Two or three great musicians get together after their fame is at its peak and form a supergroup: old story. Three great musicians get together as unknowns, record amazing songs that do not get released, then go on to outstanding solo careers while their early work gradually acquires legendary status: new story. The Flatlanders were formed in Lubbock, Texas back in 1972 by then-unknowns Joe Ely, Jimmie Dale Gilmore and Butch Hancock. They recorded what twenty years later would come out as “More A Legend Than A Band,” but everything was shelved back then and went unreleased as they went their separate, solo ways. Gilmore took a long hippy trip in an ashram before becoming an Austin legend, Ely somehow hooked up with Joe Strummer and collaborated a bit with The Clash, and Hancock just kept at the progressive country thing, gaining a reputation as one of the premier songwriters of our time. Read the rest of this entry »
Photo: Meg Bitton
“American Idol” might have brought us talent like Kelly Clarkson, Carrie Underwood and then-unappreciated Jennifer Hudson, but there were many other promising artists who ended up vanishing even if they did well on the show. While some flamed out soon and wound up playing minor parts in off-Broadway shows, some used the exposure to create a niche audience and build a solid career once the cameras were turned off.
An example of this is Ohio-born Crystal Bowersox, who was runner-up during the show’s ninth season (defeated by Chicago’s Lee DeWyze) in 2010. Signed to Jive Records that year, she released “Farmer’s Daughter,” and despite positive reviews and reasonable sales, she was dropped after RCA disbanded her label. She has since signed with indie label Shanachie Records (which also includes Ruben Studdard—another “Idol” veteran—in its roster) and is in the works to put out her sophomore album “All That For This” under the production of Los Lobos’ Steve Berlin. Read the rest of this entry »
Listening to “We Can’t Make It Here” from the 2005 album “Childish Things” immediately makes you respect James McMurtry: his lyrics are a direct indictment of the hypocrisies of the right and also of big-box discount stores like Walmart who encourage companies to ship jobs overseas in order to reduce costs to their customers.
The son of novelist and screenwriter Larry McMurtry, McMurtry has been part of the folk-rock scene since John Mellencamp produced his debut “Too Long in the Wasteland” back in 1989. He has since collaborated with the likes of John Prine and Dwight Yoakam (in the “supergroup” Buzzin’ Cousins) and has regularly recorded and toured with his backing band, the Heartless Bastards—though the band is no longer billed in that manner because of confusion with the Ohio-based band of the same name. Read the rest of this entry »
Whether Old Crow Medicine Show would be an engaging group of players without a blueprint laid out by the best country and string-band players isn’t an easy call. The ensemble has done everything it can to recreate the past, going so far as to pull in producer Don Was for collaboration. But issuing five discs’ worth of high-test tunes in just about a decade is no mean feat. 2008’s “Tennessee Pusher” even reads like an album’s worth of songs lazily telling a story about hawking drugs in the South, using I-65 as its main drag. Read the rest of this entry »
Wherever the Handsome Family are, it seems to be raining. Or something unfortunate’s happening. Digging around in Americana’s attic, folks usually notice all the odd occurrence—fights, unfaithful spouses, murders, inexplicable religious events—but Brett and Rennie Sparks seem to have taken it all in stride and worked to mold a precise update of decades-old music. Read the rest of this entry »
When Columbus’ the Black Swans began recording, New Weird America was in its fetal stage. And while the revolving troupe of players led by Jerry DeCicca weren’t active players in that almost-genre, the band did issue a disc through Pennsylvania’s La Société Expéditionnaire. Apart from the band’s instrumentation, DeCicca’s oddly pitched vocals gliding atop updated country arrangements hint at the ensemble’s intention of reveling in its own brand of American music. Read the rest of this entry »
Claiming the title of Nashville’s most fucked-up country band doesn’t mean much. If one doesn’t attend church on the regular and speak in tongues in that town, it’s pretty easy to be marginalized. So really, Kurt Wagner and whoever else he decides to record and tour with as Lambchop are normal by most standards. But Lambchop isn’t really a country band. After dispensing with the singer-songwritery portion of “Popeye,” from the band’s 2008 “OH (Ohio),” Lambchop launches into an effort that could be Tortoise jamming. Read the rest of this entry »
The Jayhawks’ story is the tale of a group of folks congregating to make music, becoming focused on other aspects of their personal lives, leaving and coming back when the time seemed right. Founded in Minneapolis during the mid-eighties when Twin/Tone Records served as the town’s cultural outpost, The Jayhawks aped a country and rock hybrid that manifested itself on a pair of low-key releases before they inked a major deal and issued “Hollywood Town Hall,” generally thought to be the ensemble’s peak, in 1992. Songs like “Two Angels” and its harmonica fit the band into folksy territory, just one with a propulsive backbeat. Read the rest of this entry »
You remember when your stoner-friend convinced you to see Bela Fleck and the Flecktones, saying it was a bluegrass band that jammed like jazzbos? That was a bum steer. But the same guy, if he hasn’t already done so, is getting ready to tell you about Railroad Earth. The New Jersey-based band’s gained significant traction during its decade’s long career, hitting festivals in Telluride and just about anywhere else patchouli and moonshine are scents lingering in the air. Read the rest of this entry »
On the new release by the Little Willies, the New York-based country music (!) group formed by Norah Jones (piano, vocals), Richard Julian (guitar, vocals), Jim Campilongo (guitar), Lee Alexander (bass) and Dan Rieser (drums), the group tackles a selection of old classics made famous by the likes of Dolly Parton, Johnny Cash and others.
Among the notable tracks is “Tommy Rockwood,” an instrumental by Campilongo that is the sole original tune on the disc. The tune is mostly guitar-oriented with a country-rock vibe, but there is a smart Norah Jones solo that proves that she does have the chops to back up the acclaim some jazz snobs say is undeserved. Also very good is the cover of Parton’s classic “Jolene,” played here more organically than the original. Read the rest of this entry »