NPR Music and Stations to Exclusively Webcast and Broadcast Full Concerts From George Wein's Newport Folk Festival, July 31-August 1
July 27, 2010
NPR Music, together with six partner radio stations, is exclusively live webcasting and broadcasting dozens of performances from George Wein's Newport Folk Festival and CareFusion Newport Jazz Festival, offering four days of music by some of the country's most acclaimed artists. NPR Music and WFUV New York, FolkAlley.com (WKSU) Kent, Ohio, and mvyradio in Martha's Vineyard and Newport are covering many acts from the Folk Festival on July 31 and August 1 - which offers performances by favorites The Avett Brothers, Andrew Bird, Sharon Jones and the Dap-Kings, Edward Sharpe & the Magnetic Zeros, and more.
At the Jazz Festival on August 7 and 8, NPR Music with WBGO Newark, WGBH Boston and WICN New England are broadcasting and webcasting line-ups from three stages, with potential sets from Jamie Cullum, Chick Corea Freedom Band, Ahmad Jamal and Wynton Marsalis.
NPR Music will archive all content and provide podcasts of many performances; audiences can also relive both festivals from the past two years, with on-demand listening and free downloads of dozens of folk and jazz sets.
Listen to all of NPR Music's festival coverage live on the NPR Music App for iPhone and iPod Touch (available for free download now in the App Store).
NPR Music, together with WFUV, Folk Alley and mvyradio, will webcast and broadcast two days of performances from the Folk Festival on July 31 and August 1 from 11:30AM to 7:30PM (ET). Many performances from the festival will be available to stream on demand at NPR Music and the station websites, and download through NPR Music's "Live in Concert" podcast. Performers during these two days include John Prine, Yim Yames of My Morning Jacket, Blitzen Trapper, The Low Anthem and Nneka.
Leading up to the festival, NPR Music, WFUV and Folk Alley present a Newport Folk Festival 2010 Mix to stream at npr.org/newportfolk, featuring artists who will be performing this year.
The next weekend, August 7 and 8 from 11:30AM to 7:30PM (ET), NPR Music teams with WBGO, WBGH and WICN to live webcast and broadcast three stages from the Jazz Festival. Audiences will hear selections from Saturday's and Sunday's bills, which include Darcy James Argue's Secret Society, Chris Botti and Arturo O'Farrill & the Afro Latin Jazz Orchestra.
Does the Mercury Prize Shortlist Celebrate Nu Folk?
July 26, 2010
The Barclaycard Mercury Prize shortlist was announced last week. The contest celebrates the best of cutting edge British music. Of the 12 CDs included, two are already being played on Folk Alley (Laura Marling and Mumford & Sons) and three others are acoustic enough to warrant a listen(Biffy Clyro, I Am Kloot and Villagers). Recognizing that the UK and USA music scenes can often be as different as they are similar, I still thought the rising popularity of a new new wave of folk music over there could be a sign of things to come over here. If a band can build enough recognition creating music that favors lyricism and melody over pyrotechnics, that could mean the next generation is thinking for itself and picking out music it likes - not just that it's being told to like. And, the music world is getting much closer. Waves of folk singers could wash from the streets of London on to the radio beaches in the U.S.
Or, I'm just being wildly optimistic. Like so much of my homeland's culture, the American music business loves the big hit, the bigger stars and the biggest stage shows. The biggest trend in touring bands right now are tribute bands - basically pop hit cover bands that pick the catalog of a single artist. I've yet to see a tribute to Pete Seeger, even though there is roughly one Beatles band for every ten residents of Ohio. Young kids need the inspiration that Paul and John found in blues and roots music - start at the beginning and make there own way.
So, let's applaud the Mercury Prize people for thinking outside of the box, and let's open all of our boxes to make it easier for all generations to connect with what we already know is great - folk music of heart and substance that deserves to live on with younger listeners hungry for a new sound that's actually aged like a fine wine.
New to our music library, and perhaps to yours after you listen, is Amelia Curran. She comes from a musical family from Newfoundland, but her interests are not typical. Though her sound is an Americana/old timey mix, she loves Nirvana and Thelonius Monk. She likes the raw energy of the former and the space between notes from the latter. Fusing both influences has helped create an original style, which is what you need in this crowded musical world.
Another notable influence is Leonard Cohen and many of her lyrical insights may have come from him. "Hands on a Grain of Sand" sounds like a typical Cohen double take: Your hand can't easily grasp one grain of sand, so at first the line doesn't make sense, but that's exactly her point. What's worth understanding may not be obvious and make take an effort to grasp. Curran's album is full of this kind of subtlety, and that goes for the music too. The banjo/guitar/drum brush rhythm creates almost a Monk like tension and release.
The song everyone is talking about is called "The Mistress." This one features Amelia alone and is edgy and wordy - almost a talking blues. She sings in first person offering a perspective on an illicit relationship not often heard. She demands your attention and she'll get it. For a first international release Hunter, Hunter shows promise of more to come.
The names may sound familiar: This group is a combination of Mr. Everything, Keller Williams, along with flatpick whiz Larry keel and his wife Jenny. I'm guessing that they met at a jam festival somewhere, because that's where they seem to be getting booked now.
The amusing title Thief is in reference to the fact that this is a cover album, and that's the way Keller views covers. Actually, this is the perfect opportunity for such a combination, because the arrangements cannot help but be unique.
Keller does most of the singing and Larry provides the impressive and entertaining acoustic guitar leads. "Uncle Disney," written by Patterson Hood, is a jabbing commentary about what a conversation with a thawed out (cryogenically frozen) Walt Disney in the future would sound like. Other highlights are Ryan Adams "Cold Roses," The Grateful Dead's "Mountains of the Moon," and "Pepper" from of all groups - The Butthole Surfers.
This album is consistent: offering energy, melody, licks, and satire throughout. Thief would be great on a road trip or as a backdrop for any project you are working on. Once it starts playing you'll find yourself moving faster.
A founding member of Lunasa, John is a specialist on whistles and uilleann pipes. He has also played with Clannad, Sinead O'Connor, Nanci Griffith, and Donal Lunny. Obviously he got an early start as he won two All-Ireland championships before he turned 15.
With that background in mind, you might imagine that McSherry knows what he's doing.
He does. He has also learned a few things over the years about how to make his high pitched instruments more appealing to ears which were not raised on Celtic music. Soma has a driving rhythm section. Backing him are guitar (Tony Byrne) AND bouzouki (Ruban Bada), plus keyboards (Donal O'Connor). For more drive he adds both drums and bodhran. The only other lead player is Joanne McSherry on fiddle, so John's intent here is to create energy behind him.
Highlights are "The Maid of Murlough" inspired by a trip to Slovenia and "Aillie's Antics" which begins slowly and builds in intensity. "The Slide from Grace" is also a clear example of the extra care McSherry brings to the table. This is a medley of 4 tunes, but to differentiate them each tune is played at a different pace and often with different instruments being prominent. Soma is one of those albums that lead you to follow the McSherry tree in the search for more fruit.
Jory is a thoughtful and somewhat overlooked songwriter from Toronto. I mention overlooked because although several of his songs have found their way to Folk Alley before, this new album got lost in a plethora of submissions. Thanks to Mr. Nash's gentle reminders, we now have several new gems shining upon us from New Blue Day.
First songs are important first impressions, and "Our Time Again" offers a solid start. Very catchy with three part harmony, the song asks what we have all asked for at one point, a second chance. "Before You Get There" is a clever analogy comparing the recession to preparing for heaven. They may seem out of sorts, but as you follow Nash's implications, you begin to get his point. The organ and slide guitar offer a nice backdrop.
The album's standout might be "Homily," which Nash began as a salute to downtown Toronto. As the song took shape it became something deeper and more mysterious:
"Sometimes it's good to be
a thought, a rhyme, a theory
but if I saw more clearly
the opposite would be true..."
As your head begins to boil trying to figure this out, you also get caught up in the subtleties of the fiddle, accordion, and shaker backing Jory's compelling delivery. Songs like this are examples of what good songs should be: instantly ear-catching while all the layers of music and thought make it worth revisiting again and again. It's the same reason that we return to some restaurants and simply pay the check at others.
New Blue Day offers folk, blues, and roots, with acoustic or electric guitar, with strong solos that don't interrupt Jory's pleasant voice and carefully arranged harmonies.
I mentioned in my Taylor Swift blog that her name came up during a tour of the studios. We give many community tours (really, it's mostly Cub Scouts) and I thought you might enjoy a taste of the space. Walk with me through the music library, the Skylight Room and on to Jim in the studio. Enjoy!
I was taking a group of daycamp kids through the studios last week. When we arrived in the Music Library ("Why do we call it a music library? Because it's a library - made up of CDS!" Kids love that kind of stuff), one of the girls asked me if we play Taylor Swift. Of course, the answer is no. But that doesn't mean she will never make it into the stream. For those who don't know, Taylor Swift is a 20 year-old pop/country artist who is very popular with the tween set. She's no slouch, her CD Fearless won Album of the Year at the Grammys last year (she picked up three other statues as well). Taylor writes her own music and, as a mature singer/songwriter, she might release a collection appropriate to Folk Alley.
It certainly wouldn't be the first time that a rock or pop singer has changed tunes. Robert Plant's collaboration with Alison Krauss, Rising Sand, is a great Americana album. Dierks Bentley has taken a break from HOT Country to release a Bluegrass collection. Even popster Mandy Moore put out an acoustic covers CD (it helps that she's married to Ryan Adams - it adds to her roots cred). Plus, there's Jewel, who has gone from folkie living in her car in Alaska, to Top 40 Queen, Country star and back to singer/songwriter.
Maybe music is a cyclical process. Start out on an old guitar with lyrics scratched on the back of an envelope. Become a huge star with enormous production and lots of drums and amps. And then, return to a place where the craft takes center stage again. As she was leaving, the little asked, "When will you be playing Taylor Swift?" I'm guessing 10 years from now.
Who do you think is the next rock star to come home to folk?
There seems to come a point in every musician's life when he or she decides it's time to go back to the beginning. Country star Dierks Bentley has done just that on "Up on the Ridge." The CD includes guest appearances by the Punch Brothers, Miranda Lambert, Kris Kristofferson and Del McCoury (covering U2) - rather brilliantly using an old-time sound for very contemporary music.
From a slightly earlier generation, Jackson Browne returns with a new collection of songs. One of the kings of the singer/songwriter era, Browne (joined by long-time collaborator David Lindley) continues to be true to his earlier work with "Love is Strange." The CD is something of an acoustic retrospective, recorded live with other guest artists in Spain in 2006.
I first met fiddler Jeremy Kittel at Folk Alliance in San Diego. He was just starting out and it's been great to follow his career as he's developed as an artist. Although he began playing (and winning competitions with) traditional Scottish music, his repertoire has expanded to include folk and jazz influences - truly expanding his sound and reaching a broader audience. A new member of the Grammy Award-winning Turtle Island Quartet, his new solo CD is "Chasing Sparks."
It must be a real challenge to come up with the perfect band name. So, even though I really like "Moonscapes" from Dangermuffin, I'm not so sure about the name. But that could just be me, since they play in the jam-based tradition of String Cheese Incident and Disco Biscuits. Dangermuffin will be touring like crazy this summer, playing both festival and concert gigs. Or, listen for them on FolkAlley.com!
More music to take with you on your summer tour:
Blue Line Highway - "Almost Reel"
Tift Merritt - "See You on the Moon"
Terri Hendrix - "Cry Til You Laugh"
Mighty Squirrel - "Sqworld Record"
John Fullbright - "Live at the Blue Door"
Keller & The Keels - "thief"
The Galen Kipar Project - "The Scenic Route"
The John Hartford String Band - "Memories of John"
Amelia Curran - "Hunter Hunter"
Storyhill - "Shade of the Trees"
Justin Rutledge - "The Early Widows"
Steve Smith and Chris Sanders - "Signs Along the Road"
Most of us remember when our parents read to us. Many parents choose to read nursery rhymes or less serious (if only on the surface) examples from literature. Natalie Merchant had an enriching experience reading to her daughter for six years but still felt that in many cases "the dried yellow parchment" needed a spark. Defining that spark led to her most ambitious project ever. Leave Your Sleep is a collection of old poems set to new music. Merchant immersed herself in the project, completing over 50 of these arrangements. We have an advance collection of 16.
She did not cut corners on collaboration or creativity. Richie Stearns and Judy Hyman of The Horseflies join her on several songs. Acclaimed hammered dulcimer player, Bill Spence is included. So is Wynton Marsalis who created a New Orleans style jazz arrangement of Nathalia Crane's "The Janitor's Boy." British poet Charles Causley's "Nursery Rhyme of Innocence and Experience" includes the Irish group Lunasa plus a string section of 13 additional musicians. Gospel music's Fairfield Four add power and grace to Arthur Macy's "The Peppery Man." Each song startles you by how different it is in style and arrangement from the one before it.
This project must have consumed Merchant, but we are the luckier for it. Leave Your Sleep will certainly be recognized by the Grammys and hopefully will be used in literature classes to invite young ears to sample the joy of classic writing.
Originality may be the brightest source of invitation. When you haven't heard of a group before and your ears are sampling their songs for the first time, instruments and voices may catch your ear, but creativity demands your attention. Tripping Lilly is a new quartet from Cape Cod. Most of their songs are fresh and melodic and sung with energy. The group is lead by brothers Demetrius and Alex Becrelis on guitar and mandolin mostly. Monica Rizzo lays fiddle and all sing well, especially when they harmonize. All three play ukuleles, which I would imagine would be fun to see as well as to hear. Laird Boles fills out the sound with warmth on upright bass.
Though comparisons seldom offer specifics, they might help in this instance since the group's sound is so new. Alex sounds a bit like Chris Thile when he sings, and even when he plays. The overall sound of the group is like a mix of Thile and the folk pop group, We're About Nine. "Little Black Dress," sung by Monica, has bluegrass intensity, but many other songs range from folk-pop to vaudeville. During "Guilty," Alex and Monica sing verses to the other as if they were each alone at the time. In essence, we get to hear both of their private thoughts at once. "Getting Good" offers a joyful conclusion that solid relationships do happen, and in fact you can become successful at them with experience.
Right now Tripping Lily have only listed dates on the east coast, but they have a video posted on their website. Expect to hear more about them.
Darrell Scott came to Nashville as a session guitarist. He became sought after. Today he also plays mandolin, banjo, lap steel, piano, bass, and slide guitar. As a song writer, Darrell's songs have been covered by The Dixie Chicks, Clint Black, Sam Bush and countless others. It may be as singer, however, he becomes famous. He has a voice which can soar one moment and be soft spoken the next. All of these talents have lead to A Crooked Road, a 2 CD set in which Darrell wrote every song, sings every part, and plays every instrument. After listening to this one man wonder, you'll wonder why he's not famous now.
The album's title is a thoughtful retrospective on life's path. Today you can see what lies just ahead. Imagine for a moment that you are years along that path looking back toward where you are now. Darrell claims that your overall experience will be positive, even joyful, but it will NOT be a clear straight road along the way. Perhaps knowing this will help you in your eventual struggle. It's all about attitude. "Candles in the Rain (Childless Mothers)" is very poetic and may describe women at the end of their lives who don't have children to visit them. Scott's best talent is capturing moments. In "Tonight I'm Missing You" he'll drop you in your tracks as you'll find yourself remembering the one who got away. He offers a wonderful thank you to his children in "A Father's Song," and you'll have a hard time not smiling as you eavesdrop during "The Day Before Thanksgiving"
These songs have the magic to catch your ear upon first hearing them, and the staying power to invite you back many times, to fall in love with them. Darrell Scott is as good as it gets.
What should we call a quintet of musicians who make traditional music and songs brand new again? Alternative folk? String-bandy? Bluegrass-esque? How about...Crooked Still?
Their new album, the group's fourth, is called Some Strange Country and it is an incredible blend of instruments, vocals, and lyrics. Mellow, rhythmic and totally captivating all at once (take a listen to one of the original tunes, "You Were Gone"), this record once again proves that the point of Crooked Still is, as singer Aoife O'Donovan says, "rediscovering this old music and making it new."
And they do make it new - with both their original compositions and their (interesting and totally unexpected) cover of the Rolling Stones' "You Got the Silver." They also continue to make traditional music sound fresh and exciting with their inventive arrangements, arrangements that give each musician a chance to show off some impressive musical skills - check out the fiddle and banjo solos, done by Britney Haas and Gregory Liszt respectively, on "The Golden Vanity."
While Some Strange Country certainly showcases the incredible musicianship of these five players, it is an especially interesting album because in some ways it's the product of chance. The quintet was in a recording studio in Virginia, hard at work, when a surprise snowstorm trapped them together for several days longer than anticipated.
"I think that really made something special happen for the last half of the session," says O'Donovan. "There was no place to go, no way we could leave."
That forced isolation encouraged what is ultimately a collaborative project at its best - each of the five contributed equally to the album. Several other musicians contributed as well - you'll hear Tim O'Brien singing just loud enough to create another layer to O'Donovan's ethereal vocals on "I'm Troubled."
Some Strange Country and Crooked Still prove, once again, that you can take the traditional and seemingly out-of-date and revitalize it. This is modern music at its most interesting, impressive and thoughtful.
The Honey Dewdrops are a husband and wife duo from Scottsville, Virginia. Kagey Parish and Laura Wortman must have known each other for years; harmony singing this close is normally associated with brothers and sisters. The Dewdrops sound is old timey: guitar and mandolin or two guitars, but one of them with nylon or gut strings. Comparisons to Gillian Welch and David Rawlings are obvious, but the material and delivery are so strong that it's hard not to like this album. In fact any concern about copycats is quickly replaced with wonder about why more singers don't borrow from Gillian & Dave.
"Nowhere to Stand" draws comparison to a card game and the game of life. "Fly Away Free" speaks to anyone ready to make a big move. "When Was the War" is a pre-answered question, but history and families appear doomed to keep asking. In each of these songs Laura's lead voice commands your attention and Kagey's guitar fills are tasteful. The Honey Dewdrops first received national attention by winning Garrison Keillor's A Prairie Home Companion contest in 2008 for "Talent in Their Twenties." The next question is this one: How good will these two be in their thirties?
Jakob Dylan first made the national spotlight with his rock group, The Wallflowers. As a member of Rusty Truck he found a comfort level with Americana. His last two solo recordings are very acoustic, however, and the subject matter is serious and very much folk. Songs here focus on what mine workers or poor farmers must be thinking. He takes on old issues which are suddenly contemporary such as foreclosure ("We Don't Live Here Anymore"). Like his father (Bob Dylan), Jakob uses analogy, imagery, and often delivers both with a forked tongue: "....My sweetheart, we've got to learn to live with these ghosts. They can't leave, we can't go..."
Unlike his last album Seeing Things (2008), these songs are methodical and somewhat dreamy, but the subject matter calls for it; at least that's the way Jakob hears these calls. There is a repeating plea to God in several songs suggesting that he is beginning to question even the highest powers.
During a recent appearance on NPR's Weekend Edition host Scott Simon asked what Jakob's father thought. Jakob responded: "....my father told me that it's his favorite music right now and it's all he's listening to." Obviously a dad is easily biased, but when has Bob Dylan led us astray?
Mary Gauthier ("go-shay") has given us several albums which are deep and dark and now we can begin to understand why. In 1962 Mary was given up by her birth mother for adoption. At the age of 15, she left her foster parents and has continued to feel out of place for most of her life. Recently, she decided to find her mother, but struggled in the search. Gauthier took one last stab by hiring a detective. Five hundred dollars and a few weeks later her mother was identified. Then came the hard part.
Mary called her mom, but was refused more than a brief conversation. Her mother didn't want to relive the pain of the past. There is also reason to believe that her father didn't even know that Mary was born.
All the songs on this album are about this experience. If your background is similar, this is a must listen. If not, you'll get the picture in one or two songs. Still, it is compelling to wonder what your own life would have been like if this had been your fate. Obviously, this was a difficult process to share and Gauthier should be praised for coming forward. It's easy to predict, however, that more deep and dark songs will follow...
Here is yet another father/child combination. Daughter of Pierce Pettis, Grace is only 22 and this is her debut. She showcased at Folk Alliance International in Memphis in February. I was prompted by many to see her and came away with the find of that week.
Grace was accompanied by cello (Dirje Smith) and guitar (Billy Crockett). She was absolutely prepared to make a good impression and the audience of media types and promoters came ready to support her. It was compelling to be part of such a positive experience.
There was also a sad moment. She connected directly with listeners right in front of her through the song "What You Didn't Want to Know." One of the reasons we are drawn to songs or poetry is that good writers allow us to jump in as if the songs were about us. Usually, they are. In this song, Grace breaks through a barrier to address the listener individually with bad news. It was a powerful and sweet moment simultaneously.
By the way, Grace has lots of range and power in her delivery, and a way of phrasing words and connecting thoughts similar to her father. Though young, she has experiences to draw from: a miserable first job in "9 to 5 Girl," and a trip abroad in "Italy." She'll have more experiences right ahead of her as she is engaged. We all have a lot to look forward to with what Grace will be offering in the years to come.
Listening to Black Prairie's debut, Feast of the Hunter's Moon, is like walking onto the set of an HBO show about fear, longing, betrayal and loneliness -- think Deadwood, or maybe Six Feet Under. The music created by this Portland, Ore.-based quintet sounds as if it comes from a different time and place. According to dobroist Chris Funk, that's the point; he says the sound Black Prairie makes "bridges the music of Clarence White and Ennio Morricone." In other words, it's a sound which defies any kind of genre characterization.
The musicians themselves do, too. The quintet was started by two members of The Decemberists: guitarist Chris Funk and bassist Nate Query. They decided to start a primarily instrumental string band as a way to present music that didn't really work with The Decemberists' sound. They asked another Decemberist, Jenny Conlee, to play accordion, and invited Portland musicians Annalisa Tornfelt and Jon Neufeld to add their talents as violinist/vocalist and guitarist, respectively.
Black Prairie's songs consist mostly of instrumentals, and their arrangements pull from bluegrass and old-time string-band traditions. But Black Prairie adds its own twist, mixing accordion and violin to mimic Eastern European sounds, while also incorporating Tornfelt's vocals on a few selections.
The first two tracks are quietly creepy, evoking images of barren Midwestern landscapes and lonely travelers wandering across the country. The imagery is so strong that it's hard to prepare for the abrupt and dramatic shift to the cheerful, upbeat "Back Alley." Then it's back to a quiet and spare sound, followed quickly by a tune that's almost a parody of an old-time barn dance. The music shifts back to a more meditative state before changing again and again and again. There's a lot going on in Black Prairie's music, so it's hard to guess what'll happen next. It's a whirlwind of sound that can be hard to follow, but in a good way.
There's strength in numbers and the voices that join together on FolkAlley.com are quickly becoming a chorus that can be heard around the world. Folk Alley is the antidote to the Auto-Tune-riddled music scene that ignores a human desire for songs created from melody, storytelling and honest musicianship. As FolkAlley.com welcomed its 100,000th registered user on Saturday, February 27, the global home for folk music has even more reason to celebrate a genre that has multiple generations discovering artists producing music with the power to redefine lives.
Folk Alley invites everyone to the party with its own house-blend of traditional folk, contemporary singer/songwriter, Celtic, Americana, bluegrass, world and acoustic instrumental styles, and Cathy Sanders from Columbia, South Carolina is only the latest listener to seek out the music online that is no longer available on the terrestrial radio stations in her area. When Cathy added her name to the Folk Alley rolls to become FolkAlley.com's 100,000th registered user, she opened a door to extra website features, available only to registered users, as well as receiving the Alley Chat - Folk Alley's monthly e-newsletter.
Folk Alley Programming and Marketing Director Linda Fahey says, "It's listeners like Cathy who really make our work worth the effort. They love folk music, and so do we. Together, we can help keep this community strong and vibrant for years to come."
Established in September 2003, Folk Alley is now an industry standard-bearer - using the power of the Internet to find new ways to bring listeners together with the best in folk music. From its cornerstone 24-hour hosted music stream and unique on-demand content to exclusive interviews and live concert downloads, FolkAlley.com offers visitors a richly rewarding folk music experience. The popular Open Mic area is a space for artists of all talent levels to upload their original work into a public forum that provides feedback and fresh sounds for listeners. The Folk Alley hosts have decades of experience working behind microphones and discovering new talent - earning respect from artists, labels and others in the industry.
To become the next registered listener on Folk Alley - click here.
Not too often does a new album from a unknown group jump to the top of the stack. Several of us listened separately but around the same time, and excitedly reported to each other the same news No Fool For Trying offers one good song after another. Selections present good energy, interesting topics, and catchy melodies. Brenley MacEachern and Lisa MacIsaac are Madison Violet.
Both singers are from small Scottish towns in Canada, but their style is not Celtic. At least, not yet. Each album so far as been different from the one before it. The first was apparently more on the pop-rock side produced by John Reynolds (U-2, Damien Dempsey) as was the second, which was alt-country. On "No Fool..." the singers went a different direction and are backed by old time banjo, fiddle, mandolin and upright bass. The resulting sound is not Appalachian however, the playing is refined and the overall sound is more contemporary.
"Lauralee" and the album's title song will probably get the most play, but "The Woodshop" will catch your interest. Brenley's brother was the 52nd homicide in Toronto and the song describes her father carefully building a tiny coffin for his son's cremated remains. The song is not morbid in any way, but it does capture and portray the truth about one family's angst. The rest of the songs are more positive; the whole album is solid.
Booker (Bukka) White is not only Tom Rush's hero; Eric Bibb admires him as well, and has named his new solo album after the folk-blues legend. Actually, the album is not entirely solo, as harmonica whiz Grant Dermody accompanies Eric on some selections. Though there are some songs from tradition, most are Bibb originals and continue to show off his infectious groove.
"The Sunrise Blues" will resonate if you have little in your life to celebrate; "One Soul To Save" speaks to those who would be overjoyed just to have freedom. "One Soul..." is inspired by the James McBride book "Song Yet Sung" about slaves in Maryland risking everything. The song has a bit of a double meaning, serving as an inspiration to any of us who may need a push to make a big and needed move.
Eric may also inspire you to read more after you hear "Turning Pages" The album's highlight may be the low key "Rocking Chair." The song describes a man building a chair to overcome lonliness, only to witness the reason for his despair return to sit in that chair. You'll have to listen to the song for yourself to learn what happens next.
Eric Bibb continues to be our most literate and motovational blues singer. You will find one of his concerts a true gift.
Classical guitar star, Sharon Isbin's, new album crosses over to folk and the whole world noticed. Journey to the New World won a 2010 Grammy in the Classical category: "Best Instrumentalist without an Orchestra." Mark O'Connor produced the album and wrote a suite in which he accompanies her on violin. Several short pieces challenge Isbin in playing a reel, a rag, and a blues. These selections come easy to O'Connor, but Isbin stays with him.
She also tackles several traditional ballads including "The Drunken Sailor." Joan Baez sings two songs and is the subject of an instrumental tribute. Sharon plays versions of many Baez classics, and the finale offers a spirited medley which is the stand out on the album.
Other selections are a bit serious, even stiff, and if you're looking for drive you would be better off with a player like Tommy Emmanuel. Still, this album relflects lots of preparation and may convince a classical music lover to consider turning towards folk, and if we're lucky, Folk Alley.
JOHN McCUTCHEON ~ Untold
John McCutcheon continues to be one of our best spokespersons and offers several talents - many which reveal themselves again on Untold. This is a double album with one disc dedicated to stories and the other to songs. The stories were recorded at a national storyteller's festival and you can tell that John's musical abilities back up the tales well, and provided something extra which other non-musical storytellers couldn't offer.
Though John can command an audience for hours with his insight and his wit, Folk Alley will focus on the disc with the songs. "Sara Tucholsky" is a true story about a little girl in a softball game who became injured rounding the bases, even though she hit a home run. What happened next to allow the run to count is a dramatic lesson for all of us to pull together, including the opposition.
Some of the songs are a bit too deliberate, describing the incident instead of reflecting upon it. Mostly however, John does offer "headturners," and the standout is a song called "Different." We hear a father rationalizing about right and wrong until the young daugher catches on to his exceptions for the excuses that they really are. How do you explain to the innocent child that "Tell your uncle I'm not home" is not a lie? "That's different," sings John, as we all turn red.
John McCutcheon plays guitar, fiddle, banjo, hammered dulcimer, and sings. He is a domineering speaker, and an uncompromising writer. We are lucky to have him among us.
Madison Violet - "No Fool For Trying"
Patty Griffin - "Downtown Church"
Adam Steffey - "One More for the Road"
Carrie Newcomer - "Before & After"
Various - "Keep the Light Alive: Celebrating the Music of Lowen & Navarro"
Chris Coole - "Old Dog"
Scott Nygaard & Crow Molly - "Scott Nygaard & Crow Molly"
Bela Fleck, Edgar Meyer & Zakir Hussain - "The Melody of Rhythm"
Johannes Linstead - "Mistico"
Robert Earl Keen - "The Rose Hotel"
The Devil Makes Three - "Do Wrong Right"
Ricky Skaggs - "Songs My Dad Loved"
Michael Jerling - "Music Here Tonight, Live at Caffe Lena"
Corb Lund - "Losin' Lately Gambler"
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)
