluegrass on Sundays at their grandpa’s house. Any of the Southern food, that’s what my grandma’s house smelled like any time I went in there. My grandpa demanded that stuff.”
“I think it’s a rebellious type thing, because we come from a place that’s not known for that kind of music,” Whitey continues. “But the place that is known for that type of music isn’t fucking doing it. What can I do to not only feel real about what I’m doing, but also get some attention? And maybe knock down some doors and let people know there something wrong with the mainstream right now. There’s volumes and volumes of great music that nobody seems to give a shit about anymore.”
The blue collar, hard working, and hard living mentality of Whitey Morgan and the City of Flint is deeply etched in the 13 tracks of Born, Raised & LIVE from Flint, and so is the energy of a live Whitey Morgan show that fans will attest is one of the best and most authentic honky tonk experiences still out there. Playing upwards of 300 live shows a year has made Whitey Morgan & the 78′s one hell of a tight band.
Included on the new live record is one of Whitey’s best-known songs, “Where Do You Want It?” written by Dale Watson about the incident in 2007 when Billy Joe Shaver shot a man in the face at Papa Joe’s just south of Waco. Shaver was later released of charges when the shooting was found to be in self-defense, but the story and the song still live in infamy.
Fans of Whitey Morgan can expect even more music coming soon. Rumors have an acoustic album Whitey recorded recently being readied for release, as well as another full studio album just sent to mastering in the offing. “The plan is just to record as much as we can over the next few years,” Whitey told SCM in February. “Even if it’s not albums, put out a 7-inch here and there, digitally release two songs. Just keep it going. Never a six month stretch without new songs.”
Born, Raised & LIVE from Flint will also be released on vinyl, including a limited-edition white vinyl (for Whitey) that is currently available for pre-order.
Born, Raised & LIVE from Flint Track List:
1. Buick City
2. Cocaine Train
4. Cheatin Again
5. Bad News
6. Prove It All to You
7. Turn Up the Bottle
8. Another Round
9. I’m On Fire
10. Ain’t Drunk
11. Honky Tonk Queen
12. Where Do You Want It
13. Mind Your Own Business
Rejoice Southern rock fans. If you’re looking for a refill of your favorite poison, Atlanta, Georgia’s formidable Southern rock outfit Blackberry Smoke has just announced they have a brand new album on the way called Holding All The Roses, due on shelves from Rounder Records on February 10th, 2015. It’s the followup to 2012′s acclaimed The Whippoorwill, and their first with Rounder. “I think that this record does a really good job of conveying what we do and what we’re about,” says singer, frontman, and songwriter Charlie Starr.
Holding All The Roses is also the band’s first record with noted producer, mixer, and musician Brendan O’Brien, best known for his work with The Black Crowes, Pearl Jam, Bob Dylan, Neil Young, and Bruce Springsteen to name a few. Brendan was the producer the band had always wanted to work with. “We didn’t go in and overthink any of the arrangements of the songs with preproduction,” Starr told Lagniappe Weekly in early October. “We just talked on the phone and we went in the studio. We did it and eight days later, we were finished.”
Blackberry decided to go with Rounder after Zac Brown’s Southern Ground label which released The Whippoorwill wasn’t working out. “Southern Ground kind of got shook up, and Zac kind of dissolved it for a while. It was a shame, because he’s our friend. It’s a shame to see a friend have something that doesn’t or didn’t work.”
Starr says listeners can expect more contrast on Holding All The Roses, with more harder-edged material, but also more laid-back material on the 12-track album. “People who enjoyed the ride of ‘The Whippoorwill’ and the way those songs flowed, these are more up and down.”
The band, which is currently in Europe, is also planning to tour the album hard and heavy, including a tour with Leon Virgil Bowers in March.
“The plan for this record is to go out and play as much as we can, and just take it to the people,” Charlie Starr continues. “There’s so much that’s out of your hands when you release a record, but that’s the part that we can control. That, and making an effort to make a better record every time.”
Holding All The Roses is currently available of pre-order, including in limited-edition red vinyl.
Holding All The Roses Track List:
1. Let Me Help You (Find the Door)
2. Holding All the Roses
3. Living in the Song
4. Rock and Roll Again
5. Woman in the Moon
6. Too High
7. Wish in One Hand
8. Randolph County Farewell
9. Payback’s a Bitch
10. Lay It All on Me
11. No Way Back to Eden
12. Fire in the Hole
You’re not going to find a life-sized Otis Gibbs cardboard cutout peddling CD’s on an end cap at your local Sam Goody. You’re not going to hear him on the Bobby Bones Show. Otis is a country music homesteader who releases his albums independently in what feels more like a barter system between friends than an element of interstate commerce. Otis Gibbs symbolizes the true essence of the independent spirit thriving in the East Nashville neighborhood he calls home, surrounded by fellow songwriting brethren who respect him as a mentor not just because of the gray in his beard, but from the songcraft he weaves. Settling there some years ago with his long-term partner, fellow songwriter Amy Lashley, the two native Indianans have scratched out a humble, but inspiring music life built upon the goals of sustainability instead of the arbitrary measures of showbiz success that plague most of Music City’s arteries.
A troubadour in every sense of the word, Otis Gibbs is an artist who can inspire even the most timid among us to shush a burly bar troll talking over one of his performances. This is music to lean in and listen to. This is music to get lost in as the lives of characters you’ve never heard of before become as intimate and familiar as family in the span of four minutes, until you find yourself weeping at their struggles, celebrating their victories, and worrying about their fate. Similar to storytelling songwriters like Chris Knight or the late Townes Van Zandt, folk is Otis’s style, but country is his flavor. He may not inspire you to get up and dance a jig, but his evocation of people, places, and important human moments are carved from rural landscapes, and are adorned sonically with fiddle, banjo, and steel guitar.
Otis is an artist that everyone seems to know. If you start drawing lines between independent country and roots musicians, Otis would soon be revealed as a nexus. Some of the blame for this lies with Gibb’s secondary pursuit, his sensational Thanks For Giving A Damn podcast where he sits down with all sorts of cool cats from the music scene who open up to him with interesting stories and insight.
Souvenirs of a Misspent Youth—the title of Gibb’s brand new album—could almost be misconstrued as the blood and sweat-smeared proclamation of a punk band. Adolescence is so damn awkward, and young adulthood is so awash in drugs, dumb sex, and indecision, it is a wonder how society can progress with the way American youth are dumped into the real world with such wobbly legs. But the roiling angst amid youthful indiscretion and self-discovery is not what Otis Gibbs is interested in delving into here. His intentions are much more sedated, and much more poetic. Otis ponders youth through the perspective of elders, and the reflection back on ones self though older eyes, while the whole time keeping a cohesiveness to the settings cast in a sepia shade of distant, but refined memory.
It is not just the stories, but the detail that Otis conveys in his characters and his moments that make them burst into real life. A song like “Back In My Day Blues” is one you could see artists like Tom Waits and Bruce Springsteen kicking themselves for never writing. The song “Ghosts Of Our Fathers” speaks right to the heart of the matter Gibbs is trying to convey in this album. “I was a child. I was far too young to ever understand what it meat to have a son who’d been drafted and killed in Vietnam.” In other moments, Otis forges folk heroes and casts them in moments of defiance, such as in “The Darker Side of Me” and “Nancy Barnett.” Otis has a sense that humankind should be swayed towards embracing its positive virtues, but understands that violence and defiance are tied to justice, and are an inalienable part of the human construct and worth canonizing all the same.
Otis Gibbs is a storyteller’s storyteller, and one that makes you see life unfurling in poetry and prose. He may never tell his stories to the wide masses, but the ones wise enough to lean in and listen will find riches and wisdom no man would ever dare lay a monetary value on.
1 3/4 of 2 Guns Up.
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Every day tens of thousands of people put on the police uniform and put their lives on the line to protect and serve the citizens of the United States, and do it with a servant’s heart and a sincere desire to protect their local communities. But others step over bounds, grow power hungry in their positions, and some communities have dealt with corruption and brutality in policing for decades to where over the years it has become an eternal theme in American music, and in country music specifically.
Many country music songs deal with characters being incarcerated, being sent on the lamb, or being killed for things they have done that are wrong. However the following songs are ones that question if anything was done wrong in the first place, or decry how the system doesn’t allow previous wrongdoers to truly rehabilitate.
Here are 10 country songs criticizing the police state.
Johnny Cash – San Quentin
Many of Johnny Cash’s songs speak out about the inequality and ineffectiveness of America’s jails and the police state in general, and he punctuated this sentiment throughout his career with his legendary prison concerts. But no Johnny Cash song spells it out more clearly than “San Quentin”.
“And I leave here a wiser, weaker man. Mr. Congressman, you can’t understand.”
Kris Kristofferson – “The Law Is For Protection of the People”
From Kris Kristofferson’s first, self-titled album from 1970 which also included iconic Kristofferson-written tunes like “Sunday Morning Coming Down,” “Me & Bobby McGee,” and “Help Me Make It Through The Night,” “The Law Is For Protection of the People” is arguably Kristofferson’s most powerful counter-cultural, anti-authoritarian statement of his career. Another song from the album, “Best Of All Possible Worlds” also carries a strong message about the police, but one where Kristofferson admits to his own drunken culpability.
“So thank your lucky stars you’ve got protection
Walk the line, and never mind the cost
And don’t wonder who them lawmen was protecting
When they nailed the savior to the cross.”
J.J. Cale – “If You’re Ever In Oklahoma”
Native Oklahoman J.J. Cale’s calling out of middle America’s aggressive police state has also been covered famously by Cody Canada & The Departed, and by numerous bluegrass bands including the Yonder Mountain String Band and the Hutchinson Brothers. It is from J.J.’s 1973 album Really.
“They got fines, they got plenty. They’ll hold you up for days on end. Threaten your life, take your money. Make you think you’re there to stay.”
Waylon Jennings -”Don’t You Think This Outlaw Bit’s Done Got Out of Hand”
The song is about Waylon’s cocaine arrest in 1977 for conspiracy and possession of cocaine with intent to distribute. A courier tipped off Federal agents that a package sent to Waylon from his lawyer/manager Neil Reshen contained 27 grams of cocaine. As authorities waited to obtain a search warrant, Waylon flushed the drugs down the toilet, and the charges were later dropped. Waylon blamed the whole episode on the marketing of his music as “Outlaw.” The song includes one of the best lines of any country song decrying the police state.
“I’m for law and order, the way that it should be. This song’s about the night they spent protecting you from me.”
Waylon Jennings - “Good Ol’ Boys” (Dukes of Hazzard Theme)
“Just some good ol’ boys, never meaning no harm…”
Waylon says in his biography, “They thought that was good but said all it needed was something about two modern-day Robin Hoods, fighting the system. So I wrote, ‘Fighting the system, like two modern-day Robin Hoods,’ and they didn’t even know they wrote the damn line. It was my first million-selling single.”
Merle Haggard – “Branded Man”
Speaking out about the difficulty felons find in the world after they’re released from jail, this classic country tune was the title track off of Merle’s fourth album released in 1968. Though there is no shortage of prison songs in country music complaining about how tough it is in the clink or once you get out, “Branded Man” speaks specifically about the inability of the police state to rehabilitate and re-indoctrinate ex convicts back into society.
“I paid the debt I owed ‘em, but they’re still not satisfied. Now I’m a branded man out in the cold.”
Wayne “The Train” Hancock – Johnny Law
One of Wayne Hancock’s signature tunes about being pulled over for doing nothing wrong, “Johnny Law” is something most any American can relate to.
“You ain’t nothin’ but a bully with a star on your chest.”
The Bottle Rockets – “Radar Gun”
The cowpunk/alt-country entry into the list, “Radar Gun” was The Bottle Rockets biggest hit, reaching #27 on Billboard’s rock charts. It was released on their album The Brooklyn Side in 1994, later re-issued by Atlantic Records in 1995.
“Schedule 19 on a special election
Got our money problems right in hand
Droppin them limits like a hot potato
50 down to 30, oh man, oh man.”
Johnny Cash & Bruce Springsteen – “Highway Patrolman”
Though “Highway Patrolman” is seen by many as being against the police state, its message is much more subtle than most. Written and performed originally by Bruce Springsteen on his 1982 album Nebraska, it tells the tale of a Highway Patrolman who regularly looks the other way when his brother does wrong in the local community the officer is charged to protect. Johnny Cash covered the song on his album from the following year, Johnny 99—titled from another Bruce Springsteen song off of Nebraska.
“Well if it was any other man, I’d put him straight away
But when it’s your brother sometimes you look the other way.”
James Hand – “Old Man Henry”
When the 97-year-old Henry refuses to relinquish his land for a highway being built through town, he gets shot down by police who think he’s reaching for his rifle when he goes to pick up his cane. “Old Man Henry” off of Jame Hand’s 2012 album Mighty Lonesome Man is based partially off of true events.“40 rifles raised, from 40 men half crazed. As the bullets struck all around him, his house it caught ablaze. 40 rifles then, raised and fired again. As the fatal bullets hit him, Henry fell across Mary’s grave. A man of 97 years, lay dead upon the ground. As his soul winged up to heaven, a gentle rain came down. Henry laid across his Mary, their little home a pile of ash. Nothing left but the memories, they got their damned highway at last.”
You won’t see Reno, Nevada’s Hellbound Glory at the top of anyone’s ‘Best Of’ lists this year, unless it relates to touring or live performances. Leroy Virgil & the boys didn’t leave much time for recording and releasing albums in 2013; they were too busy ripping off one of the toughest, busiest, and arguably the most notable touring schedules in 2013 from an independent country act. It started in February as an opening band on Kid Rock’s “Rebel Soul” arena tour of which a retooled Hellbound Glory did two legs of, all the while playing smaller shows here and there when possible, and then revisiting many of the same areas afterwards on their own bills in the proceeding weeks and months.
Then most recently Hellbound went on a breakneck, two month tour with The Supersuckers, covering 40-something dates spanning the US. When Leroy Virgil rolled into Austin, TX on Friday Dec. 6th to play a quick set at the Empire Control Room downtown, he’d been rode hard and put away wet, and Hellbound Glory had not a familiar face from the members who had started out with him at the beginning of the year. However he’d recruited the very capable guitarist ‘Metal’ Marty Chandler, and drummer Chris VonStreicher from the Supersuckers, and Adam Kowalski from North Carolina on bass and band manager duties.
Aside from the music, the night was weird all around. They started at 9 PM, which is very early for a weekend show in Austin, and a few straggling fans missed some of the set. Hellbound was supposed to play outside, but 20-degree weather and a stiff north wind scrapped those plans. The Empire Control Room was more ambient for a rave than a real country show, with pacifier-sucking, glowstick-twirling visuals projecting onto the walls, and a mandate on Hellbound to stop after an hour so a DJ could spin house music to an entirely empty room. This was all quite in contrast to Leroy’s prominent “Hank” suspenders strapped over his shoulders, and his beer chugging honky tonk tunes.
But when Leroy Virgil and Hellbound Glory 4.0 hit the stage, none of that mattered. Leroy started with a blistering, amplified version of Hank Williams’ “My Buckets Got A Hole In It” that reinvented and revitalized that tune originally learned by Hank Williams from Rufus Payne in the mid-30′s, and made it feel like an iconic 70′s-era Southern rock anthem. Not 30 seconds into the first song, and you could tell that Leroy had played so many shows in front of so many big crowds in 2013, that being on stage was second nature, and a downright showman had emerged from a man who is known as a songwriter first. Not that Leroy was a stiff before, but now he had a swagger about him—a sway and arm motions—engaging the crowd and carrying songs to another level with his ability to be completely uninhibited with the music.
Leroy’s electric guitar sounded horrible. It was a black and white Squier Stratocaster that had “$100″ written on the pick guard in permanent marker like he’d just bought it off the side of the road. It’s the kind of guitar you buy your 14-year-old son when you know he’s only going to ignore it, with stock pickups that sound like the smell of ass. But Leory was just holding down the rhythm anyway, and then getting out of the way for ‘Metal’ Marty to rip into some of the juiciest solos Hellbound’s music has ever been graced with. Despite the ‘Metal” addendum to his name, Marty referred to a heavily influenced and versed knowledge of country guitar modes and licks that he displayed with confidence and abandon. It was a high volume, electric country show, and more than a stone’s throw from the days of Leory sitting on a bass drum, playing it with the back of his heel while strumming an acoustic guitar.
Leroy played a lot of his more well-known Hellbound Glory songs, a few more covers like his rendition of Hank Jr.’s “Women I’ve Never Had” and Springsteen’s “I’m On Fire.” He was also featuring a ferocious growl that punctuated parts of songs and overall became one of the highlights and takeaways of the set. Leroy’s voice has become tattered around the edges like a cheap blue tarpaulin pulled over an apartment’s worth of shit made susceptible to the wind on a cross-country move, and then marinated by a thousand shots of whiskey lined up all across the front of the stage by well-meaning fans. But like an old tinker, Leroy has taken what he’s been given, and made it into one of his finest tools: a road-worn and weathered bellow with which he can unfurl and blow a crowd away with.
Forget how many new players make up the Hellbound Glory cast, when Leroy gave a subtle hint to whatever song he wanted to play next, his band was right there behind him, hitting every change, and holding every sustain as good or better as any Hellbound Glory lineup. Leroy has never been good at keeping new material a secret, and the set featured a few new songs, and so did the half hour or so after the set when he pulled out his acoustic guitar and gave a personal concert to all who stuck around on the side of the stage.
Whenever Hellbound Glory’s name is mentioned these days, the next question you hear is, “When’s the new album coming out?” Though I wasn’t able to glean that specific intel from Leroy, I can tell you he’s recently been doing some recording in Aberdeen, WA. I wouldn’t hold your breath on hearing the results of that anytime soon, but if the new songs Leroy’s been playing are any indication, when new music does emerge, it promises to be worth the wait.
Until then, you can use the below Leroy Virgil recap of the last year or so to tide you over.
Two guns up.
Next Tuesday, the Lost Notebooks of Hank Williams, a project pairing Bob Dylan and a list of other popular artists together with unfinished Hank Williams songs, will be released to the public. The project has raised grave concerns in certain circles of country music from people questioning the ethics of taking a dead man’s songs and finishing them, especially when the dead man carries the songwriting and historical weight of Hank Williams. An organization called Stop The Desecration of Hank Williams Songs is planning protests at the Country Music Hall of Fame on Oct. 1st, and again on the release date of Oct. 4th.
What has baffled me from the beginning is with the anticipated controversy this project would stir, why information about its workings and origins have been so difficult to obtain. It was made even worse by an article in The Morton Report, which included easily refutable information.
Saving Country Music has submitted numerous emails, made phone calls, and personally visited the Country Music Hall of Fame trying to get more information about the Lost Notebooks to no avail. The Hall is a partner in the project, as it is being released in conjunction with their ‘Family Tradition: The Williams Family Legacy’ exhibit. However The Hall is not the originator of the project, and neither is Bob Dylan. The one thing we have received more clarity on since the formal announcement of the album release is the chain of custody of the songs. The idea for the Lost Notebooks project and many of the decisions made for it were done by the owners of the songs, music publisher Sony ATV, who ferried these songs through numerous changes and adventures, from the original owners, Hank Sr.’s publisher Acuff-Rose.
Another entity that has been spared a lot of the controversy, but certainly had a part in the project is Hank Sr.’s estate. We do finally know that the estate endorsed the idea at some point, because Hank Williams Jr. appears in the EPK for the album (see bottom of article). As Hank’s grandson Hank3, who was not asked to participate in the project, said in a recent Saving Country Music interview:
The fans are very upset, and I guess I’ll just let them do my speaking for me. Because I can’t go and say something against Bob Dylan. That’s just not right man. I’d say maybe they need to scope out Hank Jr. a little more…
Something else we’ve learned from a recent New York Times article on the project is that both Bruce Springsteen and Neil Young were approached to be a part of it, and declined. We still do not know what happened to a Willie Nelson song that was part of the project, that Jack White’s spoke about when we very first heard about the Lost Notebooks back in 2007. It also states in the NY Times that Dylan initially called the task “too mighty.” And one of the biggest questions that remains is what happened between the recording of these songs in 2007, and their release in late 2011. That significant hole in the timeline leaves a lot to the imagination of why it took 4 years for the Lost Notebooks to see the light of day.
Completely putting aside the ethics questions for the project itself, I have drafted a list of 10 simple questions about the specifics of the Lost Notebooks that I think country music consumers have a right to be answered before they decide to purchase it.
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- A story published by The Morton Report on August 4th asserts that the idea for the Lost Notebooks project was hatched in March of 2008, months after we know many of the songs for the project were already recorded. When, generally or specifically, in years or months or days, was it decided that the Lost Notebooks project would move ahead, and with Bob Dylan?
- Was the Lost Notebooks project always meant to be in conjunction with the Country Music Hall of Fame’s ‘Family Tradition’ exhibit?
- If the Lost Notebooks project was meant to be released in conjunction with the ‘Family Tradition’ exhibit, either initially or eventually, then why is it not being released until over 1 1/2 years after the exhibit was initially scheduled to end in December of 2009? Why are the songs being released so long after being recorded?
- Were there any lawsuits brought against any entity involved in the Lost Notebooks project? And if so, for what?
- When and/or how was the Hank Williams estate involved in the project?
- Why were neither Hank Williams Jr. or Hank Williams III involved in the recording of the project? Was Hank Jr. asked to contribute to a song?
- Willie Nelson was initially named as contributing a song to the project by Jack White in late 2007. What happened to Willie Nelson’s contribution?
- How many, in total, unfinished Hank Williams songs are there, from how many different primary sources?
- Since there are more unfinished songs than are included in this project, are there plans to do more volumes?
- The liner notes for the Lost Notebooks project state that two of the four lost notebooks were taken from a locked vault. They state: “A police investigation was launched, and ultimately Sony regained possession of the notebooks and the handwritten songs.” But in March of 2007, a judge dropped all charges against Stephen M. Shutts and Francine Boykin for theft of the songs. How then were the two notebooks re-obtained by Sony ATV?
Country music might ignore Record Store Day (RSD) this Saturday (April 16th), the worldwide event that has become an international holiday for audiofiles, but Saving Country Music won’t. Neither will Bloodshot Records, who has a number of releases and events planned for the day meant to prop up the ailing mom and pop record store.
Justin Townes Earle will be releasing a 7″ called Move Over Mama, which will include that track from his most recent album Harlem River Blues, with the B Side being “Racing in the Streets”, a “heretofore unreleased sparse, haunting Bruce Springsteen song that JTE’s been slaying ‘em with live.”
I’m also salivating over the release of No One Got Hurt: Bloodshot’s 15th Anniversary @ The Hideout Block Party. It is a live bootleg from their September 12, 2009 Anniversary Party, that includes some amazing tracks from Scott H. Biram, The Waco Brother, Bobby Bare Jr., The Deadstring Brothers, and many more. 19 tracks in all.
This is a CD, not an LP, but is being released in conjunction with Record Store Day. It will eventually be released digitally to the masses, but the only way you will be able to get it in the near term is finding a local record store that carries Bloodshot stuff. However, I will be spinning tracks from the bootleg on this Saturday’s edition of Saving Country Music Radio, which broadcasts at 9 PM on Record Store Day via The Real Deal KOOK, and which I will include the most BRUTAL version of Scott Biram’s “Truck Drivin’ Man” I’ve ever heard. It’s so out of control it had to be edited for the public airwaves!
Bloodshot artists like Whitey Morgan & The 78′s, The Deadstring Brothers, and Dex Romweber Duo will be conducting in-store performances, and many record stores like the infamous Shake-It Records in Cincinnati will have Bloodshot specials going on. See a full list of Bloodshot’s Record Store Day events.
Track List for No One Got Hurt: Bloodshot’s 15th Anniversary @ The Hideout Block Party:
- SANCTIFIED GRUMBLERS – EZ Riden’ Grumblers
- SALLY TIMMS – Sad Milkman
- JON LANGFORD – Pill Sailor
- THE BLACKS - Theresa Leaves Lonesome Town
- THE BLACKS – Horrorshow
- BOBBY BARE JR – Monk at the Disco
- BOBBY BARE JR - Valentine
- MOONSHINE WILLY - Turn The Lights Down Low
- THE SCOTLAND YARD GOSPEL CHOIR – Aspidistra
- THE SCOTLAND YARD GOSPEL CHOIR – Tear Down the Opera House
- SCOTT H BIRAM – Still Drunk, Still Crazy, Still Blue
- SCOTT H BIRAM - Truck Driver
- DEADSTRING BROTHERS – If You Want Me To
- DEADSTRING BROTHERS – Smile
- ALEJANDRO ESCOVEDO – Castanets
- ALEJANDRO ESCOVEDO - I Was Drunk
- WACO BROTHERS - Red Brick Wall
- RICO BELL & the Waco Brothers - Merseysong
- WACO BROTHERS – See Willy Fly By
On March 27th, 2011, Hellbound Glory, the most underrated country band in the world, made a tour stop at Will’s Pub in Orlando, FL. Down a man on the tour to begin with, then down their bass player a few nights before, with their fill-in steel player filling in on bass the day after getting beat up by a bunch of bikers in a “wrong place, wrong time” situation, the remaining members rallied, reached down deep, and pulled out a remarkable, rememberable performance as a power trio that will forever be known as “The Concert in the Cracker Swamp”.
Leroy Virgil, lead singer and songwriter left his acoustic in the case and manned lead guitar, Chico on drums played with the energy of two men, and Rico, hours out of the hospital, manned the four string. Those few that were there in-person, and those listening all across the world on SCM LIVE, could feel that this was no ordinary night, with no ordinary band, playing no ordinary songs.
Hellbound Glory, Rusty Knuckles, Reverend Nix of Cracker Swamp Productions, and Saving Country Music have combined to bring you the full audio from that night for your listening pleasure. It includes many of their top songs from their two albums–Old Highs and New Lows and Scumbag Country–as well as excellent renditions of classics like Waylon Jennings’ “Amanda” and Bruce Springsteen’s “I’m On Fire”.
Please make sure to stop by Hellbound Glory’s online store at rustyknuckles.com and offer your financial support, and keep your eyes peeled for concert dates to see them live.
- Another Bender Might Break Me
- Livin’ That Way You Better Hope You Die Young
- Livin’ This Way
- Chico’s Train
- I’ll Be Your Rock (At Rock Bottom)
- Hank Williams Records
- Hello Five-O
- Why Take The Pain
- The Ballad of Scumbag Country
- Women I’ve Never Had
- Hellbound Glory
- I’m On Fire
- Good Hearted Woman
- Be My Crutch
- Waylon Never Done It Their Way
- Too Broke to Overdose
- Slow Suicide
- 11 Months, 29 Days
- You Can’t Fight Fire with Firewater
Hellbound Glory was also recently featured on Colfax Radio.
We talked last week about how a punk rocker named Joe Buck, along with other so called neo-traditionalist musicians that migrated to Nashville in the mid 90′s to walk the same streets Hank Williams did, helped revitalize the lower Broadway section of downtown. Well, all those venues that in the early 90′s were either abandoned or housing adult bookstores sit in the shadow, and share an alley with the mother church of country music, The Ryman Auditorium.
The Ryman is what lower Broadway revolves around, and it is easy to think that however it goes, so goes lower Broadway. When The Ryman was virtually shuttered in 1974 and The Grand Ole Opry moved to the Opry House, that is when the seeds of the lower Broadway decline were sowed. I’ve always been amazed at the lack of outrage the Ryman’s abandonment caused. One of the few that spoke out was John Hartford, who in his 1974 album Aereo Plane included the song “Tear Down The Grand Ole Opry” which bemoaned the Ryman’s vacancy, and its effect on the area:
Right across from the wax museum they used to line up around the block
From east Tenessee and back down home they came.
All of a sudden there’s nothing to do when there once was an awful lot
Broad street will never be the same.
Aereo Plane and this song are completely out-of-print. But luckily Saving Country Music has it in our vaults, and on vinyl nonetheless:
Here is John Hartford, performing the simple banjo song “Gum Tree Canoe” in the abandoned Ryman:
Before Joe Buck, BR549, and other neo-traditionalists began to breathe life again into the streets and buildings of lower Boradway, a much more mainstream and established artist got the ball rolling at the Ryman. In the early 90′s Emmylou Harris was looking for a new direction in her music. She decided to disband her long-time “Hot Band” and put together a backing band based on an acoustic, more traditional bluegrass-like sound. Yes, the early 90′s Emmylou could be considered a neo-traditionalist herself, bucking the popular trends of the time (Garth Brooks’ Ropin The Wind was the big album in ’91) to reach back to the roots of country music.
She formed the “Nash Ramblers,” and what better way to make a splash in Nash that to launch the new direction at the Ryman. Starting on May 1, 1991, Harris started a series of shows at the mother church that stretched into 1992. It was like a shot in the arm for the Ryman revitalization. For almost 20 years, save for a few instances where it was opened for movies shoots, etc., its legendary acoustics had gone virtually unused, and now the home of country music was alive with sound again.
Emmylou’s series of concerts are given universal credit for spurning the reopening of the Ryman in 1994, and it also resulted in an amazing live album called At The Ryman. Of course it received no commercial radio support, the CMA’s ignored it, but was well-received by critics and won the Grammy for Best Country Performance by a Duo or Group with Vocal. It has amazing songs done in a bluegrass style from an impressive stable of artists, including Bill Monroe, John Fogerty, Bruce Springsteen, Jack Clement, and of course, Hank Williams.
The album also came with a companion recording of the May 1991 concert on VHS, which has some unbelievable moments, like Emmylou and Bill Monroe dancing together on the Ryman stage, and chill-inducing four part harmonies on “Calling My Children Home.” It also includes commentary about each song, and Emmyou’s thoughts on playing the Ryman. A Dutch site has uploaded the entirety of the concert, and it is a must see.
I don’t know if I can put into words exactly how I think of The Grand Ole Opry as an institution. Perhaps I’m guilty of putting it up on a pedestal, because I didn’t come here as a child, I didn’t play here ever, I never saw a show here. It’s sort of something out of another world, you know, something almost fantasy…There’s a real sort of aura of magic about it. I get goosbumps thinking about it sometimes. Sitting here now, the fact that were getting ready to record an album here, I don’t know if I’ve actually made the connection. I know when we first talked about the possibility of doing it at the Ryman, I wanted it so much that I wouldn’t let myself think about it. That if they say “no” I’ll never recover.
Luckily they said “yes” and the most important landmark on lower Broadway had a heartbeat once again.
On March 15th, 1968, The Byrds, spurned in a country direction by Gram Parsons, won the right to perform at The Ryman through their label Columbia Records. The Byrds were met with a hostile response, including heckles, boos, and “tweet tweet” calls. How funny is it that Gram’s understudy years later would be the one to revitalize the Ryman.
Emmylou on The Ryman:
I believe so much in the power of music, because my life was changed through music. Because I know of its power. I know how it can reach people everywhere. I guess specifically I’m talking about the kind of music I love. I call it country music… All music has a certain element in it that is real, this is like light, that can travel, anywhere, and touch people, anywhere. And to me, the music that was made at the Ryman is certainly, probably traveled farther and touched more lives than people ever imagine.
Just a few quick things:
Drive By Truckers on Austin City Limits:
In an attempt to conceal the fact that they have completely sold out and abandoned their roots of supporting local Texas music and other great independent country artists, Austin City Limits upon occasion will still put on a decent act, and this Saturday The Drive By Truckers will make an appearance, at least for half the show. Check your local PBS listings for times.
For those saying we should face up to the new face of country music:
Ticketmaster Attempting to Merge with Live Nation:
You might have seen in some news stories or other blogs that Live Nation and Ticketmaster are trying to merge. There’s probably not much more that I could say on the topic that hasn’t already been said, but without question these two companies have somehow figured out how to cheese of concert goers AND performers by bilking them with ridiculous fees, reserving blocks of tickets for corporate sponsors and squeezing the common man out of live performances, and offering paltry customer service.
A merge could be devastating to the live music scene because without these two companies competing with each other, already ridiculous fees could skyrocket. Of course big names like Pearl Jam have fought these companies in the past, and Bruce Springsteen at the moment is leading the charge of artists fighting the merger.
If you want to read and watch more about this, here’s a few good places:
Los Angeles Times
A funny, irate music fan twists off on Ticketmaster.
The biz angle from billboard.biz
Merle Haggard on Carrie Underwood & Today’s Country.
From the CMT.com blog:
““I like her, but where’s the songs?” he (Merle) said. He also said country music today is so perfect. Maybe too perfect. “There are no surprises,” he said. “Everything is going to be perfect, and I can’t even hear someone breathe. That’s just my opinion. The electronic digital computer, anyone can do a record nowadays. You don’t have to stay in key or they’ll put you in key.” And he added that there is no better evidence of that than when you see an artist in concert: “You don’t really know who can sing or can’t until you see them in person, then you’re like, ‘Oh, my God, what happened?’”
You tell em Merle!
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