A singular vision of Hawaiian-tinged Canyon Country
Those who know Courtney Jaye from her 2005 release on Island, Traveling Light, don’t really know Courtney Jaye. A pleasant album with glossy production, an airbrushed cover and some memorable pop hooks, it propelled her into the pop mainstream, culminating with some film and television placements (including a cover of Creedence Clearwater Revival’s “Who’ll Stop the Rain”), and a performance on Jay Leno’s Tonight Show. Not Conan or Letterman or Kimmel, but Leno, which tells you where her label was headed. She could see the direction the machine was taking her career, but unlike many talented young artists who sell their dreams short, Jaye shucked off the industry’s plans, took stock and reinvest in her own artist visions. She relocated to Northern California, Austin and eventually Nashville, and gathered into one set of songs the wide variety of sounds that had excited her ear.
The result is this independently recorded and released second album, with a cover that teases with the allure of Sandy Warner, and pays off with an alchemy of musical styles that bounce from girl-group to Topanga Canyon singer-songwriter to country twang to Hawaiian slack-key and exotica to classic Brill Building pop. Her knack for writing killer pop hooks is not only intact, but amplified by productions that have the spontaneous DIY charms of 1960s singles that weren’t belabored into aural numbness. Stripped of the debut album’s production gloss, Jaye’s voice is freed to launch emotional barbs into your heart. If you listen to only one song on this album, check out the video below for “Don’t Tell a Girl.” The melody and chorus hook are so necessarily repeatable as to make the track’s 3:30 about ten minutes too short. Somebody needs to spring Phil Spector from prison so he can produce a Wall of Sound version of this song.
The album opens with a lo-fi count-off and the drippy slide guitar that George Harrison played in the 1970s, but the rhythm has a Latin tinge and Jaye’s double-tracked vocal tumbles out with both need and doubt. It’s the sort of idiosyncratic mix of sounds that could only spring from an artist’s singular history of influences, giving the pained lyrics the bounce of false hope and the ache of unfulfilled longing. Jaye manages to suggest both the adolescent heartache of girl-groups and the more seasoned sorrow of grown women. She evokes Brenda Lee, Connie Francis, Kelly Willis and Rosanne Cash, but also, on the dreamily harmonized “Sweet Ride,” the mid-70s Fleetwood Mac sound of Buckingham and Nicks. There’s bending steel, acoustic and electric guitars, drums, ukuleles and baion beats that trace Jaye’s travels between Hawaii, California, Texas, and Tennessee. There are even some Arthur Lyman-styled bird calls on the instrumental “Maru Maru.”
Nice collection of live tracks, including 7 previously unreleased
The Legacy division of Sony continues to explore new ways to keep the CD relevant. Their Playlist series was the first out of the gate with eco-friendly packaging that used 100% recycled cardboard, no plastic, and on-disc PDFs in place of paper booklets. Their new Setlist series follows the same path of a single disc that provides an aficionado’s snapshot of an artist’s catalog. In this case the anthologies turn from the studio to the stage, pulling together tracks from an artist’s live repertoire, generally all previously released, but in a few cases adding previously unreleased items. As with the Playlist collections, the Setlist discs aren’t greatest hits packages; instead, they forgo some obvious catalog highlights to give listeners a chance to hear great, lesser-known songs from the artist’s stage act.
Unlike many of the volumes in this series, Alabama’s entry includes a wealth of previously unreleased material in its first seven tracks. These newly available recordings are drawn from a 1981 show in Salt Lake City, Utah and a 1982 date in Florence, Alabama. The rest of the set’s tracks date from the mid-80s and are drawn from the previously released Alabama Live and Gonna Have a Party… Live. All but one of these thirteen titles reached #1 on the country chart, with “My Home’s in Alabama” having peaked at #17 as an indie release that paved the way to RCA and Total Chart Domination. To really understand how thoroughly Alabama owned the country charts in the 1980s you have to realize that these twelve chart toppers were part of an eight-year string of twenty-one straight #1 singles, a feat that was followed by dozens more hits, including another eleven #1s!
The group’s formula stayed remarkably steady from their beginnings through the end of their hit-making years, setting Randy Owen’s masculine-yet-emotional lead vocals and the group’s rich harmony singing against powerful bass, guitar and drum backings. The combination paired the punch of Southern rock with the down home feel of country’s roots. Alabama was more derivative of ‘70s country than earlier honky-tonk or hillbilly sounds, but there’s an earthiness to their playing and singing –especially evident in these live settings – that distanced their music from the factory sounds of Nashville. More importantly, performing as a self-contained band, rather than a solo singer with backing musicians, Alabama cut a new figure in country music, drawing up a template that’s been emulated by dozens of followers.
On last year’s Sea of Tears [review], Eilen Jewell stepped up from folk and country sounds to electric twang. She dropped the fiddle and harmonica of her earlier releases and sang solo with a rockabilly-styled trio of guitar, bass and drums. That same trio format, with the thoroughly stellar Jerry Miller on guitar and pedal steel, is employed for this terrific salute to Loretta Lynn. The band plays blue and lightly rocking across a dozen covers, melding Jewell’s jazz-tipped vocals with twang-heavy guitars and tempos that turn the ballads into sorrowful two-steppers and the rest into perfectly restrained rockers. You can hear Lynn in every track, but what you won’t hear is Jewell copying the subject of her tribute.
Jewell isn’t as feisty a singer as Lynn, which keeps “Fist City” and “You Ain’t Woman Enough (To Take My Man)” from delivering the originals’ heat. To be fair, Lynn wrote and sang these songs when such outspokenness, at least from a female country singer, delivered a shock and element of liberation that’s not available to a contemporary vocalist. Jewell’s cool approach works perfectly on the sly “You Wanna Give Me a Lift” as she brushes off an overly amorous suitor with the lyric “I’m a little bit warm, but that don’t mean I’m on fire.” For “Don’t Come Home A- Drinkin’ (With Lovin’ on Your Mind),” Jewell offers a promise of forgiveness in place of a half-cocked frying pan, and it works very nicely.
Nice overview of Johnny Cash as a performer and entertainer
The Legacy division of Sony continues to explore new ways to keep the CD relevant. Their Playlist series was the first out of the gate with eco-friendly packaging that used 100% recycled cardboard, no plastic, and on-disc PDFs in place of paper booklets. Their new Setlist series follows the same path of a single disc that provides an aficionado’s snapshot of an artist’s catalog. In this case the anthologies turn from the studio to the stage, pulling together tracks from an artist’s live repertoire, generally all previously released, but in a few cases adding previously unreleased items. As with the Playlist collections, the Setlist discs aren’t greatest hits packages; instead, they forgo some obvious catalog highlights to give listeners a chance to hear great, lesser-known songs from the artist’s stage act.
Johnny Cash’s volume of Setlist features fourteen tracks drawn from only five years of performing, 1968-72, yet the range of venues and audiences shows off the breadth of Cash as a performer and entertainer. In addition to his two iconic live albums recorded at Folsom and San Quentin Prison, Cash also performed for down home audiences at the Ryman Auditorium and uptown city slickers at Madison Square Garden. He sang for Swedish prisoners and American presidents, and hosted a national television show that bridged hippies and squares. Everything here has been issued before, but unlike the full-concert albums and videos, this collection gives a sense of Cash’s universality, rather than the depth with which he connected to each specific audience.
The Folsom and San Quentin tracks (“Folsom Prison Blues,” “I Got a Woman,” “Wreck of the Old 97,” “I Walk the Line” and “Big River”) are the most familiar – and if they’re not, you’re recommended to the full albums and videos [12]. Less famous is Cash’s performance of his original “What is Truth” at the White House in 1970. He shook off Nixon’s request for “Okie From Muskogee” and “Welfare Cadillac,” and challenged the sitting president with songs of the underclass. Cash seems nearly exhausted by the cultural conflicts of the times as he asks for understanding of the young people who would soon inherit the country. Cash’s humor and his chemistry with wife June are shown in a warm 1969 medley of “Darlin’ Companion,” “If I Were a Carpenter,” and “Jackson” recorded at the home of the Grand Ol’ Opry for his television show.
This Indiana-bred country-rock band is a real throwback to the southern rock of the 1970s. The quartet is looser, wilder, harder and seemingly less-calculated than redneck-rock acts like Big & Rich and Gretchen Wilson, but they play to the same blue collar crowd. Their songs will strike a deep chord in a nation where political and business institutions seem to be at odds with the populace. The lead single, “Preachin’ to the Choir,” effectively expresses Joe Sixpack’s pent-up frustration without resorting to the divisive tropes of talking-head politics. It doesn’t pose any big solutions, but the opportunity to vent one’s frustration in a like-minded crowd, and in this case, an anthem-singing country-rock crowd, is quite cathartic.
There’s a nostalgic streak in the band’s songs, including the comforts of their childhood “Home,” and a satisfied recounting of their career in the optimistic “On Our Way.” They take you inside the legendary Tootsie’s Orchid Lounge in “33 Steps” (the title cleverly measuring the walk from the Grand Ol’ Opry) and to the track for the NASCAR-themed “Turn Left.” There’s hard-charging electric guitar twang on the upbeat tracks, but even when the band slows down for banjo, steel and mandolin additions, the bass, guitar and drums remain solid. There are songs of rowdy Saturdays (“Alright” and “Tip a Can”) and guilt-wracked Sundays (“Friend of Sinners”), love and sex. The latter, “Scratch Me Where I’m Itchin’,” opens with a great Johnny Winter-styled riff.
Strong male duo sings honky-tonk, acoustic roots and 70s-styled harmonies
After listening to this Ft. Worth band’s debut, one might assume they’ve spent some time playing cover songs. That might be read as an insult, but it’s not; it’s an acknowledgment of the ease with which they cover a lot of country, country-rock and soft-rock sounds. The album opens with the foot-stomping “Cold as Her Heart,” effortlessly throwing out the lyrical hook, “if I could only find a beer as cold as her heart.” But the song’s harder honky-tonk sound is a bit of head fake, as the duo moves on to smooth, Eagles-styled harmonies that bring to mind ‘70s acts like Gallery, Brewer & Shipley, Alabama and the Stampeders. A little research reveals that Jason Manning leads the Eagles tribute band, 7 Bridges, and brings his influences with him to this duet.
A surprising number of people know Shel Silverstein only as an author, cartoonist, poet or the writer of Johnny Cash’s “A Boy Named Sue.” But when you start to reel off the songs that were hits for other singers, such as the Irish Rovers’ “The Unicorn,” or Dr. Hook and the Medicine Show’s “Sylvia’s Mother” and “The Cover of the Rolling Stone,” most will see they’re more familiar with Silverstein’s music than they previously realized. Mention Marianne Faithful’s comeback cover of “The Ballad of Lucy Jordan” and his work gains a layer of indie cred, and spin them Bobby Bare’s Lullabyes, Legends and Lies, and the books and hit singles start to look like commercial peaks atop a vast catalog of artful and endearing music.
This fifteen-song tribute was produced by Bobby Bare Jr. and Sr., whose shared professional acquaintance with Silverstein dates back to a 1974 father-son duet of the Silverstein-penned “Daddy, What If.” That song transcends to a new generation as Bare Jr. revisit its heart-tugging lyric of parental love with his daughter Isabelle. Unlike tributes to recording artists, tributes to songwriters can mine the part of their canon that hasn’t yet been turned into icons. Better yet, Silverstein’s songs are sufficiently rich to merit additional shades when re-interpreted in new contexts. Dr. Dog’s Beach Boys-styled production and Four Freshman harmonies, for example, provide an interesting, fresh spin to “The Unicorn.”
Bluegrass phenomenon Sarah Jarosz sings “Queen of the Silver Dollar” with a thread-bare sadness that would otherwise seem beyond her eighteen years, and her resigned desolation is deeper than earlier interpretations by Dr. Hook, Emmylou Harris and the Kendalls. Of course, the song’s lyrics are so perfectly crafted as to even stand up to Micky Modelle’s earlier disco remake. Lucinda Williams sings “The Ballad of Lucy Jordan” with the heartbreak, disillusion and wear that few vocalists can hold to a melody. John Prine, Ray Price, Bobby Bare Sr. and Kris Kristofferson each use the age in their voices to texture to their selections, with the latter one-upping Bobby Bare’s original take on “The Winner” by adding grizzled old-guy, spit-eyed gumption.
Like many fine artists discarded by the mainstream Country music machine, Mark Chesnutt’s artistry has grown even as his commercial fame has waned. Having parted with his last major label (Columbia) after an eponymous release in 2002, Chesnutt released a series of indie albums that returned to his hard-country roots. Starting with 2004’s Savin’ the Honky Tonk, Chesnutt developed a sound that favored the twang of the roadhouse over the processed sound of the studio. On this latest, Chesnutt returns to the inspiring songs of his youth, covering titles written or made famous by friends and heroes that include Billy Joe Shaver, Willie Nelson, Kris Kristofferson, Waylon Jennings, David Allan Coe, and Hank Williams Jr.
Producer Pete Anderson’s reigned in the production touches with which he pushed Dwight Yoakam, delivering Chesnutt classic arrangements of guitar, fiddle and steel that focus on the songs and singing. The album is a tribute, but settles even more easily into the sort of dancehall Saturday night that leaves you smiling on Sunday morning… once the hangover’s gone. The vocals generally follow the originals’ templates, but the productions shed the studio sounds of the 1970s and 80s. Anderson’s guitar is meatier than the original on “Are You Ready for the Country,” the string arrangement of Kristofferson’s “Lovin’ Her Was Easier” is changed into a mournful fiddle, and “Sunday Morning Coming Down” is played without the dramatic climbs of the original. The song list is a combination of tunes Chesnutt’s been singing live for years, including “Black Rose,” “Only Daddy That’ll Walk the Line” and “Whiskey Bent and Hell Bound,” treasured album cuts like Waylon Jennings’ “Freedom to Stay,” and tunes suggested by his label, including “Desperados Waiting for a Train.”
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The Killer’s original country sides for Sun
