It’s not every day you get trolled by a CMA Entertainer of the Year winner, but that’s what Saving Country Music found itself experiencing Sunday night (12-28) when Ronnie Dunn (formerly of Brooks & Dunn) took to his always colorful Facebook page to post links and commentary to recent stories on SCM about his involvement (or non involvement) with the new Cumulus Media/Big Machine Records’ joint venture called NASH Icon, and Saving Country Music’s review of his 2014 release Peace, Love & Country Music.
Beginning on December 16th, and then more in-depth on December 24th when Martina McBride was announced as NASH Icon’s second signee, Saving Country Music broached the subject of why Big Machine Records, Cumulus Media, and NASH Icon had been completely silent on any announcements of Ronnie Dunn becoming a part of the label’s roster, when Ronnie himself had first hinted, and then confirmed that he’d signed to the label (or signed some sort of deal with them) on November 27th, over a month ago now. But subsequently, even though there’s been ample opportunities for the record label to announce, or at least confirm Ronnie Dunn’s affiliation, including an announcement about Reba McEntire joining a reunited Brooks & Dunn for a series of shows in Las Vegas, there’s been nothing.
At the same time, SCM has gone out of the way to say this doesn’t mean some deal hasn’t been struck between Dunn and the label that won’t be announced in the future. As was said on December 24th, “It doesn’t mean Ronnie Dunn isn’t signed to the label confidentially, or that he won’t be signed to it in the future. But at this point, NASH Icon now officially has two artists signed to their roster, and neither one of them is named Ronnie Dunn.”
And just to point out, Saving Country Music isn’t the only outlet that has noticed nothing official about Ronnie Dunn’s signing has come down from NASH Icon. Music Row in a December 1st piece about Dunn’s Facebook announcement about the signing said, “The label has not officially announced a deal with Dunn.”
Perhaps thinking that Saving Country Music was chiding the country star, or perhaps wanting to add to the speculation, someone posted the first SCM NASH Icon story dealing with Dunn’s unconfirmed status from December 16th on Ronnie Dunn’s Facebook page, with the commentary, “Mystery / intrigue. Did Dunn really sign?” Worth noting, when Dunn posts on his Facebook page personally, he leaves his initials “RD.” No initials were left on this particular post.
Then a short time later, Ronnie himself posted a link to the “Ronnie Dunn” tag on Saving Country Music. Without getting too technical, a “tag” is a hyperlink to all the articles mentioning an artist or thing, but since the last article to tag “Ronnie Dunn” was the second, December 24th article that mentioned the curious case of Ronnie’s NASH Icon status, it did the same trick as linking to the article directly (which Dunn probably meant to do), with the commentary from Ronnie Dunn being, “Hmmmm RD.”
Ronnie Dunn replied to many of the comments left on the Facebook posts personally, but the reassurance either way if Ronnie Dunn was or was not signed to NASH Icon never came. Ronnie did leave an interesting comment where he said, “….IF it can be done, this Cumulus / Icon / Big Machine team can do it. The initiative is backed by some of the strongest players in the game. The right songs, right team (s) and ultimate fan support will determine whether it flies or not. RD.” But again, this was not a confirmation of anything.
So the next question is, is Ronnie Dunn actually signed to NASH Icon? And if he isn’t, what is Ronnie Dunn’s agenda? Is he simply trying to create media buzz? Does he desire to be signed to NASH Icon, and like we see many times in professional sports contract negotiations, he’s trying to negotiate through the media? Did the deal fall through? Are they just waiting for a later date to announce it? These questions remain unanswered, as do queries by Saving Country Music directly to Big Machine for clarification on Ronnie Dunn’s contractual status.
And then a couple of hours later, Ronnie posted a link to Saving Country Music’s review of his album Peace, Love & Country Music from April, with a fairly lengthy commentary/rebuttal to the review in which Saving Country Music awarded Ronnie “One Gun Up, One Gun Down” (meaning a 50/50, or mixed review). Dunn also has “pinned” the post to the top of his Facebook feed. Dunn’s commentary:
SAVING COUNTRY….One of my all time FAVORITE articles !!!
I agree with him about the contradiction grinding endlessly within ME and the MUSIC that I seek, so desperately to be a part of. This stuff is about more than just music.
I am beginning to believe that there may be no balance between mass accepted, mainstream music and sincere, heartfelt stuff with essence… but again, I’m conflicted because songs like Believe, Red Dirt Road, Brand New Man, Neon Moon, She’s Not The Cheatin’ Kind and My Maria, just to name a few, seemed to do it on a mainstream level.
……there’s my problem.
NEVER…have I taken the position, or assumed the posture that I am in any way the guy to lead anyone or anything, anywhere.
That’s a first class ticket with free drinks and a cigar. Freud would turn that down.
***One more quick thing….
I came up with the title, Cowgirls Rock and Roll Tattoos and Pickup Trucks as a spoof on the repetitive cliche’s found in so many songs these days.
I couldn’t get anymore words into the title.
I have to tread lightly though, in the past I’ve used those cliche’s.
You didn’t mention…… Heart Lettin’ Go ?
Thanks for giving Wish I Still Smoked Cigarettes an atta boy.
In the end….you singled out the TWO songs (Country This and Kiss You There) that were hand chosen by two of the most truly talented, top radio programmers (no names mentioned gents) in the country.
A good friend and publicist told me once, “choose EVERY song wisely, the critics especially, will gravitate to the lowest common denominator if you’re not careful. The weakest link in the chain defines it’s strength.
Malcolm Gladwell wrote in his best seller David and Goliath, that grit trumps almost everything in the long run.
In the end I don’t have anything left to prove, I just like doing this.
I’m determined as ever to get this chapter right.
Saving Country Music has been following Ronnie Dunn and his conquests with great interest for a while now, from his work with Texas legend Ray Wylie Hubbard, to his frequent commentary on Facebook which tends to put him on the right side of issues, and even reviewing (however belated) his chill-inducing single “Bleed Red.” Even if Ronnie Dunn isn’t always right, he’s proven himself to be weird, and that in itself deserves an elevated level of respect and interest. He’s gone so completely off the script at this point for a CMA Entertainer of the Year and a mainstream artist, that if nothing else, it’s refreshing.
But in the end the music still has to prove itself, and with Ronnie’s Peace, Love & Country Music he did prove in moments his commitment to making worthy music. He also proved that old habit’s die hard, and as he had the courage to admit above, extricating himself from the system he’s been a part of for so many years isn’t easy, or something which can be achieved overnight. Also Dunn shows wisdom in how to take criticism: as a means to see where there’s room for improvement, as opposed to taking it as either a personal insult or the result of petty grievances based on jealousy or other motivations. “I’m determined as ever to get this chapter right,” Dunn says, meaning he’s constantly trying to improve, which is all you can ask of artists, and all you can ask of yourself.
Dunn is right. Songs like “Believe,” “Red Dirt Road,” “Brand New Man,” “Neon Moon,” “She’s Not The Cheatin’ Kind” and “My Maria” are excellent examples of balancing quality with mainstream appeal. In the early 90′s when these songs were released, many country music traditionalists may have not agreed with such a statement, but this has been the recurring lesson of 2014—that when looking at the legacy of Garth Brooks and the other artists of the “Class of ’89,” when looking at old school Brooks & Dunn music, when looking at artists who fit the NASH Icon model, you can now see this music was better than critics and traditionalists were giving it credit for at the time, and is such a healthier alternative to what is being produced today. That is why NASH Icon not only exists, but is thriving, whether Ronnie Dunn is directly involved with it or not, or will be in the future.
Of course Brooks & Dunn circa 1992, or Ronnie Dunn circa 2014 is not going to get a lot of the hardline traditional elements of the country genre excited, and don’t think for a second that Saving Country Music has allowed its compass to be coaxed in the wrong direction from Ronnie Dunn’s Facebook flattery. But pragmatism has been the new name of the game in the fight to save country music in 2014 because it’s been so effective.
If Ronnie Dunn, Martina McBride, Garth Brooks, and Reba McEntire return to country radio in a measurable way, which they are with NASH Icon and the more general country music format split, then this is as solid of a victory for true country music as Sturgill Simpson selling 65,000 albums and being nominated for a Grammy. Yes, it would be nice if Sturgill stepped up as more of a leader, but as Ronnie Dunn illuminates in his above statement, it is so unnatural for these performers to assume leadership positions. In the end, the leadership must come from the music itself. Words on Facebook and sites like Saving Country Music can only go so far.
2014 was the year the tide turned, and the sullying seas of country music mediocrity left their high water stain on the face of history to hopefully be measured against diminishing levels in the coming years. Ronnie Dunn, NASH Icon, Ray Wylie Hubbard, Garth Brooks, and Sturgill Simpson all contribute in their own weird ways to this emerging trend; to a rolling back of the losses to hopefully work toward a new day in country music. But it won’t happen overnight, and there won’t always be agreement within the ranks of how it’s Dunn. But in the end the music will prevail over time. That’s why NASH Icon’s most underlying requisite for potential signees is 25 years of proven service and staying power in the genre. Time invariably crowns the eventual victors, and reveals the few with true integrity.
In the fall of 2012 when Ronnie Dunn (of Brooks & Dunn) was looking to write and record material for his upcoming album, he reached out to Texas music songwriting guru Ray Wylie Hubbard after falling in love with the gritty sound Hubbard imbibes on all his records. Dunn flew into Austin as Ray Wylie wrangled up an A-list of Austin musicians to to participate in a recording session that would give Dunn the authentic sound he was looking for, including reaching out to one cat named Ian McLagan—a 67-year-old keyboard player who was born in England but had permanently relocated to Austin in 1993, and spent many nights entertaining small crowds in bars around town, especially at the Lucky Lounge on 5th Street with his “Bump Band.” He was known to the greater world however as the keyboardist of the highly influential rock band Small Faces, and later Faces.
“Started recording in Austin yesterday,” Ronnie Dunn boasted to his social network followers at the time. “TEXAS boys ripped it up !! Brad Rice, George Reiff, Ray Wylie Hubbard, Ian McLagan (Faces)….this is where the Rolling Stones ride with the Cowboys !!!! If you like your country raw and with a razor edged jangle….I found the ‘honey hole.’”
Along with being the go-to auxiliary keyboard player for the cream of the classic rock world, including numerous occasions with The Rolling Stones over the years, Ian McLagan played keys on Robert Earl Keen’s 1998 album Walking Distance, on John Hiatt’s Best Of album from the same year, on Slaid Cleaves’ Broke Down from 2000, Ray Wylie Hubbard’s Eternal and Lowdown, and entering into the 2000′s, albums from Bruce Robison, Kelly Willis, James McMurtry, Lucinda Williams, Chelle Rose, Mary Gauthier, Gurf Morlix, Jennifer Nettles’ (of Sugarland) 2014 solo album, and just about any recent album from Ray Wylie or Robert Earl Keen you can find. When you needed a keyboard player on a definitive Texas record, Ian McLagan was the first man you called.
Ian was also a solo artist and released ten studio albums, including United States with his Bump Band on June 17th, 2014 through Yep Rock. McLagan was excited about a long-rumored reunion tour of Faces coming together with iconic frontman Rod Stewart.
“We will be touring next year, and I’m very excited,” McLagan told Kevin Curtain of the Austin Chronicle in June. “The fact is we always wanted Rod to do it. Every single time we asked him, it didn’t work. This time, he wants to do it. So I hope and pray nothing happens between now and then, because it would be great.”
Ian McLagan died on Wednesday, December 3rd of a stroke at Brackenridge Hospital in Austin. He was 69-years-old.
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Rock music lost another titan of the legendary auxiliary surrounding The Rolling Stones, Faces, and other similar projects in saxophone player Bobby Keys who passed away on Monday, December 2nd, of cirrhosis at his home in Franklin, Tennessee. Like Ian McLagan, though he was known mostly for his work with British-based rock bands, especially as The Rolling Stones’ studio and touring saxophone player on pretty much any song or tour the band ever played, he was born in the small town of Slaton, TX, just south and east of Lubbock, and one of his first gigs as a saxophonist was playing with Buddy Holly where he rubbed elbows with Holly understudy and friend Waylon Jennings.
When Waylon Jennings made his very first two studio recordings with Buddy Holly, “Jole Blon” and “When Sin Stops,” keys was present in the Clovis, New Mexico studio. Keys later joked the experience “threw my whole life down the toilet!”, meaning it sent him down the path of pursuing music as a living, and he never looked back.
Later in life Bobby Keys’ studio credits would include Lynyrd Skynyrd’s Second Helpings, John Hiatt’s Beneath This Gruff Exterior, and Joe Ely’s Lord of the Highway.
The Small Faces, and later Faces and The Rolling Stones defined the loose, gritty, sweaty sound of late 60′s, early 70′s classic rock that every artist wanted, but few could master. That sound found on Small Faces records, and Rolling Stones projects like Exile on Main St. and Sticky Fingers most certainly went on to influence the rugged, sweaty, and stripped down sound of the Outlaw movement in country of the same era, with similar sounding albums recorded by the touring bands of defiant frontman instead of the slick session players of Music Row—albums like Waylon’s Honky Tonk Heroes, and Willie Nelson’s Shotgun Willie.
When you wanted to evoke that timeless, gritty sound of the 70′s in your music, you reached out to sidemen like Ian McLagan and Bobby Keys to bring it back to life. Now that era will be that much harder to reach back to, but that much more treasured in the hearts of listeners.
RIP Ian McLagan (1945-2014) & Bobby Keys (1943-2014)
It’s the fall of 2007, and a mother and daughter from the little town of Lindale in east Texas are driving through New Braunfels, TX, just south of Austin, known nationally as the home of the historic Gruene Hall, when their car breaks down. Instead of stressing out about it, they decide to get a hotel room and a drink, and stumble into a rustic old bar called Tavern In The Gruene.
It is a Tuesday night, and like most every Tuesday night at the Tavern In The Gruene, Texas singer songwriter Ray Wylie Hubbard is doing his Roots and Branches radio show live on KNBT, showcasing songwriters from the Texas scene. On the stage is a well-seasoned, but somewhat obscure songwriter named Adam Hood from Opelika, Alabama. The two stranded travelers from Lindale listen intently to Adam’s songs and are so impressed, the daughter waits until after the show to talk to him and Adam gives her a copy of his current album.
After listening to Hood’s music and falling in love with it, the mother and daughter decide to book Adam Hood to play a birthday party in November in Chicago for the daughter. The mother’s name was Beverly Lambert, and her daughter had just released a CD of her own, Crazy Ex-Girlfriend the went on to be named the ACM Album of the Year. As you might have guessed, Miranda Lambert was the weary traveler who’d stumbled on to Adam Hood, and knew she’d just discovered songwriting gold.
Soon Adam Hood was signed with Carnival Music Publishing and Carnival Records, the baby of Miranda’s producer Frank Liddell—the man also known for producing records for Stoney LaRue, and being married to (and producing) Lee Ann Womack. It’s a small world, but Adam Hood soon became a big songwriting cog in it, moving to Nashville to work as a professional songwriter, and becoming one of the most prolific song contributors to the Texas scene, churning out signature tracks for Wade Bowen, the Josh Abbott Band, Whiskey Myers, and too many more to name, and even some songs for some bigger names like Little Big Town. Hood wrote “I’ll Sing About Mine” with Brian Keane that was nominated for Saving Country Music’s 2013 Song of the Year.
It’s because of both the prolific nature and aptitude of Adam Hood as a songwriter that you almost have to remind yourself that he’s a performer too, and a damn good one. Miranda brought Hood out on tour numerous times, as has Willie Nelson and Leon Russell. He’s currently touring with Jason Eady, who included one of Hood’s songs on his latest album Daylight & Dark. But since Adam Hood is the epitome of a songwriter who makes it look effortless—penning stories that wrench the heart and encapsulate sentiments so poignantly that his peers are flush with admiration and envy—Adam’s songwriting is where it all starts. Though as he says on a song on this new album, “It takes a whole lot of hard work to make it look easy.”
Adam Hood is not a native of Texas or Oklahoma, but he is an honorary member of the Texas country scene if there ever was one. And now that he’s officially called Frank Liddel’s Carnival Records quits, he’s back releasing his music independently and calling his own shots. Only appropriate then that he would release an album that is strikingly personal in a very palpable and meaningful manner, making the music hold a weight that it otherwise wouldn’t if it was a collection of disparate perspectives. Adam Hood has written plenty of songs for others. He wrote and recorded Welcome to the Big World for himself.
Starting out loud and heavy, Welcome To The Big World opens almost like a Will Hoge record—more rock than country, but with a country heart. Hoge wrote one of the songs for the album with Adam Hood, but it isn’t one of the beginning ones, it’s one of the more country offerings called “Postcards and Payphones” that helps anchor the more country and subdued second half of the album. The opening song “Don’t That Sound Like Love” takes a realistic, if not dystopian view of love in a very heavy bluesy style, followed up by the full tilt rocking “Trying To Write A Love Song.”
From there is where the album turns more personal, starting with title track that Hood wrote just as much for his daughter as for himself about dealing with life’s inherent struggles and trying to forge a positive attitude about things you can’t control. “Bar Band” is deceptively deep in its perspective, uniting all of America’s watering holes with the mood that can be found on any given Friday night when local musicians are providing the entertainment. “Whole Lot of Hard Work,” “Postcards and Payphones,” and “Way Too Long” is where Hood’s songwriting brilliance is revealed in full force, while the duet with Sunny Sweeney called “The Countriest” offers a simple and fun palette cleanser amongst Hood’s heavy hitting material. “He Did” written about Hood’s dad lands another gut punch, and despite all the other noteworthy songs on the album, “I Took A Train” bringing up the caboose feels like the most timeless, like an instant standard.
Adam Hood did his time on big stages, gave his shot to Nashville where he still haunts songwriting rounds with some of his friends, and his mark will forever be left on the music even if his pen fell silent tomorrow. But now he seems content with the world and his place in it.
It was a random performance at the Tavern In The Gruene that landed Adam Hood on the greater country music map, but the songwriter never left the spirit of the intimate performance and the conveyance of a personal feeling that spoke to Miranda Lambert that night, and still rings pure and potent in the 11 tracks of Welcome to the Big World.
1 3/4 of 2 Guns Up.
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An important and beloved member of the Texas Music Scene passed away unexpectedly on Monday morning (10-20). Singer and songwriter Ronny Spears had just played a show at Hank’s in McKinney, TX with frequent collaborator and dear friend Robby White on Saturday night, and 36 hours later fans were shocked to hear of his passing. It was White who told Ronny Spears’ many fans the terrible news this morning. “My heart is broken. My partner, my best pal Ronny Spears passed away suddenly this morning. I’m shocked and devastated. I miss him already.”
Ronny Spears was a fixture of the Texas country songwriter circuit in north Texas and beyond, sharing the stage over his career with Willie Nelson, Ray Wylie Hubbard, Radney Foster, Robert Earl Keen, Chris Wall, 1100 Springs, The Dixie Chicks, Charlie Robison, Bill Kirchen, Jack Ingram, Geronimo Trevino, Donny Ray Ford, Deryl Dodd, and many more. Ronny was raised by his father after his parents divorced and Ronnie’s father took him from his mother’s custody for fear of his upbringing. Spears grew up in Frisco, TX and studied at Southwest Texas State College (now Texas State University), regularly finding himself at odds with his father who didn’t want him pursuing music as a career. But Ronny persevered, playing in bands such as The River’s Edge and Liberty Valance and striking out as a solo performer and frequent collaborator with other songwriters like Ray Wylie Hubbard, Brian Burns, and later in life the aforementioned Robby White.
It was during a performance with Ray Wylie Hubbard in 1989 that Ronny Spears had his career epiphany. As they were performing on stage together, Ray Wylie turned to Ronny and said, “Quit playing copy songs,” and this is the moment Ronny Spears began to take his songwriting seriously. Spears spent some time in Nashville, but found it not to his liking and headed back to Texas. His music was always balanced with day jobs and family life. Ronny made sure to take care of his familial commitments first but the quality of his music at his night and weekend gigs did not suffer.
White & Spears was Ronnie Spears’ most recent pursuit with Robby White, playing regularly in the north Texas area. Spears once told Buddy Magazine, “The music Robby White does is Texas music, our vocals fall together, and it’s like we know each other like the backs of our hands.”
Ronny Spears album Modern Day Outlaw is considered a cult favorite, and his frequent appearances will be missed by the north Texas music community and beyond.
RIP Ronny Spears.
Take a Pacific Northwest songwriting gem and refine her with the finest of care by some of Austin, TX’s best master craftsmen, and the result is the 3rd and defining studio album from Seattle-based songbird Zoe Muth called World of Strangers. Backed by her touring band The Lost High Rollers on her two previous releases, Zoe ratcheted up the game with the new album by retaining the services of well-respected producer, engineer, and bass player George Reiff, known as one of the masterminds behind successful projects from The Band of Heathens, Ray Wylie Hubbard, and many more. This pairing proves prosperous on World of Strangers, delivering an album that is both genuine to Muth’s creative spark, yet enhanced by the the respectful and well-versed ear of someone who knows how to endear those original expressions to an appetent audience.
They call Zoe Muth the “Emmylou Harris of Seattle”. Then maybe Emmylou Harris is the Zoe Muth of the rest of the world. Either way, Emmylou is fair company for comparison to Muth as a way to express the measures of country, folk, and Americana Muth purposes for her music, and for the positive, and sometimes haunting way the music resonates with an audience. Ranging from downright alcohol-soaked honky-tonk to spatial spiderwebs of subtly and string sections, Zoe Muth and World of Strangers dazzle with range and adeptness at capturing the mood present at the genesis of a song.
Joining Zoe Muth and George Reiff in this journey were other notable Austin names such as Brad Rice (Sun Volt, others) and Bruce Robison, and whatever the songs of World of Strangers called for, it was procured in the manner of piano, strings, or accordion, giving the album incredible spice beyond the savory nature of Muth’s unembellished compositions.
“Many of these new songs had been in my head for a long time, and I needed a change of scenery and sound to let them find their way out,” says Zoe about the album. “This was a whole new studio experience for me, more experimental. We agreed from the start that we wanted something different, more ethereal, but George took these songs in a direction I wasn’t expecting. It worked so well because we have so many common influences. It was really exciting, how the musicians would jump from one idea to another without hesitation. We were able to capture all the emotion you hear in the songs because the band could get them down in just a few takes. I knew this was why I had come to Austin.”
Like the faces of children, each song on World of Strangers has something hard not to be endeared to. The faraway cry of the steel guitar on the opening number “A Little Piece of History”, the empathetic character at the heart of “Mama Needs A Margarita”, the aching in “Annabelle”, the timelessness of “Waltz of the Wayward Wind”, and the story so easy to relate to in “What Did You Come Back Here For?”
World of Strangers does not grab you by the gruff and make you listen, it’s a creeper that burrows itself into your bones. It’s not a flood that comes crashing in with waves, it’s the one that rises unexpectedly until you’re knee deep. A similar action accompanies Zoe’s voice—not flashy or even necessarily distinguishing, but slowly infectious and warm. The high artistry may be too aloof in moments for the red meat crowd, but World of Strangers still has something for anyone who labels themselves a roots fan.
No offense to Zoe Muth’s touring band that does a valiant job backing her up on a nightly basis, but the decision to go big with World of Strangers resulted in an album that should make her a familiar name throughout the roots world.
Two guns up.
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If you see someone roll up in a rig with Oklahoma license plates claiming to be a songwriter, you’d be smart to pay a little bit closer attention these days. From country artists like Evan Felker and The Turnpike Troubadours, to more Americana stuff from artists like John Moreland and Parker Milsap, Oklahoma is spitting out songwriters at a rate that has the rest of the country on high alert and working double hard to match their output. Something in the water, something in the soil, or something in the lineage of a state that birthed Woody Guthrie, Ray Wylie Hubbard, Jason Boland, and many more—whatever the chemistry is, Oklahoma is hatching one landmark songwriter after another. And not one songwriter in Oklahoma or anywhere else may loom as large at the moment as the fresh-faced farm boy originally from Bearden, Oklahoma named John Fullbright.
As the lives of most songwriters go, John Fullbright has lived a charmed one for sure. His debut studio release, 2012′s From The Ground Up found its way to the very highest reaches of industry accolades when it was nominated for Best Americana Album at the 55th Grammy Awards, and he seemed to be quickly and inexplicably, but deservedly anointed as a songwriting golden boy right out of the gate. This is great for a songwriter, right? Get all the momentum behind your back, get the industry recognizing your contributions, and get where you can put food on the table plying your craft and begin to set yourself up on a path to comfort.
Or is this a favorable destiny for a songwriter? The romantic notion of what makes great songwriting is a scene of poverty and self-loathing, depression and sometimes addiction; someone who can’t seem to come to grips with the world they live in, letting their pain express itself in soul-stirring poetry that discerning ears yearn for. They must endure, so we can enjoy, and to that end many songwriters seem to perpetually sew conundrums for themselves and makes shambles of their personal lives so they can find the next vein of inspiration; the whole Van Gogh cutting off his ear archetype.
John Fullbright however doesn’t adhere to these notions in his new album simply entitled Songs, he challenges them. You could tell from Fullbright’s first album that his writing style works more from method instead of madness. It wasn’t as much the wit or the rawness that gave his writing an indelible hold on the listener, it was his ability to weave stories and deliver insight in both a poetic, and a refreshingly-understated way.
Songs finds John Fullbright talking shop about songwriting rather candidly and deftly, questioning the entire notion of where inspiration comes from, and toying with the rules and methodology that govern the craft. It starts off with the first song “Happy”, catching Fullbright wondering “Every time I try to write a song, it seems to start where we left off … And tell me what’s so bad about happy?” In the center of the album is the brilliant “Write A Song”, where Fullbright is able to enact the same effect of setting up two mirrors on opposing walls where you see infinite reflections, only he does it with words while still conveying a deep life moral. “Write A Song” song captures Fullbright at the apex of his gifts, and may be marked down as one of the best song contributions of the year. And then he ends the album with “Very First Time,” proclaiming, “I feel alright, for the very first time”; tying in with the first song “Happy”, and giving this album a cohesive theme and thread whose overall result is the shattering of the notion that songwriting and suffering are inseparable.
For a 26-year-old who must feel the pressure of fulfilling the expectations his first album set, Fullbright is positively fearless in Songs. And in between the first, middle and last song of this album that sketch the moral arc of his intended message, he entertains with wistful mentions of love, and extended bouts of storytelling, built just as much upon piano and organ tone as it is guitar, and with generally sparse, but always ample and appropriate musical arrangements that achieve the goal of highlighting the words and little else.
This is a songwriter’s album, and songwriters and people who study the craft and have patient, attentive ears will be singing the praises of this album for the rest of the year and beyond. The general population though may find it too broody and melancholic, and may find Fullbright’s voice nondescript, while still recognizing the craft illustrated and the mood set. There’s moments in this album where you can’t help thinking of Tom Waits, especially when keys are the centerpiece, or Mickey Newbury with all the extended spatial moments, and even Bob Dylan with all the self-aware and referential elements in the writing. Songs and John Fullbright are worthy of being referred to in this company, and not just from the writing itself, but from creating songs that unearth fountains of emotion like few others from the marriage of words and song.
With Songs, John Fullbright sets the standard by which all other songwriters will be measured by in 2014.
Two guns up.
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To do Ronnie Dunn and his new album Peace, Love & Country Music justice, one doesn’t need to write an album review, one needs to do something in between an in-depth psychoanalysis and a diagramming treatise. There’s so much going on here, so many tentacles to the current Ronnie Dunn story, and ones that reach far beyond the music itself, that it’s hard to know where to even start, or to end for that matter.
I guess the first place to start is to try and set the context of just where Ronnie Dunn is in his career, and where he came from. Because Brooks & Dunn was so overshadowed in their day by Garth Brooks, George Strait, Alan Jackson, and the other solo artists of the 90′s, and because his name was only given half credit as a member of a duo, it may be difficult to appreciate just what a mark Ronnie has put on country music. But his impact has been nothing short of towering. Brooks & Dunn sold 30 million records. Their signature album Brand New Man sold over 6 million alone. They had 30 #1 singles. They won the CMA for Vocal Duo of the Year a remarkable 13 out of 14 years between 1992 and 2006, and won Entertainer of the Year in 1996. Their career and impact were historic, and Hall of Fame worthy.
And now, Ronnie Dunn is a defector. He is one of the leading voices of dissent against the institutions presiding over American country music. He has created a loyal and rabid following of tens of thousands of disenfranchised music fans. On a weekly, and sometimes daily basis, Ronnie Dunn is decrying Music Rows ways, specifically criticizing the exclusivity of radio, the stamping out of creativity by record labels, and the way the business treats its talent, young and old.
Think about it: This is one of Nashville’s biggest bread winners of the last 25 years, and he’s now a turncoat. The quotes from Dunn and the topics he’s broached about Music Row’s debauchery are so numerous, I couldn’t even start to delve into them and do it all justice. But long story short, this is a guy that fought Nashville’s wars for a nearly a quarter of a century, and now he’s fighting against them. “I did it for 20 years, and I learned all it was was the mainstream way of doing things was just where ideas go to die these days,” Dunn said in a recent interview. “Mainstream is the road to mediocrity. And it took me 20 years to realize that. But it got to the point to where everything we would come up with to do as maybe an idea or something we thought was fairly innovative, we would get cut off at the pass. So it’s time. It felt like time to start to try to do different things.”
And doing things different is what he’s done. Ronnie Dunn is a completely independent artist now who owns his own record label called Little Will-E Records. During the CMT Awards in Nashville last summer, Dunn set up an encampment on lower Broadway guerrilla style, and as the throngs of people poured out of the Bridgestone Arena, Ronnie played three of his new songs off the album on the roof of a nearby building as a promotional stunt. No permission, no permits. He even got in trouble with the Opry for shining a light banner on the roof of the Ryman asking “Who’s Ronnie Dunn?” Depending on your perspective, Dunn had either lost his mind, or finally found it and come to the side of believing in music over money.
All of this was great. Here was one of mainstream country’s biggest stars spouting the same type of rhetoric that one may find on Saving Country Music on a regular basis. Then there was news he was writing songs and recording with none other than Texas music guru Ray Wylie Hubbard. Everything was setting up quite nicely for the release of Ronnie Dunn’s first independent record to be a sort of musical insurrection perpetuated by one of Nashville’s own, with reverberations reaching who knows how far into the dug in foundations of Music Row.
But then one little pesky problem materialized just as it seemed like Ronnie Dunn might be the chosen one we’d all been waiting for to lead country music out of its current wasteland. Despite all of Ronnie’s talk about how unjust it was that classic country no longer had a place on country radio, and how aging talent was getting pushed aside for young pups with no respect for the genre and playing music that was more indicative of rock than country, here comes Ronnie releasing songs that sound exactly like the music he’s criticizing.
One of the first songs we heard from Peace, Love & Country Music was called “Country This”—a complete hard rock guitar-driven bro-country mega anthem with ultra-stereotypical laundry list lyrics and absolutely no story or soul. I mean this thing was terrible. And I wasn’t the only one all of a sudden taking a second look at what Ronnie Dunn was doing. “Kiss You There” was another one of Peace, Love & Country Music‘s first offerings, and despite affording a little more story, it almost seemed to be walking the edge of country rap, with little EDM moments peppered throughout the song.
However promising Ronnie’s off-the-stage rhetoric had been, to say his music wasn’t syncing up with his words is a gross understatement. Remember those songs he wrote with Ray Wylie Hubbard? Interestingly one of them showed up in the repertoire of Sammy Hagar, called “Bad On Fords and Chevrolets“. Some in Ronnie Dunn’s camp wanted to revolt, but Ronnie calmed nerves when he seemed to allude that he was using these first singles almost as Trojan horses. He told everyone he wasn’t wasn’t abandoning the revolution, but that he needed to give radio one last shot, maybe to prove that even when he put out songs that were ripe for country’s new format, they would still be ignored if you weren’t in the good graces of Music Row’s major labels. “Mainstream radio does not dictate the full flavor of a multi-song CD,” Dunn assured.
So after many months of spirited discourse from Dunn through Facebook and interviews, the confounding first few tracks, we now finally get to hear the full breadth of Ronnie’s independently-released record. And what do we get? Pretty much what we got in the run up: crossed signals and conflicting messages, though a few good songs here and there.
It’s not that Ronnie Dunn is trying to take advantage of the growing anti-Nashville sentiment, similar to someone like Eric Church and other “new Outlaws” where the rhetoric seems to be nothing more than marketing and a distraction from the music. It seems much more innocent than that, like Ronnie has spent so much time residing within the system and was raised so deeply within its inner workings, that to Ronnie this record and many of its songs are groundbreaking. But when you bring a more global, a more informed ear to the project—one that has truly been versed in independent country and country protest music—it seems almost like parody.
Meanwhile the contradictions are nothing less than striking. Peace, Love & Country Music has a straight up protest song in it called, “They Still Play Country Music in Texas”.I turn on the radio they’re mixin’ heavy metal with twang People on TV doin’ anything for fame I’m not one to cling to the past But some of this new stuff burns my ass Thank God and Willie some things stay the same
Yes, awesome! Let’s all pump our fists and praise Ronnie Dunn for speaking up! … except that numerous songs on this album are “mixin’ heavy metal with twang,” exclusively. I mean, that’s the whole premise some of these songs are built around.
Ronnie Dunn has all the right sentiments, all the right ideas and philosophies. But when it comes to his actual sonic output, he needs guidance, and guidance in a big way if the message is going to match up with the music. He needs to spend a weekend with Marty Stuart or Vince Gill. He needs someone to walk him through their record collection, explaining to him how we got here. He needs to see Sturgill Simpson at the Station Inn. Though I understand many from the mainstream perspective will hear this album as rebellious, forward-thinking, or even groundbreaking, the simple fact is that it isn’t. It is still a very, very mainstream album. Maybe it’s a mainstream album with good moments, but it’s still one that is cast in predictable turns of phrases and phrasing, and well-worn tones and textures; one that panders for attention, relevancy, and radio play.
As cool as it is to get a protest song like “They Still Play Country Music in Texas” from him, I wish it wasn’t on the album because the hypocrisy inherent in it drags down the rest of the project. Songs like “Country This”, “Cowgirls Rock & Roll”, and “Thou Shalt Not” are every bit dependent on their rock guitar riffs. Hell, “Cowgirls Rock & Roll” is one of the worst “country” songs I may have ever heard, no different than a single you’d hear from Brantley Gilbert or Jason Aldean, with Auto-tuned inflections on the vocal track indicative of modern Jerrod Niemann or Tim McGraw.
And look at these lyrics:Que Paso Hey Pard Yo Yo Play Back In Black Set Em Up Joe… Goth Black Ponytail Ink On Her Arm Out Here In The Way Back Doin’ Things She Shouldn’t Be Doin Like That Ghost Of Hank Still Hangin On Snoop n Willie Keep Singin That Song Brown Jar Liquor Got A Shotgun Kick Got It Goin On Out Here In The Sticks
Then again, there’s some very worthy tracks on Peace, Love & Country Music. The first two songs “Grown Damn Man” and “Cadillac Bound” start off the record right. “You Should See You Now” and “Wish I Smoked Cigarettes” are excellently written, and no matter what Ronnie Dunn is singing, it’s hard to escape the fact that he still holds one of the best voices in the business, and came from a time when you couldn’t fake it, or let your fame ride off a pretty face.
Something else that seems to hinder this album is that it took so long to go to print. Ronnie Dunn seems to be in the precarious position of trying to maintain his mainstream relevancy, while at the same time come to grips with the new realities of his career. He wants to lead a revolution, but he wants to hold onto the last vestiges of the spotlight for one last moment. But you can’t have it both ways. There are songs on this album that could have been worthy of radio, whether it’s because they’re good enough and would elevate the format, or because they’re bad enough to be radio hits in country’s current climate. But neither will be given a chance because of all of Dunn’s sabre rattling off stage. Dunn’s plan came off as half baked, and in need of some guidance and perspective from people who really understand where the trends in music are headed.
I like Ronnie Dunn’s spirit, and I feel like there’s a kinship in his fight. And make no mistake, there are many, many country music fans who are listening to his every word about what is happening in country, because his words are rooted in truth. And because of this and a few pretty good songs, I can’t give it a negative review. But don’t get bogged down by the bravado surrounding this album. If you simply listen, you will find it is an album addled by stark contradictions.
One gun up for some good songs and an independent spirit.
One gun down for some very, very bad songs, and a conflicting message.
The pretty good:
The very, very bad:
Our dreams can be the most uplifting, most fulfilling element inherent in the human design. And they can also be the most destructive. When realized, dreams can fill cavities in the human heart that we never even knew existed and that have no physiological parallels, making us feel whole for the first time in our lives. Or in the disillusion of our dreams, the cavities become like caverns, like sticks of dynamite were stuck in them, and the explosion of negative emotions inflicts permanent, collateral damage on our souls, leaving us with a lost connection to the very thing evolution has instilled in every one of us that pushes us forward in hopes that in the grace of history we can be measured as something more than the sum of our human parts—that our indelible mark will linger, and that somebody beyond our own time will remember that we were here, and that our mark will leave the world one measure better.
This drive is what sent our ancestors trekking out across barren middle America, and deposited settlers into the breadbasket to seek their fortunes in the tilled soil of the plains. Fredericksburg, Virginia songstress Karen Jonas sings about this in the title track of her new album, Oklahoma Lottery—how some came with heads full of dreams, and when they scratched the surface of their little appointed marks in the American dirt, they came up blank. No cherries aligned, no stars formed a diagonal pattern, no doubler hit, and no consolation prize was awarded. And so they moved on, their backs a little more bowed, their eyes a little more glazed.
Karen Jonas, whether she knew it or not, heeded the advice of the great Ray Wylie Hubbard to all songwriters: don’t just listen to The Ghost of Tom Joad, read The Grapes of Wrath. How do we know this? It’s not just from the wisdom interwoven in the lyrics, it’s from the amount of pain Ms. Jonas is able to capture in her performance. This isn’t just an inflected interpretation, but the very evocation through herself of the troubled ghosts of the story —not just wrapping herself in their clothes, but walking a mile in their shoes, and then conveying the pain she knows they felt from the aching of her own blisters.
Similar to how the settlers of Oklahoma toiled at the yoke without a thought of rest, Karen Jonas, after putting her pair of young children to bed every night, tip toes to the other side of the house, takes the guitar in hand, and digs, hoping to unearth the riches of song. And lucky for her and the rest of us, the ground that she tilled ended up to be quite fertile, and the result a verdant display of artistic release.
If music was a lottery, then Karen Jonas hit big. But this is no fortune to be chocked up to sheer luck. The toil, the heart that Karen Jonas put into this music and this record is eminently palpable. And it is not just the result of talent, but talent honed and refined through cutting self-criticism, study, discipline, and work.
This music starts with a girl, her guitar, her stories, and her demons. Similar to Justin Townes Earle in the way she plays the guitar in a hybrid of the clawhammer banjo style—a plucking with her thumb and then striking the strings with the nail side of her fingers—shows a refined study of her instrument, not just a rudimentary running through of chords while letting the words tell her story, with no sense of style to match up with the mood. This musical approach exacerbates the lead-heavy, almost unbearable tension that Karen is able to instill in her music. Her music aches like a broken heart; heaves and creaks like the boards of an old wooden floor under heavy weight.
Karen Jonas tells stories, like in the aforementioned “Oklahoma Lottery”, and the first track of the album “Suicide Sal” which refers to the Bonnie & Clyde saga. And then she gets quite personal, alluding through numerous offerings about her tragic, recurring frailty when it comes to matters of the heart, and men. You get the sense with Karen Jonas that there’s a deeper narrative here; a tragic story underlying all the little glimpses she gives us, but a story she never completely reveals, which once again goes into building the tension that elevates her music above the din of musical noise.
Karen didn’t just make this record to entertain us, or even to convey some expression or message. She made it to prove something, to herself and to others, that her choices, though not always right, were hers, and she was willing to take ownership of them, and redeem herself through music.
Karen Jonas is hungry. She is eager to fill the holes that still remain in her heart. This is reflected in this album, and she’s done all she could. The seeds are planted in fertile ground. The next question is, should anyone pay attention beyond her little groove in Fredericksburg, Virginia? My answer would be that they most certainly should.
Two guns up!
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For going on 40 years, Austin City Limits has been the one safe haven for substantive music performances on television, using the prestige of their program to lift up many artists worthy of a wider audience, but artists that are unfortunately not graced by the attention of mainstream radio. Originally established to be a visual companion to Jan Reed’s groundbreaking book Improbable Rise of Redneck Rock that set out to chronicle the formation and continued legacy of Austin’s music scene, and as a program that resides on public television, commercial concerns are an afterthought to Austin City Limits behind doing their duty to the local music community and shining a spotlight on undiscovered and deserving talent.
It is in this spirit that Austin City Limits has slated a scrappy young country music artist to appear during their latest season. Though you may have never heard of him, all that might change after he makes his Austin City Limits debut. His name is Eric Church, and despite only winning the Country Music Association and Academy of Country Music awards for Album of the Year once, and having only sold roughly 3.5 million albums, the native North Carolinian has a promising future ahead of him, especially with ACL’s help.
“Since ‘Austin City Limits’ is a PBS program and their funding partially comes from the Corporation for Public Broadcasting and from donations from viewers like you, they don’t have to worry as much about ratings and sponsors, and can reach down to give exposure to a deserving artist like Church,” says Eric Church representative Elizabeth Frankenfurter. “Though they have brought on big corporate sponsors over the last few years like Budweiser and Lexus, it’s clear with their selection of Church for the new season that corporate sponsorship concerns do not go into the selection of performing artists. If ‘Austin City Limits’ started selecting bigger names to showcase on their program, artists like Eric Church would be locked out of the opportunity to be presented to thousands of appreciative and attentive music fans that otherwise may not know about him.”
Eric Church joins other acts like Dave Matthews Band, Cheap Trick, Pearl Jam, Tim McGraw, and Radiohead that were thrusted into the public spotlight because of their Austin City Limits opportunity. “It’s such an honor for me to play on the same stage that Texas legends such as Willie Nelson, Stevie Ray Vaughan, Ray Wylie Hubbard, and Wayne “The Train” Hancock have played,” a press release quoted Eric Church as saying, but a check of the Austin City Limits archive shows that despite their important status to Austin music, neither Ray Wylie Hubbard nor Wayne Hancock have been awarded their own Austin City Limits show like Eric Church.
Eric’s latest album release is called The Outsiders—a testament to his underdog status in the industry. Hopefully his Austin City Limits appearance puts this “outsider” on the inside track to success in country music.
Singer, songwriter, Poet Laureate, and the author of the Texas Trilogy, Steven Fromholz passed away Sunday afternoon (1-19) according to the Texas Music Chart. He was 68.
Fromholz was killed at the Flying B Ranch near Eldorado, about 40 miles south of San Angelo while preparing to go on a wild hog hunt. While moving a gun from one vehicle to another, the firearm fell to the ground because the lower portion of its case was unzipped, and the gun discharged, injuring Fromholz who later died at an Eldorado hospital.
Born in Temple, Texas on June 8, 1945, Fromholz rose to become a towering figure of words and music in his home state of Texas, and amongst his famous music friends. He wrote the song “I’d Have To Be Crazy” made popular by Willie Nelson, and also had songs recorded by Jerry Jeff Walker, Lyle Lovett, and John Denver amongst others.
Fromholz was also an actor, a playwright, a producer, and a poet; most notably being named the Poet Laureate of the State of Texas in 2007 by the Texas State Legislature. He was the author of several books, and a respected man of letters, leaving behind an indelible legacy of both chronicling and canonizing the unique experience of being a Texan.
Steve Fromholz started out in music after serving in the Navy in the 1960′s. His first band was called Frummox with Dan McCrimmon, and Fromholz also played with Stephen Stills and Rick Roberts before pursuing a solo career. He once worked with Mike Nesmith of the Monkees and his label Countryside Records.
Fromholz was one of the members of The Folk Music Club—an organization founded on the campus of the University of North Texas in Denton, and included other notable members Ray Wylie Hubbard, Michael Martin Murphy, and co-founder of the Armadillo World Headquarters, Eddie Wilson. Fromholz once served as President of the distinguished club that is given credit for inspiring such Texas music institutions as Austin City Limits and South by Southwest.
His hard-to-find, definitive album Here to There is considered a classic of Texas country music, despite it’s out-of-print status. It includes his signature work called “The Texas Trilogy”—a three song opus that went on to define his career. It inspired a book by Craig D. Hillis and Bruce Jordan, and Fromholz penned his own Texas Trilogy book later as well.
Fromholz was heavily featured in Jan Reed’s book on the formation of the Texas music scene, The Improbable Rise of Redneck Rock. He had the best stories, and was blessed with a knack knack for telling them like nobody else.
Steve Fromholz was an entertainer, a historian, a brilliant orator, and most importantly, a proud and noble Texan.
One of the great things about roots music is its Gothic legacy of cautionary tales, ghost stories, murder ballads, messages to the infirmed, and other such methods of macabre that allow country and roots artists to paint in dark colors when they so choose. This makes roots music one of the best realms to draw from when putting together your Halloween playlist. Here is a list of some of the artists who dabble in the dark side of country and roots.
The things that hide under beds, in closets, and eerily disappear when you shine a light their direction are what conspire and collaborate to create the inspiration for Lincoln Durham and his dark tales of murder and inner mayhem, belted out with a voice that can meld like a shape shifter and carries behind it the soul of 1000 black men. A conjugation of deep blues, Gothic country, and dark folk, Durham fits nowhere and everywhere in the music world all at the same time. Halloween is tailor made for Lincoln Durham’s music, and so is his recently-released album Exodus of the Deemed Unrighteous.
You can’t get more Halloween and country than the “Kang” of Country & Western Troubadours that happens to also be a 300-year-old vampire. Unknown Hinson has what you need to keep your country-themed Halloween soundtrack rolling by blending a classic country sound with his creepy, blood-thirsty pursuits of “womerns” that always seems to take the darkest of turns. After saying in 2012 he was done for good, the man who also is the voice of the character Early Cuyler from Cartoon Network’s Squdbillies announced he was back from the dead, and will be touring regularly. Unknown’s alter ego Stuart Daniel Baker also happens to be one hell of a guitar player.
The Bloody Jug Band
When you have The Bloody Jug Band to listen to, you can celebrate Halloween all year. Similar to Unknown Hinson mentioned above, they make their dark music doubly entertaining by instilling humor into it. But The Bloody Jug Band is no bit. Their debut album Coffin Up Blood was a nominee for Saving Country Music’s 2012 Album of the Year from the creativity and innovation they display though music that is dark and funny, but also shows how roots music can evolve while still paying respect and residing within its heritage.
Lonesome Wyatt & The Holy Spooks
There’s nothing better for Halloween than a good ghost story, and Lonesome Wyatt & The Holy Spooks have a whole catalog of them, including the freshly-exhumed album released just for this season called Halloween Is Here, complete with ghost stories and songs molded in the classic Halloween album style. Parental guidance would be strongly suggested, but some of Lonesome Wyatt’s songs and stories even work well for kids. And for all your year-round gloomy needs, look no further than Lonesome Wyatt’s other Gothic country concept, Those Poor Bastards.
Like a foreboding raven who sits high on her perch and caws out her cautionary tales of murder, deceit, and a world gone mad, Rachel Brooke’s music is dark as it is wise. From ghost stories to murder ballads, Rachel has Halloween covered, with numerous songs from her catalog ripe for the witching hour. Another spooky project worth dropping in your trick or treat bag is the collaborative effort with the aforementioned Lonesome Wyatt called A Bitter Harvest.
The Slow Poisoner
Halloween was made for The Slow Poisoner, and The Slow Poisoner was made for Halloween. As equally creepy as he is creative, this comic book writer and illustrator haunts the San Francisco public schools as a substitute teacher by day, and puts on one of the most entertaining live one man shows you can see by night, complete with big creepy cue cards and other live props while he peddles his Egyptian oils and other wares through his dark music.
Sons of Perdition
From the disturbed imagination of Zebulon Whatley comes one of the core bands of the modern Gothic country era. Similar to Lonesome Wyatt and the Those Poor Bastards (who’ve been known to collaborate with the Sons of Perdition in the past) Zebulon draws heavily on religious dogma mixed with a dark perspective for inspiration. The Sons of Perdition’s ghastly hymns are enough to keep the ghosts haunting you all night, and released a new album Trinity last year.
The Goddamn Gallows
If you like your roots music dark, it doesn’t get any darker than The Goddamn Gallows. With their old soul tales from a scarier time, The Gallows are like a freak medicine show set to music, or a haunted carnie ride rattling off its tracks and plunging you into a deep, dark place where only the most unsettled of thoughts go. Complete with pounding drums and a washboard player that breathes fire, these guys are like the soothsayers of the Apocalypse.
Other Dark Roots Bands Ripe for Halloween:
- Pine Box Boys
- The Haunted Windchines
- Those Poor Bastards
- Slim Cessna’s Auto Club
- Jay Munly
- Ray Wylie Hubbard
- Johnny Cash
- Nick Cave
- Slackeye Slim
- Viva Le Vox
- Black Jake & The Carnies
- The Perreze Farm
- The Slaughter Daughters
- Lindi Ortega
- Tom Waits
- Jayke Orvis & The Broken Band
- Th’ Legendary Shack Shakers
- Larry & His Flask
- Shakey Graves
- .357 String Band
- Joe Buck Yourself
- O’ Death
- The Dinosaur Truckers
- Creech Holler
- Reverend Glasseye
- The Devil Makes Three
- Dad Horse Experience
- Joel Kaiser & The Devil’s Own
- Jesse Dayton
- Walter Sickert and the Army of Broken Toys
- Pinebox Serenade
- Filthy Still
- Serial Killer
**NOTE: The image from the very top is from a now out-of-print dark roots compilation called Rodentia.
37 years ago, Austin City Limits was founded to be the visual accompaniment to a book called The Improbable Rise of Redneck Rock by Texas author Jan Reed. The book set out to chronicle the formation of the Austin, TX music scene that transpired in the late 60′s and into the 70′s, along with its many artists and side characters.
As time went on and it became evident that what was happening in Austin wasn’t just a “scene,” but one of America’s most important and influential movements in music, Studio 6A on the University of Texas campus was commandeered to help capture these amazing artists in their own time in hopes of further preserving the legacy of Austin’s musical heritage. The tapings were shown on the local PBS affiliate KLRU, and as interest in the Austin City Limits program expanded, eventually it began to be broadcast nationwide.
Over the years ACL branched out to include many national acts, but up until recently, the program rarely strayed from their duties of preserving the legacy of Austin music, and stuck mostly to the country and roots realm. During the early 2000′s, “Austin City Limits” began to be seen as a powerful, nationally-recognized music brand despite its not-for-profit, PBS roots, and ACL launched a big music festival and began bringing in larger, non roots acts for show tapings—artists and bands that didn’t need the ACL boost, and didn’t have ties to Austin like Pearl Jam, Dave Matthews Band, Cheap Trick, and Coldplay—while some artists seminal to the Austin music scene seemed to be ignored.
ACL brought on big corporate sponsors like Budweiser, Lexus, and Dell Computers. During their 30th season, they axed their long-running theme song: Gary P. Nunn’s “London Homesick Blues.” They also moved out of the small studio on the UT campus into a multi million-dollar facility in downtown Austin, complete with luxury boxes for the show’s corporate donors and Austin’s power elite. ACL Fest is now a two weekend festival, rivaling in size, revenue, and attendance any of the massive corporate music festivals around the country.
But continuing on the 2013 theme of positivity, Austin City Limits has decided to finally give a taping to arguably one of the most important performers in Austin’s current country scene, Dale Watson. On November 25th, ACL will bring in what they call “Austin’s king of country music” in a show that will also include fast-rising country star and native Texan Kacey Musgraves.
Over the last few years, Dale Watson has become synonymous with Austin music, playing multiple gigs a week when in town at some of Austin’s most legendary venues and honky tonks like The Broken Spoke, The Continental Club, and Ginny’s Little Longhorn that Dale Watson recently paid to keep open. But the Austin City Limits invite always alluded him except for a small appearance on a songwriter showcase, despite being an obvious pick for a featured artist on the show. A Facebook page was even started over the issue. Just like another Texas legend, Ray Wylie Hubbard, Dale made his initial network television debut this year not on the Austin City Limits stage, but some 1,800 miles away in New York City on the Late Show with David Letterman (though Hubbard did appear as Hayes Carll’s guest once on ACL), showing just how juxtaposed the television outlets for country and roots music have become.
Recently another roots show that still caters to up-and-coming acts called Music City Roots, located at The Loveless Cafe in Nashville announced they will begin to be broadcast through PBS stations. A lot of the same spirit that initially surrounded Austin City Limits seems to be embodied in what Music City Roots is trying to build today.
Without question Austin City Limits still, and has always showcased excellent country and roots talent from Austin and beyond, regardless of the big, international names they may court in any given broadcast season. But doesn’t it always seem the way of things—when something gets swept up in growing, they lose their focus, and the heart and spirit of where they started. But just like Old Crow Medicine Show being asked to join the Grand Ole Opry, or Dale Watson’s ACL show mate Kacey Musgraves getting nominated for as many CMA Awards as anyone this year, 2013 has been a year full of re-trenchings, of re-affirmations and reflections on what is important in roots music, and making sure what is most important is being preserved and pushed forward by entities not always known for doing so.
To artists from Texas and beyond, the Austin City Limits stage is a hallowed as any. Kudos to ACL for finally giving Dale Watson his due. Now if we could just get Ray Wylie Hubbard….
Country music in 2013 feels like the best of times, and the worst of times. While a few top male performers perpetrate untold atrocities on the integrity of the genre, the rise of independent music and infrastructure in the marketplace is now almost to the point where it equals its corporate counterpart. Quality songs and worthy artists are beginning to see more and more support, while current events and new outlets create avenues for substantive music to find its way to hungry ears. It is so easy to focus on the negative because it still seems to pervade the popular consciousness. But here are twelve reasons it is looking up for country music in 2013.
Yes, Kacey Musgraves. Even if you see her as some Music Row machination meant to offer an alter ego to the Taylor Swift’s of the world (Taylor equals Kacey’s noms with 6 herself), at least mainstream country is now offering a choice to consumers. What Musgraves’ symbolizes is that you don’t have to prove overwhelming commercial success to get noticed. Her biggest hit “Merry Go ‘Round” didn’t even make the Top 10 of Billboard’s Hot 100 Country Songs. Musgraves is a songwriter in a traditional sense, even if some of her best, and most-heady material didn’t make her big debut album. The reason she was able to rake up so many nominations is because of her songwriting credits, accounting for half of her CMA considerations. Kacey Musgraves’ 6 CMA nominations proves that regardless of how stupid country music’s leading males are trying to make the genre, in 2013, songs matter.
Yes ladies and gentlemen, it is getting dirty out there, and the more artists that speak out, the more other artists gain the courage to join the chorus. And not to shy away from the fight, Kacey Musgraves could be characterized as leading the charge, coming out multiple times to complain about where country music is headed. Alan Jackson also had some choice words recently, as did Gary Allan, Tom Petty, and most recently Zac Brown. Country music may be crossing more unfortunate lines than ever, but at least it’s genuine artists are being vocal about their dissent.
Yes, it was bad that Blake Shelton had to disrespect large segments of country music listeners when he ostensibly called them “old farts and jackasses,” but the backlash that ensued became a unifying element for disenfranchised country fans. Ray Price wrote a blistering letter to Blake Shelton, resulting in Blake having to make a public apology. Dale Watson wrote a song about the whole incident which has since become one of the most popular numbers of his show. An “Old Farts & Jackasses” group on Facebook boasts over 93,000 “likes,” and the list goes on from there. Blake Shelton awakened a beast, and gave it a rallying cry. Who would have thought in 2012 that people would be proudly calling themselves “Old Farts & Jackasses” ?!?
The days of inducting traditionally-leaning artists and bands seemed to be over with the Grand Ole Opry’s recent membership invitations to Darius Rucker, Keith Urban, and Rascal Flatts. But lo and behold, the Grand Ole Opry can still get it right, inducting an act that has paid their dues many times over, and deserve to be recognized as one of the forefathers to the re-popularization of string bands that has seen the rise of bands like Mumford & Sons, The Avett Brothers, and The Lumineers. The news is not only good for Old Crow Medicine Show, but other artists who may not be top tier names in country music, but deserve the distinction.
It’s so easy to read the headlines and see the top of the Billboard country charts and say that all is lost in the genre. But as long as Sturgill Simpson is out there touring, you can’t say country music is dead. Out on tour with Dwight Yoakam, playing the Grand Ole Opry, inspiring critics from coast to coast and overseas to sing his praises, Sturgill Simpson is giving hope for the future to country fans that has a value beyond his music specifically.
Yeah, I’m not too much for the silly cliffhanger drama-laden plot lines either, but Nashville has become an invaluable teacher of how the music business works, specifically on the songwriting side of things. An educated consumer makes better choices, and if they see and understand how backroom politics stultify the creativity and freedom of artists, and how a song goes from inspiration to the big stage, they just may make better choices, and think about where the music they enjoy comes from. Furthermore, Nashville has become a music outlet to a nationwide audience that may otherwise not be exposed to the music of independent artists like Caitlin Rose, Lindi Ortega, Ashley Monroe, Shovels & Rope, and so many more.
There are many good, independent country bands that are enjoying a rise in interest in 2013, but there may not be a bigger rags to riches story (so to speak) than Hellbound Glory landing an opening spot on a Kid Rock arena tour. Going from playing half-empty bar rooms to sold-out arenas, Hellbound Glory is seeing the recognition their quality country music has been deserving for years. And the opportunity has been paralleled by bigger crowds and better support even after the arena tour ended.
Caitlin Rose, Valerie June, Lindi Ortega, Austin Lucas, Amanda Isbell, Cory Branan, Jonny “Corndawg” Fritz, and so many more that call east Nashville home (or at least to some extent) have seen career watermarks and burgeoning interest in 2013. Forget Music Row or the circus downtown, Nashville, not Austin, is the new vibrant epicenter for independent music, and the artists there pushing and supporting each other is fostering a creative environment that regardless for how long it lasts, will be looked back upon fondly in the future as a time and place that got it right, and set the bar for artistry and substance. Add on top of that already-established and influential artists like Jack White and Dan Auerbach, and Nashville is the place to be in 2013.
“Cowboy” Jack Clement and Bobby Bare Inducted Into the Country Music Hall of Fame
Yes, two very important players in the rise of country music’s “Outlaw” movement finally got their due this year, and it was especially timely for “Cowboy” Jack Clement who would pass away only a few months after the announcement. Though there is still a long list of worthy inductees that many fans worry will never get in, these two men prove that the Outlaws will not be forgotten, and move other important country music icons one step further to being inducted themselves.
If you feel like the Outlaws of country music have not been dealt a fair deal and they need need a new institution to give them the support and recognition they deserve, your wishes were granted in 2013 when it was announced there will be a new Outlaw Country Music Hall of Fame in Lynchburg, Tennessee coming soon. Nashville may have swept their legacy off the streets like common refuse, but at least somewhere the Outlaws will ride eternally.
If you desire more validation that 2013 is the “Year of the Song,” then behold the overwhelming breakout success of Jason Isbell in 2013. Bolstered by his manager Traci Thomas, a bulldog of the Thirty Tigers group, Jason Isbell is becoming the defining songwriter of our generation. If you ever wished you could go back and re-live the heyday of Guy Clark and Townes Van Zandt in their prime, watching Jason Isbell and his 2013 tear is the next best thing.
With radio becoming less and less accessible through every measure of consolidation by Clear Channel and Cumulus, new outlets must open up to support independent music. And they are in 2013, and sometimes in the most uncanny places. David Letterman not only has been giving his stage over to artists like Dale Watson, Ray Wylie Hubbard, Pokey LaFarge, Shovels & Rope, and so many more, he’s been seeking out this talent to play his show as a fan of the music. Where big network TV debuts for independent artists seemed to be a thing of the past, now they seem to be a weekly occurrence.
Good music is entertaining. Great music changes lives. And on the front lines of life altering music experiences are the one man bands. Courageous, pioneering, persevering through obscurity and misunderstanding, one man bands might make up a majority of the music world’s boldness and creativity per capita. Here’s 16 of them from a wide swath of the roots world.
The “Dirty Ol’ One Man Band” signed to Bloodshot Records is one of the best-known longest-touring one man bands out there on circuit. His mixture of old blues with a little bit of country and punk influence is an infectious combination when he gets sliding on strings and stomping on the stage. He once had his guts spilled out on the highway after tangling head on with a semi, and lived to tell the tale.
Canada’s primary offering of a one man band is more Elvis than Elvis. With machismo dripping from him like the gobs of Dapper Dan fighting to keep the cold black hair out of his face, Bloodshot Bill is a one man wrecking crew who was also one of the first to revitalize the discipline in the modern era. He was once banned from touring in the USA. Feel free to make up your own reasons why.
That’s right, why can’t a woman be a one man….er, on person band too? Molly Gene gives the boys a run for their money when she gets behind her pedal kit and starts sliding on the strings and singing the deep blues.
The premier storyteller and poet of the one man bands, the ANTI-signed William Elliot Whitmore, made a name for himself opening for punk bands, and has gone on to be considered one of the top entertainers in the discipline. Whitmore’s songwriting is sublime, and his voice has the wisdom of 1,000 old men. No wonder he doesn’t need a band.
Possessed by Paul James isn’t just a one man band, he is a religious experience. This is no novelty act, this is a man who channels an unworldly passion through his music that emanates through him like some sort of sonic séance. Simply put, seeing Possessed by Paul James will change your life.
Drink up sinners! If one man band’s were like vintage television shows, Reverend Deadeye would be Sanford & Son mixed with MacGyver. You’ll never see another ragtag assemblage of clanging bangers then when Deadeve takes the stage, but this isn’t all Vaudeville. The Rev can really sing a song, and does Gospel as good as anyone. Probably not the rev you want at your wedding ceremony, but he sure does sound good.
I’m blown away why there’s not more chatter about this guy in the Deep Blues world. A one man band with a dirty, soulful approach, switching from old Gibson arch tops to resonator guitars, to a banjo, to one-stringed diddley bow, it doesn’t get much better than Lincoln Durham when it comes the dirty, low down approach to music. His last album was produced by Ray Wylie Hubbard.
The pizza twirling, gator wrestling, Florida via NYC with a short stint in South America Italian Stallion of one man bands is the fastest damn banjo player you’ll ever hear, and seems to add a new percussion instrument he’s playing with a foot, knee, shoulder, whatever every time you see him. Lone Wolf works at the world renown Gold Tone banjo works in FLA, but his latest album Mine Up 13 features mostly guitar.
One of the few one man bands who may be fit for mass consumption, but giving up nothing to his counterparts in artistry or songwriting, Shakey Graves is a quirky, but handsome old school entertainer you can’t help but engage with.
The former .357 String Band banjo player and songwriter was forced to go solo when the band broke up, but featuring some of the best songwriting you can find and tight multi-instrument skills, Joseph Huber is no worse for the wear. Huber is not a conventional one man band—the approach comes more from the mother of necessity, and he will still take other players when he can get them.
From the tales of dying and dismembered men, to the disenfranchised, homeless, lost souls and forgotten, they are all canonized through Charlie’s honesty and amazing clarity into perspective. Charlie doesn’t sing about subjects in third person, he becomes the subject of his songs in an uncanny channeling of character, and makes the story flesh and bone right before your eyes.
An animal. A force of nature. Joe Buck Yourself is like a caged animal, unleashed on a crowd to inflict the wildest possibly damage on idiot thoughts and ego. The former Hank3 bass player and original lower Broadway revitalizer that used to pal around with BR549 and partly owned Layla’s Bluegrass Inn is now mostly know for spit wielding snarls, heart pounding songs, and rivers of feedback. Not for the faint of heart.
This wily old songwriting veteran who now resides quite prominently in east Nashville is not as much a proper one man band as a guy who doesn’t need much more than a guitar and a song, and some stories in between to keep an audience entertained. As time goes on, he may be becoming just as popular for his podcasts that capture some of the coolest music cats in their natural east Nashville habitat.
The troubadour of the one man bands and one of the best storytellers and purveyors of wisdom, Scott McDougall has an Old World charm to his music, like a wandering sage who walks into the local tavern to regale a crowd before slipping out again, not to be seen for many more months. A lover of friends, campfires, and conversations, McDougall is the best friend you’ve never met.
Bob Log III is like a one man Marine expeditionary demolition crew, cutting, burning, pillaging and plundering with a thunderous, ominous blues sound. Best known for playing while veiled behind a full face helmet (is Daft Punk ripping him off? Anyone? Anyone?), he’s one of the most entertaining one man bands out there.
The creepiest, and one of the most creative of the one man bands, this comic book writer and substitute teacher from San Francisco puts on one of the most entertaining live shows you can see, complete with big creepy cue cards and other props while he peddles his Egyptian oils and other wares through his music.
Other one man bands: Brownbird Rudy Relic, T Model Ford (RIP), Hasil Adkins (RIP), Mark “Porkchop” Holder, Reverend Beatman, Right On John, Dead Elvis & His One Man Grave, Ben Prestage, Smokestack and the Foothill Fury, Phillip Roebuck, Bloody Ol’ Mule, Seasick Steve, Tales From A Ghost Town, Ghostwriter, Crankshaft, Patson, Dad Horse Experience, Eagle Eye Williamson, Malcome Holcombe, and …
On Monday night the Twitterverse blew up around the occasion of songwriter Jason Isbell recording an upcoming episode of Austin City Limits. The taping was streamed live online, and drew a remarkable amount of attention and praise from the online participants who took the time to tune in. Usually music confined to the online format is at such a distinct disadvantage, it is barely worth your time, and though Austin City Limits’ production value is world-class, this wasn’t what made the event special. Jason Isbell is quite the capable singer, and since he started out as a guitarist for the Drive By Truckers, it’s hard to denounce his musicianship either. His band The 400 Unit was sensational as well, and so was his wife Amanda Shires who sang and played fiddle for the set. But none of this is why the event became a singular experience for those who tuned in.
It was Jason Isbell’s songs and his songwriting that made so many online watchers walk away with one of those feelings you get after watching a stellar movie—where your mind gets so immersed in the experience it is hard to return to the real world. Jason’s songs are also why the event was able to cross traditional barriers of genre and taste. Jason Isbell is on a meteoric rise right now, and even though he finished off the night’s performance with a mostly instrumental cover of The Rolling Stones’ “Can’t You Hear Me Knocking,” Isbell’s ability to evoke story is at the center of his success.
Another artist who is seeing success in 2013 is Sturgill Simpson. I once dubbed Sturgill the “Stevie Ray Vaughn of Country Music” because of his incredible guitar playing. But one of the keys to Sturgill’s rise has been his decision to set the Telecaster down and retool his music to be more about his songs.
Everywhere in the independent music world you’re seeing songwriters who have struggled for years finally starting to get signed to record labels and releasing career-caliber albums: Valerie June, Caitlin Rose, Austin Lucas, Amanda Shires, and the list goes on from there, and they are all in the middle of this emerging and relevant rise of independently-minded Nashville songwriters that more established songwriters like Jason Isbell and Justin Townes Earle are the leaders of. Whereas other sectors of the music industry seem to be gripped by the fear that digitization and streaming may ultimately doom the business of music, talented songwriters are benefiting from the search for the next writer to break out with bold and fresh material, and a renewed belief by the independent industry that songwriting is important, even if it is marginally profitable. Nobody wants to pass up the next Jason Isbell.
The biggest divide between active and passive music listeners might be the conscious awareness of songwriting. Passive listeners just subconsciously connect with a song either physically or emotionally without giving it much thought, while active listeners attempt to determine why. Popular music consistently offering less and less choice and substance is not hindering this trend, it is enhancing it as many listeners are fleeing the mainstream ranks for more thoughtful music, and in turn are becoming aware of what truly makes a song worth hearing. Even ABC’s new prime-time drama Nashville broaches the subject of how songs are written on a regular basis—many times delving into great detail on the process—making consumers more enlightened and engaged about how a song is constructed and why songwriting is important.
The Nashville show has also become a new outlet for original songs as the industry attempts to address the dramatic glut of songwriter material worthy of a wider audience. Many Nashville songwriters in this new, up-and-coming crop were featured on the series’ inaugural season, including Caitlin Rose, Lindi Ortega, and Shovels & Rope. Sales of music may be declining sharply, but royalty rates, especially for songwriters whose material appears on television and movies, remain substantial. And this songwriter resurgence is not just confined to the independent music world. Even in the mainstream, songwriters with more substantive material like Kacey Musgraves and Ashley Monroe made their big debuts in 2013. David Letterman has been featuring more songwriters on his show, including ones who’ve never had a network TV break like Ray Wylie Hubbard, Dale Watson, and Pokey LaFarge.
For every era in music, there is a defining element that sets the standard of what is tasteful and relevant. It could be the presence of a powerful guitar riff, a certain style or tone to the music, a specific thematic thread like feelings of melancholy or happiness, or even a stylistic visual element that has little to do with the music itself. In 2013, in the independent music world and beyond, that defining element appears to be the well-written song.
James L. Payne, aka Jody Payne, electric guitarist for Willie Nelson for 35 years, has passed away. He died this morning (8-10) in Stapleton, AL due to cardiac arrest according to his wife Vicki. Payne had been suffering from heart problems for years prior.
Payne was part of Willie Nelson’s legendary “Family Band” for over 3 decades until he decided to retire from the road and began teaching guitar. He was born in in Garrard County, Kentucky where he began singing at six years old. Jody first played professionally with Charlie Monroe in 1951, and then was drafted into the army in 1958. After two years of service, he settled in Detroit where he initially met Willie Nelson in 1962, but did not start playing with him until years later. Throughout the 60′s Payne played bass for Ray Price, and also played with Merle Haggard among others before eventually joining Willie in 1973.
Payne was married to country singer Sammi Smith. The couple eventually divorced. They had a son Waylon Payne who is also a musician, performer, and actor. He is also survived by another son Austin Payne, and his wife Vicki who he married in 1980.
Willie Nelson’s Facebook page has posted, “Our friend will be missed.”
Here’s Jody Payne singing Ray Wylie Hubbard’s “Up Against The Wall Redneck Mother” on the pilot episode of Austin City Limits.
Ronnie Dunn, one half of the now dissolved country music super duo Brooks & Dunn, has been up to some very interesting things over the past year. After parting ways with his record label Sony on June 8th, 2012, he’s been making bold moves in the music business, accompanied by inspired, breathy statements on his Facebook page that many times decry the current structure of the country music business, especially radio and distribution.
Yesterday (7-2-13), Dunn took to Facebook to announce he has formed a record label, “Little Will-E Records,” saying:
I hit some hurdles with the first RD solo cd. I asked to leave Sony in the middle of the project, for various reasons. I have recorded a second solo project (20) songs….it is due for release in November. In the mean time siriusxm radio’s The Highway is testing the first single contender…KISS YOU THERE. It is testing through the roof and selling on iTunes at an average of 5,000 per week and climbing !!!!
The next step is to move into mainstream radio. That is a very complicated and COSTLY endeavor. I know that some of you are traditional country music lovers. I am to. I realize that some of you are progressive country music fans. I am too. Mainstream radio is driven by “30 year old and younger artists”….no problem. I get it but there is room for “FREAKS LIKE ME” I have consulted with several of the most powerful and influential movers and shakers in the business and EVERY SINGLE ONE OF THEM has agreed to support THE CAUSE. Many have gone out of their way to help facilitate the cause.
***MOST IMPORTANTLY, remember…. that what you hear on mainstream radio does NOT dictate the full flavor of a multi song cd !!!!
Songs are chosen for mainstream radio in the effort to meet specific criteria……IF RADIO DOESN’T PLAY YA, YA DON’T GET HEARD. Even the Rolling Stones and Willie complied. Radio is not a bad place !!!! I NEVER RECORD SONGS THAT I DON’T LIKE.
We know from the siriusxm / THE HIGHWAY feedback, that KISS YOU THERE is a HIT !!! Now, comes the competitive BIG BIZ SHUFFLE.
I need to thank, John Esposito. I want to thank John Marks.
I’ve started a record label LITTLE WILL-E Records. We are fully staffed with very unique…. “out of the box” group of innovative thinkers. I think you are going to like what you see and hear. We are going to make music available to you in different and unique ways. Our goal is to create a MUSIC CULTURE, guided by a lifestyle philosophy. There are no rules.
This is going to be a journey. YOU ARE ALL CRITICAL AND KEY PLAYERS.
WE ARE NOT SO MUCH ABOUT THE WHAT AS WE ARE ABOUT THE WHY !!!!
Together WE can !!
PEACE LOVE AND COUNTRY MUSIC,
Believe it or not, this type of rhetoric is common from Ronnie these days. Back in November of 2012, Dunn unleashed an impassioned speech about how older music consumers needed to learn to download music. And almost weekly, similar long, inspired dispatches are released through Ronnie’s Facebook.
Then the intriguing news came out that Ronnie was writing with Texas music legend Ray Wylie Hubbard, including a song called “Bad on Fords and Chevrolets” that incidentally has since been picked up by Sammy Hagar who recently played the song live and will be releasing it on an upcoming album.
Ronnie Dunn also pulled a Jack White-style stunt during CMA Fest in Nashville a few weeks ago. Right as the CMT Awards were letting out of Bridgestone Arena, Ronnie was on the rooftop of a nearby restaurant, performing two new songs, “Kiss You There” and “Country This.” The performance was projected on the walls of three downtown establishments: Rippy’s, Honky Tonk Central, and the famed Tootsie’s Orchid Lounge, while a 200-person flash mob performed choreographed moves on 5th Avenue to the debut “Kiss You There” single. Ronnie finished up the set by shooting T-shirts out into the crowd.
The rhetoric, the gonzo style release of his songs, and the spirit that Ronnie Dunn has taken to this new lease on his music life has been enough to inspire Ronnie’s fans and new recruits on an endeavor to save country music….except for one thing.
Those two new Ronnie Dunn songs? “Kiss You There” and “Country This”? They might be ideal specimens of how to use the formula approach to songwriting in the country music format. Each one really deserves its own in-depth diagramming, but “Country This,” which starts off almost seeming to make fun of laundry list country songs, slowly reveals itself to be fully died in that formulaic wool, while “Kiss You There” takes it a step further, featuring Ronnie pseudo-rapping over an electronic beat. After reading all of Ronnie’s impassioned communiqués about the state of country music, it is quite shocking to hear these songs, though they’re certainly catchy tunes.
Does this make Ronnie a turncoat? Is he trying to play both sides? I honestly have absolutely no idea what is going on here, and that’s probably the way Ronnie wants it. Maybe Ronnie is sitting on some excellent, more traditional or better-written material, and these singles are simply created for radio appeal. He seems to allude to that in his statement when he says, “Mainstream radio does not dictate the full flavor of a multi-song CD.” Maybe he is trying to prove a point. Maybe the songs are Trojan horses of some sort. He seems to allude to that in his statement as well, but he also says, “I never record songs that I don’t like.” So maybe these songs are sincere expressions, or maybe they are pleas from an aging superstar trying to stay relevant.
Either way, I’m sure Ronnie will clue us all in soon enough, and probably in some unique way.
With such a glut of great roots music material starving for bigger outlets, it was only a matter of time before new avenues began to spring up to meet the demands of both substantive artists looking for more love, and salivating fans seeking something real. Surprisingly, television has become one of those new outlets, with shows like ABC’s Nashville featuring artists that never before would be given a shot in prime time, and late night perennial David Letterman giving a leg up to artists who previously had never been afforded a national television opportunity.
And Letterman’s recent run of supporting independent country and roots artists like Ray Wylie Hubbard, Dale Watson, Shovels & Rope, and many more is not the result of some crack team of publicists and booking agents working together to peddle these artists to the right people, it is coming from David Letterman himself listening to these artists and wanting them to be featured on the show. In other words, David Letterman is a fan of roots music, of artists like Dale Watson and Ray Wylie Hubbard, and is reaching out to them, wanting to give them an opportunity, just like he did last night (6-24) to Austin, TX’s Dale Watson.
“I don’t remember exactly if Dave heard Dale on Sirius XM or on “All Things Considered,” but it was one of the two, and they called us up and said, ‘We want Dale Watson on the show, and we want him to play “I Lie When I Drink.”‘ explains Beth Friend of Red House Records–the label that released Dale Watson’s latest album El Rancho Azul. “It was such a surprise because you try for years to get the attention of people, and then all of a sudden you receive a phone call from them. It’s a really happy story for us. We love Dale.”
Ray Wylie Hubbard tells a similar story, how it was Letterman reaching out to them, not vice versa, and that Letterman requested Ray play a specific song.
“About 4 months ago my booking agent receives a phone call and this girl said she was Jennifer from Worldwide Pants, and Dave would like to know if Ray would do his show.” Hubbard explains. “She didn’t know what Worldwide Pants was so she goes, “Dave who?” And Jennifer goes, “Dave Letterman, January 9th.” And the booking agent goes, “Well let me make sure he’s not playing a happy hour gig in Waco, those things are hard to re-schedule.” So Dave said he wanted us to play the song “Mother Blues” but we only had 3 minutes and 35 seconds. So we take out a couple of verses and then we get up there and after we finish and he says, “Thank you, goodnight,” he asks if we’ll do “Screw You, We’re From Texas.” And I said, “Man, you’re from Indiana.” And he said, “Yeah, but I like the attitude.” So we did the extra song for the website which was really really cool of him.”
The opportunity to get to play to a national audience is one thing, but when Letterman is not simply announcing the band slotted to play, but one he purposely sought out from a sincere love of the music, this is the type of endorsement that can not only give an artist more exposure, but can give them a sense of validation that this craft they have been working at for years is worthy of a greater audience.
“Once people hear the music, they love it.” says Beth Friend from Red House. “They just need the opportunity.”
It seems like once or twice a year we get word of one of these country-relevant movies coming down the pike, but then we have to wait with bated breath for what seems like forever for the actual release because the movie makers must muck through the process of finding the right distribution channels. When the flicks are finally released, we tend to find out why such unfortunate delays belabored the release process, because despite strong casts and the best intentions, the small budget reveals itself in a less than appealing final product. Such seemed to be the case for the Ray Wylie Hubbard-written Last Rites of Ransom Pride movie starring Dwight Yoakam and Kris Krisstofferson, who also appeared in Bloodworth; another film beleaguered with distribution issues and bad reviews.
What neither of those movies had was the strength of a true to life story like The Last Ride. Based loosely around the last 48 hours of the life of Hank Williams, The Last Ride takes you on the ill-fated road trip beginning in Alabama, and ending in West Virginia where Hank Williams passed away on New Years Day, 1953. Though Hank’s name is never spoken in the movie, it’s taken as a given that you know who he is, and what fate awaits him. Hank is played by Henry Thomas (the kid from ET), who has the nearly-impossible task of portraying a man who lives larger than life in the mythos of American music. Though Henry’s visage and tones never quite meet your imagination of a living and breathing Hank Williams, by the end of the film you begin to connect with the emotions that the film portrays, and the emotions Hank must have felt on that fateful trip whether you believe Henry Thomas to be an accurate portrayal of Hank Williams or not.
Those looking for a period piece where every detail of Hank’s final days on earth is laid out with impenetrable accuracy will miss the point of this movie. In many respects Hank Williams is not the main character, it is Silas Combs (Jesse James), Hank’s 19-year-old driver and travel companion. But there are little nuggets of interesting Hank Williams history embedded throughout the movie that the learned Hank Williams fan will pick up on and enjoy. And despite a small budget, director Harry Thomason did a heck of a job scrubbing out any and all anachronisms in the movie, leaving the viewer smack dab in 1952 right before New Years.
The relationship between these two lost souls—the superstar on death’s door and the confused young man—is the centerpiece of The Last Ride. But moderate writing that generally lacked any true, gut-punching lines, and a few low budget distractions like the projected back window of a car ride instead of actual footage from a moving car somewhat saddle this movie from reaching the full potential of portraying the moments with the true weight of the actual events. Hank and driver Silas Combs are thrust into numerous scenes along the way meant to expose internal dialogues about the characters, but aside from a few special moments, they tend to be too short and feel too contrived to render any serious aid to your ability to suspend disbelief.
But as the movie progresses and Hank’s health deteriorates, The Last Ride delivers some truly poignant moments that evoke the heaviness of the situation evolving in the characters. Silas Combs shares a brief, but intimate moment with Kaley Cuoco (Big Bang Theory) on New Year’s Eve. At one point Hank looks out from the back of his powder blue Cadillac and sees a group of very young boys passing a liquor bottle and smoking a cigarette, and seems to identify with the tragic narrative that he’s slowly becoming the final outcome of. Though these moments may take a little too long to develop in the movie, they make The Last Ride at least worth the 100-minute investment for people whose personal histories hold the name “Hank Williams” in high regard.
The soundtrack is handled mostly by other artists covering Hank Williams songs, with some contributions of other non-Hank artists here and there. Though this may irk some Hank fans, they should understand that with small budgets and the prohibitive costs of the licensing of original music, using actual Hank songs may have been financially impossible. Aside from the central story surrounding Hank Williams, this doesn’t really feel like a musical movie as much as an exploration into the human condition told through a historical interpretation.
Though the Hank Williams story is one of the most intriguing American tragedies in history, it remains woefully untapped by Hollywood and the rest of the movie industry in an era that seems to be anemic in engaging narratives. Though The Last Ride makes some headway in helping to cover the Hank Williams storyline, and specifically his final days, it leaves the viewer a little wanting, while that one definitive film that rises to the mystique of Hank Williams himself remains elusive.
1 1/4 of 2 guns up.
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The Americana Music Awards just announced their 2013 nominees, and the dirty duo from South Carolina Shovels & Rope leads the way with a whopping four nominations, while Buddy Miller and Emmylou Harris both clock in with three. On September 18th, the awards will once again be held at the prestigious Ryman Auditorium in Nashville, and once again the nominations show a very narrow focus on the dramatically broadening world of Americana music.
One could make the case that Americana is two, maybe even three times larger of a genre than what it was only a few years ago. The Americana Music Association itself has said that it is the the “fastest growing music community today.” But again the awards read like a list of usual suspects from the founding members of the movement and their close friends getting together each year to pat each other on the back instead of paying attention to and benefiting from the dramatic growth gripping the “Americana” term as the most nationally-recognized and broad alternative to mainstream country.
In April, the Americana Music Association announced the new “Cross Country Lines Music Festival,” aimed at “breaking borders, breaking boundaries and coming together as a larger community.” Yet aside from the Instrumentalists, only 11 names of artists or groups compile the entire field of 2013 Americana Awards nominees, with most of the names being perennial nominees and winners from years past. It all begs the question, why the awards can’t grow with the genre?
Album of the Year
Buddy & Jim, Buddy Miller & Jim Lauderdale
Cheaters Game, Kelly Willis & Bruce Robison
From The Ground Up, John Fullbright
O Be Joyful, Shovels and Rope
Old Yellow Moon, Emmylou Harris & Rodney Crowell
There are no two bigger names in the close-knit Americana community than Buddy Miller and Jim Lauderdale, and when they together to cut an album, it’s no surprise the Americana world would go ga-ga over it. Same could be said about Emmylou Harris and Rodney Crowell, making them a close second. Small chance O Be Joyful could pull off the upset with such attention and so many nominations. John Fullbright is still riding on the momentum he received when From The Ground Up was nominated for a Grammy.
Artist of the Year
Wow, what an anemic list. Love all of these artists, but on a year when there were so many breakout Americana bands, to go back to these usual suspects seems a little bit lazy an unimaginative. If you’re going to nominate The Lumineers for Song of the Year, then why not for Artist? Did they not have a huge impact? If we’re only nominating oldtimers, why not Ray Wylie Hubbard with the success he’s had with Grifter’s Hynmal?
Duo/Group of the Year
Bruce Robison and Kelly Willis
Buddy Miller and Jim Lauderdale
Emmylou Harris and Rodney Crowell
Shovels & Rope
Notice that we are only three nominations in, and every name that appears in this category has appeared in a previous category. Now notice that these are the exact same nominees for Album of the Year, just without John Fullbright, and with no other name added to take his place.
Emerging Artist of the Year
The Milk Carton Kids
Shovels & Rope
Shovels & Rope has to be the shoe in here with so many other nominations. Is JD McPherson really “emerging”? Or is he just emerging in the mindset to the cloistered Americana decision makers? Lindi Ortega? First Aid Kit? If you’re going to include the former Turnpike Troubadour John Fullbright, why not include the Turnpike Troubadours?
Song of the Year
“Birmingham” – Shovels & Rope
“Good Things Happen to Bad People” – Richard Thompson
“Ho Hey” – The Lumineers
“North Side Gal” – JD McPherson
“Birmingham” should win this. Richard Thompson would be the other strong contender. So we’re going to nominate “Ho Hey,” bolstered by its appearance in numerous commercials, but we won’t consider bands like The Lumineers, The Avett Brothers, Mumford & Sons, and many others for awards when they have been expanding the boundaries of Americana music more than any other bands or artists in its history?
Instrumentalist of the Year
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