I became aware of Gretchen Peters when I heard One to the Heart, One to the Head , a covers album she released with one of my favorite singer/songwriters Tom Russell. I was impressed by their take on many great country-folk songs, from Bob Dylan to Townes Van Zandt, and Peters’ smoky vocals contrasting with Russell’s dusty growl.

While reviewing the album I became aware of Peters’ past life as a New York-born, Nashville-based songwriter for Music City country, pop and soul. Martina McBride, Trisha Yearwood, Patty Loveless, George Strait, Neil Diamond and the late Etta James She also won the 1995 Country Music Association Song Of The Year award and turned some heads with her unflinching view of a woman’s domestic abuse with McBride’s Independence Day.

These song-craft skills, and the courage that maturity affords you to speak fearlessly, have resulted in Gretchen Peters’New release of darkly engaging Americana-pop Hello Cruel World. Recent trials and revelations in her life provide fertile soil for an collection of songs that look into the abyss and dares to laugh. Dares to love.  What could have been a very bleak album transforms brutality, indifference and the absurdity of life into jagged gems that makes you want to sing along and occasionally tap a toe. Peters co-produces along with husband Barry Walsh and Doug Lancio. they use sparse arrangements and atmosphere that made One to the Heart, One to the Head such a pleasure.

The self-titled opener is a moody study of contrast and personal perseverance. “I’m not dead but I’m damaged goods, and it’s getting late.” Followed by a chorus of “I’m a very lucky girl” sung with beautifully weary resignation backed by minor-chord strings. St. Francis was  inspired by the Gulf oil spill and co-written by Tom Russell, who often employs Catholic symbols and analogies to make corporeal points. The song engages St. Francis of Assisi to show how the divine is often overlooked or, when recognized, taken for granted.

Torn allegiances dominate The Matador as the thrill and drama of a bull ring serves as a metaphor for passion and conflict. Ordained minister Rodney Corwell performed the matrimonial ceremony for Peters’ and Walsh in 2010, on Dark Angel, Corwell plays the foil of love in  a tale of dangerous attraction and certain demise. Camille shares co-writing credits with Peters’ “Wine, Women, and Song” members Matraca Berg and Suzy Bogguss, is smoky loneliness and sweet despair shepherded by trumpet and barroom piano. Paradise Found has a hot summer day simmer that references Steinbeck and a play on Milton where the song derives it’s title.

From the Stevie Nicks-like album cover Peters stares at you from the dusky cool-colored cover with an orb that looks like a globe or a crystal ball. It serves as both metaphors here. These are adult songs about adult situations that in lesser hands would result in a very dull listening. In Peter’s hands poetry and the profane is balanced in a way that reminds us we are not alone and that beauty and hope, as well as songwriting that engages instead of panders,  still exists.

Official Site | Buy

By Baron Lane
Yaab

Here it is folks, the first Twang Nation Podcast for 2012. This episode features cuts from upcoming albums by Justin Townes Earle,  Shooter Jennings, The White Buffalo, James Low Western Front, Darrell Scott as well as excellent cuts from current releases by Charlie Parr, Mississippi Live & The Dirty Dirty and Liz Frame And The Kickers. On the occasion of his birthday I have included a song by the man that amounts to the patron saint of the Americana genre T. Bone Burnett conclude the episode.

By Baron Lane
Yaab

The aptly named, and visually unassuming Portland singer/songwriter James Low’s venture The James Low Western Front (Tim Huggins, bass/vocals; Dave Camp, guitar/vocals; Joe Mengis, drums) has released a video that sets the tone for their upcoming release “Whiskey Farmer.”

The moody, urban look echos the visual style of Micheal Mann and follows an everyman (played by James Low) on a journey to a sunnier place (as depicted on the sign) and one of existential self-discovery.  On the surface “Thinking California” concerns the most obvious journey, the geographic variety. But as the title suggests Low evokes forlorn vocals to traverse physical geography as a metaphor for emotional and physiological climes.

The lonely western style of the song song stands in contrast to Low’s image in the video. I imagine a Stetson-sporting, dusty, bearded hardscrabble sort playing his acoustic in the back of a classic Ford truck not the invisible man shown here. I believe it extends this kind of music back to it’s folk, music for all, roots.

This is not what most people think of when the words pop-country are applied, but that’s what it is. Somewhere the ghosts of Gram Parsons and Mickey Newbury haunt the edges of the song.

You can preview the the Kickstarter-backed  “Whiskey Farmer” (out 2/21) at jameslow.bandcamp.com/album/whiskey-farmer

By Baron Lane
Yaab

It’s only been 6 years since the release of his Bloodshot Records debut, Yuma,  but in the brief time Justin Townes Earle has stepped outside the formidable, shadows of his Father , Steve Earle, and his namesake, Townes Van Zandt, to carve out his own path as a  torchbearer for the Americana movement.

Earle’s new release for Bloodshot Records Nothing’s Gonna Change the Way You Feel About Me Now, his follow-up to 2010′s Harlem River Blues, will be released on March 27th.

The video below by Joshua Black Wilkins was filmed during the recording process at the converted church studio of Echo Mountain Studios in Asheville NC. The video shows a live feel of the recording (with Justin making changes on the fly) and features Amanda Shires. The 10-track album was recorded with no overdubs over the course of just 4 days

Describing the the new album Justin describes the sounds as “1960s-era Muscle Shoals sound accompanied by lots of brass.”  and that it’s “completely different” than last year’s Harlem River Blues. “This time I’ve gone in a Memphis-soul direction.”

Download the title track in trade for your email address from the song title link below.

Nothing’s Gonna Change the Way You Feel About Me Now track list

01. “Am I That Lonely Tonight?”
02. “Look the Other Way”
03. “Nothing’s Gonna Change the Way You Feel About Me Now”
04. “Baby’s Got a Bad Idea”
05. “Maria”
06. “Down on the Lower East Side”
07. “Won’t Be the Last Time”
08. “Memphis in the Rain”
09. “Unfortunately, Anna”
10. “Movin’ On”

By Baron Lane
Yaab

Yesterday evening I was hanging around on the twitter machine (I’m a wild man on a Friday night!) I was watching the usual silliness pass along on the distinguished group of folks that I follow there and then I saw a post from singer/songwriter Jason Isbell that caught my attention:

“Dierks” has officially ripped off my song “In A Razor Town.” Dierks is a douchebag.”

“In A Razor Town” is a cut off Jason Isbell’s first solo release ‘Sirens in the Ditch.”

There aren’t many Dierks that I’m aware of in music so my assumption was that he was accusing Nashville Capitol Records recording artist Dierks Bentley. That assumption was confirmed with subsequent tweets as Isbell called Bentley out by his full name and named the title of the allegedly “ripped off” song.

The accused song is “Home,” the title song off Bentley’s 10/10/11 release. Wikipedia states that  “The song was inspired by the Tucson, Arizona shooting that killed six people and critically injured U.S. Representative Gabrielle Giffords in January 2011.”

Isbell also accuses Bentley of possibly bringing an idea of his song to co-writer of Home Dan Wilson.

“I bet Dierks brought that idea to the table and Dan ran with it.”

Bentley took to his twitter account to address the accusation:

“@Jasonisbel “I bet Dierks brought that idea to the table and @Danwilsonmusic ran with it.” -HAHAHAHAHAHAHAHAHAHAHA! that is some funny shit!”

These things are tricky, and I was terrible at spotting copyright infringements in my copyright law class at NYU, but after listening to both songs (below) it’s a pretty amazing coincidence. If Bentley had heard Isbell’s song, and mistakenly brought it to the writers table as his own idea, he needs to listen objectively, fess up and cut Isbell in on the songwriting credits.  That’s what Miranda Lambert did when it was brought to her attention that the title song to her album “Kerosene” was strikingly similar to Steve Earle’s  “I Feel Alright.” Miranda will always be aces in my book for that.

Jason Isbell – In A Razor Town

Dierks Bentley – Home

By Baron Lane
Yaab

Chorney -  Ukrainian and Jewish (Ashkenazic): nickname for someone with dark skin or dark hair, from Ukrainian chorny ‘black’.

Linda Chorney is aptly named. As the lone question mark on a Grammy Americana Album of the Year nominee list. A list dominated by Americana music stalwarts Ry Cooder, Emmylou Harris. Levon Helm and Lucinda Williams. Chroney is in name as well as in actuality, the dark horse.

As the GRAMMY blogger for the Americana/folk categories I was anticipating the nominees for these are other categorizes like Blugrass, country and wherever else the music I love was being represented  Spotting an unknown name on the Grammy Americana Album of the Year list was surprising and, truth be told, bruised my ego a bit. I pride myself on knowing a thing or two about not just the  mainstream but the fringes of the Americana/Roots music territory. Seeing an unknown name, like happened to me with the Civil Wars and Mumford and Sons in early 2010 when they broke, kind of shakes my taste-maker mojo.

After interviewing Chorney about a week after her nomination I left unconvinced that her style of music fell into my definition of Americana.But after listening to songs over her catalog and watching live performances I could hear hints of artist I’ve seen perform at Hardly Strictly Bluegrass and the Americana Music Association showcases. So Okay.

One thing I had no doubt about was that this woman, over her 51 years, had paid her dues. Also that by engaging the GRAMMY365 site, a social site for members of the Grammy organization, to get her music in from of people that influence that nominations, was ingenious.

Some level of naiveté did not prepare me for the considerable scrutiny, contempt and outright venom headed Chorney’s way in the wake of her Grammy nom. Hateful comments on Facebook were posted that attacked her on her very existence within the genre and not her music. As though lake of awareness on the writer was cause enough to dismiss her.

The Americana Music Association, who had a hand in the creation of Americana as a distinct Grammy category,  has even withheld their boiler plate congratulations that is released soon after the nominees are announced. I wonder if their heads will explode if she actually wins.

In balance there were some people of considerable merit (most notably by Kim Ruehl and Paul Schatzkin) that took a more thoughtful approach to the Chroney nomination. They argue that though her music wasn’t their shot of hooch they were able to see Chorneys’s nomination as a testament to indy ethos, DIY perseverance and a performer’s adept ability to adapt in a music business that is undergoing a significant industrial upheaval.

Generally, the arguments against Chorney’s nomination run into two  camps; She hasn’t done time in the Americana community and she somehow cheated her way into the nomination.

The first argument is ridiculous and smacks of the same Nativist logic used by some to argue for building a wall on the Mexican border. “You’re an outsider, you don’t belong and have nothing to contribute. You miust be kept out”Americana, like America herself, is made up of refuges and misfits. Diversity and acceptance are qualities that make up the genres strength. Newcomers are not always appealing to all members (yours truly included.)

The second argument – “she cheated” – Is equally ridiculous. It’s the same augment made by Luddites whenever a new way of doing things disrupts the norm. Automobiles were a “cheat” in a horse culture. Computer were a “cheat” in an analog world. Chorney paid her dues as a singer/songwriter, had n opportunity to create the album of her dreams, and then used a social network to get that album in front of people involved with the Grammys. The album still had to go though the evaluation of members of NARAS and, as is my understand in the case of Americana, a separate genre “expert” panel. There were many checks and balances beyond Chornys personal efforts to lobby for her work.

Chorney is a great example of the new breed of artist-entrepreneur, artists and craftsmen that see technology and a connected world has laid the world at their career doorstep and use every means at their disposal to walk through it.

I think a lot of the bile hurled at Chorney is a result of Americana communities inability to better define what Americana is. As I mentioned I believe this to be a founding strength but it makes others uncomfortable in practice. Some of the ill will, and I know tis because I know the professional background of some of those posting sneering bon-mots online, results from Chroney’s efforts shining a bright light on the PR industry and showing that many of it’s traditional value now lies in the hands of a diligent artist. Instead of reevaluating their place in the entertainment industry they choose to attack rather than adapt.

True until her bid for a nomination on GRAMMY365 Chorney appears to have never heard the term Americana applied as a musical formal genre. Most people haven’t. I bet when many young and established musicians start emulating the influences that enrich the genre, The Band, Parsons, Cash,  their first instinct is not to look for labels but to indulge in the only thing that matters, the music. Do you think that the Avett Brothers or Robert Plant specifically sought out the Americana handbook before creating a work?

The real irony here is that many people that are up in arms about Chorneys nomination are people that over the years have dismissed the Grammys as being out of touch with current music and not representative of the best of music. Her nomination should just further justify their point of view.

Love her or hate her, Chorney is a excellent example when gatekeepers are removed from the music industry.

Below is a video I uncovered showing Chorney playing a show in 2009. I defy anyone to watch it and tell me that there nothing, absolutely NOTHING, that might be considered Americana in her sound (and wardrobe!)

By Baron Lane
Yaab

Chorney -  Ukrainian and Jewish (Ashkenazic): nickname for someone with dark skin or dark hair, from Ukrainian chorny ‘black’.

Linda Chorney is aptly named. As the lone question mark on a Grammy Americana Album of the Year nominee list. A list dominated by Americana music stalwarts Ry Cooder, Emmylou Harris. Levon Helm and Lucinda Williams. Chroney is in name as well as in actuality, the dark horse.

As the GRAMMY blogger for the Americana/folk categories I was anticipating the nominees for these are other categorizes like Blugrass, country and wherever else the music I love was being represented  Spotting an unknown name on the Grammy Americana Album of the Year list was surprising and, truth be told, bruised my ego a bit. I pride myself on knowing a thing or two about not just the  mainstream but the fringes of the Americana/Roots music territory. Seeing an unknown name, like happened to me with the Civil Wars and Mumford and Sons in early 2010 when they broke, kind of shakes my taste-maker mojo.

After interviewing Chorney about a week after her nomination I left unconvinced that her style of music fell into my definition of Americana.But after listening to songs over her catalog and watching live performances I could hear hints of artist I’ve seen perform at Hardly Strictly Bluegrass and the Americana Music Association showcases. So Okay.

One thing I had no doubt about was that this woman, over her 51 years, had paid her dues. Also that by engaging the GRAMMY365 site, a social site for members of the Grammy organization, to get her music in from of people that influence that nominations, was ingenious.

Some level of naiveté did not prepare me for the considerable scrutiny, contempt and outright venom headed Chorney’s way in the wake of her Grammy nom. Hateful comments on Facebook were posted that attacked her on her very existence within the genre and not her music. As though lake of awareness on the writer was cause enough to dismiss her.

The Americana Music Association, who had a hand in the creation of Americana as a distinct Grammy category,  has even withheld their boiler plate congratulations that is released soon after the nominees are announced. I wonder if their heads will explode if she actually wins.

In balance there were some people of considerable merit (most notably by Kim Ruehl and Paul Schatzkin) that took a more thoughtful approach to the Chroney nomination. They argue that though her music wasn’t their shot of hooch they were able to see Chorneys’s nomination as a testament to indy ethos, DIY perseverance and a performer’s adept ability to adapt in a music business that is undergoing a significant industrial upheaval.

Generally, the arguments against Chorney’s nomination run into two  camps; She hasn’t done time in the Americana community and she somehow cheated her way into the nomination.

The first argument is ridiculous and smacks of the same Nativist logic used by some to argue for building a wall on the Mexican border. “You’re an outsider, you don’t belong and have nothing to contribute. You miust be kept out”Americana, like America herself, is made up of refuges and misfits. Diversity and acceptance are qualities that make up the genres strength. Newcomers are not always appealing to all members (yours truly included.)

The second argument – “she cheated” – Is equally ridiculous. It’s the same augment made by Luddites whenever a new way of doing things disrupts the norm. Automobiles were a “cheat” in a horse culture. Computer were a “cheat” in an analog world. Chorney paid her dues as a singer/songwriter, had n opportunity to create the album of her dreams, and then used a social network to get that album in front of people involved with the Grammys. The album still had to go though the evaluation of members of NARAS and, as is my understand in the case of Americana, a separate genre “expert” panel. There were many checks and balances beyond Chornys personal efforts to lobby for her work.

Chorney is a great example of the new breed of artist-entrepreneur, artists and craftsmen that see technology and a connected world has laid the world at their career doorstep and use every means at their disposal to walk through it.

I think a lot of the bile hurled at Chorney is a result of Americana communities inability to better define what Americana is. As I mentioned I believe this to be a founding strength but it makes others uncomfortable in practice. Some of the ill will, and I know tis because I know the professional background of some of those posting sneering bon-mots online, results from Chroney’s efforts shining a bright light on the PR industry and showing that many of it’s traditional value now lies in the hands of a diligent artist. Instead of reevaluating their place in the entertainment industry they choose to attack rather than adapt.

True until her bid for a nomination on GRAMMY365 Chorney appears to have never heard the term Americana applied as a musical formal genre. Most people haven’t. I bet when many young and established musicians start emulating the influences that enrich the genre, The Band, Parsons, Cash,  their first instinct is not to look for labels but to indulge in the only thing that matters, the music. Do you think that the Avett Brothers or Robert Plant specifically sought out the Americana handbook before creating a work?

The real irony here is that many people that are up in arms about Chorneys nomination are people that over the years have dismissed the Grammys as being out of touch with current music and not representative of the best of music. Her nomination should just further justify their point of view.

Love her or hate her, Chorney is a excellent example when gatekeepers are removed from the music industry.

Below is a video I uncovered showing Chorney playing a show in 2009. I defy anyone to watch it and tell me that there nothing, absolutely NOTHING, that might be considered Americana in her sound (and wardrobe!)

By Baron Lane
Yaab

Though her discography to date isn’t my shot of hooch I do respect Taylor Swift’s work ethic and spirit for her craft. I moved closer to the Taylor camp when I came across her heartfelt cover of Mumford & Sons White Blank Page Cover for the BBC Radio 1 Live Lounge. This morning while perusing the Interwebs I came across Swift’s cut for the upcoming The Hunger Games Soundtrack. Safe & Sound has Swift engaging one of her favorite bands, The Civil Wars, to tap into her inner Tori Amos covering what sounds like an outtake from the Civil War’s Grammy nominated Barton Hollow. Yes, that’s a a compliment. With T Bone Burnett producing the track we have full Music City/Americana worlds colliding.

It’ll be interesting to see how the imagined Americana gate-keepers welcome this collaboration from one of their chosen and an outsider trespassing in sacred ground. I wonder if they will heap scorn on this crass, commercial interloper or if they are just saving of of their venom for Linda Chorney.

By Baron Lane
Yaab

Tis’ the season for “Best of…” “Top picks…”Depending on your point of view it’s either as welcome as a gift under the tree on Christmas morning or fruit cake. This subjective separation of musical wheat from chafe, truth be told, it’s my least favorite part of doing this blog. I prefer visit each work on an individual basis. And though I do bring a wider view of music, only in rare instances would weigh a work in contrast to something I heard just the week before. This 12-month capsule is constraining, bit with constraints come opportunity to focus the mind.

First- ground rules. No albums of cover songs. So, no Gurf Morlix or Carrie Rodriguez. But ya’ll should still buy the excellent Blaze Foley’s 113th Wet Dream and We Still Love Our Country respectively. No albums where an artist revisits earlier work, or live albums of already recorded work. Sorry Levon Helm, Ramble At The Ryman might get you that Grammy for Americana Album of the Year but you won’t make the TN 2011 list.

My pick for number one spot came to me in April and I pegged it early as the one to beat. Nobody even came close. Austin Lucas’ New Home In The Old World is a fine mix of country, folk and rock delivered in such a seamless and extraordinary way that ibelieveit advances th genre in it’s existence. Same with To the Wind and On To Heaven by Sunday Valley. The Kentucky band captured my attention early in the year with their brand of high-octane honky-tonk/gospel boogie and seeing them live sealed their spot at #2.

1. Austin Lucas – New Home In The Old World
2. Sunday Valley – To the Wind and On To Heaven
3. Jason Isbell – Here We Rest
4. Zoe Muth & The Lost High Rollers – Starlight Hotel
5. Gillian Welch – The Harrow & The Harvest
6. Hayes Carll – KMAG YO YO
7. Lindi Ortega – Little Red Boots
8. Hellbound Glory – Damaged Goods
9. Hymn for Her – Lucy & Wayne and The Amairican Stream
10. Laura Repo – Get Yourself Home

By Baron Lane
Yaab

Due to either 1) all the great and positive responses from listeners and bands, or 2) my general bullheadedness, here it is friends, Episode 3 of the Twang Nation Podcast just in time for the holidays! This episode is festive a mix of gritty (Possessed by Paul James, Doc Dailey, Matt Woods ) and glorious (Laura Repo, Whitehorse, Matraca Berg) and concludes like an empty Tecate can perched on top of a silver tensile Christmas tree, with the classic Robert Earle Keen’s Merry Christmas from the Family. Remember you can leave requests or feedback below or emeuial me at baron(at)twangnation(dot)com.

Twang Nation Podcast Episode 3

1. Possessed by Paul James – song:  Four Men From The Row -  album: Feed the Family (Hillgrass Bluebilly Records 2010 )
2. Root Jack – song:  The Good Life -  album: In The Pines
3. Doc Dailey & Magnolia Devil – song:  Sunday School  album: Victims, Enemies, & Old Friends (Southern Discipline Recording Company)
4. Eleven Hundred Springs  – song:  Texas Afternoon -  album: Country Jam (Palo Duro Records)
5 Laura Repo  – Song: Like to call you honey album: Get Yourself Home (Independent)
6. Whitehorse – Song: “Killing Time is Murder – album: self-titled debut  ( Six Shooter Records in October )
7. Matt Woods - Song: Beating Down My Door  – Album: The Matt Woods Manifesto (Lonely Ones Records)
8. Whiskey Daredevils – Song: Party Plates  – Album: Introducing the Whisky Daredevils (Lonely Ones Records)
9. Matraca Berg – Song: Your Husband’s Cheating On Us  – Album: The dreaming Fields (Dualtone Records)
10. The White Buffalo – Song: Matador – Album: The White Buffalo ep
11. Robert Earle Keen  – Song:  Merry Christmas from the Family – Album: Gringo Honeymoon

By Baron Lane
Yaab