Posted in News on November 27, 2008 by takecountryback
Happy Thanksgiving from Our Home to Yours
We have much to be thankful this past year as well as in the future. We have been amply blessed and feel much gratitude for blessings granted.
We hope that the season reminds you of the blessings in your own lives as well and that you will continue to celebrate them always
“Gratitude unlocks the fullness of life. It turns that what we have into enough, and more. It turns denial into acceptance, chaos into order, confusion into clarity. It can turn a meal into a feast, a house into a home, a stranger into a friend. Gratitude makes sense of our past, brings peace for today and creates a vision for tomorrow.”
There are plenty of things Phil Alvin loves about the history of American music, but the record industry isn’t one of them.
It’s not just that the longtime Blasters front man doesn’t trust label execs, although he’s been around long enough to know why he shouldn’t.
On a more fundamental level, he rejects the idea that music should be pressed onto pieces of plastic — records, cassettes, CDs — and sold by large corporations.
“The album was an artificial imprint on music that didn’t exist before [record labels],” Alvin says fromCaliforniashortly before beginning a Blasters tour that stops Saturday inNew Haven.
In a sense, it’s strange to hear Alvin take such a nontraditional stance. Since he and his brother Dave formed the Blasters in 1979, the band has taken an almost scholarly approach to classic American sounds — rockabilly, most notably, but also R&B, country and blues.
Alongside California contemporaries such as X and Los Lobos, the Blasters proved that roots music could be relevant in the age of punk, a genre that, to some, was bent on destroying all that had come before.
Alvin has nothing but reverence for the great artists of the past — in a matter of minutes he can steer a conversation fromLouis Armstrongto Sun Ra — but he’s also a proud member of the digital revolution.
As downloaders wrest power from record labels, he says, musicians will have the freedom to sell individual performances, rather than collections of songs put together by men in business suits.
“Maybe there are 50 good performances of ‘Marie, Marie’ out there,” he says, mentioning one of the Blasters’ best-loved tunes. “And someone might like one or might like five of them. I know that’s true of me and songs I like multiple versions of.”
Alvin’s willingness to embrace new technology may have something to do with his extra-musical activities.
He’s an unofficial anthropologist who believes music exists to preserve cultural history. The goal of the Blasters, he says, has always been to put the past in new contexts and pass along important messages from those who came before.
“Music was handed to me by great people who would say great people handed it down to them,” Alvin says.
Muscle Shoals, AL – Lightning Rod Records will release Jason Isbell and The 400 Unit’s eponymous album on February 17, 2009. Isbell is a former member of the Drive-By Truckers and this is his second solo release (his first release with his band The 400 Unit). The 400 Unit is Derry deBorja (keyboards), Jimbo Hart (bass) and Browan Lollar (guitar). Matt Pence (Centro-matic/South San Gabriel) lends his talents as co-producer, drummer and engineer.
The album was co-produced by Isbell and The 400 Unit with Matt Pence. “I want it to be known that it’s a band record,” says Isbell. “I want it to be known that it’s something we all did together. Even though I wrote the songs, it was a very inclusive project.” Isbell has posted the new track, “Seven-Mile Island,” on the band’sMySpace site.
The album was recorded at the renowned FAME Studios in Muscle Shoals, AL. Isbell, whoDetails Magazinecalls “one of America’s best young songwriters,” is following in the tradition of American songwriters who have recorded in North Alabama. Much like Arthur Alexander, Eddie Hinton and Spooner Oldham, Isbell mixes a soulful vocal style with songs that are passionate and unrepentant in their sense of place and direct in their stubborn Southerness.
Isbell and The 400 Unit have played over 200 dates since the release ofSirens Of The Ditch(including All Points West,Voodoo Music Experience andWXPN Freedom Fest) and will announce the first round of their 2009 dates soon.
This is the second release for Nashville-based Lightning Rod Records whose US distribution and marketing is handled by Thirty Tigers/RED.
Before he moved to Tennessee and pioneered country music, a young Jimmie Rodgers walked into a Jackson, Mississippi, record shop for an audition. Talent scout H.C. Speir, who found acts for roots-music labels like OKeh and Paramount in the Twenties and Thirties, sent the future great packing, telling him not to come back until he had some better songs.
It’s a good thing Speir was more impressed by the blues pioneers who walked through his door — a world-changing pantheon that included Robert Johnson, Charley Patton, Son House, Skip James, Muddy Waters and more. Speir was a white businessman who sold records to black fans, and his story is one of the stronger threads linking many of the guitar-playing field workers from the Mississippi River Delta who changed the way we hear music.
Meticulously researched and reported by music historian Ted Gioia,Delta Bluesdemythologizes the blues and its makers without squeezing the blood out of the subject. Much has been written about Johnson’s meeting with the devil at the crossroads — but Gioia digs deep, finding the roots of the myth in West African and Caribbean fables. He also suggests Johnson may have been an early master marketer of his own music, spreading the tale himself. Author of the exhaustive 1997History of Jazz, Gioia writes about the blues in active, colorful prose, describing Delta music as “a throbbing texture of sound” in which guitar “chords are not so much strummed as torn from the instrument.”
After tracing the blues’ migration to — and electrification in — Chicago, Gioia brings the tale into the present with a sharp analysis of how the blues have reverberated through the ages, emerging in British Invasion rock, San Francisco psychedelia and current revivalists from the Black Keys to the North Mississippi Allstars. After all, as Gioia writes, “Many of the same ingredients that contributed to the first flowering of the Delta blues — the social, demographic and cultural fingerprint, so to speak — are still present today. And no one will deny that folks still have more than enough to be blue about.”
NASHVILLE, Tenn. — Before Kitty Wells, men didn’t just rule the roost in country music, they owned it.
It wasn’t until her 1952 hit, “It Wasn’t God Who Made Honky Tonk Angels,” that a solo female country singer had a No. 1 record.
The song, written by a man, was a rebuttal to Hank Thompson’s “The Wild Side of Life.” It made Wells a star, and dashed the notion that women couldn’t be headliners.
Until then, most “girl singers,” as they were called in country music, were either paired with men, like Rachael Veach with Roy Acuff, or were members of a family group, like sisters Sara and Maybelle Carter with the Carter Family.
Wells’ success also encouraged Nashville songwriters to begin writing from a woman’s perspective. Before then, women had a hard time finding material and often had to change the sex in the lyrics.
“Kitty Wells was way before Patsy Cline, Loretta Lynn, Tammy Wynette, Brenda Lee — you name it,” says country and rock hall of famer Brenda Lee, who in the ’ 80 s recorded a medley with Wells, Lynn and k. d. lang for lang’s album Shadowland.
“Kitty was right there at the forefront, and she absolutely opened those doors and pushed the button for women,” Lee says.
Wells, now 89 and the subject of a new exhibit at the Country Music Hall of Fame and Museum, said she never considered the song political or daring and didn’t think of herself as a feminist. To this day, she still doesn’t know what the fuss was all about.
“I never really thought about being a pioneer. I loved doing what I was doing,” she says.
In Thompson’s song, a man’s wife left him and “went back to the wild side of life.” In the chorus, Thompson sang, “I didn’t know God made honky-tonk angels.” Wells followed the same melody but countered that women who go astray are often led there by men.
“It wasn’t God who made honky-tonk angels, as you said in the words of your song,” she sang over steel guitar. “Too many times married men think they’re still single, that was caused many a good girl to go wrong.” Written by Louisiana composer J. D. Miller and produced by Owen Bradley for Decca Records, the song was controversial enough that the Grand Ole Opry asked Wells not to perform it, and some stations were reluctant to play it.
Wells didn’t even know Decca had released the song until she got a call from Hank Williams’ wife, Audrey.
“Audrey Williams had been down to Montgomery and she called me when she got back home and said, ‘Girl, you’ve got a hit on your hands. Every station I tuned to coming back from Montgomery was playing the song, ’” Wells says.
Wells’ song reached No. 1 in the summer of 1952 and stayed there for six weeks.
“That really opened doors for other women,” says exhibit curator Mick Buck. “Kitty set a new precedent.” Wells’ hit also reached No. 27 on the pop charts, the same ranking as Thompson’s hit.
The multimedia exhibit, titled “Kitty Wells: Queen of Country Music,” traces her career, from singing with husband Johnnie Wright’s duo, Johnnie & Jack, to her 35 Top 10 hits and her retirement in 2000. It includes her guitars, stage costumes, awards, vintage photos and posters.
But a big chunk of the exhibit, which runs through June, dwells on “It Wasn’t God Who Made Honky Tonk Angels.” Ironically, Wells, whose real name is Muriel Ellen Deason, almost didn’t record the song.
She’d been singing professionally with her husband for nearly 15 years and was ready to retire and stay home with their three children. She’d already recorded for RCA as a soloist without success. Wright had to persuade her to go back to the studio.
“I thought it would be like the ones I did on RCA. Nobody even got to hear it. So we went and recorded it, and I never thought anything about it making a hit,” she says.
Wells became “The Queen of Country Music.” She had many more hits in the ’ 50 s and ’ 60 s, including “Heartbreak U. S. A.” and “Makin’ Believe.” Her career cooled by the mid-1960 s as a new wave of female singers emerged, some of whom, like Lynn, would further challenge sex roles with edgy songs such as “Don’t Come Home a-Drinkin ’” and “The Pill.” Her last charting single was in 1979, although she, Wright and their children continued to tour as a family act until 2000.
Posted in News on November 25, 2008 by takecountryback
From CMT:
WhenBarack Obamawon the Presidential nomination earlier this month, it may have signaled the best thing that’s ever happened to country music. That’s according toa story in theNew Republicby David Browne, who is also a contributor toRolling Stone. He talks about how GOP presidents have long latched themselves onto country singers, and that there’s almost nothing at all “country” aboutTaylor Swift. Meanwhile, writer Gabe Meline atMetro Santa Cruzin Santa Cruz, Calif., suggests thatGretchen Wilsonand all otherJohn McCainsupporters should get the boot from the radio airwaves.
November 21, 2008
Musicnews
BY AUSTIN POWELL
Revolutionary WaysMarcia Ball doesn‘t remember the last time she played with Freda& the Firedogs, her progressive-country outfit that was produced by Atlantic Records’ JerryWexler and backed Doug Sahm upon his return from the Bay Area in the early1970s(see “Nowhere but Texas,” Dec. 13, 2002). Nevertheless, the cosmic quintet gathered last Saturday at Joe Gracey’s Spicewood studio to cut Sahm’s “Be Real”in homage to the original TexasTornado forKeep Your Soul:A Tribute to Doug Sahm.The Lone Star-studded compilation, due in late Marchthrough Vanguard Records, features a stellar stable of localtalent, including Jimmie Vaughan (“Why, Why, Why”), Alejandro Escovedo (“Too Little Too Late”), the Gourds (“NuevoLaredo”), and TerryAllenwith Joe Ely (“I’m Not That Kat Anymore”), whileco-producer ShawnSahm covered “Mendocino”with AugieMeyers for the occasion. “If you startwith an artist that was really inspired, the rest tendsto follow,” opines co-producer and Chronicle scribe emeritus Bill Bentley, whoseprevious tributes to Roky Erickson (Wherethe Pyramid Meetsthe Eye) and Moby Grape‘s Alexander “Skip”Spence (More Oar) rank amongthe all-time best of the genreand helped bringboth artists long overdue critical and cultural recognition.
Posted in News on November 18, 2008 by takecountryback
Justin Townes Earle finishes Midnight at the Movies
Justin finished up his follow-up to The Good Life for us and it has all of us in the compound walking around all bug-eyed. How a guy that did such an amazing job on his first record could take an even GREATER leap forward is pretty exciting. The album is called Midnight at the Movies and it will hit the street in March 09 on CD and LP. Justin continues to tour his ass off, both domestically and internationally. Between US shows, he hits Australia soon and revisits the UK in January. Here’s the video for “The Good Life” http://www.vimeo.com/1485978
Ha Ha Tonka Hitting Studio for 2nd Bloodshot album
Ha Ha Tonka are starting work on their 2nd Bloodshot album very shortly in St. Louis at Sawhorse Studios. Jason McIntire is at the helm; his most recent success was producing the St. Louis buzz band, Ludo. Ha Ha Tonka’s incredible animated video for Caney Mountain is here: http://www.vimeo.com/1429884
Scotland Yard Gospel Choir Recording Now
Scotland Yard Gospel Choir are in the studio currently working on their new album, titled “And The Horse You Rode in On”. Expect the follow up to their critically acclaimed self titled album in stores in mid-2009. Elia wrote the majority of the album in Wales, and calls it “An angry, comically heart wrenching record, alternately venting spleen and touching on the poignancy of betrayal and loss.”
Bottle Rockets Record with Eric “Roscoe” Ambel
The Bottle Rockets celebrated their 15th anniversary by recording a spanking new album with producer Eric “Roscoe” Ambel, producer of their renowned album, The Brooklyn Side. The new album will be released in spring 2009.
Scott Biram zeros in on completion of new album
The one band destruction machine, Scott Biram, is closing in on the completion of his next album. Highlights include a cover of “I Feel So Good” by Muddy Waters with The Black Diamond Heavies guesting. John Meyers from the Heavies also contributed some keyboards on one of Scott’s tunes, titled “Why You Give Me Such a Hard Time?” Album art is slated to be by Mark Todd, known for his work for Scratch Acid and Jesus Lizard. In other news, Scott has a dialed-out new website – visit him here:
Bobby Bare Jr & Sr Producing Tribute to Shel Silverstein
Bobby and his dad are executive-producing a tribute to Shel Silverstein that will be released on Sugar Hill/Vanguard in mid 2009. The two of them have the following bands slated to contribute (and quite a few are already recorded):
Emmylou Harris
Black Keys
George Jones & Ray Price
Allison Krauss
Band of Horses
Dr. Dog
Andrew Bird
Kris Kristofferson (backed by members of the Silver Jews)
Wayne Hancock will be recording a new album with Lloyd Maines producing, at The Zone Recording Studio in Dripping Springs TX.
I’m Not Jim’s Jonathan Lethem talks music on eMusic
I’m Not Jim’s author half Jonathan Letham talks music on eMusic. It’s a great, in-depth interview on the process of recording the album and of Jonathan’s longstanding obsession with music.
From the vaults of the Country Music Hall Of Fame and Museum, this collection features nearly two decades of Merle Haggard performances in his prime not seen since their original broadcast. Now, for the first time on DVD, experience the hits through a chronology of vintage live performances such as “Branded Man” (Country MusicHoliday,1968), “Mama Tried” (Billy Walker’s Country Carnival, 1968) and “Okie From Muskogee” (The Porter Wagoner Show, 1970).When Merle Haggard left prison in 1960, he went on to achieve 38 #1 hits (to date) and establish himself as one of the greats in country music. But getting out of prison didn’t quite mean leaving his rebel ways behind. His songwriting depicted the truths of a rough-and-tumble life which he fused with a musical style derived from hardcore country, jazz, blues and folk to create a sound no one had ever heard, with lyrics many could relate to.From the walls of San Quentin to his free-spirited life as an irreverent and unique voice outside the Nashville establishment to his induction in the Country Music Hall of Fame, Merle Haggard has never left a doubt that he is country’s original outlaw.
At the insistence of his family and personal physician, Merle Haggard had a cancerous growth removed from his lung Monday at Bakersfield Memorial Hospital. Friends and associates of the country music icon said the surgery was a success and he is in stable condition.
The 71-year-old country star and Oildale native had a malignant tumor, apparently the same growth that was discovered in May, according to sources who wished to remain anonymous.
Haggard told The Californian while on tour in August that he didn’t plan to treat the growth, which was discovered May 5. He said he doesn’t trust hospitals but, all along, family members wanted him to seek treatment.
“Of course, everyone wanted me at the Mayo Clinic, someone wanted me in Santa Barbara (to) do this and that,” he told The Californian in August. “And they said, ‘Oh, my God,’ and I said, ‘Well, I’m not gonna do anything.’”
At the time, he said it wasn’t cancerous and it hadn’t changed two months after the discovery, but that doctors didn’t know what it was.
The singer, to whom fans gave a warm welcome in February at the dedication of Merle Haggard Drive in Oildale and a hometown concert, was admitted to the hospital last week.
Haggard’s family has been by his side at the hospital and the singer is in good spirits, according to sources.
Local performer and longtime Haggard fan Monty Byrom said the news broke his heart. He even joked his father, a singer and guitarist himself, was the spitting image of Haggard until recently, when Dad eclipsed the star in the looks department.
“Whether he lives or not, if he can never sing again, we’ve probably just lost the greatest singer of our time,” said the Big House front man. “The difference between Merle and everyone else is he could sing everything: big band, blues, jazz. He was the consummate singer’s singer. I’ve never heard a purer voice.”
Byrom wanted to tell Haggard to “hang in there” and thank him for the inspiration.
“People think he’s just this redneck ‘Okie From Muskogee,’ ‘The Fightin’ Side of Me,’ but he’s more like Willie (Nelson),” he said. “He’s much more of a common man. He’s not this redneck everyone thinks of.”
To assist independent artists in saving mailing costs we welcome digital submissions for review via ReviewShine. Please check out their services designed specifically for indies to get their music directly to music bloggers. We highly recommend these friendly folks.
PLEASE NOTE OUR NEW EMAIL ADDRESS:
takecountryback@gmail.com
TCB simply exists to help create and strengthen the link between real country music fans and the music/artist. Simple as that. This is 'your space' much more than it's 'my space'
We hope folks on both sides of the equation will use this space to share the music the way its traditionally been passed on for generations - by word of mouth.
Taking it Back to the Roots! 