It’s very early in the process, and we don’t know if it’s just a few songs or an entire album. But the word out of Pittsburgh, PA is that Irish singing/songwriting legend Van Morrison and country music icon Willie Nelson were recently in the studio together collaborating on an upcoming project.
Get ready for new music coming from Canadian folk country singer and songwriter Colter Wall, who will release his much-anticipated sophomore full-length album Songs of the Plains via Thirty Tigers. Said to be a full dive into the inspiration of his home of the Saskatchewan prairie, Colter writes 7 of the new album’s 11 songs.
This is the record that when someone asks you, “Dallas Moore? Where should I start?” you have a solid answer. “Mr. Honky Tonk” is Dallas Moore’s most refined, polished, and professional album yet, but without compromising any of the grit and attitude that has earned him such a dedicated following and the “true Outlaw” moniker.
“Yeah, that was me on ‘Smokin’ in The Boys Room,’” Willie Nelson’s harmonica player Mickey Raphael confirms. “Vince played a harmonica on the last note of the song, so he was credited for harmonica. he funny thing is that Vince even won an award that year for ‘Best Heavy Metal Instrumentalist.’”
The release has been delayed and the early reviews have been lackluster, but that won’t stop the creators of the Hank Williams biopic I Saw The Light starring Tom Hiddleston from releasing a soundtrack album for the upcoming movie. Set to arrive on March 25th—the same date the long-anticipated film will finally arrive in theaters—I Saw The Light…
It’s a national embarrassment that an artist, singer, and songwriter like Chris Stapleton is just now getting his feet onto the ground floor of stardom while the morons he’s penning super hits for are out there starring in their own prime time televised specials. Forget the reams and reams of songwriting credits Stapleton’s accrued for a second; this dude can sing the pants off of anyone else.
Once again Marty Stuart and the Fabulous Superlatives prove they are at the core of keeping the traditions of country music alive, while doing so in a manner that is energetic, inviting, informed, and broad-based where people of all stripes—the Saturday night and Sunday morning people—can come together and enjoy the gift of good country music together.
Brad Paisley, Gospel, Hargus "Pig" Robbins, Harry Stinson, Johnny Cash, Keith Urban, Kenny Vaughan, Marty Stuart, Mavis Staples, Mickey Raphael, Paul Martin, Review, Saturday Night / Sunday Morning, Willie Nelson
Let’s face it. Willie Nelson could take his sweaty, old man-smelling headband off, slingshot it out to center stage, and it would still be more enriching than what most of modern country radio has to offer. Simply the tone of his voice immediately puts the inertia of nearly a century of noble contributions to country music behind whatever he does.
Saving Country Music was out and about Austin, TX and its outskirts over the past week or so as part of the annual South By Southwest (SXSW) gathering, pounding the pavement and looking for the next country music artist worthy of your ears that you may never otherwise hear about. In the coming months I look forward to taking some of these discoveries and sharing them with you.
American Aquarium, Brooklyn Country Cantina, Hurray For The Riff Raff, J.D. Wilkes, Legendary Shack Shakers, Lukas Nelson, Mickey Raphael, Nikki Lane, Old Crow Medicine Show, Sam Doores, Shovels & Rope, South by Southwest, Sturgill Simpson, SXSW, The Cactus Blossoms, The Defibulators, The Deslondes, The Dirt Daubers, Tim Easton, Willie Nelson, Willie Watson
Let’s Face The Music & Dance is an album of classic standards, performed with Willie’s “Family Band” that now principally includes sister Bobbie on piano, and Mickey Raphael on harp. It is not a country album in the traditional sense of the term. But the music hearkens back so far, and this entire album is so awash in those well-recognizable Willie tones, it still has plenty of country feel to it.
In the end I’m just surprised at the sheer lack of direction with this album. I guess there’s a “Family Man” concept here, but it almost seems a burden to the music instead of a compliment. However I would be lying if I said Family Man didn’t have any moments. And yes, Shooter is a nice guy, but that is not a sonic element you can measure in music.