Mayer’s Playlist for July 2014, Part 1


Resolution Road, by Easton Stagger Phillips

Easton Stagger PhillipsI don’t like to draw direct comparisons between artists but it’s hard not to do so with the latest release from Tim Easton, Leeroy Stagger and Evan Phillips. This talented trio of singer-songwriters conjure up the finer moments of Crosby, Stills and Nash. Resolution Road flows with the laid-back feeling and gentile harmonies that were – and are – a CSN hallmark.

Phillips kicks off the album with “Always Came Back To You,” a graceful love song made all the richer by the trio’s warm harmonies on the chorus. His reflective “Lucillia” has similar qualities and a day-dreamy vibe.

Stagger brings a tempered rock attitude to his contributions. A persistent drum beat ushers along “Traveler” as vocal harmonies give way to a George Harrison-flavored slide guitar solo.

Easton’s closing “Baby Come Home” is simultaneously melancholy and sentimental. “Sitting here late at night wondering where you might be,” he laments before the others join him to declare “baby come home right now, I need you for the rest of my life.” Guest Derry deBorja adds some subtle yet expressive organ flourishes.

Each singer-songwriter bring their own personality and songs to the group. Yet they blend together beautifully, as if they were meant to perform together. Like CSN, Easton Stagger Phillips prove that sometimes 1+1+1 equals more than three.

Dereconstructed, by Lee Bains III and the Glory Fires

Lee Bains III and the Glory FiresThere’s an old adage — write what you know. Birmingham, Alabama native Lee Bains takes this to heart with a searing album about life in the modern South. His lyrics reflect on the weight of history, religion and everyday economic struggles of small town Southern life; his songs are fueled by incendiary guitars and furious rock beats.

Bains doesn’t shy away from social commentary on tracks like “The Kudzu and the Concrete”:

You can talk, talk, talk about it: Repentance, and forgiveness, and loving your neighbor as yourself.
But what the hell does that mean when all your neighbors look the same and think the same or else live a couple miles down the rural route?

He wrestles with the love-hate relationship of growing up in Birmingham in “The Weeds Downtown.” “I know that Birmingham gets you down, but look what it raised you up to be,” he sings.

“The Company Man” takes a stand against greed and blind obedience. “All it takes is one wicked heart, a pile of money and a chain of folks just doing their jobs,” he cautions.

Bains lets his guitar do plenty of talking, too. Dereconstructed is a no holds barred rock album. Bains and fellow guitarist Eric Wallace trade licks like Keith Richards and Mick Taylor back in the day. The entire band sounds ferocious, rough and ragged. Bains describes it best on “Dirt Track” when he says, “Squeezing glory out of three rusty chords.” The results are glorious, indeed.

Audio Download: Lee Bains III and the Glory Fires, “The Weeds Downtown”

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Bernadine, Adam Carroll (from the self-released Let It Choose You)
I’d lost touch with the music of Austin folk-country singer Adam Carroll a few years back. I recall him tending towards humor in his songwriting yet always equally adept at finding the tenderness of a moment. His latest release shows that he hasn’t lost his touch.

While there are still occasional glimpses of humor, his latest batch of songs tend towards the sincere end of the spectrum. His voice and music have a gentle aura about them, his songs filled with thoughtful character-driven stories.

Audio Download: Adam Carroll, “Bernadine”

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Carry On, Denver (from the Mama Bird Recording Company release Rowdy Love)
Three singer-songwriters out of Portland serve up songs that are alternatively ramshackle and relaxed. The eleven tracks on Rowdy Love are rooted in country but sometimes veer towards mountain folk-rock territory that is reflective of the region from which they take their name. Then there is this track, a personal favorite, which has a decidedly Gordon Lightfoot feel.

Down, Kingsley Flood (from the self-released Live at the Armory)
I wouldn’t often call a live album one of an artist’s best releases but it’s appropriate in this instance. To tide us over until their next studio release, the Boston and Washington D.C-based six piece sextet took over an intimate venue to perform a career-spanning set. They impressively find a way to breathe fresh life into older songs and ratchet up the intensity of their already forceful more recent work. It also showcases the talents of songwriter Naseem Khuri, who crafts songs that are exceptionally intelligent and damn catchy, too.

You can download a free six-song sampler from this release here.

Monday, Caleb Caudle (from the This Is American Music release Paint Another Layer on My Heart)
New Orleans by way of Winston-Salem North Carolina singer-songwriter Caudle says that much of this album was inspired by a year of touring and the corresponding yearning for home. “I’m really leaving it’s really Monday, I don’t know how it got here so soon,” he laments on this stand-out, “lately I’m finding so little to trust in, that’s why it’s harder leaving you.”

Too Long I’ve Been Gone, Dom Flemons (from the Music Maker Relief Foundation release Prospect Hill)
The Carolina Chocolate Drops co-founder continues his exploration of the early American music canon on his latest release. Flemons roots himself in folk but masterfully blends countless other genres into the mix. “Georgia Drumbeat” beautifully blends jazz, country and folk while “Have I Stayed Away Too Long?” has a touch of Dixieland and “I Can’t Do It Anymore” brings in some tasty blues playing. I’m partial to this song, a more traditional – and winsome – ballad.

Corb Lund – Counterfeit Blues

Corb Lund built a time machine.  He took his long-time band, The Hurtin’ Albertans, down to Memphis and recorded a number of his live show staples and made them sound more original and rootsy than when they first laid down the tracks 8 – 10 years ago.  Retransmitting the ambience of the famed Sun Studios, Counterfeit Blues has all the lo-fi goodness and live energy that makes the best roots music so compelling.

The album starts with Counterfeiter’s Blues, alternating disgust at being fed fake goods at every turn and depressed acceptance that it’s the nature of the world we live in.  I think I can safely say Corb and his boys don’t use Auto-Tune.  Another set of wry observations on the world gone awry is Truth Comes Out, a lament on the damage of encroaching civilization that comes off like a good Fred Eaglesmith song.  Speaking of wry observations, (Gonna) Shine Up My Boots is the story of looking forward to girls and fun on a Saturday night, but realizing that maybe all you’re going to do is get drunk.  Any young man living on a farm or ranch in flyover country who can’t relate to this tune is kidding himself.

Some of Lund’s best material is full on, sing along, snap your fingers, rockabilly material.  Truck Got Stuck will stick in your brain, and this version takes a nice jab at Agriculture Canada.  Big Butch Bass Bull Fiddle is a tongue twister that’s as much jazz as it it country.  My favorite is the under-appreciated Hair In My Eyes Like A Highland Steer that needs a Wood Brothers cover to prove me right.

CorbLund-CounterfeitBlues Finally, I have to mention Hurtin’ Albertan, a classic Lund number, and a heart-on-my-sleeve anthem to his home province.  In many ways this tune summarizes Corb Lund and his band.  It’s rock ‘n’ roll, it’s (North) Americana, it’s fun and upbeat and immediately likable.  There’s nothing counterfeit about it.

Readers’ Pick: Terms Of My Surrender by John Hiatt

You picked Terms Of My Surrender by John Hiatt as your favorite for the week of Jul 15, 2014.

Readers’ Top Picks (last 4 weeks)

  1. Counterfeit Blues by Corb Lund (82)
  2. Terms Of My Surrender by John Hiatt (16)
  3. Remedy by Old Crow Medicine Show (13)
  4. Heal by Strand of Oaks (10)
  5. Eagle Rock Fire by Joe Purdy (6)
  6. Emergency Situation by Rod Piazza & The Mighty Flyers (5)
  7. Wild Animals by Trampled by Turtles (4)

Don’t forget to vote in our weekly poll to help us make this list.

Monday Morning Video: Johnny Winter (1944-2014)

We lost Johnny Winter last week.  Johnny, known for his blistering fast guitar playing, burst onto the national scene as a solo act in the late 1960s.  A guitar prodigy, Johnny and younger brother Edgar – both albino – had formed a band as they were growing up in Beaumont, Texas, and had a single released when Johnny was just 15 and Edgar 12 or 13.  Over the years, Johnny often shared the stage or studio with his brother, but their careers were distinct.  Johnny stayed faithful to blues throughout his career, with occasional forays into rock, while Edgar has been more of a rocker.  Johnny’s guitar playing ability was astounding, but he also built his legacy by producing several of Muddy Waters’ late-career masterpieces, including Hard Again and King Bee.

The years and the rock ‘n’ roll lifestyle took their toll on Johnny.  When I saw him three years ago, he needed to be helped onto the stage and performed his entire show seated, but the music was still there as he played effortlessly.  Below are some memories.

Johnny in his prime:

In 1987, starting to show the years, but still in great playing shape:

This past year on Letterman, very decrepit with apparent vision issues, but the music was still there:



The Stray Birds – Pass Me the Guitar  

I’ll be darned if you can get any closer to the band as you feel at a Stray Birds show. And I wish you would pass the guitar right over to the Stray Birds. That intimacy certainly has been something that is cultivated with the band members and discussed in our conversation. Suzanne, twangville’s photographer, and I were lucky enough to pick their brains about their amazing presence on stage.IMG_9711 The band has been getting lots of press lately. From NPR to WAMU’s bluegrass country, they are not a secret anymore. As the band pulls together tracks for a new record, my wife(trusty twangville photographer Suzanne McMahon) and I got a chance to sit down with the band a while back and in a similar way to their intimate shows. The band waxed philosophical about the importance of connections with the audience, which is certainly palpable.  Singer/fiddler/guitar/banjo player Maya DeVitry explained it very well.

“There’s this Irish fiddle player who came and did this workshop when I was there [at Berkeley College of Music), Martin Hayes, and he talked about inhabiting the melody of these ancient tunes. He would play, not like he was acting, but he was literally inhabiting the melody. I feel like that’s what we do with these songs and these arrangements. We inhabit the song. We try to get inside ’25 to life’ or ‘Birds of the Borderland’ for those 3 minutes. And we also use a lot of eye contact and that’s really intense for people,” said Maya. “I look at people more during a show than I ever do.”

When you attend a Stray Birds show, you can’t help but feel connected to the band. As they come in close for the harmonies and look out over the audience, it’s as though you’re all there together in a trusted community. There’s something built in the shared experience of coming together and “inhabiting” a song. It seems like something that Maya and the band actually invites the audience to do at their shows and be in the song together. Then everyone has that joyful catharsis together. Singer/fiddler/guitar player Oliver Craven also put the personal connections of his life into perspective.

“I think the more I experience difficult things in my personal life, like circumstantial hardships, it puts things in perspective. When I see people in my life having trouble, it reminds me that what we’re doing isn’t the most important thing in the world. As important as it is to us and the people with us in that moment in the show, it’s ultimately not do or die. I think that makes me really relaxed on stage,” said Oliver Craven.

The sense of the relaxation translates into the joy of the audience in that shared experience. That seems to really allow the band and audience to get in closer to inhabit the song. It’s the escape that is just a passing breath of fresh air. And the show back in April at Club Passim in Cambridge demonstrated all of those qualities. The band had a true ability to invite the audience in to “I Wish It Would Rain” and bring those emotions out. Perhaps the same emotions that others may not have been able to express are now on the table. The shared experience in meeting the song and audience is something that the band has truly brought to their shows in a very intimate way.IMG_9609 “Those songs from echo sessions. I think of them like if I’m at a party and people are passing the guitar around, I don’t want to sing one of my own songs. I can hardly ever remember the words to songs other than the ones that we’re performing every night. I have probably five other songs that I remember the words to. ‘Wish it Would Rain’ has been my go to song for years,” said Maya DeVitry. “Echo Sessions is about remembering how fun it is to sing something that you didn’t write. You meet the song. It’s a totally different joy.”

I also asked the band members about their top five records. I got artists, lists of records, and even longer lists.

Top 5ish Artists/Records:

Maya DeVitry

Bob Dylan – Blood on the Tracks

Tom Waits – Mule Variations

Bonnie Raitt – Taking My Time

Nina Simone – (a live one)

Levon Helm – Dirt Farmer


Oliver Craven

David Bowie – Hunky Dory

Beatles – Abbey Road

The Traveling Willburys – Volume 1

Tim O’Brien & Darryl Scott – Real Time

Tedeschi Trucks – Revelator

Bob Dylan – Highway 61

Hendrix – Electric Ladyland


Charlie Muench

Old & In the Way

Norman Blake

Wood Brothers

Lake Street Dive

Jonathan Byrd

John Fulbright


Photos by Suzanne McMahon