Twangville » Chip Frazier

Hayes Carll the Heir Apparent

Chip Frazier — Fri, 09 May 2008 02:11:10 +0000

There have been a lot of reviews written already about the new Hayes Carll album, Trouble in Mind. It is no doubt an album that fully establishes him as an artist. Exactly what it establishes him as is what I would like to address. A lot of the Texas Troubadours are getting older. Some like Townes Van Zandt and Doug Sahm are no longer with us. When you consider artists like Guy Clark, Jerry Jeff Walker, Jimmy Dale Gilmore, Joe Ely, Ray Wilie Hubbard and many more I could name if time allowed, it begs one question. Who is leading the next generation?

It is an interesting question and definitely open for debate. In any case Hayes Carll is in the discussion. In fact, I feel he is the leader of the pack. His body of work is three albums deep now and shows that he has all of the elements to carry the torch of the aforementioned legends. What are these elements? What does Hayes Carll have in common with these legends? What he possesses is more that just geography. In fact, the Texas Music scene has developed to the point that you no longer need to be from Texas. Refugees are now accepted as long as they have talent. Take a guy like Adam Hood. He is a fellow Alabamian who has been adopted by the Red Dirt Scene.

First and foremost Carll can dish out the requisite humor. Why is humor so important? To answer that go to a Guy Clark show and see how many fans request “Texas Cookin.’” The scene will be repeated at other shows by other artists. The humorous lighthearted songs get requested most. There is nothing more important than bringing laughter into the lives of fans. No doubt part of the reason people love music is escape. Humor helps relieve stress better than anything. Another quality Carll has in common with the great troubadours, is that he doesn’t need a full band. His songs stand on there own. An acoustic guitar and maybe a microphone, depending on the venue, is all that is needed. Sure a band helps but is not required.

Hayes Carll is also a great storyteller. The characters in his songs are often as important as the music. This brings to mind Clark, Townes, Ely etc. Moreover, just like his influences and idols, his lyrics and stories reflect perspective on life as it is lived by real people. Some of his characters may be extreme but everyone can relate to them. No esoteric lyrics, cryptic meanings or elitist intellectualism. Just real life as it is lived by real people with real struggles.

There are certainly a lot of good young song-writers out there, but Hayes Carll seems to be carrying the torch for the next generation of the Texas /Americana Troubadours.

This review also appears on Amber Waves of Twang

Jeb Loy Nichols - Days are Mighty

Chip Frazier — Fri, 02 May 2008 05:56:50 +0000

Jeb Loy Nichols occupies a territory somewhere between the Soul influenced folk of Martin Sexton and a more acoustic singer-songwriter sound. The album starts out with the more soul/R&B leanings of “My Kind” and the title track “Days are Mighty.” The title track is a comforting hopeful song. The message seems to be that, even when life’s obstacles are daunting, time goes on and heals. Lyrically the song “25 Years Too Late” views time in another way. When you try to heal wounds in relationships time will only result in regret. All of us can relate to this concept based on the scar tissue of our life.

Relationships are touched on in a very real way in this album. No idealistic love can be found on Days. Indeed Nichols says of the way music portrays relationships that “popular music has a lot to answer for - song after song about something that is at best, painfully hard work.” That was his motivating principle in writing “Let’s Not Fall.” The song has a lighthearted beat that covers up its’ cynicism. It may be cynical message but the veracity of his sentiments are not to be denied.

Overall Jeb Loy Nichols has given us a group of songs on Days are Mighty that provide an impactful musical and emotional milieu. It will release this Tuesday, May 6th.

Sample at Compass Records

This review also appears on Amber Waves ofTwang

South Austin Jug Band - Strange Invitation

Chip Frazier — Fri, 25 Apr 2008 06:24:32 +0000

South Austin Jug Band has found itself. They have always been talented and creative song-writers. However, they were stuck somewhere between traditional and contemporary acoustic music. They were too much on the fence. With Strange Invitation they have created self-described “progressive - acoustic” music. Maybe this clear break was due to the fact that the band holed up in First Church of Folk, The Chelsea Hotel in NYC to write the songs. Whatever the reason, they have established themselves as premier avant-garde acoustic musicians. The problem is their name now belies their sound. No jugs here. In fact, there are even some electric instruments and a cool cover of Beck’s “Jackass”, from which the title comes.

The album has a smooth flowing vibe that the listener can ride from beginning to end. The smooth melodies are the glue that holds everything together. The creative song-writing is the same as on past records even though the music is fully contemporary. The go to tracks are “Come to Me,” “Fall So Fast” and “Po’ Boys in a Glovebox.” This is the breakout album for SAJB but it is far from the end of their journey.

Check out Jackass

This review also appears on Amber Waves of Twang

Jim Lauderdale - Honey Songs

Chip Frazier — Fri, 18 Apr 2008 04:34:37 +0000

Jim Lauderdale has been alternating between Country and Bluegrass projects for the last several years. As far as Jim Lauderdale’s country albums go, my favorite is The Other Sessions from 2001. The song “What’s on My Mind” is in fact one of my favorite country songs period. His new project Honey Songs is on par with Sessions. The new recording is billed as Jim Lauderdale and the Dream Players. It is an apt description as Lauderdale has assembled his version of an Americana “Dream Team.” The Dream Players include Al Perkins on pedal Steel (Flying Burrito Brothers), legendary guitarist Jim Burton (Elvis Presley), Glen Hardin (both Elvises Presley and Costello) on piano, also Gary Tallent (E-Street Band) on Bass. Backing vocals are provided by the pipes of Emmylou Harris, Patty Loveless, Kelly Hogan and Buddy Miller. All of their talents shine through.

The album gets started with the great guitar licks of “Honeysuckle Honey Pie,” then goes straight into the Bakersfield sound of “I Hope You’re Happy.” The wistful piano on the ballad “Finally Sinking In” creates the perfect atmosphere for a country “love gone wrong” song. Lauderdale may be the first artist since Gram Parsons that can combine lyrics that could easily fit Psychedelic Rock with Traditional Country music as demonstrated by “Daughter of Majestic Sage.” “Stingray” is also another stand out track on the album.

Lauderdale is a ubiquitous presence in Americana Music. He is a fixture at Merlefest hosting the Chris Austin Songwriting Contest. He has also hosted the American Music Awards for the last three years. I really can’t figure out why he is ignored by Country Radio. Maybe it is his quirky lyrics or maybe it is because Ryan Seacrest never crowned him the new American Idol. After all it ain’t country unless Ryan Seacrest says it is. This project may change things a little as he has played Leno and generally gotten a lot of other good press.

Listen to Honeysuckle Honey Pie

Enjoy some
Tai Chi with Jim Lauderdale on CMT.

George Strait - Troubador

Chip Frazier — Fri, 11 Apr 2008 04:08:54 +0000

I have to admit a prejudice against mainstream Country. I tend to dismiss anything on a major country label. In the 80’s country was awful until the rise of the neo-traditionalists, such as Dwight Yoakam, in the the late 80’s and early 90’s. Then along came Garth and Faith, and in came soccer mom easy listening schlock. However, I need to be objective and and give credit when major labels embrace legitimate country stars. Artists like Dierks Bentley, Miranda Lambert and Ashton Shepherd are legitimate and signs of light. Although there will always be a tug of war between pop country and traditional country in the marketplace, perhaps the pendulum is swinging. Getting off the soapbox, I say all of this to point out that in the midst of this is George Strait. He has been nothing but himself throughout, doing it honest. His new album Troubador pretty much sums him up. As he puts it on the title cut, “I was a young troubador when I rode in on a song and I’ll be an old troubador when I’m gone.”

The album has songs for the traditionalists and even a couple for the soccer moms. In fact, the most mainstream song “I saw God Today” predictably is the first single and debuted in the Billboard Top 20 immediately. Not surprising for a guy who has over 50 number one songs. It is amazing that he can still do this when Nashville has discarded many of the contemporaries with which he began his career. The secret is his voice, which is simply the perfect male Country voice. Strait respects the roots and influences of the genre. The best example of this is the duet “House of Cash” which memorializes the burning down of Johnny Cash’s estate. Accompanying him in this tribute is Patty Loveless. Their are many other highlights on the album. So if you are prejudiced against big label Nashville as I am, put aside your presumption and give it a listen.

Listen to River of Love:

This review also appears on Amber Waves of Twang

The Waybacks - Loaded

Chip Frazier — Fri, 21 Mar 2008 02:39:08 +0000

“Tradition in Transition” is the title of the cover article in next to last No Depression It focuses on how young bands such as Crooked Still, The Avett Brothers, Uncle Earl and Chris Thile’s new project the Punch Brothers are innovatively changing traditional acoustic music. A couple of bands that aren’t as young as the subjects of the ND article that also fit the bill are The Steeldrivers and the subject of this post, The Waybacks.

The Waybacks new album Loaded is remarkable. Releasing on Compass Records March 25th it was produced by Byron House and features guest appearances by Sam Bush among others. The album represents a new direction for the band that is largely the influence of touring with Bob Weir and Ratdog. Loaded mixes their frenetic traditional sound with the free form eclectic influences of Weir along with, Honky-Tonk, Irish and Swing. The Band started out as an acoustic side project for San Francisco Bay area electric guitar player James Nash. They used to be a five piece outfit that played as many traditional tunes as originals. Though they were their own versions to say the least, which made them favorites of the Merlefest dance stage for the last few years. They dropped two original members and recently added excellent fiddle player and songwriter Warren Hood. Also, they are no longer just acoustic. Nash shows off his electric chops with great results on this album. The creative overflow on the album is evidenced by the fact that all of the songs on are original. So mark the 25th on your calendar and pick this one up.

A copy of this review also appears on Amber Waves of Twang

Cartridge Family - Shine Like a Bottle

Chip Frazier — Tue, 11 Mar 2008 04:02:08 +0000

“I still remember what you look like, buck naked riding your bike.” I am not a songwriter myself and it is hard to pin down exactly what constitutes a good roots rock song. However, I know this; if you write a song that involves someone getting buck naked and riding something, you have succeeded. The Cartridge Family has certainly succeeded on the song “Do You Remember.” Their new album Shine Like a Bottle mixes a punk ethos with good ol’ Rock n’ Roll. The kind of Rock playing right now in some garage near you. Like I said it is good roots rock.

The Cartridge Family hails from Raleigh, North Carolina. They are a nice addition to the thriving North Carolina roots scene. In the era of shoegazing atmospheric indie rock (a lot of which I like), it is nice to do what I’m doing as I write this review, pop a cold one and tap my foot to a good beat. So if that sounds good to you too, hop on the Cartridge Family bus. (David Cassidy and Susan Dey not allowed on this ride.)

Check out their MySpace Site which features some classic Partridge Family audio. “Come On Get Happy”

American Gun - Twangville House Band

Chip Frazier — Fri, 29 Feb 2008 04:39:16 +0000

Todd Mathis is a Twangville posse member and front man of the up and coming alt-country band American Gun, along with friend and fellow songwriter Donald Merckle. I guess that would make them the official house band here at Twangville. Based on their new CD, that is a good thing. They recently released The Means and the Machine and it is an album with hooks that will grab you right away. However, for those that demands instant credibility, American Gun Delivers it. The album was mixed by Chris Stamey, (The DBs, Whiskeytown, Caitlin Cary, Alejandro Escovedo, Yo La Tengo, Tift Merritt)and Al Perkins (Flying Burrito Brothers)provides pedal steel. The album is full of great hooks and melody. As compared to their previous release Dark Southern Hearts, the new effort shares stylistic similarities; but it is a bit more fine tuned with harmony vocals, keyboards and of course Al Perkins on Pedal Steel. According to Todd these refinements were largely the suggestion of Stamey.

I write this review because I really like this album. There is no “Home Cookin’” here like you see in an SEC football game, where the home team gets the calls. Listen for yourself. The songs on the album are a fun listen. For example, on the song “Drunk Girls” they describe how the social division of every bar in America is determined by different types of drunk girls and where they stand. It is a true and hilarious observation of the co-ed sport of drinking. They, also show us their theological side on the song “Jesus Gave Us Rock and Roll.” This is a song to which all the people can say Amen. “Girl Done Gone” is a dark tale that would make Patterson Hood proud. Hooking up with Stamey was a really great idea for American Gun. He expands their sound and they will likely expand their audience. Great job Todd, you get the key to the city of Twangville.

Sample songs on their website.

This review also appears on Amber Waves of Twang

Death to Anders/The Hollyfelds

Chip Frazier — Sun, 17 Feb 2008 06:47:03 +0000

I’ve recently received Submissions from a couple of upstart bands I think are worth a look. They are Death to Anders and The Hollyfelds.

Death to Anders has just released a new album Fictitious Business. Their sound has it’s basis in the L.A. Indie Rock scene but it is also heavily influenced early 90’s Sonic Youth. They have a certain atmosphere and distortion layered around their melodies. The sound strikes a nice balance between Indie Pop tunesmanship and atmosphere.

Stream their music

The Hollyfelds have released their album Saratoga. On their website the band self describes their sound as “a country sound…a neo-traditional country sound (tempered with a hefty dose of folk and Americana and just a touch of bluegrass, all anchored by solid pop hooks).” Well that just about sums it up. Except it fails to mention thet the best thing about the group is the beatific harmony vocals of their dual lead singers, Eryn Hoerig and Kate Grigsby. Further the album was produced by Ric Hordinski (Over the Rhine, Robbie Fulks and David Wilcox.)

Stream on their website

This review also appears on Amber Waves of Twang

Willie Nelson - Moment of Forever

Chip Frazier — Wed, 06 Feb 2008 04:45:27 +0000

I have to admit I didn’t want to like this album. I was not at all happy with the fact that Kenny Chesney was producing the album. Preconceptions are often wrong. That is a lesson I have learned in my life, and this is one example of that lesson. This is definitely one to have for all Willie fans. What makes this album good is the man himself; in spite of Chesney and not because of him. By this I am referring to the overproduction this album suffers from on a few songs. In particular the opening song “Over You Again.” Some other Twang bloggers like Twang Nation and the 9513 have speculated this song sounds like they were trying, unsuccessfully, to go for a Daniel Lanois sound. Well Mr. Chesney I have heard Daniel Lanois and you are no Daniel Lanois. For proof if this break out Teatro and listen to what Lanois accomplished with Willie and compare the two. One more criticism before I get to praise. The choice of the Big Kenny penned “The Bob Song” was terrible and the production was pretty cheesy too.

This album has far more high points though. The understated title cut written by Kris Kristofferson is stripped down and powerful. The Dave Matthews song “Gravedigger” is an innovative arrangement. To be fair, Chesney deserves a lot of credit for that. “Worry B Gone” is a Guy Clark song that makes for a good duet with Willie and Chesney. Although the Clark version only says a “puff of that Worry B Gone,” the duet version has Willie puffing and Chesney sipping. I guess Chesney’s soccer mom fans can’t handle the fact he might have inhaled. If the witty “You Don’t Think I’m Funny Anymore” doesn’t make you laugh then you have no sense of humor, especially if you are male and married. The album ends on a powerful and transcendant note with a rendition of Dylan’s “You Gotta Serve Somebody.” So while this album has its flaws, it is still a Willie Nelson album, and in the end that is all that matters.

Willie sings Moment of Forever

This review also appears on Amber Waves of Twang