Downtown Church, Patty Griffin's seventh album, is the equivalent of a slow walk into a field of wildflowers -- a journey in which you look up at a bluebird sky and take a deep breath with your eyes closed. It sounds like the soundtrack to a spiritual awakening, which makes sense, given that it's a gospel album: On it, two Griffin originals rub alongside gospel standards, including "Wade in the Water" and "Waiting for My Child."
It was EMI's Peter York who first suggested that Griffin record an album of gospel songs -- not such a strange idea, if you think about it. After all, she's got the huge vocal range necessary to sing gospel music, along with years of experience writing about life, loss, praise and sorrow. It's also not so strange when you consider that Griffin herself has long believed that gospel music is the foundation of, well, everything.
She got to work with Buddy Miller (among other friends, including Emmylou Harris, Jim Lauderdale and a couple members of the royal family of gospel, Regina and Ann McCrary), producing an album that's so mesmerizing, it's difficult to believe Griffin isn't a card-carrying member of The Downtown Presbyterian Church in Nashville. (That's where she recorded the album last January.)
But what makes Downtown Church even more relevant -- and, frankly, more touching -- is that Griffin says she's working through complicated feelings about religion and her own sense of faith. Downtown Church is her way of exploring those feelings. For the rest of us, the music is just plain good. And, for some of us, it's a feel-good re-introduction to ideas and feelings that might be uncomfortably familiar.
Folk Alley with Gene Shay now heard on Sirius XM The Village
Folk Alley is happy to annouce that folk DJ legend, Gene Shay, can now be heard on Sirius XM - Channel 15, The Village. Subscibers can tune in to Folk Alley with Gene Shay every Sunday from 6-8pm (ET), with an encore broadcast on Wednesdays at midnight (ET).
FolkAlley.com, in collaboration with WXPN in Philadelphia, also presents Folk Alley with Gene Shay each week - streaming Saturdays from 5-7pm (ET) and again on Wednesdays at the same time.
Gene Shay has been called "the dean of American folk DJs" and the "Godfather of Philadelphia Folk Music." Since 1962, Shay has produced folk music-centered radio programs and he can currently be heard weekly on Philadelphia's 88.5 WXPN on Sunday nights from 8 to 11 p.m. He has also emceed the Philadelphia Folk Festival from its beginnings in 1957. Shay's early interviews with artists including Joni Mitchell, Jackson Browne, John Denver, Tom Waits, Phil Ochs, Bonnie Raitt and Judy Collins were so well-known that bootleg copies of some still exist.
Folk Alley presents our December Holiday Stream featuring nearly 50 hours of a wide mix of Christmas, Hanukkah, Solstice and winter music - hosted by Jim Blum. You'll hear everything from Sam Bush's "Sleigh Ride," to John McCutcheon's "Christmas in the Trenches." Robin and Linda Williams' "Shotgun Shells on a Christmas Tree," Ricky Skaggs' "Deck the Halls," and much more.
Lyle Lovett - "Natural Forces"
Willie Nelson - "American Classic"
Dixie Bee-Liners - "Susanville"
Edward Sharpe & The Magnetic Zeros - "Up From Below"
Ray Davies and the Crouch End Festival Chorus - "The Kinks Choral Collection"
Christine Kane - "Wide Awake"
Chris Smither - "Time Stands Still"
Patty Loveless - "Mountain Soul II"
James Keelaghan - "House of Cards"
Laura Love & Orville Johnson - "The Sweeter the Juice"
Nitty Gritty Dirt Band - "Speed of Love"
Caroline Herring - "Golden Apples of the Sun"
Steep Canyon Rangers - "Deep in the Shade"
Joel Mabus - "No Worries Now"
There's something haunting about the way Lyle Lovett sings. His word choice and his distinctive phrasing explain why he was an instant success and why he is so imitated.
Recent albums were a bit rock n' roll or featured his "large" band, but Natural Forces is right down Folk Alley.
The title song concerns a restless soul heading west. Through the character in the song, Lovett playfully reminds us of ancient travelers on some of the same routes - the unfortunate pilgrimage by Native Americans on the Trail of Tears. Lyle is also an adept song chooser. "Whooping Crane," by Eric Taylor, is a deeply poetic narrative about the injustices that prevail. There are also joyful offerings - "Keep it in your Pantry" explores the draw of home and home cooking. We are provided both a country and a bluegrass version. By far the saddest song on the album is Vince Bell's "The Sun and Moon and Stars" If you are alone, and seemingly satisfied, wait till your heart connects with the singer's revelation during one of those "moments" of regret that we all have.
If you are drawn to Lyle's acoustic offerings, Natural Forces is in that style. Sam Bush and Stuart Duncan lead an impressive array of back up musicians.
This is only the second full length release by this Virginia based contemporary bluegrass sextet. Susanville is an album of road songs, and a concept album. In other words, each song connects as the characters are either leaving or returning to a small town named Susanville. Highlights are "Find Out," "I Need 18 wheels," "Brake Lights" and "In My Pocket." The group's co-leader, Buddy Woodward, hopes that the album becomes "the soundtrack for a movie in your mind." Due to the well crafted lyrics and arrangements, you do feel like you're watching a movie.
Susanville is the first of several concept albums which the group is planning.
Due to the band's history, this theatrical style should not be unexpected. Buddy was Musical Director for an off Broadway play about Loretta Lynn in New York some years back. Brandi Hart understudied every role and often appeared as a different character each night. They recognized each other's work ethic and creativity and the Dixie Bee-Liners carry those qualities forward. You can visit Folk Alley's Extras Section to watch video of the entire group being interviewed as well as performing.
They're back. One of America's first country-rock bands in the 1960's was The Nitty Gritty Dirt Band. This group did traditional music a huge favor. At the height of their popularity in 1972, The Dirt Band gathered as many living authentic country musicians as possible to release Will The Circle Be Unbroken. Young fans of the group inadvertently discovered Doc Watson, Merle Travis, Jimmy Martin, and Mother Maybelle Carter. There were also two follow up releases (1989 and 2002).
Almost all of the early members are still in the band: Jeff Hanna, Jimmy Fadden, Bob Carpenter, and multi instrumentalist John McKeuen. The album's title song may be the best. Whether life is good to you at the moment or sour, it moves so quickly, those events will change in short order. The band hopes to make a point that we probably shouldn't get too excited or too disappointed, as everything is temporary. "Earthquake" is a light hearted swing parody about living on the San Andreas Fault. "Trying to Try" is a clever admission that even though a solution isn't at hand, an attempt to find one is.
Fans of the The Dirt Band will find that the playing as good as ever, the singers are in full voice, and that the wonderful whimsy that attracted so many smiles has not faded.
Joel Mabus is folk legend in Michigan and very worthy of that moniker. He has been crafting songs and preserving overlooked traditional melodies for years, and he does all of this on every stringed instrument you can think of. From the amusing "Duct Tape Blues," to the calming "The Only Way Out is Through," Joel's observational eye has gifted the Folk Alley library with dozens of heartwarming gems over the years.
There is no let up in No Worries Now. He covers lots of subjects. He pokes at political parties in "You Voted Red" (and I voted blue...). Mabus offers a practical solution for those who no longer drink in "Two Cents Plain." The song's title is an old term for ordering a non alcoholic drink, but his clever rhyme and reasoning might open a few eyes among those trying to quit. Perhaps the most alluring number is "Give It Up."
This song addresses our ambitions, which if we're not careful, can drift away from the meaningful toward the materialistic.
I don't mean to paint Joel as a lecturer, because he's not. This album is very entertaining, and often comical. Very few songwriters can poke you in the ribs and stick to your ribs at the same time. Mr. Mabus has this double ability and he always has. No Worries Now is another collection defining why fans will remember his songs.
Find more information online at www.KentStateFolkFestival.org.
The line-up for the 43rd Kent State Folk Festival (all concerts at the Kent Stage unless otherwise noted):
Thursday, Nov. 5 at 8 p.m.: Masters of Puerto Rican Roots Music featuring Edwin Colón Zayas - $10 general admission tickets, $5 students (with valid ID).
Friday, Nov. 6 at 8 p.m.: Greg Brown and Jorma Kaukonen - $25 gold circle, $45 reserved.
Saturday, Nov. 7 at 8 p.m.: The Del McCoury Band - $30 gold circle, $50 reserved.
Thursday, Nov. 12 at 8 p.m.: Edward Sharpe & The Magnetic Zeros - $12 general admission.
Friday, Nov. 13 (various times): Folk Alley 'Round Town (30+ venues throughout Kent) featuring a special appearance by Country Joe McDonald - FREE
Saturday, Nov. 14, noon-5 p.m.: Workshops (KSU Student Center) - FREE
Saturday, Nov. 14, 5 to 6 p.m.: Talent Contest (KSU KIVA) - FREE
Saturday, Nov. 14 at 8 p.m.: Rhythm in Shoes presents Banjo Dance - $20 $30 reserved, WKSU members 50% off with member card.
Many Folk Alley listeners who stream us via iTunes radio have written in to tell us they're having trouble finding our service on the latest version 9 update. Apple, in their infinite wisdom and without the courtesy of informing the people who actually use their service, ditched the Folk category all together (as well as the Public category and some others). Fear not, you can still find us on iTunes. Now, please look for Folk Alley neatly tucked between "Fistful of Soundtracks - Broadcasting the music of the movies since 1997" and "Friends Yearbook Big Hitz" in the Eclectic category in the iTunes radio listings.
This month's Alleycast features our in-studio session recording and interview with the Rhythm Angels. Plus, we'll listen to our Live From Folk Alley concert with Gillian Welch and David Rawlings from Newport and hear our featured Open Mic artist for this month, Village Jammers. To close They Alleycast, we'll hear music from Carolyn Hester, who was pivotal is helping launch Bob Dylan's career. Her two albums of psychedelic folk/rock have just been remastered. Download The Alleycast today!
Woody Guthrie - "My Dusty Trail"
Sarah Lee Guthrie & Johnny Irion - "Folksong"
Guy Clark - "Somedays the Song Writes You"
The Low Anthem - "Oh My God, Charlie Darwin"
Girlyman - "Everything is Easy"
Zee Avi - "Zee Avi"
BOP Ensemble - "Between Trains"
Hannah James & Sam Sweeney - "Catches and Glees"
Sultans of String - "Yalla Yalla!"
Dede Wyland - "Keep the Lights on"
Mindy Smith - "Stupid Love"
Annie & Rod Capps - "My Blue Garden"
John Batdorf - "Old Man Dreamin'"
Cara Dillon - "Hill of Thieves"
Rob Ickes - "Road Song"
Cheryl Wheeler - "Pointing at the Sun"
The Wailin' Jennys - "Live at the Mauch Chunk Opera House"
Jim Lauderdale - "Could We Get Any Closer"
Matthew Sweet & Susanna Hoffs - "Under the Covers Vol. 2"
King Wilkie - "The Wilkie Family Band"
Bryan Sutton & Friends - "Almost Live"
The Pines - "Tremolo"
Cooking with New Releases (Better Read This Before You Order)
September 7, 2009
JIM LAUDERDALE ~ Could We Get Any Closer?
Like black pepper to almost any dish, Jim Lauderdale's voice and delivery seem to blend in well with whatever style of music fascinates him. Starting out as roots rocker, he graduated to country. He's been a folk singer. He can bellow out the blues. Several years back, I saw Jim at a late night jam in Nashville following a Folk Alliance Conference. He was trying to follow along with Peter Rowan in a bluegrass session. He didn't know the chords, but he was infatuated with the power of the music. His last three albums have focused on what he experienced that night.
The instruments behind him are what you'd expect, but the songs and arrangements are mostly his. "All She Wrote" is a frustrated look at the one sided-ness of relationship break up. And he's right. It takes two to agree to marry, but if only one wants out, the result is usually divorce. On a happier note, in the song "Today," Lauderdale reminds us to acknowledge our love out loud. His Hartford-esque string arrangement of fiddles and cello make the point even sweeter. In one of his first environmental discourses, he lashes out against strip mining and deforestation in "The Ghosts of The Ridge."
His complimentary players are like a who's who of bluegrass. Clay Hess (Mountain Heart) and Cody Kilby (Ricky Skaggs) play guitar. Adam Steffey (Dan Tyminski) and Jess Cobb (Infamous Stringdusters) are the mandolin players. Charlie Cushman and Terry Baucom share the banjo work. Tim Crouch and Aaron Till are the fiddlers. Bryn Davies is featured on cello and bass. With this library of talent and Jim Lauderdale's growing confidence as a bluegrass singer and writer, look out. (JB)
CATIE CURTIS ~ Hello Stranger
Part of the Beatles success was that they went through phases. They were always one step ahead of their audience, attracting a crowd and then changing to keep themselves interested and their fans curious. Catie Curtis is not afraid to reinvent herself either.
Years ago she was a Kerrville folk singer, before adapting a very polished Triple-A sound. Folk Alley plays many of these contemporary songs because of their depth and polish and to give youth to our sound. In fact, her last album (Long Night Moon) was so slick we are looking forward to what was next. Hello Stranger was a surprise. It's positively delightful, but this time it's all acoustic.
The songs are mostly covers (Richard Thompson, Cat Stevens, John Martyn, The Carter Family...) though she has re-recorded a few of her own songs. One of those is "Passing Through," co-written with Mark Erelli. Darrell Scott sings along this time, and Stuart Duncan plays fiddle. Both can be heard throughout the recording. Since Catie is on Compass Records she can use Allison Brown's connections, along with Allison's talents on banjo. Another is "Dad's Yard" a touching recollection of fathers everywhere who could never throw anything away.
The covers are also a nice surprise. She tears up Richard Thompson's "Walking On a Wire" and revives Yusuf Islam's (Cat Stevens) "Tuesday's Dead," making us remember why we fell in love with so many of his songs. With recent releases Catie Curtis and her producers perfected a contemporary style. Hello Stranger is more traditional sounding. She does both with flair. The only question now is.....what's next? (JB)
THE LOW ANTHEM ~ Oh My God, Charlie Darwin
Oh My God, Charlie Darwin is named as a reference to Charles Darwin's theory of natural selection and survival of the fittest. Becoming interested in Darwinism, singer Ben Knox Miller had grown to analyze situations and institutions outside of the natural realm using the ideological framework of natural selection to think about man-made institutions like academia, business, and politics. So, if this were applicable to music, then logically the best music would become the most popular. Too often, this is not the case. Too often, we're forced to listen to music that is only popular because a business or a television channel or a radio DJ forces it upon us. Oh My God, Charlie Darwin gives hope to the idea that natural selection might be applicable to music.
The Low Anthem has steadily been gaining popularity since Charlie Darwin's June release. They've been invited to play to play large festivals like Bonnaroo and the Newport Folk Festival along with constant club dates. At each of these performances, the Low Anthem has always performed with ferocity and passion. This CD captures that live emotion in a very honed and masterfully produced way.
Upon initially hearing Oh My God, Charlie Darwin, the listener is introduced to the unhurried and legato title track by a gentle yet commanding alto voice. This elegant melody does not belong to the group's only female, Jocie Adams, as an initial listen might suggest. Instead, it is the falsetto voice of Ben Knox Miller who sings the majority of lead vocals throughout the album. In contrast, songs like "Home I'll Never Be" and "The Horizon is a Beltway" are dominated by his very gruff and raspy male lead that is, admittedly, very reminiscent of Tom Waits.
Moving past the vocals, there is an enormous depth and quality to the group's instrumental musicianship. Allegedly, there are 27 instruments on the album which are indiscriminately distributed among the multi-talented band members.
Undoubtedly, Oh My God, Charlie Darwin is incredibly polished, but never once sounds overproduced or over thought. With each listen, subtle aspects of each song become more prevalent and each work becomes more admirable. (DH)
GUY CLARK ~ Somedays the Song Writes You
Not one to rush his work, Guy Clark has a relatively slim catalogue when taking into account the years which he's been playing. It seems evident that he puts out an album only when he feels it is truly ready, with only the songs that are the best he has to offer. His newest release, Somedays the Song Writes You, is no exception.
Clark is a songwriter's songwriter. He's a rare breed of musician whose work is primarily made famous by other performers, while he has still made a name for himself as a performer. Like his late peer, Townes Van Zandt, Clark isn't known for his voice. He's known for his lyrics.
Somedays the Song Writes You is an instrumentally sparse and obviously lyrically driven album in which Clark is backed by a more than capable group including Bryn Davies, Verlon Thompson, Shawn Camp, and Kenny Malone.
In the album's second track "The Guitar", Clark is a troubadour with a story to tell of an instrument that was made specifically for him - a metaphor perhaps for his life's work. He is a balladeer in "All She Wants is You" and a social commentator in "Hollywood". But throughout the entire album, Clark is a poet, crafting every word he sings.
A lyrical centerpiece which seems to define Clark's outlook on songwriting is "Hemingway's Whiskey". Comparing the drink to language, Clark proclaims that it should be "warm and smooth and mean," never "watered down," and always "straight up." That's how this album is. It is simple, clean, harsh at times, and intoxicating. (DH)
Dala - "Everyone is Someone"
Buffy Sainte-Marie - "Running for the Drum"
Dave Alvin & the Guilty Women - "Dave Alvin & the Guilty Women"
WPA - "Works Progress Administration"
John Flynn - "America's Waiting"
Chris Pandolfi - "Looking Glass"
The Doerfels - "What I'm Waiting For"
Dan May - "The Long Road Home"
Holly Williams - "Here With Me"
Hoots and Hellmouth - "The Holy Open Secret"
Blame Sally - "Night of 1000 Stars"
Yusuf - "Roadsinger"
Debra Cowan - "Fond Desire Farewell"
The Waifs - "From the Union of Soul"
Cary Cooper - "Dirty LIttle Secret"
The Sweetback Sisters - "Chicken Ain't Chicken"
Special Consensus - "Signs"
Lou Reid & Carolina - "My Own Set of Rules"
Catie Curtis - "Hello, Stranger"
Sweet Bitters - "Sweet Bitters"
Ancient Future - "Planet Passion"
Neil Diamond - "Funny People" soundtrack
Houston Marchman - "Long Gone"
Rachael McShane - "No Man's Fool"
Who Hit John? - "Heirloom"
Scott Cossu - "Tides Between Us"
Having just met Nanci Griffith I can tell you she is exactly the same off stage as on. She listens carefully, speaks with kindness, and will not disguise her outrage with injustice or intolerance. All of these attributes also contribute to her skill as a songwriter and song chooser. Examples are everywhere on her new album.
The album's title has a double meaning - Mildred and Richard Loving were married in 1958 despite a judge's attempts to void their interracial marriage. They were later part of a landmark case (Loving vs.The State of Virigina, 1967) voiding all laws preventing such marriages. This song will likely become her next "It's a Hard Life," except the results are more positive.
Nanci also writes about the dangers of too much money or simply having too much "stuff." Check out "Things I Don't Need." She's guessing that many of her fans are her own age, suddenly realizing that we're keeping too much of life's baggage. Cleverly, as we begin to catch ourselves looking through our attics and crawl spaces, she reminds us to recall why we kept these things - often because we don't let go of the baggage in our hearts. In almost a Zen way, she cautions us to enjoy the present instead of being held back by the past.
"Not Innocent Enough" is an eye-opener about capital punishment using a very specific example (Phillip Workman vs. The State of Tennessee). Other songs are not so deep. "Sing" emphasizes the health benefits of music. All in all, this is another keeper for your Nanci Griffith collection. Even though many of the songs are similar in pace, they are each unique individually and truly unforgettable. (JB)
Johnsmith's early albums showed promise and today that promise has been delivered. His last two albums have catapulted him to the next level. His voice has great range and his writing allows him to show off that voice. In addition, he is now surrounding himself with talent. Stuart Duncan, Darrell Scott, Radoslav Lorkovic, and Tim O'Brien back him and John stays right with them. Tom Prasada-Rao produces and plays multiple back up roles.
The album begins with a lovely remembrance of a trip for two across the Pacific Northwest in a VW beetle. He's betting you took a similar trip once, or he is suggesting that you should. "Father's Day" is personal, but you can't stop thinking about the first time your own Dad actually said that he loved you. If he never did, this song will at least provide a glimpse into what it feels like. Juni Rae is a very catchy welcome wish to his baby entering our world, a place full of mistrust, but also of support.
One of the album's surprises is his tribute to a favorite tree. Of all trees to celebrate, he chose the lowly Scotch pine. Certainly not a botanical favorite, the Scotch pine often has to fight off diseases, and does not grow thick and full like a Spruce, for example. Perhaps he sees something of us in that tree. That's for the poet in you to decide. Certain trees do remind us of favorite places which can be in your own backyard.
Johnsmith might have begun as a Scotch pine, and he might still be one, but today
his own overlooked gifts are just as obvious. (JB)
In the late 1990's, Levon Helm was diagnosed with throat cancer. It was suggested that Helm have a laryngectomy, removing his voice box. He would never be able to speak, much less sing again. The tenor voice that dominated songs like "Down on Cripple Creek," "The Weight" and "The Night they drove Old Dixie Down" was not to be heard again.
Against his doctors' advice, Helm did not get a laryngectomy. Instead, he went through a strenuous process of radiation over the course of years. He had still lost his ability to sing. But Helm was still actively playing drums and producing music with his friends via his Woodstock home and recording studio. In 2004, he attempted to sing again, his voice weak and raspy. With constant practice, his voice became stronger. And 2 years ago, he debuted his Grammy-winning comeback, Dirt Farmer.
The sequel, Electric Dirt, has a very different sound than its predecessor. While all the songs have are distinctively Helm's, he's expanded his sound in several ways. In songs like "Tennessee Jed" and "Kingfish" we hear Helm accompanied by a large brass section that isn't afraid to take the lead. This contrasts with the traditional Appalachian-sounding melodies of "Golden Bird" and "Growin' Trade," a lyrically driven tale of a farmer who was to turn to a new crop to make his wages. There's even a few douses of gospel with his daughter, Amy, and Teresa Williams singing soulful backup vocals on "Move Along Train" and "When I Go Away."
Levon Helm is a rare breed of musician, who adamantly tries to better himself all the time. Despite the damage to his vocal chords, he belts out and sings joyously throughout this whole album. Whether you like the way his voice sounds now or not, the music and general attitude of the album (and the group for that matter) have to be respected. Does Electric Dirt live up to Dirt Farmer though? That's for you to decide. (DH)
In the 1980's, Dave Alvin revitalized interest in rock-a-billy and American roots music with his band The Blasters. Using the great rock musicians of the '50's and '60's as archetypes on which to base their style, The Blasters added hard rock and punk into their original blend of roots-based rock, producing fierce guitar-driven tracks and gentle ballads decorated with doo-wop harmonies.
Today, Dave Alvin still has the same rock and roll influences. But he's taking the music he loves in a new direction with an all-star all-female group called The Guilty Women (his last band was the Guilty Men). Comprised of Sarah Brown, Nina Gerber, Amy Farris, Lisa Pankratz, Laurie Lewis, Christy McWilson and Cindy Cashdollar, the Guilty Women, led by Alvin, are touring non-stop in the coming months.
Dave Alvin and the Guilty Women are playing roots rock in a very different way than Alvin has in the past. The album starts off with an almost Zydeco version of Blasters hit "Marie, Marie" and continues to bring the listener to a wide range of sounds. In songs like "Downey Girl" and "Anyway", we hear heartfelt, yet effortlessly subtle vocals form Alvin, who normally has a very dominating voice. Christy McWilson is supported by Laurie Lewis and Amy Farris in "Potter's Field," a gentle and almost spiritual piece. Ending the album is an upbeat piano-driven version of "Que Sera Sera" that provides an ironically swinging arrangement to an otherwise sad number.
Both the players and the leading man are on top of their games and provide a rocking interpretation of roots music, while still knowing when to unplug and perform with gentle subtlety. (DH)
Levon Helm - "Electric Dirt"
Frank Wakefield - "Ownself Blues"
Johnsmith - "Gravity of Grace"
Alexi Murdoch - "Away We Go" (soundtrack)
Euphonia - "The Old Jawbone"
Hot Club of Cowtown - "Wishful Thinking"
Nanci Griffith - "The Loving Kind"
Cedric Watson - "Cedric Watson"
Rhonda Vincent - "Destination Life"
Jim Moray - "Low Culture"
Buskin & Batteau - "Red Shoes & Golden Hearts"
Albert & Gage - "Dakota Lullaby: The Songs of Tom Peterson"
Sarah Jarosz - "Song Up in Her Head"
Quebe Sisters - "Timeless"
Belleville Outfit - "Time to Stand"
Marcia Ball - "Peace, Love and BBQ"
Listen to the best in folk and roots-based music with the Folk Alley iPhone Player available for free at the iTunes Store.
FolkAlley.com has become the "coffee house that never closes," offering folk fans a 24 hour stream of music from their favorite artists, an interactive discussion area, Open Mic (an area for new artists to upload songs), exclusive live concert downloads, interviews, video and more. .
The Folk Alley Player allows you to listen, purchase music through iTunes, click through to FolkAlley.com for access to the site's rich content archives, and more.
There is a reason why banjoist Alison Brown's music has joined space shuttle crews four times now. Her compositions are full of the technical wizardry that scientists crave, while simultaneously being full of joy. Astronauts are humans too, and who wouldn't want to wake up to such positive melodies? Mission Specialist John Grunsfeld actually took the CD with him so he could have the first listen in space. That in itself is interesting as most astronauts take i-pods. Though it would be fun to look down on Earth while listening to Alison's quintet, you don't have to. The music alone will take you on a wild ride.
Husband, bassist, and Compass Records co-founder Garry West backs Alison on her 10th release. Pianist John R. Burr is back trading breaks with Brown, but a more recent member is mandolinist, fiddler, and percussion master Joe Craven. Not only does the band now offer another soloist, with Joe, it offers three! To maintain variety, some tunes are bluegrass based, one sounds Caribbean, and another hints of the Irish. All of them are jazzy, acoustic, and joyful.
The album's title is from Don Quixote: "Tell me the company you keep and I'll tell you what you are." Alison didn't realize it when she chose the name that there was a double meaning. Though she is the star, her bandmates are equal to the task, inspiring each other and her to deeper levels. Secondly, the company she keeps is Compass Records.
Her label is in its fifteenth year, thriving by focusing on independent music with top releases only boasting sales of a few thousand units. That may not sound like much, but others in the music business are involved with closures, mergers, and sales that are down. Alison Brown's music and her label are up. (JB)
Ashleigh Flynn flew under our radar for much longer than she should have. It wasn't until she opened for Todd Snider did we see that she could command attention from listeners unfamiliar with her. She sold 45 albums at intermission during the concert we attended.
Flynn hails from the banks of the Ohio River and has been playing out for over 10 years, travelling throughout the country. Her voice is gruff but sensitive and the heartfelt truth behind her lyrics is constantly compelling.
Flynn isn't afraid to wear her feelings on her sleeve. In "The Seventh Sea", she unapologetically leaves behind others and finds solace in herself. She passionately sings of the displaced people of New Orleans in the title track "American Dream", and brings the listener to Kentucky coal country in "Hazard County". Throughout the album, listener's are shown a myriad of emotions and tense situations from Flynn. But despite the serious nature of many of the songs, it's difficult not to smile and sing along. (DH)
Most of us take a little bit of time off during the summer for vacation - usually to get away from the stress of our work and just relax. Bela Fleck, for the first time in about 15 years took some time off in the early months of 2005. His mission was not to rest and relax, but to go to Africa and study the origins of the banjo - filming a documentary of his travels and recording the music he made with the continent's aboriginal musicians.
At the last moment, Sony, who was footing the bill for this endeavor, backed out. Bela Fleck soon found himself as the financier of a major multimedia project. However, Fleck still followed through and completed both the album and the documentary entitled Throw Down Your Heart.
All the tracks feature amazing African musicians doing traditional music. Fleck brings the banjo back to its African roots and plays alongside these prodigies, careful to let their talents shine while he moves out of the spotlight. Every song was recorded in Africa with the exception of "Thula Mama," recorded when Fleck unexpectedly ran into Vusi Mahlasela in Boulder, Colorado.
Fleck just finished touring with Toumani Diabate, Vusi Mahlasela, Anania Ngoglia & D'Gary - all of whom are on the album, and will be doing many more appearances with Toumani Diabate and Oumou Sangare in the coming months. (DH)
Harvey Reid burst on the scene over 20 years ago by winning national championships on multiple instruments. Few have done that other than Mark O'Connor. Neither are in competitions any more. Both are too busy creating. This is Harvey's 21st recording, his first solo album since the 2003 autoharp release. On "Blues and Branches" Reid plays 11 different guitars, 6 string banjo, and autoharp. (He doesn't need a band!)
Joyce Anderson does make two cameos, one if which is an old spiritual "Let your Light Shine On Me." They trade off singing verses because they both love the song, and their harmonies are close and pure. A wise sage once wrote: Those who sing together stay together. (They are married.) There is reference to a lighthouse in the song, which is special for them since they see one daily where they live in Maine.
The albums highlight song is Harvey's original "From Where I Stand." This heartfelt editorial is a revelation about mankind's only hope for survival. You'll have to listen to discover his answer which may seem simple at first, but if it were, this song wouldn't be necessary. Other highlights are Harvey's commentary on Hollywood and hearing him play and sing the blues on autoharp. What a hoot. Harvey Reid is the perfect example as to how an independent musician can survive. He plays 20 instruments. He writes, sings, and arranges. He has his own label, newsletter, and was one of the first to embrace the internet years back. Today he has a musical partner and is the father of two. Since little Otto is now playing, perhaps a family band is in the future. Why not? (JB)
FolkAlley.com expands its geographical presence with the addition of KUT's Matt Reilly from Austin, TX, to its team of music hosts. Since September 2003, Folk Alley has brought the best of traditional folk, Americana, singer/songwriter, bluegrass, Celtic, world and acoustic instrumental music styles to an international audience - listeners tremendously excited to finally find "their" music available 24 hours a day on the Internet.
Reilly, a Texas native, began his radio career in Austin, TX, working for KGSR, one of the country's most respected Triple A stations. He also spent time in front of the camera as a VJ on Austin Music Network, a local music video channel. In 2004, Reilly moved to Philadelphia to work for WXPN, a national vanguard in Triple A music. While there, he served as the station's Assistant Music Director and hosted the shows Jamnation, The New Music Show and The Indie Rock Hit Parade. Reilly and his wife, Jennifer, returned to Austin in July 2008 to be closer to family and enjoy the balmy Texas winters. He is currently a member of the music department at KUT, a recognized leader in eclectic music.
Matt joins fellow DJs Jim Blum, Elena See, Barb Heller and Gene Shay as part of an all-star team of public radio hosts. He will be heard in the stream daily from midnight to 5 a.m. ET (GMT -4), the slot recently vacated by Jeff St, Clair, WKSU's new morning host.
The Greencards - "Fascination"
Great Lake Swimmers - "Lost Channels"
Sara Watkins - "Sara Watkins"
The Indigo Girls - "Poseidon and the Bitter Bug"
Wheeler Street - "Roodumdah"
David Wilcox - "Open Hand"
Richard Shindell - "Not Far Now"
Danny Schmidt - "Instead the Forest Rose to Sing"
Beoga - "The Incident"
Bela Fleck - "Africa Sessions"
Steep Canyon Rangers - "Lovin' Pretty Women"
Clarence Bucaro - "Till Spring"
Diana Jones - "Better Times Will Come"
Vienna Teng - "Inland Territory"
Ramblin' Jack Elliott - "A Stranger Here"
Bearfoot - "Doors and Windows"
Ellis Paul - "A Summer Night in Georgia"
April Verch - "Steal the Blue"
Various - "A Tribute to Utah Phillips - Singing Through the Hard Times"
Le Vent du Nord - "Mesdames et Messieurs!"
Nancy Wallace - "Old Stories"
Various - "Dark Was the Night" (a benefit for the Red Hot Organization)
The Flatlanders - "Hills and Valleys"
Brian Herbert & Friends - "Any Time at All"
Ashleigh Flynn - "American Dream"
Jeremy Garrett - "I Am a Stranger"
Jesse Winchester - "Love Filling Station"
Folk Alley Celebrates Pete Seeger's 90th Birthday with a Special Side Stream
May 1, 2009
In honor of Pete Seeger's 90th birthday (May 3rd), Folk Alley has put together a 5 hour side stream of memorable Seeger classics covered by artists like Tom Paxton, Bruce Cockburn, Janis Ian, Bruce Springsteen, Natalie Merchant, Greg Brown, and, of course, the iconic troubadour himself.
Judy Collins is best known as a singer and a song interpreter of sorts. Some of her most well-known songs were not her own, and many of the well-crafted songs she has written may not get too much attention because of the amount of covers she has performed. Luckily, some high-profile artists who have been influenced by Judy Collins' music came together to record some of her original works.
Born to the Breed has musical legends on every track including Leonard
Cohen, Dolly Parton, Joan Baez, Rufus Wainwright, Kenny White, Chrissie Hynde, Bernadette Peters and Jimmy Webb. Two of the highlights include Jim Lauderdale's version of "Easy Times", which is likely much more country than Collins ever expected it to be, and Shawn Colvin's take on "Secret Gardens"--a retrospective written by Collins after driving past her grandparent's home after they had passed.
Despite the tiredness of the 'tribute album' genre, it seems like all these artist definitely belong as each track has something unique to offer. Another appeal is that a portion of the album's earnings goes to the Jazz Foundation of America, which provides emergency aid for uninsured musicians and may be most noted for its help of jazz
musicians after Hurricane Katrina.
Justin Townes Earle has had a lot to live up to right from the beginning. With his first release, skeptics were curious if Earle could live up to his father, Steve Earle's talent. Justin surpassed anyone's expectation with a captivating live show and non-stop touring. Whereas only a year ago, critics held Justin up to his father's standards, he now has to live up to his own.
Midnight at the Movies offers heart-felt ballads like "Someday I'll be Forgiven for This", but the majority of these songs are much more fast-paced and driven than his earlier works (Yuma and The Good Life). Throughout the entire album, Earle works some impressive finger picking, which is often times the musical driving force in his songs. Accompanying Earle's guitar and vocals is a proficient band of relative unknowns including multi-talented right-hand-man Cory Younts.
Alongside his guitar proficiency, we hear the tactfully emotional lyrics we have known Earle for in his earlier recordings. However, for the first time, we hear reference to his family in "Mama's Eyes", a realistic and sincere dedication to his parents. When Earle performed this piece at last year's Kent State Folk Festival, he prefaced the song by saying that his parents hadn't heard it and that "one parent would be truly proud and the other would be relatively indifferent."-- a great example of Earle's frank sense of humor.
Many actors have branched out in recent years to record the music that they love. Often, many are better at their first craft (Billy Bob Thornton). A rare exception is Steve Martin, who is just as talented a banjo player as a comedian and actor.
Martin's The Crow is the product of 45 years of closet banjo playing and Tony Trischka's urging. The title track of which was performed on Trischka's album Double Banjo Bluegrass Spectacular and ended up being Steve Martin's first hit single since his farcical "King Tut" in 1978.The difference is that now Martin is very serious.
There's nothing to laugh about on The Crow. Martin was once quoted as saying that you can never play a sad song on the banjo. In the album's liner notes, Martin retracted that statement saying that the banjo had the capacity for some very mournful and lonesome songs. He goes on to give a brief history of his time with the banjo and it becomes very obvious through listening to the album and reading about its contents that Martin has a deep friendship with the instrument.
The Crow is filled with many stars of bluegrass and country including Vince Gill, Tim O'Brien, Tony Trischka, and Earl Scruggs; but they are not the stars. The focus every song is definitely the banjo and the album its self is almost a "Thank You" note to the banjo for everything it has given the grateful Martin.
Download The Alleycast - March 2009 - The Holy Modal Rounders
