tag:blogger.com,1999:blog-72158501607410642872024-03-05T23:54:23.940-06:00Because Whit HappensI intend to live forever. So far, so good. ~ Steven Wrighttoomuchcountryhttp://www.blogger.com/profile/09359556284713305865noreply@blogger.comBlogger247125tag:blogger.com,1999:blog-7215850160741064287.post-56500740268240240992017-09-13T08:43:00.000-05:002017-09-13T08:43:02.479-05:00Sharing a Six Pack and Galaxing with Wild PoniesWild Ponies (<a href="http://www.wildponies.net/" target="_blank">web</a> | <a href="https://twitter.com/wildponiesmusic" target="_blank">Twitter</a>) recently released <i>Galax</i>, their third full release as a band and fifth including two albums under Doug and Telisha Williams' own names.<br />
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For <i>Galax</i>, Doug and Telisha opted to leave the studio and temporarily relo to a barn that belonged to Doug's late grandparents in Galax, Virginia. The duo rallied a mix of musicians - Fats Kaplin, Will Kimbrough, Neilson Hubbard and Audrey Spillman from Nashville - and a handful of legendary, local players.<br />
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After a few run-throughs, the makeshift, all star band spent the next few days laying down tracks - without playback. They recorded in the morning as well as evening to embrace the varying sounds of the barn and chirps and croaks from neighboring critters.<br />
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The resulting effort includes original music, traditional songs, a reprise from a previous Wild Ponies album, and a cover of a Jon Byrd song. Each song - though complementary to the whole - includes a variety of instrumentation: pedal steel, banjo, fiddle, upright bass, Telecaster, etc.<br />
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<i>Galax </i>opens with the up-tempo, bluegrass'ish <i>Sally Ann</i>. The song is rich with fiddle, Telisha's upright bass, harmonies from all, and echoes of the barn.<br />
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The second song, <i>Tower and the Wheel</i>, was included as a fantastic, original track on the <a href="http://toomuchcountry.blogspot.com/2016/05/sharing-six-pack-with-wild-ponies.html" target="_blank">band's previous album, <i>Radiant</i></a>. But it's even more striking on <i>Galax </i>with the varied musical arrangement and recording location.<br />
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<i>Hearts and Bones </i>takes the tempo down a healthy notch. Telisha's vocals are spot on. Depending on the song, she can range from sultry to funny to biting. But she can also be truly deep in meaning and rich in delivery - including on songs such as <i>Hearts and Bones</i>.<br />
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As the album heads for the homestretch, the band covers songwriter Jon Byrd's <i>Jackknife</i>, a song that emanates influences of Kristofferson<i>. </i> If you haven't already done so, check out Byrd's discography if you want legit, contemporary country music.<br />
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On the doorstep of Americanafest in Nashville in September, Doug and Telisha recently took time to <i>share a six pack</i> with me about their new album.<br />
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TMC: Though East Nashville is now your home, your roots are in Virginia. When did you brainstorm the idea to record an album in Doug’s grandparent’s barn?<br />
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D&T: We actually went there right before we recorded <i>Radiant </i>to get away and finish up some of the songs for that record. Nobody lives at the farmhouse anymore. There’s no cell signal, no internet – the perfect place to escape and focus for a few days. Once we were there and settled in, we were struck with the idea to do this record, and it felt so urgent. We started making calls and working towards it as soon as we left the farm!</blockquote>
TMC: Did you schedule your slate of songs to be played and recorded during specific times of the day based on expected weather, critter sounds, moods of the musicians, etc.? Or did you jump around and experiment with the ones you planned to tackle?<br />
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D&T: I’d like to say it was that coordinated, but we were really just throwing the arrangements around and playing music together. There were specific songs that we wanted specific instruments on, but we didn’t consider what the weather or wild life were doing. We weren’t listening back as we recorded, so we didn’t really know that we were capturing all of that until we got back to Nashville. We did decide to save <i>Hearts and Bones</i> until it was dark and a little cooler outside, and we opened up all the doors and tried to get a little cross-breeze in the shed, which is why the night sounds are so prominent on that one.</blockquote>
TMC: Which songs, if any, did you record during multiple times of the day so that you could compare versions later?<br />
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Basically, we’d present a song to the group, play through some ideas on the arrangement, then hit record. Once the arrangements were worked out, we’d only play the song 2 or 3 times. We all knew when we had the take. It’s a feeling – not perfection. The only time that we did a song at different times, is the last song we recorded, <i>Hearts and Bones</i>. We did one or two takes and it was just so hot. We decided to take a break, head down to the New River Trail, splash around in Chestnut Creek, and wait for the sun to go down. Doug’s mom made an amazing meal, we lit some candles in mason jars, left the shed doors open, and gave it another swing. Right before we recorded, Neilson looked at Telisha and said “You told me before we came here that this shed was your favorite place in the world to sing. Think about why, and sing that.” Of course, she completely bawled her way through that take and it was completely unusable. But we knew we had the right vibe- just thinking about that lyric “Every heart beats and breaks,” and the people who weren’t with us anymore, but who are still so much a part of that place and a part of our musical lives. My grandparents would’ve been so proud. Anyway- we did it one more time and that’s the one that made it on the record.</blockquote>
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TMC: You included <i>Tower and the Wheel</i> on your last album, <i>Radiant</i>. How did you revisit the song for <i>Galax </i>knowing the recording setting was going to be much different?<br />
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D&T: We wrote that song on that trip to the farm that inspired this whole project. We had to include it on the record. That Catawba Tree is just as much a part of our lives there as any family member. She’s been providing, in one way or another for a lot of years, and she deserved a spot on the record. Also, since the instrumentation was going to be so different, we thought revisiting the song could be interesting.</blockquote>
TMC: Y’all wrapped up the recording and returned home without listening to tape. How confident were you that a solid set of recordings had been captured? Or were you a bit nervous or anxious about a solid effort that may not have yielded what you’d hoped for?<br />
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D&T: As we were loading up the cars to head home, Doug put his hand on Neilson’s shoulder and said, “If we get home and there’s nothing on those hard drives or they get stolen on the way, it doesn’t matter. What we just experienced is enough.” It’s true. Playing music with those people in that space in that moment was enough. It was so fun and full and real and special. We were pretty stoked when we got to hear what was captured, though.</blockquote>
TMC: You obviously were excited about recording this type of album – and were focused on recording while also enjoying the moment of the sessions. But did you also allow yourselves to brainstorm or absorb ideas for possible projects down the road?<br />
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D&T: We do usually have our next project swirling around in our heads, but we don’t this time, and it feels okay. <i>Galax</i> is coming out just over a year after <i>Radiant</i>, so it feels good to just enjoy this time. We’re really excited to get out and tour this record in the US, UK, Holland and Germany. I know we’ll be inspired along the way, but for now we’re just going to enjoy what we made in the shed.</blockquote>
After several appearances during the week of Americanafest, Wild Ponies' official <i>Galax </i>release show is Monday, September 18th at the Family Wash in East Nashville. From there, they hit the road - hopefully in a town near you. Get this album, go see 'em play, meet them, enjoy their genuine niceness, and buy 'em a PBR or shot of bourbon.<br />
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TMCtoomuchcountryhttp://www.blogger.com/profile/09359556284713305865noreply@blogger.com0tag:blogger.com,1999:blog-7215850160741064287.post-60736123548440499512016-12-08T12:43:00.000-06:002017-08-25T21:16:31.875-05:00Sharing a Six Pack with Walter Salas-HumaraAmericana music is difficult to define. Few agree on it's origins either. Dylan? Woody Guthrie? Gram Parsons? Townes? Who knows. Who cares!<br />
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Regardless of those debates - a couple of albums from the genre hooked me in the late 80s. One was by a band called The Silos. I remember buying the CD at Turtles Music in Chattanooga, TN though I don't recall a specific review that led me to it. I soon backtracked one release to <i>Cuba</i> and then began buying their future releases as well as solo albums by Walter Salas-Humara, the band's guitarist, lyricist<i>,</i> and vocalist. (<a href="http://waltersalashumara.com/" target="_blank">web</a> | <a href="https://twitter.com/wsalashumara" target="_blank">Twitter</a> | <a href="https://www.instagram.com/wsalashumara/" target="_blank">Instagram</a>)<br />
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After "the bird" release, the band's music went well away from what many would refer to as Americana. Yet the sound was unique to Salas-Humara, and I continued my enjoyment of each release.<br />
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Because of Walter's multiple connections, his name has led me to additional bands and songwriters over the years such as:<br />
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<li>Michael Hall (<a href="http://www.texasmonthly.com/author/michael-hall/" target="_blank">web</a> | <a href="https://twitter.com/mikehalltexas" target="_blank">Twitter</a>) - former frontman of the Wild Seeds and long-time writer for Texas Monthly magazine. The two of them plus Alejandro Escovedo released a couple of albums under the name The Setters.</li>
<li>Tom Freund (<a href="http://tomfreund.com/" target="_blank">web</a> | <a href="https://twitter.com/tomfreund" target="_blank">Twitter</a>) - a former member of The Silos and now a solo artist and talented bassist.</li>
<li>Jonathan Rundman (<a href="http://jonathanrundman.com/" target="_blank">web</a> | <a href="https://twitter.com/jonathanrundman" target="_blank">Twitter</a>) - like me, a fan of The Silos. But he went a step further and worked with him on his fantastic album Public Library.</li>
<li>The Vulgar Boatmen (<a href="https://twitter.com/vulgarboatmen" target="_blank">Twitter</a>) - a band of which Walter was a member in his college days. He later produced their album <i>You And Your Sister</i>.</li>
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While Walter has toured for years - solo and with multiple line-ups of The Silos - he has only played Nashville a handful of times over his three decades as a performer. Fortunately for us middle Tennesseans, Walter is returning after about a long absence. He along with Will Kimbrough will play <b style="text-decoration: underline;">The Basement on Wednesday, December 14.</b><br />
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Walter was kind enough to <i>share a six pack </i>of Q&A with me in advance of the show.</div>
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TMC: Like many, my first intro to The Silos was "the bird album" on RCA. I then got <i>Cuba</i> and found an address for the Record Collect label - which turned out to be you! A mail exchange between us delivered me <i>Lagartija</i> on CD and the Boatmen's <i>You And Your Sister</i> on cassette (both of which I still have).<br />
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I'm pretty sure I've got every Silos and WSH release since then as well as a handful of releases from folks who've worked with you. What parts of the country - or maybe the world - do you tend to find the most fervent fans of your music?<br />
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WSH: It's pretty evenly spread out across the US and Europe primarily. Of course, the places where I performed most often I'm still able to reach the most people. I have great fans all over and wish it was possible for me to play in all countries of the world. I'm a very lucky guy to be able to travel and sing my songs.</blockquote>
TMC: 2016 saw the release of two albums - <i><a href="http://waltersalashumara.com/album/320234/explodes-and-disappears" target="_blank">Explodes & Disappears</a></i> as a solo effort and <i><a href="http://waltersalashumara.com/album/311051/work-part-one" target="_blank">Work: Part One</a></i>, a retrospective of sorts with new, acoustic versions of songs by The Silos from over the years. Did either bring you bit more excitement or joy vs. the other? New songs as opposed to new approaches to Silos classics?<br />
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WSH: These are two completely different animals. It's always exciting recording new material, especially when one has such a great cast of characters participating in the project. It's also exciting to get another crack at recording songs that you've been performing for many, many years. These songs change over time and have different meaning, particularly since I mostly perform acoustic these days. The <i>Work: Part One</i> album is produced by Richard Brotherton, an old great friend and very talented musician, so it was a joy to be able to work with him.</blockquote>
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TMC: Though you've played Nashville a few times over the ages, the city hasn't been a regular stop for The Silos or you individually. It's hard to believe the last time you were here was about a decade ago. What is it about Nashville that has drawn you back this time?<br />
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WSH: When Drew Glackin passed away in 2008, I took a long hiatus from performing. I'm really just getting back into it over the last couple years, making new albums and getting out there as a solo artist. Nashville is such an important music city, so I'm psyched to be back and performing there again. I hear Nashville has changed a lot, and I have a day off. So I'm excited to check it out.</blockquote>
TMC: You've worked with other bands and songwriters over your career such as The Vulgar Boatmen (<a href="https://twitter.com/vulgarboatmen" target="_blank">Twitter</a>), Jonathan Rundman, Michael Hall, etc. Most of those collaborations had varying sounds and lyrical approaches. Was that a deliberate approach on your part - to work with distinct types of songwriters and bands? Or more just a case of randomness - "hey, we should do a record together!”?<br />
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WSH: Life just kind of happens and, and I connect with lots and lots of fellow musicians. Of course there are certain places that I return to over and over as the years go by and certain friends that I see more than others. Fortunately, nowadays it's so easy to communicate electronically and even collaborate that way. This has opened up a whole new world for me. Sometimes you just want to get a particular feeling or story down, and you sit by yourself and do it. You can take as much time as you want, work it over and over, and it's very rewarding when it comes out well. The experience of collaborating with others is very different, it can be like work or it can be like play, and sometimes you click and sometimes you don't. But when things go right, the sum is very often better than the parts, and the song goes in directions that one person could never have taken it.</blockquote>
TMC: The Silos has had a number of different line-ups over the years, but it was always still a band. The last release was <i><a href="http://waltersalashumara.com/album/1660/florizona" target="_blank">Florizona</a></i> almost six years ago. Is The Silos still a thing? Or at this stage of your life, career and music's business model, is it primarily just WSH going forward? Do you consciously write songs that seem to fit you as a solo performer vs. those that may become a Silos song?<br />
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WSH: The Silos are still a thing, We still perform every once a while, mostly in New York City and the occasional festival. I've been performing mostly solo lately, and it's been really liberating both musically and logistically. I have so many great musician friends in so many different cities and towns, and when they are available I get to work with them. For example, in Nashville, the great Will Kimbrough will be accompanying me on guitar. These different collaborations make every concert unique and is a very exciting way to tour.</blockquote>
TMC: You've been at this for wow - *cough* 30 years. Longer I suppose considering any writing and performing you were doing in the your college days. Your base of operation has changed from Florida to New York City to Austin to Arizona and likely other places of which I have no clue. What have you enjoyed about having long stretches of 'home' in different places - yet also consistently riding the road?<br />
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WSH: I spent most of my adult life in New York City and have close family there. For me, it's the most exciting city in the world, the most diverse and the most culturally educated. There is always an adventure to be had anytime you leave your apartment. Today I live in Flagstaff near the Grand Canyon. The overwhelming beauty of the Southwest and of the West in general is something everyone, especially every American, should experience and enjoy. I’ve had so many incredible outdoor adventures since I've been living out here - camping, hiking, biking, rafting, skiing, etc - in the most amazing environments - mountains, deserts, rivers, lakes, geothermal areas, etc. In my life, I've been very lucky to experience a fascinating combination of the cultural and the natural. I feel that everyone should be aware and participate in both equally.</blockquote>
Though I've been a fan of Walter and the various iterations of The Silos, my opportunities to see them live have been scarce. I was fortunate to see The Silos around 2005-2006 at The Basement in Nashville. In October 2007, I happened to be in Philadelphia for work and fortunately caught Walter with Anders Parker at The Khyber.<br />
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That particular weeknight show was not well attended, but it remains special to me because of the echoes of Walter's songs in the building and because I got to hang a bit with Drew Glackin, at the time The Silos' bassist. Like me, Drew happened to be in town and simply came to enjoy the evening. We shared a beer, re-connected about the Nashville show, lamented the lack of folks at the show, and enjoyed the music. Sadly as Walter referenced, Glackin died just a few months later from a previously unknown heart condition.<br />
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TMCtoomuchcountryhttp://www.blogger.com/profile/09359556284713305865noreply@blogger.com0tag:blogger.com,1999:blog-7215850160741064287.post-8733423129724896492016-08-18T21:43:00.000-05:002016-08-18T21:52:48.497-05:00The Coal Men - Pushed To The SideDave Coleman and Dave Ray - two of East Nashville's nicest gentlemen - are also two of the most talented. Along with bassist Paul Slivka (another nice and talented guy by the way), the trio as The Coal Men (<a href="http://www.thecoalmen.com/" target="_blank">web</a> | <a href="https://twitter.com/thecoalmen" target="_blank">Twitter</a>) will release their new album <i>Pushed To The Side</i> Friday, August 19th.<br />
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Though Dave squared have played together for over 15 years, I was introduced to their music only three years ago with the release of their previous album, 2013's <a href="http://toomuchcountry.blogspot.com/2013/08/east-nashville-keeps-em-coming-coal-men.html" target="_blank"><i>Escalator</i></a>. For <i>Pushed To The Side</i>, Coleman leveraged the talents (and niceness) of other East Nashville songwriters and friends including Stephen Simmons and Bob Delevante.<br />
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The title of the album's opener - <i>Depreciate</i> - may catch the eye of many CPAs. If so, they will likely be disappointed as the song has nothing to do with accounting. An aging, tour van serves as the metaphoric, contemplative vehicle. “It’s really about growing older gracefully and trying to find your self worth,” Coleman admits. “That’s part of what this band has tried to do. We’ve always been committed to being who we are and not chasing trends.”<br />
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<i>I'm nearly ready for the junkyard</i></div>
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<i>Counting down the miles</i></div>
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<i>I can't remember all my travels</i></div>
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<i>But boy I rode 'em out in style</i></div>
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<i>All the luster and the shine</i></div>
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<i>It's bound to chip and fade</i></div>
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<i>The day you roll it off that line</i></div>
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<i>You depreciate</i></div>
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Coleman co-wrote a trio of songs with West Virginia-to-Nashville transplant Jeff Wickland. The pair wrote three compelling "story" songs. In a pleasantly-paced 3/4 time, <i>Willy Jett </i>seems to be a hard-working coal man who enjoys partying harder. During one of his weekend adventures, the listener is introduced to Lilly, a one-night stand for Willy.<br />
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<i>Willy came down from the coal camp</i></div>
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<i>dreaming of a woman on his arm</i></div>
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<i>And he found one down at the corner</i></div>
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<i>Lilly took him with all of her charms</i></div>
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Two songs later, <i>Lilly Hurst</i> gets her own song. After perhaps getting dismissed as a rent-by-the-trick quickie for Willy, the listener learns of Lilly's much tougher ... and violent reality.<br />
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<i>Nix came back one night needing his comfort and rest</i><br />
<i>He walked in on Lilly Hurst doing what she did best</i></div>
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<i>Which man she was with, I guess I never did hear</i></div>
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<i>Nix drew a line, left Lilly bleeding ear to ear</i></div>
<i><br /></i>
The trio of the Coleman-Wickland songs is completed with <i>Travis</i>. I've not heard The Coal Men play the song live yet - and I suppose it'll be a tough one to include in a set list. <i>C'mon y'all, get up and dance!</i> - nah, that's not gonna work with this one. <i>Travis </i>is one of the saddest, loneliest, searching, songs of loss you'll hear. I can only hope the song represents a truly fictional character rather than a true life experience of Coleman or Strickland. Unfortunately, however, Travis' story is an all too real one for many struggling young folks and those around them.<br />
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<i>Travis lived across town by the railroad track</i></div>
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<i>Just him and his dad and four dying walls of a shotgun shack</i></div>
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<i>His mind was restless, it ached and it groaned</i></div>
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<i>He walked this town, head hung down, most days he stayed stoned</i></div>
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<i>~~~</i></div>
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<i>He walked out alone deep into the black</i></div>
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<i>Travis and a .38, the night he never came back</i><br />
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<i>How could it happen to one of our own?</i><br />
<i>How did Travis live and die alone?</i></div>
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Though the aforementioned three songs are pretty deep, <i>Speeding Like A Demon</i> lightens the mood a lot. A co-write between Coleman and Simmons, <i>Speeding </i>is a fun, upbeat song about criss-crossing the state of Florida trying to make one gig after another. With Luther Perkins-ish guitar picking, I could imagine the song being championed by someone like Jerry Reed back in the day.<br />
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<i>Pounding rain, orange cones, engine whines, the engine moans</i></div>
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<i>Speeding like a demon to get to the show</i></div>
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<i><br /></i></div>
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<i>Dotted lines, yellow lines, highway signs, and power lines</i></div>
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<i>Speeding like a demon to get to the show</i></div>
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Coleman's guitar strumming and Ray's continual rim shot back beat give <i>Faithless Eyes </i>a bit of a Tell Tale Heart vibe - albeit with a false relationship commitment rather than a murder at the core. Careful when listening to this one though as to not self-incriminate!</div>
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<i>Faithless eyes do not cry tears</i></div>
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<i>Faithless eyes just mark the years</i></div>
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<i>Of all the burdens brought on by lustful desires</i></div>
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<i><br /></i></div>
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<i>Faithless eyes are not blind</i></div>
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<i>They all see things that remind</i></div>
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<i>The man that sees through them his love cast aside</i><br />
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The next-to-last song is <i>Stones River</i>. Co-written with Delevante, the structure of it reminds me a bit of <i><a href="https://www.youtube.com/watch?v=VBOagEurLI4" target="_blank">Tennessee</a> </i>from the previous album. For me personally, <i>Stones River </i>hits even closer to home. Tennessee has been my life-long home. I grew up specifically in the suburb of Donelson - east of East Nashville. The Stones River separates Donelson from Hermitage to the east.<br />
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<ul>
<li>I permanently separated from several friends in junior high who lived on the other side of the river and were zoned to a different high school.</li>
<li>The Stones feeds Percy Priest Lake - a site of many fun times during my teen years.</li>
<li>The river is fed by McCrory Creek - a creek that ran behind the small Methodist church I attended as a kid. I spent many summer camp weeks splashing in that creek - waters that carried our sweat and laughter to the Stones.</li>
</ul>
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<i>The Singer (from Louisville) </i>closes the album. Through the previous 11 songs of the album, Coleman's seemingly effortless guitar work, Ray's varied and generally subtle percussion, and Slivka's steady bass lines are ever present. But their consistency allows you to center in on the lyrics - to ponder and contemplate. A couple of seconds after Stones River ends, guitar feedback, Slivka's bass riff, and Ray's snare rim clicks throat punch you to realize it's time to wake up. The song is completely different musically than all others on the album yet tells another story.<br />
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The song features a local singer getting regularly heckled by his audience and is based loosely on a Tommy Womack short story. It's also possible this lyric from Womack's incredible <i><a href="https://www.youtube.com/watch?v=D0fwYRPdBGs" target="_blank">Alpha Male and the Canine Mystery Blood</a></i> may be embodied in Womack's story and <i>Singer</i>:<br />
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<i>I'm singing all the songs I've sang for years</i></div>
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<i>And when it's a band gigging, it's rocking</i></div>
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<i>And when it's solo, the people talking while I'm singing</i></div>
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<i>Make me depressed, you think I could take a hint</i></div>
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With <i>Singer </i>being so different from the rest of the album and slotted as the closing song, I'll still state the obvious pun by noting it was ... pushed to the side ... as far as it could go.<br />
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From start to finish - the eight songs noted here and another four - are compelling listens and make <i>Pushed To The Side </i>a must-get.<br />
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TMCtoomuchcountryhttp://www.blogger.com/profile/09359556284713305865noreply@blogger.com0tag:blogger.com,1999:blog-7215850160741064287.post-33219685264525135402016-06-21T20:43:00.000-05:002016-06-22T09:45:04.304-05:00Tommy Womack - NAMASTEI can say unequivocally, without hesitation, with favorable bias, and with complete transparency that I am a Tommy Womack fan (<a href="http://www.tommywomack.com/" target="_blank">web</a> | <a href="https://twitter.com/TommyWomack" target="_blank">Twitter</a>). For dang near 30 years, I've listened to his music repeatedly - first as a member of Government Cheese, then (and now) as a solo artist, and in his other bands such as The Bis-Quits and Daddy.<br />
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Tommy's songs aren't generally ones you'll crank at an outdoor, tailgate, societal type of soiree. Though if you and your pals are long-time Cheese fans, you can probably still rock <i>Camping On Acid</i> and <i>Fish Stick Day </i>for the masses. Otherwise, I generally advise folks to absorb Tommy's lyrics like a topical ointment - frequent application with slow but predictable and steady results.<br />
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In the Cheese days, I drank a lot of beer, laughed a ton, tried to make a move on the gal I eventually married, and talked throughout the shows. In Womack's post-Cheese career, I don't do any of those - at least to an excess.<br />
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Those who know me best know I like to talk. A lot. I'm not the best listener - never have been, likely never will be. Yet for whatever reason, Tommy Womack can alter my natural inclinations. I listen to his lyrics intently.<br />
<ul>
<li>I do still laugh along with lyrics to many of his songs. </li>
<li>Some of his songs have made me - and still do - tear up a bit. (Don't believe me? Listen to <i>Willie Perdue </i>3x, and we'll meet over an uncut onion to see who is <i>really </i>real.) </li>
<li>Some have made me say with relief <i>Whew, glad I've met him, but I'm damn glad I live MY life.</i></li>
<li>Some have dropped my jaw and made me ask <i>How in the world man...., </i>and long to give him a comforting hug.</li>
</ul>
Womack's latest album <i>NAMASTE </i>delivers a bit of all of the above. The album has a true arc of intensity. Near its beginning and end are are songs about hair and hot flashes. In the middle sits a couple of songs with messages as thick as a Carnegie Deli sammich.<br />
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After the album's opener <i>Angel</i>, Tommy jumps right in the humor with both feet with <i>Combover Blues</i>. I'm not there - yet - but many men of similar age will likely relate and commiserate.<br />
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As a complementary track, Womack again offers up a healthy dose of humor - this time for his female listeners. <i>Hot Flash Woman</i> is the second to last song on the album.<br />
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As <i>Combover Blues</i> ends, Womack takes the tone up a notch with two back-to-back serious but enjoyable songs: <i>End of the Line</i> and <i>It's Been All Over Before</i>. For those familiar with his discography, the two songs remind me a bit of <i>If That's All There Is To See</i> and <i>She Likes To Talk</i> from his previous albums, <i>There, I Said It!</i> and <i>Stubborn</i>, respectively.<br />
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<i>NAMASTE </i>then hits its apex of relevance at the middle of the album.<br />
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I first heard <i>God Part 3 </i>a couple of years ago during an in-the-round, songwriter's evening at a now-departed West Nashville bar. After I re-hinged my jaw, I've been looking forward since that evening to hearing it as an officially released song. On the recorded version, Womack is backed with a rhythm section with a sound similar to the Tennessee Three - an appropriate sound considering Johnny Cash was another songwriter and performer who tussled regularly with his beliefs.<br />
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Back around 2007, I was at The Basement on 8th Avenue in Nashville for Tommy's record release show of <i>There, I Said It</i>. The album was (and still is) incredible. He'd just been featured on the cover of the Nashville Scene, he was sporting an out of the ordinary beard, his voice was hoarse ... and he <i>hugged me </i>as he came into the place that night. I recall greeting him and offering him a handshake with congrats. He gave me a hug instead. That was fine and all, but I did chuckle in surprise. Only recently did I - and others - learn he had hit a wall about a week earlier. Badly. Little did we know...<br />
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Out of that experience followed <i>I Almost Died</i>. Musically, the song is an enjoyable listen. The transparency and pain of the autobiographical lyrics, however, makes it very challenging to absorb.<br />
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After the listener is left clearing his or her throat, rubbing his knee caps and looking around the room, Tommy does return you to the comfort of your couch and a good laugh with When <i>Country Singers Were Ugly</i> and the aforementioned <i>Hot Flash Woman.</i><br />
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He then combines humor and sarcasm in the shaken-AND-stirred, jazzy, spoken-word commentary <i>Nashville</i>. Not a lot to watch here - just listen, visualize Music City, cringe and laugh.<br />
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<i>NAMASTE </i>will be available far and wide for sale beginning this Friday, June 24, through just about every conceivable channel. I recommend it at whatever max metric floats your boat.<br />
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TMCtoomuchcountryhttp://www.blogger.com/profile/09359556284713305865noreply@blogger.com1tag:blogger.com,1999:blog-7215850160741064287.post-53352407600795333842016-05-06T11:11:00.000-05:002017-09-12T21:57:57.027-05:00Sharing a Six Pack with Wild PoniesAbout three years ago, Wild Ponies <a href="http://toomuchcountry.blogspot.com/2013/08/east-nashville-doug-and-telisha-gone.html" target="_blank">released their raucous and compelling <i>Things That Used To Shine</i></a>. Though the album's songs varied musically, the ever-present theme was one of candor. Dark memories from some very tough experiences needed to be shared, and the songwriting duo of Doug and Telisha Williams did so wonderfully.<br />
<br />
With three more years of touring under their belts, Doug and Telisha have returned with a new, eleven-song release, <i>Radiant</i>, to be released May 13th. Though the scars remain from the experiences that shaped much of the previous album, <i>Radiant </i>is much broader - lyrically and musically.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhp7lQXjQ0LWUB2b3sarzZe9peAUmeDX1u9DVsW7Gv57gw7ZQcbDdhJkA8T5WFbgR7DzaTGQS1b00lAcgrOqNVEIZnpKApw68poz5qG_TcVVz2lgtkPZfRCTnBjYkgrY8spVkClFQrLhS4/s1600/radiantcover.png" imageanchor="1"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhp7lQXjQ0LWUB2b3sarzZe9peAUmeDX1u9DVsW7Gv57gw7ZQcbDdhJkA8T5WFbgR7DzaTGQS1b00lAcgrOqNVEIZnpKApw68poz5qG_TcVVz2lgtkPZfRCTnBjYkgrY8spVkClFQrLhS4/s400/radiantcover.png" width="400" /></a></div>
Doug (<a href="https://twitter.com/wildponiesD" target="_blank">Twitter</a>) and Telisha (<a href="https://twitter.com/WildPoniesT" target="_blank">Twitter</a>) are joined by drummer Megan Jane (<a href="http://meganjanemusic.wix.com/meganjanemusic" target="_blank">web</a> | <a href="https://twitter.com/MeganJaneMusic" target="_blank">Twitter</a>) and famed instrumentalist Fats Kaplin for a richer, more expansive Wild Ponies sound.<br />
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D&T and I recently shared a six pack as I learned more about the new album, songwriting, touring, etc.<br />
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TMC: Y'all dealt with some really tough and extremely personal subject matter on <i>Things That Used To Shine</i>. <i>Radiant </i>is a much more diverse collection of songs. Did you write, compose, ponder and then decide on songs for a particular theme this time? And how did you go about the process of whittling down your options to the 11 you chose to include on the album?<br />
<blockquote class="tr_bq">
Telisha: We did deal with some tough and personal stuff on our last record, and this record seems to be in a voice of someone who’s healing, who can see things a bit more clearly now. The voice of <i>Radiant </i>feels more daring, less afraid, but maybe that’s because that’s how I feel now. As for whittling down the songs, we actually recorded 13, and listened over and over for the ones that seemed to fit together sonically and thematically for this record. I love the 11 that we ended up with. Those other 2 will find a place in a future record I’m sure. </blockquote>
<blockquote class="tr_bq">
Doug: Yeah, it definitely feels like we were writing this record more with two feet on the ground. As far as song selection, that’s always hard. Because you love them all. In the end it just came down to fitting the arc, and I think these 11 songs do that. This is probably the most “sonically” cohesive record we’ve ever made. </blockquote>
TMC: The title track - <i>Radiant</i> - was written with a bit of help or inspiration by a young'un, right? Recap some of the <a href="http://thebluegrasssituation.com/read/country-music-hall-fames-words-music-inspires-kids-and-artists-alike" target="_blank">backstory for the songwriting collaboration</a> through your service to the Country Music Hall of Fame.<br />
<blockquote class="tr_bq">
T: Yeah, we volunteer with Words and Music, the songwriting curriculum program from the CMHoF. We LOVE participating in this program, and we’re actually scheduled to do it again in May. Often, the songs that are submitted are about tacos, pizza, summer vacation, or Mine Craft. Two years ago, Mariah Moore, a sixth grader at the time, submitted a song with incredible imagery and a wondrous vibe. We loved it. We put music to her words and saved it for the end of the Words and Music Program day, but Mariah wasn’t there to hear it. We couldn’t let the song go though. We came home and worked on it a bit more, added a verse and shifted some words. We love this song, and we’re happy to have collaborated with such a fine young woman. We’ve since met Mariah and her family, and they like what we’ve done with the song. Mariah has continued to write and we’re excited about what her future holds as a creative individual!</blockquote>
<blockquote class="tr_bq">
D: Yeah, we’re pretty excited about this one. We love the CMHoF, it’s one of the things we always tell friends visiting town to check out. And the Words and Music program is great. And Mariah is a great kid. We were stunned by what she wrote, and I love the way the whole song turned out. </blockquote>
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<i>The old Catawba stands alone with gnarled arms from broken bones</i></div>
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<i>hatchet scars she’s tucked beneath her bark</i></div>
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<i>She’s seen houses built, barns fall down, children playing all around, </i></div>
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<i>as families lived and died in her front yard</i></div>
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<i>Winter snows, summer nights, burning fires electric lights, </i></div>
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<i>machines that turn to rust and fall apart</i></div>
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<i>She’s held a thousand horses tied, she’s sheltered brides and grooms who’ve cried, </i></div>
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<i>she’s watched as lovers made love beneath the stars</i></div>
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TMC: <i>Tower and the Wheel</i> just slays me. It's a very visual song. Was there a particular tree you spotted that spawned the song - either recently or days gone by?<br />
<blockquote class="tr_bq">
T: Doug, this one’s yours, though I will say that I identify with that ol’ tree when I sing that song. She’s a bad ass, and she’s been through hell. She’s still standing, and in many ways, she’s more beautiful than ever.</blockquote>
<blockquote class="tr_bq">
D: Yeah, this is about a specific tree. It’s a tree on my grandfather's farm just outside of Galax, VA. Both of my grandparents are dead, and nobody lives there anymore. But my mom and her sister still own the farm. Telisha and I took some time off and went out there by ourselves - just to be there and write without any distractions. Anyway, that tree has been there for… I don’t even know. It’s huge. Massive. It shades the whole front of the driveway, and it’s a good place to pull up chairs in the gravel and sit and play music. It’s also got a ring around it where we used to tie the horses while we saddled them. And, I do remember throwing hatchets at her trunk when I was a kid. Terrible, but she survived it. We cut our wedding cake right under those branches, too, so even thought it’s a pretty metaphorical song, it’s got a lot of literal imagery in it. </blockquote>
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- - - - - - -</div>
Following <i>Tower and the Wheel</i> - based on the Virginia tree so very personal to Doug - is <i>Mom & Pop</i>. The song is a wistful goodbye to a locally owned store that's been in the family for years and multiple generations. "Progress" - big box stores, shopping without employee assistance, paying the least amount post for the cheapest crap one can import, etc. - has driven the store to extinction. My grandmother used to work at a local grocery store in Estill Springs, TN. I recall a time or two as a kid helping her price and stock canned goods during my summer visits.<br />
<br />
Our family didn't own that little grocery. Nor did my grandmother work at Garner's very long. Yet my brief time <i>working </i>with her brings back neat memories. The store disappeared decades ago as larger chains moved to town and gas stations became convenience stores with self-serve pumps. In that respect, <i>Mom & Pop </i>really resonated with me somewhat on a personal level.<br />
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- - - - - - -</div>
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TMC: <i>Unplug The Machine</i> immediately brought to mind Billy Joel's <i>We Didn't Start The Fire</i>. It's a bit unique as well. Y'all stomp the gas pedal during it, and the song differs a great deal style-wise when compared to many of your stunning ballads. Is it fair to say it took a few attempts to get the lyrics right with all the different references and syllabic alignment (how'd ya like THAT phrase)?<br />
<blockquote class="tr_bq">
T: Syllabic Alignment? Don’t go talking over my head, now. Yeah, it’s safe to say that I sang that song 156 times before recording it. I guess this is the song Billy Joel would’ve done if social media had been around. I love that soft, soulful, magical-voiced Robby Hecht is the cowriter on this one. You should hear the iPhone voice memo recording of Robby on the day we wrote it. We definitely punked it up a bit. </blockquote>
<blockquote class="tr_bq">
D: Ha! Yeah, it took some work. The hard part was trying NOT to make a strong statement on any one of the things we’re mentioning in the song, but instead let the whole song be a statement itself. Does that make sense? We’re just all so damn connected that we miss the things around us… But, the world has been spinning for a long time. </blockquote>
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TMC: The last few years, you have toured the month of December with Amy Speace and Rod Picott. And the opening song, <i>Born With A Broken Heart</i>, was co-written with Amy. How has time in the van with them affected your approach to songwriting? And how do you think you may have influenced either of them?<br />
<blockquote class="tr_bq">
T: I don’t think you can spend time with other people, especially other artists and not have some influence seep in. We’ve written with Speace before, and we like writing together. We have different approaches, which leads to an intriguing balance. I don’t know how we’ve influenced them. They’ve both been at this music career thing a little longer than us, so I think we still bring an enthusiasm to the game. </blockquote>
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D: Well, you know, I think we make them nicer people. Sometimes we all four hold hands while we ride down the road. It’s great. No, seriously - Amy and Rod are two of our best friends. They’re both amazing writers. No bullshit type writers. Every word counts. They don’t just keep saying the same thing over and over after they’ve said it once, you know? Like, they’re great with economy when they’re making a point in a song. I hope their ability to really get in and get out of a phrase in a song without belaboring it is wearing off on me. Basically, I like that they don’t just go on and on about something from verse to verse. Also, I like that they both write stirring, poignant, potent, honest songs without using too many words. </blockquote>
TMC: <i>Home Is Where The Road Goes</i> may be my fave track. Y'all have been at this biz a few years now. How do you find that right balance between being road hounds and playing your songs vs. the comfort of collapsing onto your own couch in East Nashville?<br />
<blockquote class="tr_bq">
T: We’re still looking for that balance, and maybe we always will be. You have to be intentional about it. We have to find time to be a couple and family. Taking Hazel on runs and having friends over when we’re home helps us to settle in, but home is where the road goes. </blockquote>
<blockquote class="tr_bq">
D: It’s definitely tough. God, we love the road. But we also love being in East Nashville so much. Life isn’t easy for anybody. If one of the toughest things I’ve got to deal with is how much I love both home and on the road. I think I’m petty lucky. </blockquote>
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Wild Ponies spend a great deal of time on the road. So buy their new album, check out their previous releases, check the touring schedule on their website, go see a show, talk to them a bit before and after the gig, and share a PBR and/or a shot of fine bourbon with them. I believe you'll find all of that to be solid advice.<br />
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TMCtoomuchcountryhttp://www.blogger.com/profile/09359556284713305865noreply@blogger.com0tag:blogger.com,1999:blog-7215850160741064287.post-23977430997048430402016-04-12T07:43:00.000-05:002016-12-03T14:19:44.076-06:00Sharing A Six Pack with Ashleigh Flynn A couple of years ago, I had the pleasure of hearing and then meeting Ashleigh Flynn (<a href="http://www.ashleighflynn.com/" target="_blank">web</a>|<a href="https://twitter.com/smashedflynn" target="_blank">Twitter</a>) in East Nashville. Her album, <i><a href="http://toomuchcountry.blogspot.com/2013/09/east-nashville-ashleigh-flynn-is.html" target="_blank">A Million Stars</a></i>, knocked my socks off then and continues in rotation today.<br />
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Through many months and miles of touring, Ashleigh composed another gaggle of fantastic songs. She polished a bunch of 'em and compiled seven of them into a new, live EP.<br />
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Well no, not <i>that </i>kind of live.<br />
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Her new EP, <i>The Low Arc of the Sun</i>, is a truly rich collection of songs - lyrically and musically. It includes five new songs, an original song first released by Flynn over a decade ago, and a fun cover of Buck Owens' <i>Tiger By the Tail</i>. The album will be released April 19th.<br />
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I feel as if Flynn doesn't write her songs so much as she paints her lyrics. Her word choices are more than just a simple turn of a phrase. Many lines evoke one or more of the five senses.<br />
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<i>Sweet grass and sage, heat of the day</i></div>
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<i>- Swee Grass and Sage</i></div>
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<i><br /></i></div>
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<i>A heart's made to rest</i></div>
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<i>The sound of a bird singing high from her nest</i></div>
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<i>- Sweet Grass and Sage</i></div>
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<i><br /></i></div>
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<i>Leaves from trees cherry</i></div>
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<i>Blossom petals falling</i></div>
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<i>Like I am falling endlessly, endlessly</i></div>
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<i>- Fallen</i></div>
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<i><br /></i></div>
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<i>Wrapped around so heavy like a woolen blanket wet with rain</i></div>
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<i>- Fallen</i></div>
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<i>I put my boots on and a big downy coat</i></div>
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<i>A hat, scarf and mittens of woven wool</i></div>
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<i>We go out walking in our city turned white</i></div>
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<i>Snowflakes dance under the evening street lights</i></div>
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<i>- Winter Song</i></div>
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<i><br /></i></div>
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<i>In the yard, yellow roses bloom</i></div>
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<i>-Barrow</i></div>
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The EP includes very nice production work such that all instruments are noticeable in the mix - guitars, fiddle, bass, brushes on a snare, high hat, steel, etc. Striking the right balance is tough enough to do in a studio environment much less in a live recording setting.<br />
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I recently had the opportunity to reconnect with Ashleigh and share a six pack of Q&A about her new release.</div>
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TMC: The faint echos - both vocally and musically - resulting from the songs being recorded live are truly an enjoyable aspect of the EP. Was this a sound you were looking for in choosing to record and release a live album rather than one recorded in a studio?</div>
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Ashleigh: YES! I have found that working in a studio can at times be so tedious as to knock the soul out of a recording. I really like the energy that comes from playing live...although often times it makes it hard to capture a listenable performance - pitchy-ness, tempo, tuning issues all can hamper a live tracking of a song. But if you are able to harness that energy, I think it makes for a way. This is why I chose to make this EP live - in a nice room on a spiritual day. </blockquote>
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TMC: <i>A Million Stars</i> was a concept (ehh, thematic?) album about strong female characters - fictional and factual. A theme for <i>Low Arc</i> - if there is one - isn't nearly as obvious to me. Have I missed something? Ha. I'm curious if you had a collective idea for the EP as well the process of choosing from your songs the ones you opted to include.</div>
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Ashleigh: <i>The Low Arc of the Sun</i> is a nod to the winter solstice. The show at which the EP was recorded was based around this idea - and most of the songs have some reference to the passing of time (as least in my mind), so that's the thread. </blockquote>
TMC: For all the knocks by many on Hee Haw (some...well, <i>many </i>of them deserved), the show really did have its relevance with appearances and performances by some great artists. My dad had the <i>Best of Buck Owens: Vol. 2</i> on LP. Though I learned to dig <i>Tiger By The Tail</i> and <i>Act Naturally</i> through his playing of the album on his Zenith fold-down turntable, I most closely associate my listening of Buck with Hee Haw. What did the show mean to you growing up in Kentucky and then later with reflection after you settled in Oregon?<br />
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Ashleigh: I grew up watching Hee Haw and LOVED IT! Like clockwork on Saturday night, I would watch in my parents' room as my mom got ready to go out. I had no idea how misogynistic it was at times or how powerful and damaging the stereotypes that it celebrated were. I just loved the music...it was like watching a cartoon. Regardless, I LOVE Buck Owens' songs and that Bakersfield sound. Like I say on the record, it was really part of the soundtrack to my childhood. <i>Tiger By the Tail</i> made it onto the album because it is an utter joy to play. It tells the story of a woman who takes her fella and probably the world by storm, and he has to hang on for dear life! Sometimes I feel like time is a Tiger, and I'm clinging to its tail for dear life!</blockquote>
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TMC: Your voice grabbed me from the time we first spoke in East Nashville a couple of years ago to your vocals on each song. I guess I'm at a loss as to how to describe it to folks without their hearing it themselves. Beyond your songwriting talents, what vocalists have shaped your approach to singing?</div>
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Ashleigh: Thank you! I grew up loving and listening to Motown and to my older sister's records, Fleetwood Mac - Rumors, Jackson Browne - Running on Empty, James Taylor - Sweet Baby James as well as my dad's Willie Nelson and bluegrass records. Then I became a Led and Deadhead in high school. In college out in Colorado, I went to the Telluride Bluegrass Festival for a bunch of years throughout the 90s. That's what really turned my sights to songwriting and singing. I'd hadn't ever sung before that. There I discovered Nanci Griffith, John Hiatt, Lyle Lovett, Shawn Colvin, Patty Griffin, Emmy Lou Harris. </blockquote>
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TMC: <i>Barrow </i>was previously released as the lead track on <i>Chokecherry </i>over a decade ago. For <i>The Low Arc</i>, you chose to slot it as the last song. Any particular reason for the book end slotting?</div>
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Ashleigh: The EP was recorded on the winter solstice of 2014 in front of an intimate audience at the Secret Society Ballroom in Portland, Oregon. The effort included some fine local musicians. We wanted to honor the coming of the light with a curated song cycle.
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<i>Barrow </i>was written about my quest to rekindle my late grandfather’s spirit (the only other working musician in my family who died of MS in Ireland) by following a footpath known as the <a href="http://www.dingleway.com/" target="_blank">Dingle Way</a> to its most southwestern tip. After getting there, I had the good fortune to glimpse the summer solstice sunset as I pondered my bloodline and the passage of time as marked by the coming and going of the light.
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TMC: The EP includes wonderful and strong musical arrangements and performances. Will you be in a position to tour with a band in support of the new release?<br />
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Ashleigh: I sure hope so! I really love the band. They are all outstanding musicians and great people. We are available for festivals and tours for sure - especially on the west coast. But you know, <i>anything </i>is possible under the right conditions.</blockquote>
TMCtoomuchcountryhttp://www.blogger.com/profile/09359556284713305865noreply@blogger.com2tag:blogger.com,1999:blog-7215850160741064287.post-71722074928167427652016-03-17T19:43:00.000-05:002016-03-17T19:59:41.643-05:00CXCW2016 - Jay StottColorado's Jay Sott was a three-year vet of Couch By Couchwest. He has notched a fourth year on his gun with this year's submission to the micro-couch edition from his new record, <i>Dirt & Headache</i>.<br />
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The new album was officially released less than a week ago, and it's a good 'un. The opening to Jay's submission from it - <i>Gotta Fool The Devil</i> - reminds me a bit of another devil-titled song: Todd Snider's <i>The Devil You Know</i>.<br />
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Web: <a href="http://jgstott.com/" target="_blank">jgstott.com</a><br />
Twitter: <a href="https://twitter.com/jgstott" target="_blank">@jgstott</a><br />
Instagram: <a href="https://www.instagram.com/jgstottmusic/" target="_blank">jgstottmusic</a><br />
Facebook: <a href="https://www.facebook.com/JGstott/" target="_blank">JGstott</a><br />
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Jay's performances from prior years of CXCW:<br />
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CXCW2015 - <a href="http://couchbycouchwest.com/jay-stott-the-river-dont-care/" target="_blank">The River Don't Care</a><br />
CXCW2014 - <a href="http://couchbycouchwest.com/jg-stott-after-the-flood-stolen-cars/" target="_blank">After The Flood and Stolen Cars</a><br />
CXCW2013 - <a href="http://couchbycouchwest.com/jg-stott-remember-when/" target="_blank">Remember When</a><br />
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TMCtoomuchcountryhttp://www.blogger.com/profile/09359556284713305865noreply@blogger.com0tag:blogger.com,1999:blog-7215850160741064287.post-43224850014787454382016-03-13T15:43:00.000-05:002016-03-13T15:43:00.157-05:00CXCW2016 - The Whiskey Treaty RoadshowA couple of years ago, I was introduced to the music of Greg Smith and The Broken English. The band had just released a new album, and I liked it from the start. I encouraged them to participate in Couch By Couchwest. They did, and CXCW was better for it.<br />
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I reached out again this year to gauge their interest for a new CXCW2016 video. While Greg's band didn't have new music or a video to share, he did tip me off to a side project in which he is involved.<br />
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The Whiskey Treaty Roadshow is a collaborative effort of five songwriters from Massachusetts - Billy Keane, Tory Hanna, Chris Merenda, Dave Tanklefsky, and Smith. A novel way of helping underwrite the costs of their recent live album release, <i>Heart of the Run</i>, was partnering with New York distiller, <a href="http://hudsonwhiskey.com/agegate-fb.php?redirect=/" target="_blank">Hudson Whiskey</a>.<br />
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Web: <a href="http://www.thewhiskeytreaty.com/" target="_blank">thewhiskeytreaty.com</a><br />
Twitter: <a href="https://twitter.com/WhiskeyTreaty" target="_blank">@WhiskeyTreaty</a><br />
Instagram: <a href="https://www.instagram.com/whiskeytreaty/" target="_blank">whiskeytreaty</a><br />
Facebook: <a href="https://www.facebook.com/whiskeytreaty" target="_blank">whiskeytreaty</a><br />
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Though these videos weren't specifically recorded for CXCW such that it is in 2016, I felt like the spirit (spirits?) of them fit the CXCW vibe quite nicely.<br />
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For those who may not be familiar with Greg Smith and The Broken English, I <a href="http://toomuchcountry.blogspot.com/2014/03/greg-smith-and-broken-english.html" target="_blank">blogged a review</a> of their last album, <i>Ramblin' Road</i>. And here are their performances from CXCW2014.<br />
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TMCtoomuchcountryhttp://www.blogger.com/profile/09359556284713305865noreply@blogger.com0tag:blogger.com,1999:blog-7215850160741064287.post-28990391429103806682016-03-13T14:43:00.000-05:002016-03-13T14:49:19.133-05:00CXCW2016 - Charlie HarrisonCharlie Harrison is back for another year. After a couple of years of performing at Couch By Couchwest with his band, Charlie & The Regrets, Harrison has returned to a solo performance as he did in 2013 for his CXCW debut.<br />
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I'm also digging his Sun Records lid.<br />
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Charlie just wrapped up a Kickstarter campaign to help fund his next record. His pitch?<br />
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<i>We need your help to record & promote a great sounding country record about everything from pot to prison, love and loss and politics.</i></blockquote>
Web: <a href="http://www.charlieharrisonmusic.com/" target="_blank">charlieharrisonmusic.com</a><br />
Twitter: <a href="https://twitter.com/CharlieHarris0n" target="_blank">@CharlieHarris0n</a><br />
Instagram: <a href="https://www.instagram.com/charlieharris0n/" target="_blank">charlieharris0n</a><br />
Facebook: <a href="https://www.facebook.com/CharlieHarrisonMusic/" target="_blank">CharlieHarrisonMusic</a><br />
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Charlie recently had a really cool gig. He got the opportunity to open for Joe Ely at the iconic Old Quarter Acoustic Cafe in Galveston, Texas.<br />
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<a href="https://www.instagram.com/p/BCSAWKSFGce/" style="color: black; font-family: Arial,sans-serif; font-size: 14px; font-style: normal; font-weight: normal; line-height: 17px; text-decoration: none; word-wrap: break-word;" target="_blank">Happy Friday everybody and thank you to Wrecks, Janet and Lee for making a place for songs and giving guys that no one has heard the chance to play in front of a Texas treasure. #JoeEly #WrecksBell #OldQuarter.</a></div>
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A photo posted by Charlie Harrison (@charlieharris0n) on <time datetime="2016-02-27T07:28:23+00:00" style="font-family: Arial,sans-serif; font-size: 14px; line-height: 17px;">Feb 26, 2016 at 11:28pm PST</time></div>
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Charlie's performances from prior years of CXCW:<br />
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<a href="http://couchbycouchwest.com/charlie-and-the-regrets-the-gavel/" target="_blank">CXCW2015 - The Gavel (Charlie & The Regrets)</a><br />
<a href="http://couchbycouchwest.com/charlie-and-the-regrets-the-company-song-ease-away/" target="_blank">CXCW2014 - The Company Song / Ease Away (Charlie & The Regrets)</a><br />
<a href="http://couchbycouchwest.com/charlie-harrison-prison-radio/" target="_blank">CXCW2013 - Prison Song (solo</a>)<br />
<a href="http://couchbycouchwest.com/charlie-harrison-dont-know-why/" target="_blank">CXCW2013 - Don't Know Why (solo)</a><br />
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TMCtoomuchcountryhttp://www.blogger.com/profile/09359556284713305865noreply@blogger.com0tag:blogger.com,1999:blog-7215850160741064287.post-55885576389814858902016-03-13T14:07:00.000-05:002016-03-13T14:18:48.457-05:00CXCW2016 - Sci-Fi RomanceSci-Fi Romance was a four-year vet of CXCW - missing only the inaugural year when the site was hosted on Tumblr. Though CXCW isn't being formally hosted in 2016, Sci-Fi Romance is back nonetheless with another original and striking video.<br />
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Web: <a href="https://scifiromance.net/" target="_blank">SciFiRomance.net</a><br />
Twitter: <a href="https://twitter.com/SciFi_Romance" target="_blank">@SciFi_Romance</a><br />
Facebook: <a href="https://www.facebook.com/scifiromance" target="_blank">scifiromance</a><br />
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And for those now saying <i>Yeaaahhh, gimme more of THAT</i>, here are the band's performances from previous years.<br />
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<li><a href="http://couchbycouchwest.com/sci-fi-romance-goodbye-at-the-end-of-the-world-wooden-jesus/" target="_blank">CXCW2015</a></li>
<li><a href="http://couchbycouchwest.com/sci-fi-romance-temptation-blues/" target="_blank">CXCW2014</a></li>
<li><a href="http://couchbycouchwest.com/sci-fi-romance-steam-drill-blues-when-you-wake/" target="_blank">CXCW2013</a></li>
<li><a href="http://couchbycouchwest.com/sci-fi-romance-goodnight-irene/" target="_blank">CXCW2012</a></li>
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Sci-Fi Romance released a new album earlier this year - <i>Dust Among The Stars</i> - and it is really, really good. The following video wasn't done specifically for CXCW, but it is indeed original. Vance Kotrla from the band did the incredible illustrations, and it is the official release video for <i>Goodbye At The End Of The World</i> from the new album.<br />
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TMCtoomuchcountryhttp://www.blogger.com/profile/09359556284713305865noreply@blogger.com0tag:blogger.com,1999:blog-7215850160741064287.post-60245506151211344132016-03-13T13:43:00.000-05:002016-03-13T13:43:06.648-05:00Farewell Couch By Couchwest. Oh wait...hello!For the past five years, a good time was had by all at the Couch By Couchwest on-line music <i>festival</i>. Though I had nothing to do with its operations, I've been all-in with the CXCW vibe:<br />
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<li>learning about new bands and songwriters</li>
<li>taking random pics of tacos, French toast, and co-workers - though never in the same shot</li>
<li>developing new friendships, and</li>
<li>drinking beer. Plenty of beer.</li>
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The fine folks who ran CXCW did a helluva job soliciting original videos, collecting and watching them all, playing the tough guy role the few times when folks didn't adhere to just a handful of basic rules, building a page for each featured video, scheduling each video for its <i>right time </i>release, monitoring comments on the website and social media channels, etc. For a group of folks that celebrated slacking as an artform, they sure worked their collective asses off each March for our enjoyment.<br />
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But... all good things must come to an end. Or at least a pause. As announced recently on the <a href="http://couchbycouchwest.com/state-of-couch-by-couchwest-address/" target="_blank">CXCW website</a>, it just ain't happenin' this year. The couch has been taken to the curb.<br />
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But...the absence of a formal CXCW in 2016 doesn't mean the discovery of great new music and bands end. I along with others believe it's the right thing to do to keep the spirit of CXCW alive in whatever meager ways we can.<br />
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I'll plan to feature videos sent to me or that I find along the way that would have been in the wheelhouse of CXCW had it continued. I'll do so through blog posts and tweets. Others are encouraged to do the same. Use Facebook, Tumblr, Snapchat, etc.? If so - leverage it. Those aren't my things, but I'd certainly recommend others use them to help spread the word for deserving music.<br />
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So how about getting things started with a couple of back in the day John Prine videos that would have fit perfectly with Couch By Couchwest ... had it existed in 1983.<br />
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TMCtoomuchcountryhttp://www.blogger.com/profile/09359556284713305865noreply@blogger.com0tag:blogger.com,1999:blog-7215850160741064287.post-61623799977660881332016-01-17T19:43:00.000-06:002016-01-17T22:36:12.962-06:00TMC cassette memories - post 3More from my cassette cases buried deep in a far away closet...<br />
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<b><i>The Pontiac Brothers: Doll Hut and Johnson:</i></b> I found The Pontiac Brothers around the same time as EIEIO (see <a href="http://toomuchcountry.blogspot.com/2016/01/tmc-cassette-memories-post-2.html" target="_blank">TMC cassette memories - post 2</a>). Frontier Records released both of EIEIO's albums and The Pontiac Brothers' <i>Johnson</i>. As jangly as EIEIO was, The Pontiac Brothers was just raw and raucous ... and I loved it. I later picked up <i>Doll Hut</i> which was released prior to <i>Johnson</i>.<br />
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<i>Johnson </i>was upgraded via a CD purchase. I also bought <i>Doll Hut</i> on CD though it was packaged on a re-release with another album, <i>Fiesta En La Biblioteca</i>. After the band dissolved, frontman and guitarist Ward Dotson formed <i>The Liquor Giants</i> - another short-lived but fantastic band.<br />
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<b><i>Across The Yard - Self-Titled.</i></b> I have zero recollection of this EP or of the last time I listened to it. Sound familiar to you? If so, please leave a comment. Maybe a memory will be stirred.<br />
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<b><i>Randy Travis - Storms of Life:</i></b> I grew up in a house of classic country music though I quickly found my way to the rock-n-roll scene in my pre-teen and teenage years. Plus, in my opinion, country music in the 70s blew. The pop sounds of folks like Barbara Mandrell, Ronnie Milsap, Lee Greenwood, Anne Murray, Eddie Rabbit, etc. did nothing for me. My dorm mates and I rocked outlaw country such as Bocephus, Merle, Waylon, etc. Otherwise, I stayed mainly with my hard rock stuff.<br />
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Then one of my friends rolled into our apartment parking lot bumping Randy Travis' <i>On The Other Hand</i> from his Camaro Z-28. We were stunned by the sound, and I had to add it to my own collection. The album wasn't enough to convert me 100% to country, but it certainly led me to an eventual return to many of the country recordings of my parents.<br />
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<b><i>The Coolies - Dig..?:</i></b> I'm pretty sure I learned of The Coolies through db Records. db had so many great bands on their roster, and I'm guessing I was willing to take a flyer on just about whatever they had. <i>Dig...?</i> included punk'ish versions of several iconic Simon & Garfunkel songs. </div>
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<b><i>The Call - Reconciled:</i></b> I knew little then (or now) about this band. Their album didn't hit my radar when it was released. During a couple of years of post-college, early professional life, however, Friday nights were frequently spent drinking pitchers of beer and chair dancing in a Chattanooga cover-band bar called Yesterday's.<br />
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A crowd favorite was a band named Sheba's Breakdown. The band later replaced its lead singer and renamed itself The Hammerheads. The second version of the band did an incredible cover of The Call's <i>Everywhere I Go</i>, and that is what led me to get the cassette (and later the CD).<br />
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<b><i>The Vulgar Boatmen - You And Your Sister:</i></b> As a college student at the University of Florida, Walter Salas-Humara was in a band called The Vulgar Boatmen (web | <a href="https://twitter.com/vulgarboatmen" target="_blank">Twitter</a>). He left the band and formed <a href="http://www.thesilos.net/" target="_blank">The Silos</a> with Bob Rupe and others. The Boatmen continued with Robert Ray and Dale Lawrence as the two primary collaborators. After buying The Silos' self-titled RCA release and their previous album, <i>Cuba</i>, I started digging deeper to learn more info. Using the address for the Record Collect label I found on <i>Cuba</i>, I wrote a letter asking what else they had. I got a personal letter from Walter (which I truly wish I'd kept) and a list of what he had for sale. (I didn't realize at the time Salas-Humara owned the label.) Soon after getting Walter's letter, I sent him a check along with an order for a solo CD of his, <i>Radaris</i>, and the Boatmen's <i>You and Your Sister</i> cassette.<br />
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A few years later, I was more than happy to upgrade my oft-played tape with a CD. My inventory was enriched with the addition of the the Boatmen's second release, <i>Please Panic</i>.<br />
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<b><i>Guadalcanal Diary - 2x4:</i></b> This is one of many bands to which my college roommate introduced me. Though we didn't see eye to eye on all of his faves, I'll remain grateful for his introducing me to bands such as R.E.M., The Connells, Jason & The Scorchers, Berlin, and others. But I digress...<br />
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As powerful as Guadalcanal Diary's music was, their live performances were off the hook. I saw them live three times on their Flip-Flop tour. The tour opened and closed in Nashville. Treat Her Right opened for them at the first show, and Government Cheese opened for them as the toured ended at Nashville's Cannery Ballroom. In the middle, I happened to catch them in Madison, Wisconsin while in town for a work trip.<br />
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toomuchcountryhttp://www.blogger.com/profile/09359556284713305865noreply@blogger.com0tag:blogger.com,1999:blog-7215850160741064287.post-19063225099533941242016-01-10T13:43:00.000-06:002016-01-10T13:43:09.257-06:00TMC cassette memories - post 2Before MP3s and other "soft" digital formats, we had compact discs. Though loathed by many, CDs have been the premium format that most closely matched vinyl in sound quality and the durability and portability of other formats, namely tapes.<br />
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I still have fond memories of listening to the few 8-tracks that I had - even though they were a rotten format. But I was front and center with cassettes. CDs have always had advantages over cassettes. But as compact as a CD is, they've never been as compact as a cassette that be easily slipped into a shirt or jeans pocket.<br />
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With tapes, man oh man the options of recording and sharing were fantastic. I was mainly a TDK SA-90 guy though I often bought and used my share of Maxwell XLII blanks as well.<br />
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But I bought my share of pre-recorded tapes too. Here are a few more that brought back memories.<br />
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<b><i>Night Ranger - Dawn Patrol:</i></b> I remember seeing Night Ranger's video for <i>Don't Tell Me You Love Me</i> on MTV. I bought their cassette at the Record Bar store in Nashville's Hickory Hollow Mall. Then I got to see them in 1983 as the opener for KISS on the Creatures Of The Night tour.<br />
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<b><i>Triumph - Just A Game:</i></b> I became a Rush fan in high school, and I continue to listen to the band to this day. Another Canadian power trio that hit my radar shortly thereafter was Triumph. I was fired up when I learned they scheduled a tour date in Nashville. I bought a pair of tickets at the counter in the long-gone Castner Knott retail store in the still-struggling Donelson Plaza. Sadly, the show was canceled because of "unforeseen circumstances". I knew even then it was code for low ticket sales.<br />
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<b><i>The Royal Court of China - Self-titled:</i></b> Midway through my college years, one of my roommates began to clue me in to much more of Nashville's rock music. One band he'd heard <i>of</i> but not actually heard was The Royal Court of China. I remember buying this cassette as a complete flyer at Tower Records in Nashville. Incredible sound. I later replaced it with the CD, and it's a disc I still listen to some 30 years later. Joe Blanton fronted the band. Today, he partners occasionally with Warner Hodges (Jason & The Scorchers) and Dan Baird (Georgia Satellites) to perform as The Bluefields.<br />
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<b><i>American Music Club - California:</i></b> I'm pretty sure Tower Records' Pulse magazine led me to this one as well. No samples, no radio play. Just a biased pitch in a record store-owned magazine. But I'm so glad I bought it (and replaced it with a regularly played CD). The album is chockful of great songs - all of which have stood the test of time in my opinion. Many are dark and haunting but yet so captivating. Faves to this day include <i>Firefly</i>, <i>Now I'm Defeated</i>, <i>Blue & Grey Shirt</i>, and <i>Western Sky</i>. This cassette led me to buy many future <a href="http://www.americanmusicclub.com/" target="_blank">AMC releases and Mark Eitzel solo albums</a> - all on CD. The <a href="https://youtu.be/z7bN7ZYMHek?t=1s" target="_blank">full California album</a> is on YouTube. If you've never heard it, take the time to do so. Highly recommended.<br />
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<b><i>EIEIO - Land of Opportunity and That Love Thang:</i></b> As contemplative as AMC could be, EIEIO was just the opposite. This band's music was just flat fun listening. <br />
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Though I <i>don't</i> remember how I learned of the band (probably Pulse or Rolling Stone), I <i>do</i> remember the name of the song from <i>That Love Thang</i> that hooked me: <i>Andy Warhol's Dead But I'm Not</i>. While a great song with a catchy title, I'm not sure it's even the best one on the album.<br />
<i>Hey Cecille</i>, the lead track on <i>That Love Thang</i>, throat punches you from the jump. It sets the listener up for song after song with driving beats, nasal vocals, a horn section, solid harmonies, jangly guitars, etc.<br />
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After buying Love Thang, I backtracked to get the band's solid debut, <i>Land Of Opportunity</i>... and later bought CDs to replace them both. EIEIO was a truly underrated band that lasted just the two releases - or so I thought. I learned recently the band reunited for a third, self-titled album released in 2007 - almost 15 years after Love Thang.<br />
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<a href="https://twitter.com/ROCKHOFFMANNOFF" target="_blank">Mike Hoffman</a> from the band later joined with others to form <a href="http://toomuchcountry.blogspot.com/search/label/semi-twang" target="_blank">Semi-Twang</a>, another fave of mine from near the same era.<br />
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<b><i>Wild Seeds - Brave, Clean + Reverent:</i></b> I bought the Wild Seeds second and final album, <i>Mud, Lies and Shame</i>, on CD at Turtle Records. After playing it constantly in the late 1980s, I picked up the <i>Brave, Clean + Reverent</i> debut on cassette after I couldn't find it on CD. Though I prefer MLS over BCR, I did upgrade my cassette with a digital download a few years ago.<br />
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After parting ways around 1990, frontman Michael Hall released a series of solo albums - most of which I have as well as an underrated album with alt-country legends Alejandro Escovedo and Walter Salas-Humara of The Silos under the band name The Setters. Hall has also been a long-time writer and senior editor for <a href="http://www.texasmonthly.com/author/michael-hall/" target="_blank">Texas Monthly</a> magazine and is on Twitter at <a href="https://twitter.com/mikehalltexas" target="_blank">@mikehalltexas</a>.<br />
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To be continued...<br />
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TMCtoomuchcountryhttp://www.blogger.com/profile/09359556284713305865noreply@blogger.com0tag:blogger.com,1999:blog-7215850160741064287.post-77430116457670126162016-01-07T12:43:00.000-06:002016-01-07T19:36:14.181-06:00Sharing A Six Pack With Nick Dittmeier And The SawdustersAbout a a year and a half ago, Louisville-based songwriter Nick Dittmeier (<a href="http://nickdittmeier.com/" target="_blank">web</a> | <a href="http://twitter.com/nickdittmeier" target="_blank">Twitter</a>) hit my radar with his EP, <i><a href="http://toomuchcountry.blogspot.com/2014/06/nick-dittmeier-light-of-day.html" target="_blank">Light of Day</a></i>. He and his now-named band, The Sawdusters, are back with a full-length album to be released on January 15, 2016: Midwest Heart Southern Blues. And from what I can tell, there is no "and" or comma between the two phrases. So remember that as you rave about this 'un going forward.<br />
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Tee the thing up and hold on for a fast country-influenced but rockin' ride. Dittmeier and company don't give you much time to catch your breath as the album starts with a quick-paced opening pair of <i>My True Love</i>...<br />
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... and <i>Centralia</i>.<br />
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I had the opportunity recently to share a six pack (of questions) with Dittmeier and Sawdusters' guitarist Zane Hilton.<br />
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TMC: The band has played a bunch of gigs over the last year and a half or so since the EP was released. What kinds of big lessons did y'all learn about songwriting for the full album after playing in support of it? Or maybe just lessons about road life in general? Ha.<br />
<blockquote class="tr_bq">
ND: It just allowed us a lot of time to be together and have opportunities to work on new music, have it in the front of our mind so much, maybe talk about it too. Through touring, outside of having opportunities to work things into the sets, we did things like video blogs that served as pre-production opportunities too. Lessons about the road - pack more socks than you think you're gonna need.</blockquote>
<blockquote class="tr_bq">
ZH: I think one big thing we learned was how to connect to each other personally on the road. You spend days on end with these guys and learn how to adapt to everyone's distinct personalities. You don't want to piss anyone off or go crazy yourself having very little privacy, so you learn how to act as a team. And I think that's a direct reflection of the construction for the record. We all have our own individualistic styles of playing. We each put our own individual pieces in to create this sound, our sound, and not step on each others toes. In the end you have this cohesive raw sound. </blockquote>
TMC: How would you describe your approach to songwriting? Are you one to carry around random couplets, hooks and refrains for a while? Or perhaps prefer dedicated songwriting sessions?<br />
<blockquote class="tr_bq">
ND: I'm always writing songs and trying to develop new ideas. It's always best to stay a few steps ahead of what you're going to be doing next. When I feel I have a solid outline of a song, then the whole band will start working on it. I write constantly when things come to me so I always have a few things going.</blockquote>
TMC: Were the songs for Midwest Blues Southern Blues written specifically for the album? Or did you have some of them on the shelf for a while as you looked for the right time to put them on an album?<br />
<blockquote class="tr_bq">
ND: No, we knew we were going to have to put a full-length out so we just introduced new songs piece by piece. I just kept introducing what I felt was my best material to the band. There were songs I liked but didn't make the cut. One song in particular <i>Rhythm of the Train</i> was a complete rewrite as far as the melody went. The original was a New Orleans, second-line type song, but we just didn't feel like it meshed. </blockquote>
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TMC: One thing that caught my ear going back to the EP and continuing with the new release is the guitar work by you and Zane. Kind of a "deliberate picking" style that reminds me a bit of old school country and Southern rock feel - but with a contemporary quick pace. Tell me a bit about pickers or bands that have influenced y'all and what kind of experimenting you've done with string gauges and picks to nail your sound.<br />
<blockquote class="tr_bq">
ND: Guitar players that influenced me would be Pete Anderson on all the Dwight Yoakam albums up until the early 2000s, Lowell George of Little Feat, and Willie Nelson. Just the way Willie adds a lot of chromatic notes and plays behind the beat. Also Vince Gill and Eric Clapton. As far as equipment goes, I keep the most basic set-up you can have - an American Telecaster and a Fender DeVille tube amp. After we got off stage in Cincinnati one time, a guy asked what kind of pedals I use and I just said "a tuner". </blockquote>
<blockquote class="tr_bq">
ZH: For me, Don Rich and Waylon Jennings. Sturgill Simpson on those early Sunday Valley records were monstrous. Nick and I really dug the Turnpike Troubadours also. The fiddle and guitar both play lead, but they do a fantastic job of playing off each other. For us, it just goes back to playing together so much and being individuals working as a team to build a cohesive song. Basic Stuff - Fender Teles through Fender tube amps. Gold. </blockquote>
<i>Pills, Jesus And War </i>(TMC fave track)<br />
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TMC: Among my faves from the album is <i>Stabbed To Death in Ohio</i>. But where in the hell did THAT title and song come from?<br />
<blockquote class="tr_bq">
ND: I wrote that song two winters ago back when we had a really cold one. We just dealt with a lot of snow and ice. I had a gig to play about an hour north in Central Indiana, and I knew it was going to snow pretty much about the time I would be finishing and driving back. I kinda fibbed to her and said that it's just supposed to rain because I needed money. So the song is really about lying to the wife to go play a gig and then getting killed. The word "Indiana" just had one too many syllables in it so I changed it to Ohio.</blockquote>
TMC: (I'm about to render a generalization that's likely way off base but here goes anyway.) With technology, it's about as easy as ever to lay down demos, record songs, design artwork, etc. But doing the promotion, booking gigs, getting the attention of those who can make a difference, riding the road, etc. is as tough as ever. The challenge has to be even greater for a band than one individual looking to eke out an living as an artist. How have y'all managed to keep moving forward with your art and still keep food on the table, gas in the tank, and booze in your belly?<br />
<blockquote class="tr_bq">
ND: We've just tried to keep an open mind about everything and keep our nose to the grindstone. Things we've done well and places we've done well in we've tried to build on that, and places we haven't we've tried to learn about what we can do to improve things.</blockquote>
<blockquote class="tr_bq">
ZH: The music business is wild. There's no set guideline saying "This is how you do it". It's all about hard work, trial and error. Putting in the countless man hours and believing in your product as a band. We are all making personal sacrifices to make the wheels turn...beer bellies included. But at the end of the day, it's all about doing what you love. </blockquote>
Dittmeier's album is solid from top to bottom. It includes plenty of twang, railroad brushes on the snare, the aforementioned fancy guitar picking, and more. In addition to the songs referenced here, other winners include <i>Ever Since You Left Town</i> and <i>The Poet, The Priest & Me</i> (a true guitar showcase for Hilton).<br />
<br />
I appreciate Nick and Zane sharing a six pack of Q&A, and I look forward to sharing a sixer of another variety at their record release show at <a href="http://thebasementnashville.com/calendar/?event_id=6432105" target="_blank">Nashville's The Basement on January 15th</a>.<br />
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TMCtoomuchcountryhttp://www.blogger.com/profile/09359556284713305865noreply@blogger.com0tag:blogger.com,1999:blog-7215850160741064287.post-74888425235788587052016-01-03T13:43:00.000-06:002016-01-03T19:46:59.230-06:00TMC cassette memories - post 1January. The first month of a new year. Time for New Year's Resolutions - that last about an hour. Time to perhaps revisit things of importance. But why go outside if it's cold, rainy, dreary, etc.? Instead, I recently buried myself in a spare-room closet going through my collection of cassettes.<br />
<br />
One of my life's regrets is that I tossed my 8-track collection back in 1996. I should have kept them - or at least just one of them. Perhaps KISS <i>Alive 2</i> ... or AC/DC <i>For Those About To Rock</i> ... or Rush<i> Permanent Waves. </i>Instead, I chunked them all.<br />
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Despite their being obsolete as well, however, I have not tossed any of my cassette tapes. The better releases were replaced with CDs or downloads. Others that earned an <i>ehhh</i> rating at the time have been left behind. And still others had all but been forgotten until I went back through my cases.<br />
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I'll share a few in the weeks to come with what memories I can recall about them.<br />
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<b><i>Velvet Elvis - Self-Titled</i>: </b>A band with the band name Velvet Elvis just <i>had </i>to snag a few impulse buyers. Right? Well, they snagged at least one. Before the wholesale changeover to CDs, Turtle Records on Lee Highway in Chattanooga, Tennessee stocked a buttload of cassettes. Many a Saturday afternoon was spent just flipping through the "Various" of each letter of the alphabet. I later did the same with new CDs at Turtles and Tower Records and with used music at Nashville's Great Escape and Grimey's.<br />
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I recall laughing a bit when I spotted Velvet Elvis - though there was something captivating about the cover art. My "well hell, why not?" decision to purchase was rewarded. I'd compare the band's music in that era to something like Mitch Easter's Let's Active. I liked the release enough that I upgraded it later with a CD.<br />
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<b><i>Hunters & Collectors - Living Daylight:</i></b> I don't recall how I learned about Australia's H&C. The first CD I bought of theirs was the IRS Records release, <i>Fate</i>. After digging it, I sought out their previous album, <i>Human Frailty</i>. <i>Living Daylight</i> was an EP released between the two, and I could only find it on cassette.<br />
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<b><i>Van Halen - 5150 and OU812:</i></b> These are two cassettes I regret buying. They were the last two albums I bought of a band that rocked so hard when it first hit the scene in 1978. I should have known better after the mixed bag that was <i>1984</i> - yet I bought these two anyway. They were parked soon after I got them, and I haven't missed whatever was on either of them.</div>
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<b><i>Marques Bovre and the Evil Twins - Medicine:</i></b> I have zero recall of this band though I would have thought it many have been an impulse purchase at a merch table after seeing them in Chattanooga. But after a quick Google search, I learned Bovre was from Madison, Wisconsin. I worked in Madison in the early 90s, but I still have zero recall of how this one hit my radar.<br />
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<b><i>Radio Berlin - It Takes A Pretty Smile To Sell A Song:</i></b> I don't remember much about the band except they toured regularly through Chattanooga in the late 1980s-early 1990s. After seeing them two or three times, I bought their tape. I don't recall Turtle's stocking music of local or unsigned bands. But I'm also struggling to recall other record stores we had at the time - Cat's perhaps? <br />
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<b><i>Hank Williams Jr. - hodge podge:</i></b> My new college friends and I had quite the rowdy time my freshman and sophomore years in the dorm. When I hit campus at age 18, I knew of Hank Jr. but wasn't familiar with specific songs. By October 1 of my freshman year, however, I had the majority of his post-Ajax Mountain-fall songs memorized. While we also mixed in plenty of Haggard, Waylon, David Allan Coe, Cash and <i>even Merle Kilgore</i>, our go-to music when classes ended Friday was Bocephus.</div>
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To be continued...<br />
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TMC</div>
toomuchcountryhttp://www.blogger.com/profile/09359556284713305865noreply@blogger.com0tag:blogger.com,1999:blog-7215850160741064287.post-16251841446520909102015-11-24T20:43:00.000-06:002015-11-24T21:01:16.266-06:002015 ThanksgivingAbout a year ago, I was in south Florida bouncing between Homestead and Key Largo over a long weekend with a few buddies. I can't believe with a blink and a snap another year has passed. The 365+ days from then until now have rewarded me with several good times as well as a healthy dose of challenging moments. Taken as a whole, however, I continue to look up and forward as I recall a few of the many things for which I'm grateful.<br />
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<b><u>Barns.</u></b><br />
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I <i>grew up </i>as a city kid though I was <i>born </i>in the country, the home of my folks. Growing up in the burbs, it was always fun riding in the back seat and counting silos and barns on the way to Granny's house. (Near riots broke out as my sister, brother and I fought over who spied a certain silo first.)<br />
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My Great Uncle lived near his sister, and we often made the walk through the pasture from Granny's to his barn to pull a few hay bales. The place felt so cavernous regardless of how many trips we made to it. It's been decades since I've stepped foot in that barn yet it still stands. I have a few vivid mental images of it but no photos. The only pic I have is a screen cap from Google Maps.<br />
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Over the years, I've almost come to believe that all barns are built in a dilapidated condition. I'm not sure I've actually seen a brand spanking new barn - and frequently doubt they ever existed.<br />
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From the mid 1990s through the early 2000s, I lived about 45 minutes northeast of Nashville and traveled Long Hollow Pike on my way to work. Each morning, I'd spot the same 2 or 3 barns as part of my commute<br />
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<ul>
<li>Some mornings, the sun glinted off their rusty red metal roofs. </li>
<li>Other days, the gray of the aged wood blended seamlessly with the rain that made my commute a living hell as I approached Nashville's city limits. </li>
<li>Yet other days, the base of the barns floated on a cloud of fog.</li>
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Regardless of the weather, the sight of the barns from my peripheral vision was tranquil. They gave me a daily, split-second moment to reflect on my childhood before traffic snapped me back to the realities of today. Occasionally, I'd work through a never-begun plan in my mind to craft a coffee table book: <i>The Barns of Long Hollow</i>.<br />
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As a parent, my son grew up in a barn so to speak. Though I've continued to live in the safe confines of a planned subdivision, my son and I experienced several life forming moments in a 150+ year-old, barn as the meeting place for his Boy Scouts troop.<br />
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Over the past year, many of these memories have been rekindled through the photography of Chad Cochran (<a href="http://chadcochranphotography.com/" target="_blank">web</a> | <a href="https://twitter.com/cowtownchad" target="_blank">Twitter</a>). He regularly tweets photos of barns from across the state of Ohio and elsewhere. Though they aren't pics of <i>my barns</i>, I smile with a connected memory each time I see one of his works of art.<br />
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<b><u>Patience.</u></b><br />
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<i>♫ All we need is just a little patience ♫</i><br />
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So goes the line following soon after the whistling in the Guns N Roses song. Whatever. With his rep, it was always clear to me that Axl Rose's singing of the lyric had little in common what he could actually offer. But hey, I'm right there with Axl. Patience is not one of my inherent traits - never has been. I <i>have</i>, however, worked on developing it over the years. <b><i>A lot.</i></b> Over the past year, I've needed to draw frequently on the limited patience I've got. Surprisingly, I've generally been able to rally an abundant supply when needed. It's genuinely been a relief when those moments happen.<br />
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<b><u>Otis Gibbs.</u></b><br />
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I've listened to the music of Otis Gibbs some. I've met Otis Gibbs once. And I've listened to Otis Gibbs' podcasts <i>frequently</i>.<br />
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Otis (<a href="http://otisgibbs.com/" target="_blank">web</a> | <a href="https://twitter.com/otisgibbs" target="_blank">Twitter</a>), an Indiana transplant to East Nashville, is a talented musician and songwriter. He is also passionate about the <i>history </i>of music. It's too convenient to say he is mainly interested in the history of country music - though he is. His regular podcast <i>Thanks For Giving A Damn</i> touches on a wide variety of music history - traditional country, Dylan, Americana, the East Nashville songwriting scene, Nashville's rock history, Texas outlaws, etc.<br />
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Otis' format is about as simple but effective as you can get. He sits down with a guest, sets up a mic, presses record, and lets the stories unfold. No polish, no filters. Just an enjoyable trip through history. I've learned more than one piece of trivia during my listening of <i>every single podcast</i>.<br />
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I simply can't recommend his podcast (or his music) enough. You can get it through his website, iTunes or Soundcloud.</div>
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<b><u>Friends.</u></b><br />
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I'm not sure if it's a man vs. woman thing, an introvert vs. extrovert thing, an age-based thing , or something else. But my approach over the years has been to have a lot of friendships. Many, yes. Shallow, yes. Many are fleeting as they ebb and flow. Some continue for a few years. Few have been life long. Generally speaking, if we can share a beer together, it's highly probable we can become friends.</div>
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Of late, however, I've re-thought that model. I've developed a deeper relationship with a handful of buds - and you know who you are. You've been there when needed. I remain grateful for those genuine friendships. As for everyone else, I'll still share that beer and a laugh with you. But I'm pretty sure it's your turn to buy.</div>
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<b><u>Nashville.</u></b><br />
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Growing up, Donelson was my world. Donelson was and remains an unincorporated 'burb of Nashville. The boundaries stretch roughly from the Percy Priest Lake dam to the airport to Briley Parkway/I-40 to what is now known as the "Opryland complex" to the Stones River bridge on Lebanon Rd. Nashville was the <i>big city</i>.<br />
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For ages, I thought Nashville should be in the same convo as the big <i>playahs</i> of the US. I seethed when folks didn't know where it was. "Tennessee? Oh yeah! Isn't that where Memphis is? Where Elvis lived?"<br />
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As the years have flown by, I grew to accept Nashville for what it is - or for what I <i>thought </i>it was. Instead, folks now tell me how much they dig my hometown.<br />
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<ul>
<li>We vacationed there!</li>
<li>I'm taking a job there!</li>
<li>We're touring there!</li>
</ul>
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Nashville now seems far <i>larger</i> than I think of it. I suppose traffic is the first indicator of that reality. The cool thing for me, however, is that I still find it home and as comfortable as a pair of well-worn shoes. I make my living there. I occasionally drive into town to take advantage of an incredibly vibrant music scene. And I can still easily find my way to see my folks in Donelson.<br />
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Despite the explosive growth, I often take the long way around to visit them. I enjoy cranking some music, lowering the windows, and taking a tour from the dam to the airport to McGavock Pike to the Hermitage breakpoint and back to my folks' house for a cup of coffee and sump'n sump'n homemade sweet made by my mother.<br />
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May each of you reading this enjoy your Thanksgiving - with your immediate and/or extended family. And regardless of how you roll, please pause - even for just a moment - and consciously reflect on a few things for which you are genuinely thankful.<br />
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If you've read any of my posts this year (here or my racing-related ones at my other blog) or follow me on Twitter, I can only say in the words of Otis Gibbs, thanks for giving a damn.<br />
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TMC</div>
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toomuchcountryhttp://www.blogger.com/profile/09359556284713305865noreply@blogger.com0tag:blogger.com,1999:blog-7215850160741064287.post-28748630586312168482015-10-29T07:11:00.000-05:002015-10-29T09:02:37.223-05:00Rod Picott - FortuneFour or five years ago, I went to Nashville's 3rd and Lindsley to hear DADDY, the collaboration between Will Kimbrough and Tommy Womack. I didn't know if an opener was also scheduled but arrived in plenty of time just in case. I didn't catch the singer's name as it was announced, and none of the songs were familiar to me - though I dug what he was playing.<br />
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He then caught my ear with his performance of a song I <i>did </i>recognize: Slaid Cleaves' <i>Broke Down</i>. Following his set, I had a couple of moments to chat with him as DADDY was setting up.<br />
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I introduced myself to the songwriter I then learned was Rod Picott (<a href="http://rodpicott.com/" target="_blank">web</a> | <a href="https://twitter.com/RodPicott" target="_blank">Twitter</a>) and complimented him on his cover of Slaid's song. He politely but directly replied <i>he </i>had written the song and was good friends with Slaid. DOH! A bit of an awkward opening. I pleaded my ignorance, and we concluded all was good. Another "all good" thing I learned over time was a bit more of Picott's music.<br />
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Rod has released about a half-dozen albums over the past 15 years. Most of his songs have been about telling stories, making observations, reflecting on the lives of others, etc.<br />
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Hard to believe, but 2015 has now edged solidly into fall with winter at the end of the driveway. Darkness arrives a bit earlier and stays later, and daylight is often experienced as <i>gray light</i>. That seasonal change seems to reflect the mood of Picott's recent new release, <i>Fortune</i>.<br />
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Rather than another album's worth of songs about others, <i>Fortune </i>reflects much more of an introspective look by the songwriter. About half the album's twelve songs were recorded in one day, and the remaining ones were wrapped-up over the following two weeks.<br />
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Picott recorded his songs in an open room along with guitarist Will Kimbrough, bassist Lex Price, and drummer Neilson Hubbard (who also produced the album). The purpose for the recording location and the expediency of tracking the songs was to provide an album somewhat akin to what one gets from a live Rod Picott show.<br />
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You aren't getting party music with <i>Fortune</i>. The songs likely will not lead you to sing them in the shower or practice your steering wheel drumming skills. But from start to finish, the album commands deliberate, intentional listening and repeated plays. A few highlights from the album include...<br />
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<i>Elbow Grease</i>, the album's second track. Picott includes themes about his life - that introspective look he wanted to capture on the album - with references to his father, his struggles as a songwriter, the tenacity to stay in The Business, and the luck needed to make all of the pieces come together.<br />
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<i>Lord, help me find where I belong</i></div>
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<i>I broke my back trying to find that song</i></div>
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<i>Threw a straight right just to keep some pride</i></div>
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<i>I gave the middle finger to the hurt inside</i></div>
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We all have that nutjob relative within our family tree. Or maybe not a crazy one but one that's a <i>bit off</i> or dysfunctional when it comes to relationships (mine is named <i>Luther</i> or maybe it's ME). <i>Uncle John</i> may well be one of Picott's uncles. Perhaps he is a composite of folks distilled into one individual for the benefit of a song. Either way, life seems to be all about family relationships - some strong, frayed, elastic, dysfunctional, transparent, sequestered, etc.<br />
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Though many of the album's songs may be considered contemplative or even somber lyrically, <i>Uncle John</i> brings out a good laugh - as do many of Rod's stories during his live performances.<br />
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<i>Drinks beer from a can 'cause bottles break</i></div>
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<i>Nine fingers and one mistake</i></div>
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<i>Plaid shirt, Carhartt pants</i></div>
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<i>He ain't never been to a singles' dance</i></div>
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<i>Jeremiah </i>is sung from the perspective of the wife or girlfriend of a soldier who never made it home. The band sits this one out. It's simply Picott, his guitar, and his haunting narrative.<br />
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<i>They say you died out in the desert</i></div>
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<i>With a name I can't pronounce</i></div>
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<i>I can't remember if I said I Love You</i></div>
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<i>That don't matter now</i></div>
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<i><br /></i></div>
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<i>Sisters cry and dads can't speak</i></div>
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<i>Girls like me sleep alone</i></div>
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<i>A mother's work is never done</i></div>
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<i>Soldiers don't come home</i></div>
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Fortune can be purchased at Picott's website or others including iTunes and Amazon. Also, Picott is a touring machine. Those out west may be able to catch one of his shows in November. In December, he piles into a van with <i>Decembersongs</i>, a loose knit East Nashville foursome of Amy Speace, Doug and Telisha Williams from Wild Ponies, and Picott. The four of them tell stories, play several non-Christmas songs, and then share a few holiday favorites. It's a show not to be missed if you have the good Fortune of them visiting your town.</div>
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TMCtoomuchcountryhttp://www.blogger.com/profile/09359556284713305865noreply@blogger.com0tag:blogger.com,1999:blog-7215850160741064287.post-45476534982551585372015-10-22T16:30:00.000-05:002015-10-22T21:57:52.349-05:00Magnolia Collective - An Old Darkness FallsMagCo isn't a turbo engine, a flashlight or a venture capitalist-launched company. MagCo is short for Magnolia Collective (<a href="http://www.magnoliacollective.com/" target="_blank">web</a> | <a href="http://twitter.com/magnolia_co" target="_blank">Twitter</a>). The Carrboro / Chapel Hill, North Carolina band has been a perennial performer at <a href="http://couchbycouchwest.com/" target="_blank">Couch By Couchwest</a> each March.<br />
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The band wrote several songs over the past few years, tweaked them a bit here and there, played many a gig, and made efforts to raise a bit of bank. The culmination of those efforts has been distilled in the band's first full-length album, <i>An Old Darkness Falls</i>, to be released on October 24th.<br />
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Musically, <i>Old Darkness </i>experiments with varied Americana elements on its 10 songs such as captivating but not overused steel and slide, alternating electric and acoustic guitar emphasis, full-on drums on songs such as <i>Gran Torino</i> and <i>Sweetness</i>, and <i> </i>to greater use of toms with mallets but little snare with brushes on <i>Coldest Winter.</i><br />
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Lyrically, the album's title is no play on words. Like thematic darkness? Well, you'll get it with this release. The dark themes, however, match exceptionally well with the musical varieties offered.<br />
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The album's opener, <i>The Devil Is Real</i>, is hypnotically enchanting. The underlying meter of the song reminds me a bit of Todd Snider's <i>This Land Is Our Land </i>going back to his <i>Daily Planet</i> debut. But <i>Devil </i>has complex musical layers, distant vocals, and alluring harmonies - all attributes that cause me to pause and acknowledge that <i><b>yes, </b></i>the devil is real. <br />
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<i>Outside, tonight</i></div>
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<i>Your street lights / </i><i>Are foaming at the mouth</i></div>
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<i>There's an old darkness falling / On your new south</i></div>
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The second track, <a href="http://couchbycouchwest.com/magnolia-collective-coldest-winter/" target="_blank"><i>Coldest Winter</i></a>, was the band's submission to Couch By in 2014. The buzzkilling but captivating lyrics speak of a dark and haunting story kept secret over two decades. Listening to it intently, feelings of grief ... of pain ... of regret ... of hurt ... of fear ... of despair ... and perhaps shame are present. A favor is requested of another with an accompanying promise that nothing more will be asked or spoken about the request - ever.<br />
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<i>...you looked me in the eyes and said</i></div>
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<i>"Do me this one favor, one favor please"</i></div>
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<i>Pulled out a wooden box and said</i></div>
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<i>"Bury this for me..."</i></div>
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<i><br /></i></div>
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<i>Then "what's in the box?" I said</i></div>
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<i>You shuddered shyly as a newborn a</i><i>s you turned from me</i></div>
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<i>And you said "No matter what happens next</i></div>
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<i>Whether it be rapture or a shipwreck</i></div>
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<i>Promise me you'll never open what I give to thee"</i></div>
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<a href="http://couchbycouchwest.com/magnolia-collective-doldrums/" target="_blank"><i>Doldrums</i></a> was submitted to Couch By back in 2013. To be honest, I didn't get it then - but admittedly I didn't spend a lot of time overthinking this one. I just listened to it and became consumed with absorbing the visual of all their props. Wait, those <i>are </i>props, right?<br />
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MagCo submitted <a href="http://couchbycouchwest.com/magnolia-collective-girl-from-guadalajara/" target="_blank"><i>Girl From Guadalajara</i></a> to CXCW over 3-1/2 years ago in 2012. The song is a fun listen. To this day, I really want to enjoy ceviche and a cerveza ... and a nap ... on that couch.<br />
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<i>California</i> and <i>Julianne </i>represent a notable change musically from many of the other songs on the album. Both are closer in style to <i>Doldrums</i> than they are to the two opening and closing songs. With a solid backbeat, steel, and some jangle and twang, the two tracks hold true to what many think of as an Americana sound.<br />
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<i>Because you</i></div>
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<i>Ya say you're going to California</i></div>
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<i>And you're gonna be a star</i></div>
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<i>And you'll find everything that you have ever wanted</i></div>
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<i>Oh just don't you forget who you are</i></div>
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<i>Now bury your secrets in the backyard</i></div>
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<i>Right next to your mother's bones</i></div>
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<i>Deep down, dark and lovely</i></div>
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<i>Where nobody else will know</i></div>
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Mimi McLaughlin's prominent harmonies on the album's seventh song, <i>Sweetness</i> (as well as on several of the other tracks) are pleasing - yet they add an eerie element. Going back several years, I'm reminded a bit of the harmonies that accompanied Moe Berg on The Pursuit of Happiness songs such as <i>Hard to Laugh</i> or <i>Beautiful White</i>. (If you aren't familiar with TPOH, they were a fantastic, rocking band out of Toronto.)<br />
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Unlike the album's title, <i>Sweetness</i> as a song title is the antithesis of its lyrical contents. And the song is perhaps the most rocking one on the album.<br />
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<i>Like the time I crawled back home at dawn</i></div>
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<i>from your house in the hills in the burning sun</i></div>
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<i>and how the humid air was thick </i></div>
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<i>with the bones and teeth and fingerprints</i></div>
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<i>and I think I need your sweetness</i></div>
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<i>Tie Me To The Mast</i> ranks among my favorite songs of the album along with <i>Devil</i>, <i>Winter</i> and <i>Sweetness</i>. The middle of the album includes the tracks with alt-country leanings. But as the album nears its end, <i>Mast</i> returns the band to a more complex song instrumentally and with a series of tempo and intensity changes. And once again, Mimi's wonderful harmonies complement the song as a contrast to her low-end bass playing.<br />
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<i>Old Darkness </i>closes with the uplifting (tongue firmly in cheek) <i>A Reminder</i>. The song includes a simple request to have someone play them a song to keep their memory sharp and spirits raised as they grow older, go through illness, ponder life, become frail, and face their inevitable end. Despite the challenging subject, the song's lyrics are indeed poignant.<br />
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<i><br /></i></div>
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<i>Now let this be a reminder</i></div>
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<i>For when we're old and slow and filled with cancer</i></div>
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<i>There was a time when moments lasted hours</i></div>
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<i>So don't forget these words that I recorded </i></div>
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<i><br /></i></div>
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<i>And if I get crazy and mean</i></div>
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<i>Turn to me, turn to me</i></div>
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<i>And look me in the eye again</i></div>
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<i>And say the same damn thing</i></div>
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<i>Or sing me this song all the way to the end</i></div>
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<i>Until I remember it</i></div>
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<i>Until I remember it again</i></div>
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Seek ye this fine record this fall.<br />
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TMCtoomuchcountryhttp://www.blogger.com/profile/09359556284713305865noreply@blogger.com0tag:blogger.com,1999:blog-7215850160741064287.post-75974463413797070002015-06-06T10:33:00.000-05:002015-06-06T10:34:52.766-05:00The End MenEarlier this spring, <a href="http://couchbycouchwest.com/" target="_blank">Couch By Couchwest</a> stalwarts The End Men (<a href="http://theendmen.com/" target="_blank">web</a> | <a href="http://twitter.com/TheEndMen" target="_blank">Twitter</a>) released their new album <i>Terms and Conditions.</i><br />
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Historically, the core of The End Men has been the husband-wife duo of Matt Hendershot on guitar and vocals and Liv Ranalli on drums and backing vocals. A year or so ago, saxophonist Matthew Elia joined the band to enrich an already grinding sound.<br />
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The quick and easy summation of the band has been to say "he sounds kinda like Tom Waits". Admittedly, Waits and Hendershot share a gravelly, low-end vocal style - but the comparison needs to end there. Make no mistake about it. The End Men is a full-on rock-and-roll band.<br />
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The new album's opener, <i>Copycat</i>, was written at least two years ago before finding its way to an album. The video for it was featured on CXCW in 2013 as part of their Brooklyn rooftop, eight-song concert. Those unfamiliar with the band get an immediate sense of Ranalli's drumming style. Don't stand within her immediate circle as she is playing - or you'll likely find a pair of ProMark tips upside your head.<br />
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The second track, <i>Beast of NYC</i>, opens with some great, low-end guitar and a full-frontal attack by Liv on her toms and cymbals. On the recorded version, Elia's sax arrives about a minute into the song and complements the bottom end of the song's sound by Hendershot's guitar and vocals.<br />
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<i>Morning Birds</i> - the third song - may be my favorite of the album. The song opens with a quick face featuring all three of the band members. After about 30 seconds, the tempo drops back into a jazzy, NYC speakeasy feel where Elia's thick sax sound is featured before Hendershot's lyrics begin. Then with a minute to go in the six-minute song, Liv grabs the tempo and makes it her own. The song's vibe turns on a dime as they race home the final 60 seconds.<br />
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Need another song that will guarantee you'll crank the volume and open the throttle wherever you're driving - po-po be damned? Grab <i>Caretaker</i>. Think Bon Scott on vocals - but with a deeper octave growl from Matt.<br />
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If you are a comics fan, you may dig <i>East of West</i>. It's a solid song in its own right, and the song was inspired by the <a href="https://imagecomics.com/comics/series/east-of-west" target="_blank">science fiction Western comic</a> by Jonathan Hickman and Nick Dragotta.<br />
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<i>Defining Deviance Down </i>winds down the album with almost a Southern rock'ish groove open. As Elia and Ranalli join, however, the full, greasy sound of the album returns.<br />
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Despite the legalese, <i>Terms & Conditions</i> is a must listen. Get it for an easy 8 bucks at <a href="http://theendmen.bandcamp.com/album/terms-and-conditions" target="_blank">Bandcamp</a>. Face it - you'd spend that much or more on a few bottles of craft beer anyway.<br />
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TMCtoomuchcountryhttp://www.blogger.com/profile/09359556284713305865noreply@blogger.com0tag:blogger.com,1999:blog-7215850160741064287.post-61140243236911388122015-05-09T07:43:00.000-05:002015-05-09T07:43:00.094-05:002015 National Train DayAmtrak created National Train Day in 2008. Celebrated on the Saturday closest to May 10th, the made-up holiday is one I've enjoyed nonetheless - certainly more than others such as Groundhog Day, April Fool's Day and the multitude of National [name a food] Day.<br />
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So here we are - May 9th - for National Train Day 2015. Right?<br />
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: inherit; font-size: x-small;"><i style="background-color: white; color: #333333; line-height: 16.6319999694824px;">Credit: Chad Cochran of <a href="https://www.facebook.com/chadcochranphotography" style="color: #771100; text-decoration: none;" target="_blank">Chad Cochran Photography</a></i> </span></td></tr>
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Not so fast. For 2015, <a href="https://amtraktraindays.com/about/" target="_blank">Amtrak announced</a>:<br />
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After seven years of successful National Train Day events, where train enthusiasts would gather to show their support of the trains and train travel in over 300 communities across the nation on the same day, we decided to make it even bigger and better. <b><u>Amtrak Train Days</u></b> is kicking off at Chicago Union Station on May 9th, and then will hit the rails, traveling to multiple locations across the country May through November.</blockquote>
Bigger and better? Rather than add an "s" to National Train Day, they rebranded the deal as <i>Amtrak Train Days</i>?? In the immortal words of Bugs Bunny...<br />
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As for me, I'll continue to refer to what I believe is the generic yet appropriately-named National Train Day. How about another annual six-pack batch of train songs to help commemorate NTD.<br />
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I first heard <i>Boxcars</i> sung by Joe Ely on his album <i>Live Shots</i>. Later I learned the song was written by Butch Hancock. Ely recorded many other songs written by Hancock and collaborated with him in The Flatlanders.<br />
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<tr><td class="tr-caption" style="text-align: center;"><i><span style="font-family: inherit; font-size: x-small;">TMC's Great-Granddaddy - far left in shirt & tie</span></i></td></tr>
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A lonesome yet rhythmic sound - words often used to describe a train - and perhaps the music of the late, great Townes Van Zandt including <i>BW Railroad Blues</i>.<br />
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<tr><td class="tr-caption" style="text-align: center;"><i style="background-color: white; color: #333333; line-height: 16.6319999694824px;"><span style="font-family: inherit; font-size: x-small;">Credit: Chad Cochran</span></i></td></tr>
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<i>A Man And A Train</i> - Not only am I partial to trains - but also to a good bit of music favored by my dad. Included in the list of performers he has long enjoyed is Marty Robbins.<br />
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Perhaps my favorite album from 2014 was the haunting <i>Souvenirs of a Misspent Youth</i> by Otis Gibbs (<a href="http://otisgibbs.com/" target="_blank">web</a> | <a href="https://twitter.com/OtisGibbs" target="_blank">Twitter</a>). Included on the album was the fantastic song <i>It Was A Train</i>.<br />
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<tr><td class="tr-caption" style="text-align: center;"><i><span style="font-family: inherit; font-size: x-small;">Source: <a href="https://instagram.com/bentufts/" target="_blank">Ben Tufts</a></span></i></td></tr>
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It's a bit hard to believe it's taken me three years to include <i>Georgia On A Fast Train</i> by the legendary Billy Joe Shaver in my NTD compilations. Here is a video of Billy Joe performing his classic with his late son, Eddy Shaver on lead guitar.<br />
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Sturgill Simpson hit my radar about a year or so ago, and I'm playing from behind to catch up to his music. But in keeping with the fast pace of Billy Joe's song, here is Simpson's <i>Railroad of Sin</i>.<br />
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Well, I said I'd include a six pack. But how 'bout we have one for the road. With the earlier mention of Joe Ely, I'll include <i>Midnight Train</i> sung by him.<br />
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So today, hop a train, visit a train, introduce a child to a train, go watch a train, lay awake tonight with a window open to listen to a train, or simply smile peacefully as you enjoy your own favorite train song.<br />
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TMCtoomuchcountryhttp://www.blogger.com/profile/09359556284713305865noreply@blogger.com0tag:blogger.com,1999:blog-7215850160741064287.post-82641860795567323102015-05-01T07:43:00.000-05:002015-12-08T11:06:50.414-06:00Sharing A Six Pack with Jesse LafserAs I've mentioned more than once, the annual <a href="http://couchbycouchwest.com/" target="_blank">Couch By Couchwest</a> festival has opened my eyes to many fantastic performers the last few years. (As a reminder, CXCW happens live each March. Unlike other festivals that end after a days, however, CXCW remains available for listening year-round.)<br />
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One such artist I've met and grown to enjoy is Jesse Lafser (<a href="http://www.jesselafser.com/" target="_blank">web</a> | <a href="https://twitter.com/jesselafser" target="_blank">Twitter</a>). Her sophomore record, <i>Raised On The Plains</i>, was released earlier this week on April 28th.<br />
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Jesse is an unabashed Dylan / folk song fan and mentions frequently his influence on her songwriting style. Yet she brings her own individuality, insights, musical twists to traditional folk and grace to her approach in writing and performing her songs.<br />
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The few times I've seen perform Jesse perform - on CXCW and in Nashville - I've experienced her with a guitar and a microphone. For <i>Plains</i>, she surrounded herself with a full band adding a rich and complementary yet deferential sound to her own guitar and vocals work.<br />
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The album's hopping opener, <i>Jack Hat Blues</i>, was her submission to Couch By Couchwest 2015.<br />
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Jesse and I recently shared a virtual Six Pack ... <i>of Questions</i>.<br />
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TMC: So right from the jump, the world wants to know. How many hats DO you have?<br />
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JL: A fair question. Currently, I've got about 5 hats. I get really into one at a time and wear it until it doesn't feel like me anymore and then I switch it up. Recently, I've been on a quest for the perfect black hat...they are surprisingly hard to come by. Hoping I'll find one on the road out west this May!</blockquote>
TMC: You worked with Will Kimbrough on the new album. Were there a couple of "a-ha!" moments - from either of you - as the two of you spent time working through songs, the recording process, etc.?<br />
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JL: Will and I agreed before the session that we wouldn't rehearse the songs he played on ahead of time. We tracked them live in the same room which gave the tracks a great energy. </blockquote>
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I think sometimes the most inspired sounds come when you feel slightly unsure, like you're dancing on the edge of a cliff, not sure if you'll fall or not. He never falls though. I trust him. He's one of the greatest players of all time, and it was an honor to have him on the album. </blockquote>
<i>Darling, It's A Waste of Time</i> is a swinging, tap-your-toe, yet blusey song - one with which you cannot suppress a smile as you listen to it.<br />
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The fourth track from the album, <i>The Chores Song</i>, is one of my three favorites from the release. The song also happens to have been Jesse's submission to CXCW in 2014. On the album, the uptempo song is enriched by a prominent fiddling riff and some wonderful harmony vocals from Lindsay Hayes. It also features Jesse's gifted guitar picking.<br />
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<i>I don't want you to do the chores</i></div>
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<i>I don't need you to sweep the floors</i></div>
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<i>If you wanted a maid, you made a huge mistake</i></div>
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<i>We could steal away to Barcelona</i></div>
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<i>I'll be Jack, and you'll be Ramona</i></div>
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<i>We could find a place down by the sea</i></div>
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<i>Spend all day at the cafe down the street</i><br />
<i><br /></i><i>Well, I never minded working hard</i><br />
<i>Never minded doing my time</i><br />
<i>Do the dishes, work in the yard</i><br />
<i>Pay the bills, write a r</i><i>hythm and a rhyme</i></div>
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TMC: You aren't FROM Nashville - yet you've BECOME part of Nashville's ever growing variety of music. After relocating here a few years ago, what has been the best or maybe easiest thing about living here? And the most challenging aspects? (That's actually 2 questions, but let's pretend it's just happy hour.)<br />
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JL: The hot chicken. Also East Nashville itself - I'm not sure I could still live in Nashville if it weren't for this neighborhood - it's amazing how rivers have always forged two very different parts of town with completely different energies. I feel lucky to be able to walk a few blocks and see Todd Snider and other great songwriters like Don Schlitz (he wrote "The Gambler") for happy hour at The 5 Spot. It's really incredible how collaborating with other artists can happen so naturally here. All you have to do is take a few steps out your front door. </blockquote>
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That's not to say living here doesn't come without challenges - there are many of those too. For one thing, there are no mountains. I am the best version of myself when I can see nature all around me in an obvious way - that's what inspires me most. </blockquote>
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I also think that because this town is so saturated with incredible talent. There is this survival mentality and maybe even a sense of fear of being left behind. It can become this 'every man for himself' kind of place where everyone is begging for scraps from the table. It's not easy, but I am learning if you can get past this perspective and try to continue to cultivate a supportive community of artists, it's a much more enjoyable experience. I am also very competitive so this is a good reminder for myself on a daily basis. </blockquote>
TMC: I understand many of the songs on the new record are based on your travels a year or ago through the southwestern states of the US. (By the way, I dig the subtle accordion on <i>Gone Gone Gone</i>.) Did the songs come to you in those moments - or did you reflect back on those experiences to compose them somewhere down the line?<br />
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JL: Thank you! The songs pretty much came out in a flood once I returned home. Whenever I go out on the road, I try to explore and take in as much as I can - it's amazing what you can find in a town if you go on long walks. I end up collecting these sensory experiences and observations of the characters and the cultures I come across. This always finds a way to the page.</blockquote>
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TMC: How about songwriting in general. What is your pattern - if you have one - for writing songs? I'm curious if you dedicate time during the week to write, if you frequently write them in a single setting or two, or if you tend to log lyrics or stanzas over time with some of them eventually finding their way together to build a song.<br />
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JL: This is a very insightful question because everyone really is different in these three main ways. My best songs are the ones that come out of thin air, I guess you could say from the big creative wellspring, or the muse. This is a strange thing, but my very best songs come two at a time, back to back, in one sitting. This is rare though. And some songs come to me bits at a time and require more work. Either way, I always try to come back and edit them after the 'honey moon' phase has passed. </blockquote>
<i>Mountain Air</i> is another of my genuinely favorite songs from the album. As recorded, it's thoroughly enjoyable. But heard live, it takes on a different perspective. I've listened to it - outdoors - in East Nashville - sitting with my eyes closed - a bit of rhythmic head nod - a slight smile on my face - and a cold one on the table untouched as the song unfolds..<br />
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TMC: When I've seen you perform, I've sat quietly, listened intently, uttered the occasional "umh" when a particular lyric resonated, and then clapped when you were done with a song. You aren't really a performer who brings out the moshing, screeching or Flick-the-Bic fan bases. How do you measure, interpret, evaluate, or whatever you want to call it your connection with your audience during a show? And do you find you get different responses or engagement depending on what part of the country you tour?<br />
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JL: I think I feel a connection with my audience when they are actively listening - pretty much what you just said, you're the perfect audience member! It does depend a little on the song though. I think for the more rollicking blues songs it's nice to look out and see people moving and feeling the music. I have noticed I do really well out west, and I'm not really sure why. If I figure it out, I'll be sure to let you know!</blockquote>
As the album nears its end, my third fave <i>Virginia Morning</i> continues to hold the listener's ear. The title and visualizations don't exactly evoke the U.S. west. Yet I'm glad it was included. The richness of the backing instruments is again featured as is Lafser's spot-on pitch in varying vocal ranges. Plus,one can never have enough mountain - or train - songs.<br />
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<i>I took the train from Virginia</i></div>
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<i>With a head full of rain</i></div>
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<i>And I saw my reflection</i></div>
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<i>In that Blue Ridge Mountain range</i></div>
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<i>You are waiting on me, I am waiting for you</i></div>
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<i>Wheels are flying, steel driving, feeling free</i></div>
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<i>As I'm closing the distance between you and me</i></div>
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<i>Raised on the Plains</i> can be purchased at all the normal spots - iTunes, Amazon, Grimey's in Nashville, and perhaps even your local record store - especially upon request.<br />
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TMCtoomuchcountryhttp://www.blogger.com/profile/09359556284713305865noreply@blogger.com0tag:blogger.com,1999:blog-7215850160741064287.post-57613466811608417022015-02-21T07:43:00.000-06:002015-02-22T22:11:07.700-06:00Life's Perceptual FractionWe have a management program at work based on conceptual models grouped into a series of themes. One of the models is called the Perceptual Fraction which posits the way an item is viewed depends on its relationship to other items. For example:<br />
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<li>Fork over $1,000 for a car stereo? No way. But include a $1,000 audio package as part of a new car purchase? Sure, OK. I'll finance it! </li>
<li>Pay eight bucks for a bottle of beer at the local grocery or liquor store? Hell no! But go to dinner and add a local microbrew high gravity stout to your tab? Hey, it's cool supporting the local brewers!</li>
<li>Year 1 raise is 8 percent. Year 2 is only 4 percent. Uh oh. But what if <i>average</i> year 2 raise for everyone was 2 percent?</li>
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From a management perspective, the model says a manager should (1) understand if a change will even be noticed and (2) put the change in the right context when it will be noticed.<br />
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I recently notched a half-century and am not ashamed to say so. I am, however, reluctant to say I fully comprehend what it means. Am I half-way there, two-thirds of the way along, or living on borrowed time?<br />
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I know I react differently to things at 50 than I did at 18 ... or 25 ... or 40. Maybe my denominator has just grown larger so that my 'perceptual fraction' isn't as affected relatively as it once was. Impulsive reactions years ago seem to be replaced by more intentional, deliberate actions today. Well, some of the impulsiveness remains - just not as much.<br />
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Generally speaking, I'm not a big birthday guy. Every year, I just view <i>the day </i>as one day more than yesterday. But I'd be lying if I denied that this one has made me think a bit more than I did at 30 or 40.<br />
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Over the last few years, I've blogged about all sorts of stuff. Music, faith, travel, parenting, racing, beer, idiocy of others, home improvement - just to name a few subjects. I imbibe in all of the above and am average at best in most of them.<br />
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Several years ago, Tommy Womack wrote and recorded <i>Going Nowhere</i> (and was included by co-writer Jason Ringenberg on The Scorchers' <i>Clear Impetuous Morning</i>). The refrain is:<br />
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<div style="text-align: center;">
<i>I'm going nowhere, just going nowhere</i><br />
<i>I can't see tomorrow, but I'm leaving here today</i><br />
<i>I'm going nowhere, but at least I know the way</i></div>
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Those few lines still make me laugh - but they also resonate with me perhaps more now than at any point of my life. I'm confused about many things, and I stumble about working on all of them these days. Yet I figure I'm still trying to keep life in a forward gear vs. reverse.<br />
<br />
I've honestly tried to be a good pop. Perfect? Shooooot, there's no such thing as a perfect parent. But so far, so good in all material respects - without trying to be too prideful about it or overly optimistic about where things go from here. Regarding my son, I've blogged about such things as:<br />
<ul>
<li><a href="http://toomuchcountry.blogspot.com/2009/03/creative-uses-for-duct-tape.html" target="_blank">Creative uses for duct tape</a></li>
<li><a href="http://toomuchcountry.blogspot.com/2009/05/first-cell-phone-bill-after-adding-teen.html" target="_blank">Getting a cell phone</a></li>
<li><a href="http://toomuchcountry.blogspot.com/2009/08/well-boy-finally-cut-one.html" target="_blank">Cutting the grass</a></li>
<li><a href="http://toomuchcountry.blogspot.com/2011/03/28-days.html" target="_blank">Getting his driver's license</a></li>
</ul>
Yet, its really hard to think how quickly time flew from this...<br />
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... to this 15 years later later ...<br />
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And now the <strike>boy</strike> ... err, young man will hit 20 this year. <i>Twenty!</i><br />
<br />
My daughter
is killing it academically and has convinced me to shut my pie hole when she sets her mind about committing to something.<br />
<ul>
<li>Middle school: "You haven't taken tap or ballet, and we're not sure you'll make the dance team squad." "I'll practice." Boom, she makes it.</li>
<li>Middle school: "You haven't gone to any sort of cheer or tumbling camp. You sure you want to try out for cheerleading?" "I'll watch YouTube." Boom, she makes it.</li>
<li>Band: "You want to march with with the high schoolers as an eighth grader? It's awfully hot at band camp." "I can do it." Boom: done.</li>
<li>High school: "You want to march in drum line?" "Yep." "Done, I have full confidence you can handle it."</li>
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A few other perspectives of late - things that ever entered my mind a quarter-century ago:<br />
<ul>
<li>My knees are shot, I'm overweight, and my doc now lectures me about my blood pressure. On the up side, I still have a
full head of hair with only a smattering a gray around my temples. Take
that, you younger, graying, balding dudes I see jogging regularly.</li>
<li>Newspapers - I concede that like many I've bailed on the <i>paper </i>version - yet I regularly reference old ones through Google News Archive and my local library. Yet how will the news of today be archived for future researchers to study - from an availability perspective and <i>without </i>retrospective editing.</li>
<li>A nervous <i>I do </i>and <i>I will </i>suddenly became half my life with a ring on my finger. Dang.</li>
<li>Twitter has become a dark place. I'm grateful for the accounts I follow and that follow me. I've avoided being directly engaged with the ugliness and hostility that seems to permeate it but I see many others hit with it. It'll eventually strangle Twitter.</li>
<li>I grew up listening to my parents' LPs. Some I liked - many I didn't. But I remember the albums, and a lot of their preferences influenced the music I now enjoy. They also knew (and didn't like) my preferences of KISS, Boston, Rush, Frampton, Aerosmith, AC/DC, etc. As an adult and parent now, technology has altered the paradigm for my kids and me. I listen to most of my music on computer speakers, in the car, or through ear buds - away from others. My kids do the same. Result? Neither side knows much about what the other is listening to. Upside: They'll create their own interests. Downside: They'll have no memories of what their old man listened to in their childhood.</li>
<li>I realize how naive - maybe even just plain dumb - I was as a teen. Over time, I became open-minded - then skeptical - then cynical. The last few years, I "peaked" at cynical and reverted back to a blend of skepticism and open-mindedness. I just hope I don't become a naive, vulnerable dope again in my later years, and I earnestly pray I <i>never </i>become a bitter curmudgeon.</li>
</ul>
<div style="text-align: center;">
<i>All I know is that sometimes you have to be wary</i><br />
<i> of a miracle too good to be true<br />
All I know is that sometimes the truth is contrary</i><br />
<i>to everything in life you thought you knew<br />
All I know is that sometimes you have to be wary</i><br />
<i>'cause sometimes the target is you</i> <br />
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TMC</div>
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toomuchcountryhttp://www.blogger.com/profile/09359556284713305865noreply@blogger.com0tag:blogger.com,1999:blog-7215850160741064287.post-48052950227697825212015-01-26T11:43:00.000-06:002016-12-03T14:19:58.046-06:00Screen Door Porch - Modern SettlerNew York. LA. Chicago. Austin. Nashville. Seattle. Jackson Hole. Wait. What? <b>WYOMING???</b><br />
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Screen Door Porch (<a href="http://screendoorporch.com/" target="_blank">web</a> | <a href="https://twitter.com/ScreenDoorPorch" target="_blank">Twitter</a>) will release their third album - <i>Modern Settler</i> on February 10th.<br />
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Seadar Rose and Aaron Davis front the band musically, lyrically and vocally. Though now based in Wyoming, the duo have southern roots in North Carolina and Kentucky. That background seems to have influenced the song's musical arrangements - though most of the lyrics are heavily rooted in the great expanse of the western states. For <i>Modern Settler</i>, the band's grooving rhythm sound is rounded out with Tom Davidson on bass and Andy Peterson on drums.<br />
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The album is a fun listen from beginning to end. A few of the ten tracks are straight-forward musically with thought-provoking, poetic lyrics. Others have a very <i>full, rich</i> sound resulting from complex yet enjoyable musical arrangements including slide guitar, an organ, horns, interesting percussion additions, and solid-yet-jazzlike drumming.<br />
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Collectively, the sound and vocals remind me a bit of Donna The Buffalo ... and The Reivers from the late 1980s ... and Natalie Merchant from 10,000 Maniacs.<br />
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The album's opener <i>Wild Ways</i> grabs you from the jump. While easy to simply enjoy its wonderful music fullness, additional absorption of the lyrics causes you to stop and think "whoa, now this is pretty dark."<br />
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<div style="text-align: center;">
<i>Shouldn't be the one to guide you outta the fray</i></div>
<div style="text-align: center;">
<i>Absurd enough there’s a middle man leading the way </i></div>
<div style="text-align: center;">
<i>Your parents withdrew when it all hit hit the fan</i></div>
<div style="text-align: center;">
<i>A stage dive met with nowhere else to land</i></div>
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<i>The Canyon </i>was the first song written by Rose and Davis for the album.The groove to it is immediately addictive along with the organ, guitar riffs and drumming. But the musical aspects are trumped in my opinion by Rose's sultry vocals. Rose and Davis were inspired to write the song by the magnificence of a canyon noted from atop Dead Indian Pass on the Wyoming-Montana border.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgU-lftqjaFds55ZaIaVnDHtehs9c-20aA8UEZ9-gOCH9SRTQunZxPPkKuNrgdc7JQWO561mb6iwZjy9zC0VlHoXQRrmp9hgPRIZ55ufL_mGS4uWpJXx0LtkjmOHDdEM7dKlX_4Csa7tDU/s1600/DeadIndianPass.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="375" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgU-lftqjaFds55ZaIaVnDHtehs9c-20aA8UEZ9-gOCH9SRTQunZxPPkKuNrgdc7JQWO561mb6iwZjy9zC0VlHoXQRrmp9hgPRIZ55ufL_mGS4uWpJXx0LtkjmOHDdEM7dKlX_4Csa7tDU/s1600/DeadIndianPass.jpg" width="500" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i>Credit: <a href="http://www.billcaid.com/2013/WesternRoadTrip20130514/Part14/Part14.html" target="_blank">BillCaid.com</a></i></td></tr>
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<i>1937 </i>starts the second half of the album and opens with a slide guitar riff and a hint of a cool, eerie and evil echo. Davis was led to write the song based on some of the early American settlers in Wyoming who were granted a bit of land and 600 bucks cash as US railroads began to cross the expanding nation. (As an aside, be sure to read the late Stephen Ambrose's great book <a href="http://www.amazon.com/Nothing-Like-World-Transcontinental-1863-1869-ebook/dp/B000FC0SF0/ref=sr_1_1?ie=UTF8&qid=1422159112&sr=8-1" target="_blank">Nothing Like It In the World: The Men Who Built the Transcontinental Railroad 1863-1869</a>.)<br />
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Rose returns to lead vocals on her song <i>Little Bit More. </i>The track is arguably one of the richest ones musically with horns, keys, slide guitar, and a solid rhythm on toms but no snare. <br />
<br />
The band seems to have had a genuinely fun time recording <i>Wish I Was a Teton</i>. You can't help but smile as you listen to it.<br />
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<div style="text-align: center;">
<i>Wish I was a Teton, maybe the middle </i></div>
<div style="text-align: center;">
<i>Or I could be Buck and still be tough</i></div>
<div style="text-align: center;">
<i>Standing tall through hard times and all</i></div>
<div style="text-align: center;">
<i><br /></i></div>
<div style="text-align: center;">
<i>But as it stands I’m just a little hill</i></div>
<div style="text-align: center;">
<i>Starved for attention because I never get mentioned</i></div>
<div style="text-align: center;">
<i>I’d even settle to be called a butte</i></div>
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The album closes with <i>She Speaks Through Me</i>. Though its lyrics are sparse, the song seems to be arranged as somewhat of an encore. Davis opens with a Roy Orbison'ish vibrato, and Rose soon joins him with wonderful harmony vocals. Many of the instruments present in various songs make a return appearance on <i>She Speaks. </i>Also, Peterson's drumming is more straight-forward rock rather some of the more subdued fills present in earlier songs.<br />
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TMCtoomuchcountryhttp://www.blogger.com/profile/09359556284713305865noreply@blogger.com0tag:blogger.com,1999:blog-7215850160741064287.post-26697854254969731052015-01-12T07:43:00.000-06:002016-08-05T09:00:15.909-05:00Craig Market and Thomm Jutz - The complexities of simplicitySix months ago, I'd never heard of Thomm Jutz (<a href="http://thommjutz.com/" target="_blank">web</a>). Shamefully perhaps - but the truth.<br />
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Though he has been around Nashville with really no effort to hide, I didn't find Jutz until learning he co-produced <a href="http://toomuchcountry.blogspot.com/2014/10/mac-whiseman-loves-his-mama.html" target="_blank">Mac Wiseman's latest collection of songs</a> with Peter Cooper.<br />
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In December, I saw Jutz' tremendous work as the lead organizer and song writer for <a href="https://www.facebook.com/1861project" target="_blank">The 1861 Project</a> whose latest album was a collection of songs written about The Battle of Franklin during the Civil War.<br />
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<tr><td class="tr-caption" style="text-align: center;"><i>Credit: Ken Gray Images</i></td></tr>
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Within the last month, I learned Jutz teamed with Nashville-based songwriter Craig Market to record <i>Nowhere to Hide</i>, scheduled for release on January 29.<br />
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The album is a cool recording - two guys with guitars singing songs without being overly produced. No bass. No drums. No keys. No horns. Simplicity seems to be the theme. They wrote the songs over a period of three years. When it came time to record them, they proceeded without a crunch to hurry through the effort. They recorded one song per day until they were done.<br />
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The album's timing release in the winter is appropriate. The album cover is dark and a bit cold - as is the lyrical content of several of the songs. The guitar work between the two is exceptional, but the lyrics require a deliberate listen. The Civil War, World War II, the funeral of a West Virginia miner, transparency as a musician and songwriter, etc. - not exactly themes one generally streams poolside through their iPhone and Bluetooth speakers.<br />
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Market's vocal range and style remind me a bit of Randy Travis and James Taylor (tuned down an octave). Though the two collaborated on the songwriting, Market sings lead vocals on 10 of the 12 tracks. Jutz' singing is featured on one song, and the two sing as a true duet on <i>WV Miner</i>, about the passing of one of those who work underneath the mountain.<br />
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In the middle of some tough songs thematically is one of simplicity - <i>That's Enough</i>. A house. A companion. A stove with some firewood. Safety, security. No need to invest wasted efforts chasing ghosts in search of something grander. What more does one need truthly? Well, some beer and a trusty dog, but maybe that's just me...<br />
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The album's final two songs reveal a bit more of the two as individual artists and well...as individuals - <i>Nowhere To Hide</i> and <i>You Take Me As I Am</i>. Preceding them, however, is the song of the twelve that perhaps stills me the most: <i>Thunder</i>. Jutz sang it on the second volume of The <i>1861 Project</i>. On <i>Nowhere To Hide</i>, Market's deeper and darker voice is featured.<br />
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I'll be the first to admit my ignorance of the details of the Civil War. I've got the big picture - the North defeated the South, and I can rattle off the names of many of the battlefields. Gaining a deeper knowledge about the details - particularly the personal and gruesome details - of the battles, the young soldiers, the townsfolk, the horrifying injuries and head-shaking medical care, etc. has not been front and center for me. One of the themes Jutz explored with <i>1861 </i>is the role of Irish immigrants. Many fled for the US in hopes of finding a better life. Instead, many found themselves smack dab in the middle of it's war between the states. Some served, some fought - some for the North, some for the South. Many lived, many died - and were buried in shallow, dirt graves. And some - immigrants or US lifers - were faced with having to dig those graves.<br />
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<i>Plowing furrows in the Irish soil</i></div>
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<i>Now I'm digging shallow graves for Irish boys</i></div>
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<i>My soul is weary, and my back is sore</i></div>
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<i>Today alone I buried twenty-four</i></div>
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<i>Two feet deep and lined up in a row</i></div>
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<i>Fishermen and farmers I suppose</i></div>
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<i>Will anyone remember through the years?</i></div>
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<i>The flowers once again are blooming here</i></div>
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A contemplative album to be sure - one whose guitar work will be easily absorbed but whose lyrics will require intentional listening.<br />
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TMCtoomuchcountryhttp://www.blogger.com/profile/09359556284713305865noreply@blogger.com0tag:blogger.com,1999:blog-7215850160741064287.post-33906515039053489152014-12-10T21:43:00.000-06:002014-12-10T21:54:52.011-06:00Nashville Unlimited 2014Nashville Unlimited Christmas is a tradition that has evolved over the last 15 years and one I've latched onto over the last six or seven of them.<br />
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Dave Pomeroy is a long-time, in-high-demand, Nashville session bass player. If you've listened to country music recorded in Nashville over the last 30 years or so, there is a good chance you heard Pomeroy's work on the recording. He also toured for years as a member of Don Williams' band.<br />
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While looking for a charity in 1993 to donate money generated by his Christmas concerts and recordings, Pomeroy became aware of <a href="http://roomintheinn.org/" target="_blank">Room In The Inn</a>. Two decades later, he openly states his life has been changed for the better and has developed a much greater awareness of the moral and social issues addressed by Room In The Inn. I can state unequivocally I feel the same way - though the slap to my head came about 5 years after it did for Dave.<br />
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Each December since 2000, Pomeroy has hosted the “Nashville Unlimited Christmas” concert at Christ Church Cathedral. The production comes across as professional yet informal - though I'm sure the behind-the-scenes logistics may drive one to pull out their hair. Pomeroy calls in an amazing and diverse array of musicians and singers to volunteer a few minutes for a great cause and incredible evening of music. Though many think of Music City as just a country town, Nashville Unlimited has proven to all that the scene is far richer than that. Country is played certainly - but jazz, R&B, big band, rockabilly, instrumentals, a capella songs, etc. are often heard the same evening.<br />
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The show isn't heavily promoted, and no tickets are sold. Folks are welcome into the church, and donations are collected. The only reserved, VIP seats are in the first few rows of pews. In those pews sit many of the individuals helped by Room In The Inn's support programs.<br />
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<b>Through this simple approach, Pomeroy's efforts have raised in excess of $250,000 to help Room In The Inn and their outreach efforts to the homeless and marginalized of Nashville.</b><br />
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After missing the 2013 concert, I was pleased to attend again this year on December 9th. Pomeroy opened the show with only his bass and vocals. He opened with the traditional <i>O Little Town Of Bethlehem</i> followed his original and fun <i>I Wish It Could Always Be Christmas</i>.<br />
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Lorianna Matera (<a href="https://www.facebook.com/pages/Lorianna-Matera/112733735484106" target="_blank">Facebook</a>)was then introduced to sing Willie Nelson's <i>Pretty Paper</i>.<br />
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I wasn't familiar with the next performer, songwriter Alan Rhody (<a href="http://www.alanrhody.com/" target="_blank">web</a>). He performed two of his own songs - <i>White Water</i> and <i>Christmas to Christmas</i>. I learned the latter has been recorded by Lee Greenwood and Toby Keith - ehh, not really two of my faves though hopefully the periodic royalty check is good for Rhody. The song was also recorded, however, by Tanya Tucker. OK, now we may be getting somewhere.<br />
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Danny Flowers (<a href="https://www.facebook.com/SoulfulDannyFlowers" target="_blank">Facebook</a>), who wrote the classic <i>Tulsa Time</i> and toured with Pomeroy and Don Williams, then played two songs that were just stunningly powerful - <i>All I Want Is Jesus</i> and <i>I Am Free Of That Today</i>.<br />
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Pete Huttlinger (<a href="http://www.petehuttlinger.com/" target="_blank">web</a> | <a href="https://twitter.com/petehuttlinger" target="_blank">Twitter</a>), former guitar player in John Denver's band, then played his original <i>First Light</i> - a guitar instrumental with brushes-on-a-snare accompaniment. He followed it up with an instrumental version of the traditional <i>Have Yourself A Merry Little Christmas</i>.<br />
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Pomeroy then brought out Doug Seegers (<a href="https://twitter.com/doug_seegers" target="_blank">Twitter</a>)- an artist whose story I knew a bit about but whose music I'd not yet heard. The short story is that Long Island native Seegers found himself as a busking Nashville street musician. He was noticed by a Swedish media team visiting Nashville, was video'd performing one of his songs, captured a fan base in Sweden which led to a Swedish recording contract and is now a touring performer in the US and abroad.<br />
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His story was picked up by several media outlets including <a href="http://www.tennessean.com/story/entertainment/music/2014/06/07/nashville-street-singer-transformed-global-superstar/10110601/" target="_blank">Peter Cooper from <i>The Tennessean</i></a> and <i><a href="http://www.rollingstone.com/music/features/doug-seegers-shares-homeless-to-famous-journey-20141007" target="_blank">Rolling Stone</a></i>. His Swedish album has now been released in the US on Rounder Records. With part of the audience currently living a life that has more in common with Seegers' past than my past, present or future (hopefully), his songs really hit home.<br />
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Seegers opened his trio of songs with his sad but Christmas-influenced song, <i>Daddy's Still Around</i>.<br />
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He then played <i>Down To The River</i>, the same song he first played for his new friends from Sweden. The closer for the set was a new, yet-to-be released song titled <i>Walking On The Edge Of The World </i>written about a close friend who committed suicide.<br />
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Soul singer Charles "Wigg" Walker (<a href="http://charleswiggwalker.com/" target="_blank">web</a> | <a href="https://twitter.com/wiggwalker" target="_blank">Twitter</a>) then took us to church. He absolutely stunned the crowd with his version of <i>O Holy Night</i>. and closed with a grooving version of <i>I'll Be Home For Christmas</i>.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgrRAOrk4zNfzRYzW275Z3KIgQnGyHkb6MjBmNTU4jD2wyLgV8TYwglPTTOXO34dqPGanTRmXWU0JZ12FYrdMZRcOhyphenhyphenBeAu01T-0Cr7f2g-ZUrooVRZD-J3ND2P_R6yHg_pb1kGx4p7t1M/s1600/B4dhCdjCIAEeIqv.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgrRAOrk4zNfzRYzW275Z3KIgQnGyHkb6MjBmNTU4jD2wyLgV8TYwglPTTOXO34dqPGanTRmXWU0JZ12FYrdMZRcOhyphenhyphenBeAu01T-0Cr7f2g-ZUrooVRZD-J3ND2P_R6yHg_pb1kGx4p7t1M/s1600/B4dhCdjCIAEeIqv.jpg" height="297" width="400" /></a></div>
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Country icon Brenda Lee then took the stage as the show headed for its conclusion. She started with the classic <i>Jingle Bell Rock.</i> She then asked for volunteer singers - and ended up with about a dozen of them on stage - to help her with <i>Santa Claus Is Coming To Town</i>. She closed with two of her big hits from decades ago - <i>I'm Sorry</i> and <i>Rockin' Around The Christmas Tree</i>.<br />
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The closer was Nashville Mandolin Ensemble - the one group I look forward to hearing more than any other each year. The music of the multi-member mandolin "orchestra" is not what one may think it might sound like. NME isn't bluegrass. It's truly orchestral music with songs ranging from The Beatles to Bach to mandolin renditions of other world music.<br />
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While they generally play the same set of songs at each annual concert, I can close my eyes and enjoy them as if I'm hearing each for the first time. The list of bad Christmas albums by many performers is a mile or more long. But the one by NME is not in that list. Gifts is excellent - yet sadly and ironically is out of print. I often encourage folks to seek it out on ebay or the like.<br />
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Pomeroy and NME then asked the crowd to join them in singing Silent Night to close the 2-1/2 hour show.<br />
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For the last couple of years, I've kept a badge at the top right of this blog for Room In The Inn. The graphic includes a simple link to their website, and I hope a few folks have been intrigued enough to follow the link. If you live in the middle Tennessee area and are reading this post, I encourage you to visit the site, learn about what RITI does, and consider making a donation at the <a href="http://roomintheinn.org/support" target="_blank">Support</a> link.<br />
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If you live outside of Nashville, I'm sure they'd RITI would appreciate your support. But perhaps consider finding a similar organization where you live and give to that group. A gift as simple and calendar-relevant as $20.14 would definitely be appreciated - especially as the temperatures continue to drop over the next few winter months.<br />
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TMCtoomuchcountryhttp://www.blogger.com/profile/09359556284713305865noreply@blogger.com0