Archive for the Artists Category

Rare SRV Recordings Released

Posted in Artists, new release on June 16, 2009 by takecountryback

Marc Benno and The Nightcrawlers (featuring Stevie Ray Vaughan)

Release Date: Jun 16, 2009

The original recordings of the infamous Texas blues-rock band featuring Stevie Ray Vaughan on lead guitar, Doyle Bramhall on drums, Tommy McClure on bass guitar and Billy Etheridge on keyboards, performing classics written by Marc Benno and the band. Concentrating on Benno’s songwriting talents, the band took on a sound of their own and became underground legends in the Austin music scene of the 70’s. The album, which also features Stevie’s first instrumental, was recorded at Sunset Sound in Hollywood right before the Nightcrawlers went off on tour with J. Geils and Humble Pie. They returned from tour to find their label wasn’t looking for another blues based project, and the album has sat unreleased until now!

MP3 — Dale Ann Bradley releases Don’t Turn Your Back

Posted in Artists, Audio Streams, mp3, new release on June 4, 2009 by takecountryback

MP3 Dale Ann Bradley – Don’t Turn Your Back

It’s 9  a.m. on a rainy January day in Nashville, five  days into 2009.  Dale Ann Bradley is coming  up the studio steps without a raincoat, carrying  a guitar and a folder full of lyrics.   She’s been on the road for 14 straight days,  it’s 25 degrees and pouring, but never mind all  that.  She’s been shaping the concept of  her new project, the follow-up to her Compass  Records debut Catch Tomorrow, for  months, and she can’t wait to kick off the first  song. She’s let her heart guide her way through  stacks of songs, looking for those that capture  something beyond great music, something that  gives voice to what she’s been living and  breathing in her own life for the last year.  

So take a seat around the coffee table  at the Compass Sound Studio–where Dale Ann  Bradley sits with an old D-28 and producer and  banjoist Alison Brown puts her gentle mark of  genius on arrangements–and let Dale Ann tell  you about Don’t Turn Your Back in her  own words: “It needs to be more than a record,”  she’s says. “This is my dream album. I want it  to inspire people to hang in with whatever  they’re facing–to find the hope and inspiration  to keep going. I want to share the music that’s  touched me and I want to put everything into it  that has been given to me over the past  year.”

This is Dale Ann Bradley. She’s  the 2007 & 2008 IBMA Female Vocalist of the  Year and has been hailed by Alison Krauss and  Ricky Skaggs as one of the greatest vocalists in  country and bluegrass music. A former Coon Creek  Girl and mainstay at Kentucky’s Renfro Valley  Barn Dance, Bradley commands a list of awards as  long as Highway 40, yet a few minutes with her  tells you she is something even more than  extraordinarily gifted–she’s extraordinarily  human. A Primitive Baptist preacher’s daughter  out of the hills of Kentucky where no musical  instruments were allowed, Bradley grew up in a  self-described “backwoods holler” down a rural  road where electricity and running water weren’t  available until she was in high  school–something she has more in common with  the first generation of bluegrass than her  contemporaries in today’s scene.

Dale  Ann Bradley is nothing if not a great  storyteller, but her ability to step into  someone else’s shoes and make their story her  own for a few minutes, that is what allows every  note sung and played on Don’t Turn Your  Back to be believable. In the company of  some of best bluegrass pickers and singers  including Stuart Duncan (fiddle/banjo), Deanie  Richardson (fiddle), Alison Brown (banjo), Gena  Britt (banjo), Steve Gulley (vocals), and Mike  Bub (bass), Bradley explores Don’t Turn Your  Back’s undeniable themes of bravery and  hope through the eyes of mothers, lovers,  trains, and one shiny, soon-to-be-lucky penny.  

Staying true to her  daughter-of-a-preacher roots, Don’t Turn  Your Back includes three bluegrass gospel  numbers: the humorous “Rusty Old Halo”, The  Carter Family’s “Fifty Miles of Elbow  Room”,  and the traditional “Heaven”, which  features reigning IBMA Entertainers of the Year  Jamie Dailey and Darrin Vincent. Sharing her  love of classic rock and its influence on her  music and voice, Bradley includes bluegrass  versions of Fleetwood Mac’s “Over My Head”and  Tom Petty’s “I Won’t Back Down”, yet stays close  to tradition with the Kentucky mountain ballad  “Blue Eyed Boy”. Courage is the silver thread  running through all twelve tracks of Don’t  Turn Your Back, and it is in these songs  that Bradley lays out all she’s got: “Anybody  Else’s Heart But Mine” teaches us how to push  through a broken heart, “Will I Be Good Enough”  (Branscomb, Claire Lynch on guest vocals)  whispers hope to uncertain parents, and “Music  City Queen” (Bradley/Branscomb) documents the  dauntlessness of those who come to Nashville  seeking stardom. The title track calls for  giving life’s highway one more  chance.

Dale Ann Bradley’s mountain  soprano has been called “shimmering” (The  Washington Post)

Koko Taylor Passes at age 80

Posted in Artists, Blues, RIP on June 4, 2009 by takecountryback

“Blues is my life,” … “It’s a true feeling that comes from the heart, not just something that comes out of my mouth”

Chicago blues icon Koko Taylor died Wednesday afternoon at age 80, after surgery May 19 to correct a gastrointestinal bleed.

    “She was recovering slowly but surely, and then she had a real bad night,” said Marc Lipkin, a spokesman for Taylor’s longtime Chicago-based label, Alligator Records. Taylor was recovering from her surgery at Northwestern Memorial Hospital when she died.

She had performed only weeks earlier at the Blues Music Awards ceremony in Memphis, Tenn., where she received her record 29th Blues Music Award .

More here

Ferlin Husky hospitalized

Posted in Artists, News, YouTube on April 20, 2009 by takecountryback

AP: Country singer Ferlin Husky has been hospitalized with congestive heart failure and pneumonia, according to his record company.

Husky, 83, was in stable condition Sunday after being admitted to St. John’s Hospital in Springfield, Mo., on Friday, according to Tracy Pitcox, president of Heart of Texas Records.
 
Pitcox told The Associated Press that Husky had been on tour in Texas as recently as two weeks ago. He said the singer and onetime movie star has homes in Vienna, Mo., and Nashville, Tenn.
He says Husky’s close friend and touring partner, Leona Williams, is by his bedside.
Husky was country music’s top entertainer in the early 1960s with hits like “Wings of a Dove” and “Gone.” His latest album, released in 2007, is called “The Way It Was,” Pitcox said.

Steve Earle to release “Townes” May 12 – Free MP3 here…

Posted in Americana, Artists, mp3, Upcoming Release with tags , , , on April 14, 2009 by takecountryback

Free mp3 -To Live is to Fly

Los Angeles, CA — Steve Earle is set to release Townes, his highly anticipated follow up to the Grammy Award winning album Washington Square Serenade, on May 12th via New West Records. The 15-song set is comprised of songs written by Earle’s friend and mentor, the late singer-songwriter, Townes Van Zandt. Townes will also be available as a deluxe two-CD set, as well as double Limited Edition 180 gram vinyl.

The album was produced by Earle at his home in Greenwich Village, at Sound Emporium and Room and Board in Nashville, TN and The Nest in Hollywood, CA. The track “Lungs,” was produced and mixed by the Dust Brothers’ John King and features Tom Morello of Rage Against the Machine/The Nightwatchman on electric guitar. Earle’s wife, the acclaimed singer-songwriter Allison Moorer, is featured on backing vocals on “Loretta” and “To Live Is To Fly.” Three songs cut in Nashville, “White Freightliner Blues,” “Delta Momma Blues,” and “Don’t Take It Too Bad” feature a bluegrass band consisting of Dennis Crouch, Tim O’Brien, Darrel Scott and Shad Cobb.

Earle met Townes Van Zandt in 1972 at one of Earle’s performances at The Old Quarter in Houston, TX. Van Zandt was in the audience and playfully heckled Earle throughout the performance to play the song “Wabash Cannonball.” Earle admitted that he didn’t know how to play the tune and Van Zandt replied incredibly “You call yourself a folksinger and you don’t know ‘Wabash Cannonball?’” Earle then silenced him by playing the Van Zandt song “Mr. Mudd and Mr. Gold,” not an easy feat due to its quickly-paced mouthful of lyrics squeezed into just over two minutes of song. Their bond was immediately formed. On Townes, Earle and his son, singer-songwriter Justin Townes Earle (named after

Van Zandt) trade verses on the tune, a song the two of them have been playing together since Justin was a teenager.

The songs selected for Townes were the ones that meant the most to Earle and the ones he personally connected to (not including selections featured on previous Earle albums). Some of the selections chosen were songs that Earle has played his entire career (“Pancho and Lefty,” “Lungs,” “White Freightliner Blues”) and others he had to learn specifically for recording. He learned the song “(Quicksilver Daydreams of) Maria” directly from Van Zandt, and taught himself “Marie” and “Rake” specifically for the album’s recording. Once a song he played during his live show, Earle relearned “Colorado Girl” in the original Open D tuning that Van Zandt played it in. Earle recorded the New York sessions solo and then added the other instruments later on in order to preserve the spirit of Van Zandt’s original solo performances to the best of his recollection.

When speaking about Townes, Earle stated, “This may be one of the best records I’ve ever made. That hurts a singer-songwriter’s feelings. Then again, it’s some consolation that I cherry picked through the career of one of the best songwriters that ever lived.” Townes Van Zandt’s debut album, For The Sake Of The Song, was released in 1968. His last, No Deeper Blue appeared in 1995. His life and songs are the subject of the critically acclaimed 2006 documentary film, Be Here To Love Me. Van Zandt died in 1997 at the age of 52.

While being a protégé of Van Zandt, Earle is a master storyteller in his own right, with his songs being recorded by Johnny Cash, Willie Nelson, Emmylou Harris, Waylon Jennings, Travis Tritt, The Pretenders, Joan Baez and countless others. 1986 saw the release of his debut record, Guitar Town, which shot to number one on the country charts and immediately established the term “New Country.” What followed was an extremely exciting array of twelve releases including the biting hard rock of Copperhead Road (1988), the minimalist beauty of Train A Comin’ (1995), the politically charged masterpiece Jerusalem (2002) and the Grammy Award Winning albums The Revolution Starts…Now (2004) and Washington Square Serenade (2007). Earle also produced the Grammy nominated album,

Day After Tomorrow, by the legendary Joan Baez in 2008.

Townes Track Listing:

1. Pancho and Lefty

2. White Freightliner Blues

3. Colorado Girl

4. Where I Lead Me

5. Lungs

6. No Place To Fall

7. Loretta

8. Brand New Companion

9. Rake

10. Delta Momma Blues

11. Marie

12. Don’t Take It Too Bad

13. Mr. Mudd and Mr. Gold

14. (Quicksilver Daydreams Of) Maria

15. To Live Is To Fly

Steve Earle will be touring in support of Townes with tour dates announced shortly.

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. http://www.myspace.com/thetornadomagnets

Now This is What I Call Roots Music

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

The Wiyos – Cornbread and Butterbeans

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.

Iranian Country Music? Yup….

Posted in Artists, Country, YouTube on February 11, 2009 by takecountryback

Original article

Blues, country music, cowboy boots, and twang: welcome to the ever-widening world of Persian music.
The Iranian band “Kiosk” was awarded the Best Blues Band of 2008 by the World Academy of Arts, Literature, and Media in October (listen to their latest album, “Global Zoo,” here). 

The band began in a basement in Iran, just a couple of friends and a guitar. While American country music is often characterized by a personal story — — getting the wife, the job, or the dog back — Persian country music lyrics tend to revolve around more entertaining or lightly political subjects. 

Sometimes, though, language appears the only difference between the two countries’ genres, as the following music video featuring Mehdi Mafi demonstrates: 

FREE MP3 Raul Malo – Lucky One (coming March 3 2009)

Posted in Artists, Audio Streams, mp3, Upcoming Release on February 11, 2009 by takecountryback

raul Raul Malo is set to release his first album of original songs in a decade on March 3rd 2009.  

TCB plans a full review of the album later this week, in the meantime circle that release date on your calander and enjoy this free MP3 of the album’s title track.

Lucky One – MP3 

Raul Malo’s Fantasy Records label debut album, Lucky One, finds him fully shedding his musical shackles. “I have been fighting my whole life against people who want to pigeonhole music. I feel like I’ve got no restrictions anymore.” Malo is known for his work as the frontman of the Grammy Award-winning, globally platinum- and gold-certified band the Mavericks. Following two albums of covers, Lucky One is Malo’s first album original material in seven years.

The CD will hit the streets on March 3rd, fronted by the lead single “Hello Again.”

Malo has earned much critical respect over the years. USA Today applauded “a voice that seems to have no limits of range or versatility.” The New York Times said, “Malo has an exceptional voice, a burnished tenor that harks back to Roy Orbison and the great Cuban singer Beny Moré.” Rolling Stone added, “Raul Malo has a voice on par with the best of ‘em: Sinatra, George Jones and Orbison.” And The Wall Street Journal opined: “Malo’s superb voice is big and melodic with a natural vibrato. Exquisite.”

Malo wrote Lucky One over a two-year period at his Nashville home and was so happy with the results that several of his home demos appear as final versions on the CD. For the balance of the album, he once again enlisted Steve Berlin, best known for his work with Los Lobos and who worked on Malo’s 2001 Today album, as co-producer. “I trust Steve musically,” Malo says. “Art comes first with him. That’s the most important quality of all. Nothing gets in the way of that.”

Lucky One follows You’re Only Lonely and After Hours, two CDs of cover songs written by Malo’s favorite tunesmiths including Kris Kristofferson, Dwight Yoakam, Willie Nelson and Roger Miller.

“How could that not influence my songwriting on Lucky One?” Malo asks. “It certainly had an effect on how I wrote for this. There’s an appreciation for song structure, melody and lyric that these guys certainly had.”

Songs on Lucky One range from the upbeat “Moonlight Kisses,” to songs like “One More Angel” and “Rosalie,” which take on mortality and the loss of life. “Hello Again” is a deceptively upbeat, swinging tale of heartbreak, and the closing track “So Beautiful” is an ultimately uplifting benediction influenced by events in and outside Malo’s home.