Archive for February, 2009

News Links – February 25th 2009

Posted in News on February 25, 2009 by takecountryback

Playing cowboy with Willie Nelson

JJ Cale Rolls On

Country Radio Broadcasters Honors Giants of Country Radio

Music you may have missed

Robert’s Western World – Honky-tonk music in style

Big Bender Records set to release the digital version of “Double Wide” by Tornado Magnet

Posted in Artists, Upcoming Release on February 25, 2009 by takecountryback

cid_25007440025022009-2a7aBig Bender Records is set to releases the digital version of “Double Wide” by Tornado Magnet in honor of Johnny Cash’s Birth Day Tomorrow, February 25th 2009, followed up by the traditional hard copy CD to be released Tuesday April 14th 2009!

The new 10 song disc is available now @ all the usual internet down load sites including Amazon, I tunes, MSN, and all fine record outlets like Sam Goody, Universal music, Best Buy etc. Tornado Magnet is right proud to have guest performances on this here new record by some of the South West’s most legendary and notorious Americana insurgent Alt Country Rockers, and includes handy work by past & present member / alumni from: The Beat Farmers, The Johnny Cash Band, The Bastard Sons Of Johnny Cash, Convoy, West Coast Pin Ups, Whiskey Tango, The Hideaways, Hazel O’Connor, & Tony Sheridan bands respectfully.

Y’all can take a gander & preview some of the additional tunes to appear on the new Tornado Magnet record “Double Wide” on this here myspace link below.

The Roots of Country Rhythm Guitar Lesson

Posted in Just for Fun on February 21, 2009 by takecountryback

Learn how Maybelle Carter, Jimmie Rodgers, Roy Harvey, and Riley Puckett created today’s country and folk rhythm guitar style. With video.

Now This is What I Call Roots Music

Posted in Artists, Video, YouTube on February 21, 2009 by takecountryback

The Wiyos – Cornbread and Butterbeans

New Contest Coming Soon to TCB

Posted in contest on February 21, 2009 by takecountryback

Watch for your chance to win one of five copies of LeeAnn Womack’s new Call Me Crazy beginning March 2nd 2009

RIP Snooks Eaglin

Posted in Blues, News, R&B, RIP, Video, YouTube on February 21, 2009 by takecountryback

Original Link

BEE BRANCH | Although Snooks Eaglin, the amazingly eclectic New Orleans guitar player who died Wednesday at the age of 72, was truly one of a kind, his music was deeply rooted in the funk and rhythm and blues of the Crescent City.

Blind since childhood and with amazingly long, gnarled fingers and fingernails, he could pick just about anything and was, indeed, known as the “Human Juke Box” for his ability to play nearly any requests shouted out from the crowd, including “Malaguena,” more about which in just a minute.

Snooks never travelled much, meaning that roots music aficionados had to come to him, most often in recent years at the Mid City Rock ‘n Bowl, where he was a mainstay for the last two decades, and the New Orleans Jazz and Heritage Festival, most of which I’m sure he played, usually accompanied by the great bassist George Porter, a founding member of the Meters. The pictures here are of the two at Snooks’ last Jazz Fest gig last year.

My most memorable encounter with the rollicking, rocking Snooks was a couple of years ago when we went to hear him at the Parrish, the House of Blues’ intimate upstairs room on Decatur Street. There wasn’t much of a crowd, so we were able to belly right up to the stage only a couple of feet away from Snooks, who was sitting in a folding chair.

At one point, a young woman tapped me on the shoulder and asked if Snooks was “a dirty old man” because he had used a racy euphemism in a song; seems her yuppie date had clued her in on what the word “trim” meant in context and she assumed the worst about the small, bent, sightless man behind the guitar.

“No,” I said firmly, “he’s a guitar player.”

Then I asked him to play “Malaguena,” which I knew was in his repertoire, but which elicited a snorting, condescending laugh from the young woman’s boyfriend. My request did, however, put a smile on Snooks’ grizzled face.

“I learned that song off an old Carlos Montoya record,” he said of the great Spanish Flamenco guitar player. “Carlos could play!

“Burn, Carlos, Burn!” he shouted as he began a virtuoso rendition of the classical piece, which wiped the smirk right off that yuppie’s face.

At least one set by Snooks Eaglin some time during the week has been a long-standing tradition for our Jazz Fest sojourns, the next of which is now only a few weeks away.

But it won’t quite be the same this year knowing Snooks won’t be playing somewhere around town.

Radio broadcasts bring back country legends

Posted in Artists, Upcoming Release, Video, YouTube on February 14, 2009 by takecountryback

original link

When Hank Williams and Bob Wills were making their marks on country music in the middle of the last century, radio was still king. For a country artist, exposure via the airwaves was an indispensable means to commercial success, whether it came through appearances on barn-dance broadcasts like the Grand Ole Opry or by securing a daily 15-minute radio show. New box sets from Williams and Wills of transcriptions – recordings that capture a live performance for later broadcast – reflect that ascendancy.

In late 1950, Williams started doing a weekday show on legendary Nashville station WSM, sponsored by the company that milled Mother’s Best Flour. He and his band recorded transcriptions for broadcast when, as was often the case, they were on tour and could not do the show live.

Williams recorded 72 shows before chronic back problems forced him to give up the sponsorship. “The Unreleased Recordings” (Time Life, released Oct. 28th) culls 54 songs from the transcriptions, and the emphasis is on what we haven’t heard Hank doing before.

He covers songs by his contemporaries: Moon Mullican’s “Cherokee Boogie,” Johnnie and Jack’s “Just When I Needed You,” Roy Acuff’s “Low and Lonely.” The ancient sounds that Williams first heard when he was a child are represented by songs like “On Top of Old Smoky” (done, he says, the way “the old, old timers” sang it) and a slow-rolling “When the Saints Go Marchin’ In.” There’s plenty of gospel, too (often featuring harmony, unlike his studio gospel recordings), including one of the first songs Williams learned, “The Blind Child’s Prayer,” and the apocalyptic “When the Fire Comes Down.”

The recordings exude an atmosphere of spontaneity; Williams often seems to be deciding to try a song on the spot. The on-air comments and banter of Williams, his band members, and announcer “Cousin” Louie Buck also add to the relaxed feel.

Wills’s “The Tiffany Transcriptions” (Collectors’ Choice Music, released Jan. 27) have been newly reissued as a packaged set, with a significant upgrade in sound quality. Wills and his Texas Playboys made these recordings for the Tiffany Music company, in which Wills had a part interest. The venture’s aim was to sell a series of prepackaged shows to subscribing radio stations, which in turn would sell advertising to air with the programs.

What must have seemed like a surefire moneymaker ended up a dismal failure. The recordings, though, are anything but. In fact, they’re regarded by many Wills aficionados as some of the best he ever made.

By 1946, when the Tiffany sessions began, Wills had slimmed down the Texas Playboys from a horn-based, big-band behemoth to an electric guitar, steel, and electric mandolin-fueled string band with a relentlessly propulsive sound. He continued to draw on his encyclopedic knowledge of contemporary music blues, jazz, folk, western, and more for the Tiffany recordings, as well as debuting new material and digging into the band’s vast existing repertoire. The Playboys’ future country standard, “Faded Love,” first shows up here, as do covers as diverse as “In the Mood,” “Tumbling Tumbleweeds,” “Tea for Two,” “Okie Boogie,” “C-Jam Blues,” and “Red River Valley.”

As on Williams’s Mother’s Best shows, the band played without rehearsal and worked out arrangements on the fly – setting up and playing, as one participant put it, as if it were a dance. The transcription discs afforded more length for extended jamming than the standard 78-rpm discs used for studio recordings, and Wills’s trademark “a-ha’s,” yelps, and running commentaries were in overdrive. Vocalist Tommy Duncan can often be heard cracking up in response to something his bandleader has said.

In both box sets, the spontaneity occasionally leads to flubs that wouldn’t have made their way onto studio recordings, but that’s part of the charm. These relaxed recordings not only provide a bounty of previously unavailable material, they add a whole new dimension to the music of the Hillbilly Shakespeare and the King of Western Swing.