Weekend YouTube: Inbox Videos Pt. 2

Posted in Hayes Carll, The Bridge, Those Darlins on February 12, 2011 by spe529

The following clips are all videos that have popped up in my email inbox in the last week or so.

We start with what the promo email called a “revealing” video from Those Darlins’ upcoming CD Screws Get Loose.

Hayes Carll’s new album, KMAG YOYO, comes out on Tuesday (It’s pretty darn good, by the way).  He talks about the album in this clip.

Finally, a video from The Bridge off their new record National Bohemian.  The album is produced by Steve Berlin from Los Lobos.

ReviewShine Wednesday: Swing Time with Hot Club of Cowtown and The Great Recession Orchestra

Posted in Hot Club of Cowtown, The Great Recession Orchestra on February 9, 2011 by spe529

Every Wednesday, I feature a brief review of at least one album that has been submitted to me through the ReviewShine website. I have cleverly titled this recurring segment “ReviewShine Wednesday.” Today we’re going to focus on Texas Swing music and two bands from the Lone Star State that are keeping the genre alive by honoring two of its pioneers.

First up is The Hot Club of Cowtown and their new CD, What Makes Bob Holler.  The Hot Club has been one of the most well known and respected swing bands in the game for over a decade now.  On their new album, they pay tribute to the genre’s biggest name, the legendary Bob Wills.

Wills was known as the King of Western Swing, and this record assembles 14 tracks originally made famous by Wills and his Texas Playboys during his long and storied career.  The Hot Club bring the spirit of Wills’ music to life whether tacking relatively obscure songs like “Osage Stomp” or standards such as “Big Balls in Cowtown” and “Stay a Little Longer.”  The Austin based trio traveled to London to record this project, but the sound and the spirit of it is pure Texas.

Hot Club of Cowtown: Big Balls in Cowtown (Buy Album)

While the Hot Club pays tribute to Wills, Fort Worth’s Great Recession Orchestra remembers one of his lesser known contemporaries on their new release Have You Ever Heard of Milton Brown?  Brown played with Wills in 1931 in a band called The Light Crust Doughboys.  In 1932, Brown left the group and founded Milton Brown and The Brownies, the first true Western Swing Band.

Brown passed away in 1936 due to complications from a car accident and pneumonia.  Before he did, however, Brown and his Brownies recorded over 100 sides for Victor and Decca Records before Wills and his Playboys had released one.  Many of those songs are collected here including all-time classics such as “Corinne Corinna” and “Sitting on Top of the World.”

Put these two records together, and you’ll get a fairly complete picture of the origins of Western Swing and the music of two of its most influential figures.

The Great Recession Orchestra: Somebody’s Been Using That Thing (Buy Album)

The Decemberists: The King is Dead

Posted in The Decemberists on February 7, 2011 by spe529

Up until a few weeks ago, I wasn’t really much of a fan of Portland’s The Decemberists.  It wasn’t that I disliked the indie darlings or had any animosity toward them.  I had a handful of their songs on my iPod and I wouldn’t skip them if they came up in shuffle mode.  I did, however, find it difficult to muster up any particular affinity for their music.  I think I just found them to be a tad too fantastical and melodramatic for my tastes.

Then, about a year ago, some things started happening that caused me to start paying closer attention.  First, several core members of the group (Jenny Conlee, Chris Funk, and Nate Query) broke off to form the side project Black Prairie.  Their debut album, Feast of the Hunter’s Moon, was a string band record at its core, but expanded that concept into some fairly interesting new territories.

When I heard that Decemberists’ front man Colin Meloy was interested in incorporating more of that country and Americana feel into their new record, I vowed to check it out when it was released.  Then I was blown away by Gillian Welch singing with the band on Conan O’Brien’s show.  I started to read some more and learned that Peter Buck of R.E.M. (my favorite band of all time) was involved in several tracks.  By the time I listened to a stream of The King is Dead on NPR’s website a few weeks before the release, I was completely hooked.

Meloy had lived up to his promise.  This is an album steeped in Americana.

From the Celtic rhythms of “Rox in the Box,” a song that borrows a melody from the traditional “Raggle Taggle Gypsy” to the fiddle fueled country shuffle of “All Arise!,” there’s plenty here to justify playing this record on Americana radio.  Heck, we’ve even added it to rotation at WDVX.  I can’t say I ever thought I’d see the day when we were spinning The Decemberists in a heavy rotation.

Of course, Welch lends some credibility to the project by also lending her distinctive rootsy vocals to seven of the album’s ten tracks.  Her constant musical companion Dave Rawlings also lends his vocals to a couple of tracks as well, as does singer/songwriter Laura Veirs.

Then there are the contributions of guitarist Peter Buck.  Buck appears on three tracks including guitars on the lead single “Down by the Water” and mandolin on the album opening “Don’t Carry it All.”  The highlight of his work however comes on the record’s second track, “Calamity Song.”  The song seems to have been built around Buck and his 12-string electric as he produces a riff that easily could have easily been pulled from Murmer or Reckoning from R.E.M.’s early catalogue.  The chiming tones that frame the song’s chorus are instantly recognizable as Buck’s handy work.

The whole thing is put together by producer Tucker Martine, who is quickly becoming one of my favorite producers.  Martine shares a co-producer credit with the band here, but his track record of recent releases including The Black Prairie album and CD’s by Tift Merritt, Clare Burson, and Abigail Washburn show both his skill and his versatility in the studio.

If I have one knock on The King is Dead, it is still Meloy’s tendency to lean toward the fantastic in his lyrics.  His lyrics about warring tribes and subterranean cities sometimes feel at odds with the rootsy nature of the music.  This is, admittedly, a minor quibble, and an eccentricity that is balanced nicely by the more grounded tunes such as “January Hymn,” “June Hymn,” and “Rise to Me.”  The latter being a devastating duet with Welch that Meloy wrote about his personal struggles of raising a child with autism.  Meloy’s own son was diagnosed with the condition a few years ago, and he sings of standing firm against the obstacles that presents to his family.

Whether this is a new direction for The Decemberists or merely a momentary detour is yet to be seen.  I can say with certainty, however, that The King is Dead is one of my favorite releases thus far this year and hopefully a sign of things to come.

EDIT: I had to take out the mp3 file, but here’s that clip of Gillian Welch & The Decemberists on Conan.

Weekend YouTube: Kathleen Edwards

Posted in Kathleen Edwards on February 5, 2011 by spe529

I came across these two amazing videos of Kathleen Edwards last week and just had to share them with you.  The lighting on these is pretty cool. I wish the whole concert had been recorded this way.

Friday Quick Hitters: Carolina Chocolate Drops, Luminescent Orchestrii, The Windbreakers

Posted in Carolina Chocolate Drops, Luminescent Orchestrii, The Windbreakers, Tim Lee 3 on February 4, 2011 by spe529

Obviously, I listen to a lot more music than I’m able to share on this site.  A lot more.

The thing is… writing reviews takes time, and I have two jobs, a baby, a wife, and a dog that all require my attention.  It’s sometimes hard to find time to write lengthy reviews of all the stuff I want to feature.  ReviewShine Wednesday was one attempt to feature more music by writing shorter reviews of newer stuff.  Of course, there’s a lot of stuff I dig that isn’t featured on that site.

That’s what this space will hopefully become.  A place for me to briefly (two or three sentences at most) mention music that I’m listening to, but I know I’ll never have time to feature properly.  It will give you more stuff to listen to, and leave me feeling less guilty about all the stuff I’m neglecting/have neglected.

Carolina Chocolate Drops & Luminescent Orchestrii – Self-Titled EP

Nothing much here… Just your typical, “traditional string band paired with an Eastern European folk/klezmer band and a human beat box” record.  I’m sure we all have hundreds of these in our collection.

In all seriousness though… this EP is a lot of fun.

Carolina Chocolate Drops & Luminescent Orchestrii: Knockin’ (Buy Album)

The Windbreakers – Time Machine (1982 – 2002)

This is a “best of” collection from Tim Lee‘s former band and is full of jangly goodness.  Lee and  Bobby Sutliff were the driving forces behind this band and counted themselves as friends and contemporaries of groups like R.E.M. and Let’s Active.  This collection from 2003 is more than strong.

The Windbreakers: Changeless (Buy Album)

ReviewShine Wednesday: Susan Gibson

Posted in Susan Gibson on February 2, 2011 by spe529

Every Wednesday, I feature a brief review of at least one album that has been submitted to me through the ReviewShine website. I have cleverly titled this recurring segment “ReviewShine Wednesday.

Regardless of your personal feelings toward the Dixie Chicks (I made mine known back in the early days of the blog), you have to admit they always did a fairly good job of selecting material for their records.  Over the years, they mined the catalogues of artists such as Patty Griffin, Darrell Scott, Tim O’Brien, Bonnie Raitt, Jim Lauderdale, & Buddy Miller for material.  A few weeks ago, I featured an album from songwriter Marcus Hummon, the man who wrote “Cowboy Take Me Away.”  This week, We’ll look at a new record from Susan Gibson, the songwriter responsible for “Wide Open Spaces.”

Gibson has been a fixture in the West Texas music scene since the late 1990’s and her time with Country-Rockers, The Groobies.  For her fourth studio album, Tight Rope, Gibson offers up  ten sparsely produced songs on which Gibson and producer Gabe Rhodes are the sole musicians.  Quick to turn a phrase on songs like “Evergreen” and Happy with Nothing,” Gibson displays the songwriting chops that earned her a CMA Songwriter of the year award in 1998 and an Entertainer of the Year award from the West Texas Music Hall of Fame in 2009.

Susan Gibson: Tightrope (Buy Album) album release date 2/14

Kasey Anderson & The Honkies: Heart of a Dog

Posted in Kasey Anderson on January 31, 2011 by spe529

From the opening sonic assault of “The Wrong Light,” the leadoff track of Kasey Anderson’s new album Heart of a Dog, it is clear that the Portland songwriter is going for something different on his fifth full-length record.  The album begins with a barrage of fuzzed out guitars and an almost industrial sounding drum beat while Anderson’s distorted vocals sing of kamikaze women and wolves at the window.  The result is a much heavier sound than anything on Anderson’s previous album Nowhere Nights.  It actually reminds one a little bit of “Prelude” from Chip Robinson’s Mylow record, which isn’t surprising since Anderson co-wrote the track with Robinson’s producer (and Nowhere Nights producer) Eric Ambel.

While the album never again reaches the same level of darkness or fury, the opening track certainly sets the tone.  Anderson has made a Rock & Roll record, and he aims to let you know it right off the bat.  “Mercy,” the album’s second track, and one of its standouts, also brings the electric guitars, but adds some horns and piano to the mix to create a fuller and more melodic sound.  Anderson says this is a song he’s tried to record before, but was never quite happy with how it turned out.  Until now.

In fact, a few of the songs here were rescued from earlier recording sessions that didn’t quite turn out the way Anderson had hoped.  He credits his band, The Honkies with helping him find how some of those songs fit together.  With Andrew McKeag on guitar, Eric Corson on bass, and Mike Musburger on drums, Anderson says he was able to just go into a studio with his friends and record a rock record.

The evidence of that is all over the place.  Whether it’s the tongue in cheek “My Baby’s a Wrecking Ball” or the Dylanesquely titled “Kasey Anderson’s Dream” or the crunchy blues of “Revisionist History Blues,” Anderson and the Honkies follow in lockstep with their rock and roll muse.  Even the ramped up cover of The English Beat’s “Save it For Later” strips the original of all of its New Wave trappings and turns it into a full on rave.  It’s so far from the original that, on my first listen, I only recognized the song from the lyrics.  I love it when a cover can so completely transform the original tune and still work so well on its own.

Heart of a Dog comes out February 15 from Anderson’s own Red River Records, but you can pre-order it now from Anderson’s website.  As per Anderson’s request from the record’s liner notes, you should always “play this record loud.”

Kasey Anderson & The Honkies: Mercy (Buy Album)

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