This One’s for Him is a tribute to one of America’s greatest songwriters, Guy Clark. It was one of my favorite records released last year, though I am just now getting around to a review. It contains, by far, the strongest songwriting of any record released last year. But to be fair, no one else really stood a chance against this 30 song collection of Guy Clark’s best.

Lovingly produced by Tamara Saviano, the record features a dedicated house band of some of Guy’s closest friends and partners in crime, Shawn Camp, Verlon Thompson, and Jen Gunderman, with others popping in throughout. This continuity goes a long way in creating a seamless listening experience– in contrast to the standard hodge podge of sounds that normally accompany such “tribute” records.

Each of the featured singers brought their guitars and their voices and that was it. The only way to convey the staggering amount of star power that showed up is to list them.

Rodney Crowell
Lyle Lovett
Shawn Colvin
Shawn Camp
Ron Sexsmith
Rosanne Cash
Willie Nelson
Rosie Flores
Kevin Welch
Suzy Boggus
Ray Wyle Hubbard
John Townes Van Zandt
Ramblin’ Jack Elliott
James McMurtry
Hayes Carll
Joe Ely
Emmylou Harris & John Prine
Steve Earle
Verlon Thomas
Terri Hendrix
Radney Foster
Patty Griffin
Kris Kristofferson
Gary Nichols, Darrell Scott, & Tim O’Brien
Jack Ingram
Vince Gill
Robert Earl Keen
Terry Allen
The Trisha’s
Jerry Jeff Walker

The list says a lot about the kind of respect Guy Clark endears. What says more is the 30 songs featured here, a tour de force of songwriting that seems almost fictional in its depth and breadth. I’ve been a fan of Guy Clark for years, but I think it really took this record to make me realize how GOOD he is. My initial Clark favorites are all highlights here, Radney Foster’s take on “LA Highway,” Patty Griffin’s soaring interpretation of “The Cape,” Kris Kristofferson’s trademark growl on “Hemmingway’s Whiskey,” Vince Gill meeting the challenge on the emotionally charged “Randall Knife,” and Joe Ely’s iconic rendition of “Dublin Blues.” The latter, I have to admit, is probably my favorite Guy Clark song and I love Ely’s version.

It was the discoveries on this record that really sent me to cloud nine though, Shawn Camp singing “Homeless,” James McMurtry plowing his way through “ Cold Dog Soup,” the sly Hayes Carll on “Worry B Gone,” the other-worldly awesome Emmylou Harris and John Prine dueting on “Magnolia Wind,” Steve Earle rumbling his way through “The Last Gunfighter Ballad,” Terri Hendrix painting a picture of unparalleled vividness on “The Dark.” I could obviously go on and on and on, but I think I’ve made my point.

This is a great record and I can’t recommend it highly enough. I recommend listening on a Sunday morning with the sun streaming across the front porch and a warm cup of coffee in hand. You won’t regret it.

The shows begat plans for a box set; the planned box set begat a book. Although both have already been released in his native Australia, they are now getting a proper US release.

How impressive is the box set? Well, let’s start with how remarkable Kelly’s catalog is. With a career that has spanned nearly 40 years, it is a catalog of unparalleled depth filled with songs of emotional purity and musical allure.

The A-Z Recordings is comprised of eight cds that encompass 105 songs from throughout his career. Most of the performances are acoustic, shining a bright light on the brilliance of Kelly’s songs.

In celebration of this release and Kelly’s upcoming US tour, Twangville is giving away a copy of the A to Z Recordings. To win, post a comment with your favorite singer-songwriter. How simple is that? A winner will be selected at random when the contest ends on Tuesday, 14 February 2012 at midnight ET.**

Kelly talked about The A-Z Recordings at a TED Conference in Sydney last year. His remarks include the details behind “How To Make Gravy,” his Christmas song that “doesn’t have a chorus and is set in prison.” Brilliant.

Click here, here and here for more Twangville coverage of Paul Kelly.

 Life is Good Festival in Canton, MA: September 2011

Before the Life is Good festival, I was a very casual Avett Brothers fan. I really enjoyed the album “I and Love and You” but hadn’t heard much else. It was very exciting to be standing in front of the barricade, right up at the stage on a lawn filled with thousands of people, waiting for them to come on and perform. Seth, Scott, and their band exploded onto the stage with “Go to Sleep” from their album “Emotionalism” and I was instantly hooked. I snapped away with my camera, standing directly under them and enjoying their energy. I’ve now gone from a casual fan to a real one! Photos taken with a Canon Rebel SLR using 50mm f/1.4 and 70-200mm lenses.

Over the past year I’ve come across a few more to add to the collection. So without further ado… adieu!

Nothing At All, Maxim Ludwig
You said I wasted your time, but that’s ok ‘cause you wasted mine
Between you and nothing, I choose nothing at all.

Audio Download: Maxim Ludwig and the Santa Fe Seven, “Nothing At All”

My Little Blue One, Cowboy Mouth
I remember and try to forget
With a bottle of wine
I remember and try to forget
That the ring you’re not wearing is mine
No no no no you don’t wear it anymore
You’re gone and I don’t even think of you, my little blue one

Audio Download: Cowboy Mouth, “My Little Blue One”

(Not So) Sad, Mike Errico
The stupid things you said to me, I chalk ‘em up to history
I only hope my bitterness will fade into experience
The greatest curse I have for you is someday I hope you meet you.

Audio Download: Mike Errico, “(Not So) Sad”

Leavin’ Yesterday, John Howie, Jr.
The day you told me you were leavin’, I bet you thought you’d see me cry
When I said that I’d be grievin’, to tell the truth I told a lie.
I don’t think that I’ll stand and wait, I’m not the kind to take that bait
The fact is I’ve already said goodbye.

Audio Download: John Howie, Jr. and the Rosewood Bluff, “Leavin’ Yesterday”

Fool’s Gonna Fly, Will Hoge
Real life ain’t the movies, all bathed in black and white
Ain’t no script been written that can make this turn out right
You ain’t no Audrey Hepburn and I ain’t no leading man
But if this was a movie I’d say, “I don’t give a damn”

Audio Stream: Will Hoge, “Fools Gonna Fly”

As Long As You Don’t Come Back, Justin Currie
So I’m talking to myself, not you
and it ain’t so bad
At least I don’t put myself down

And sometimes I even sound like you,
well I know I should be making amends
but why would I do that?
when I won’t feel alone as long as you don’t come back

Audio Download: Justin Currie, “As Long As You Don’t Come Back”

You Can’t Keep Me, Amy Lavere
You can’t make me stay, I’m not your pet
I’m gonna break the chain you have tied around my neck.
I’m stomping out of here, I hope the dishes rattle down off your shelf
And if I see you first, I’ll run like hell

Audio Download: Amy Lavere, “You Can’t Keep Me”

Petered Out, Melodine
All you managed to do is ruin everything
When I bit my tongue, your words would sting
I’d like to take back from you both of those years
When I let it pass you abuse my ears, you go on and on and on… I’m petered out.

Audio Download: Melodine, “Petered Out”

You’re Breaking My Heart, Harry Nilsson
You’re breakin’ my heart, you’re tearing it apart, so fuck you

Audio Download: Harry Nilsson, “You’re Breakin’ My Heart”

Call it Off, Brian Charles
I really liked you better back when you were dumb,
now you talk while I just watch amazed at what you’ve become
the fact remains, that you have changed
I’d feel a lot better if we called it off

Audio Download: Brian Charles, “Call It Off”

You’re Breaking My Heart, Harry Nilsson
You’re breakin’ my heart, you’re tearing it apart, so fuck you

Audio Download: Harry Nilsson, “You’re Breakin’ My Heart”

And be sure to check out Part 1 and Part 2, Part 3 and Part 4 for more ways to say goodbye.

In this case, “project” really does seem to describe the work that went into the album.  It was recorded in New Orleans and her backing band is the rhythm section for The Funky Meters, a New Orleans institution.  Those guys, plus Ike Stubblefield on Hammond B3, create a dirtiness that’s more forward than many of Ruthie’s other efforts.  But keeping the Lord’s music in the balance are the Blind Boys of Alabama, featured on 4 tunes, and soul master William Bell on another one.  The net result is a disc that’s about half gospel & blues and half rhythm & soul.  It’s a potent mix.

The gospel tinged part of the album manifests itself right from the beginning: Welcome Home is a Foster original with the Blind Boys that’s the poetic explanation of faith, “my mind didn’t know how to get there, I trusted my heart and, I swear, my soul came to welcome me home.”  Other songs in this spirit are Lord Remember Me, the Robbie Robertson number It Makes No Difference, and a fantastic a capella The Titanic, also with the Blind Boys of Alabama.  Good material for your Sunday morning rotation.

The other theme running through the disc is remakes of some familiar songs from other artists.  I hesitate to call them covers because several of them bear little resemblance to the original.  Ring Of Fire is unrecognizable unless you really listen to the lyrics.  There’s almost a Motown feel to the Los Lobos penned This Time.  Ruthie puts a dark blues spin on the Pete Seeger classic If I Had A Hammer.  And her version of the CSNY hit Long Time Gone is, IMO, a major improvement on a song that I already loved.

In the end this is a strong offering from an artist that’s already at the top of her game.  Ruthie’s vocals are great, the backing band is stupendous, and the song selection is great.  I just dare you to sit still for the whole album.  Can I have a Hallelujah?

Start chair dancing with this single, an original number, Aim For the Heart.

Audio Download: Ruthie Foster, “Aim For the Heart”

I’m Dead, Serious is the second solo record from Two Cow Garage frontman Micah Schnabel. It follows 2010’s acoustic bombshell, When The Stage Lights Go Dim. In between the two, Two Cow Garage put out their fifth record Sweet Saint Me.

So, dude’s been busy.

His lyrics, as always, are phenomenal, opening with a chorus of “so you keep your little choir boys/ they sing so sweet/ but they don’t make noise like I do/ like I did, in your heart.” The music, however, didn’t blow me away on the first couple of listens. Maybe it was because any record that followed When the Stage Lights Go Dim was gonna have a hard time living up to that bruised masterpiece, but I was initially underwhelmed by I’m Dead, Serious.

That being said, I listen(ed) to it constantly. Since I received my early pre-order copy in mid-December, I found myself returning to the record again and again. Whether in the car, at the computer, or listening to my 10 year old Ipod, I just gravitated towards it. The songs are great and have the emotionally charged lyrics and delivery that I love in bands/artists like Lucero, Frank Turner, Jen Buxton, The Hold Steady and of course Two Cow Garage.

Yea, some of the music and lyrics sound eerily similar to some of Schnabel’s earlier work. But hell, I love everything he’s put out, so why wouldn’t I like this record? The answer is quit over-analyzing and enjoy.

Early favorites:
“Choir Boys”
“Heavy Things”
“The Confessional”
“Zen and the Art Of….”

If you want to get a Twangville reviewer’s attention, mentions of beer, whiskey, or other spirits will usually go a long way. When songwriter and guitarist Jess Hoefner floated me a bottle of bourbon the other week, I knew I had to fulfill my long put off promise of reviewing his band’s latest EP, Gone for Good. Lucky for me (and you), Gone for Good is a wickedly delicious slice of alt. country stomp rock.

My initial comparison for the band is always The Jayhawks, but not for the usual reasons. I’m not talking about the trademark Louris-Olson harmonies as much as I am referencing The Jayhawks ability to easily connect the dots between Gram Parsons and The Beatles. Mud, Blood, and Beer can sound straight out of the 60′s folk rock tradition (The Byrds, The Beatles) and turn right around and channel 70′s country rock (Neil Young, Parsons, CCR). The mix of pop, classic rock, and country influences can reference Lou Reed and the Carter Family in the same breath. The diversity of influences keeps the EP from fading into the background as each song emerges from the speakers to challenge the listener with something different.

This emerging alt. country band is playing a free show in NYC on Saturday February 4 at the historic Bitter End to celebrate the official release of Gone For Good. The band will be giving away some free copies of Gone for Good as well as some other goodies.

Live At Lincoln Hall, by Joe Pug
Since arriving on the singer-songwriter scene in 2008, it didn’t take long for Joe Pug to establish himself as a rising star. This live album, recorded in Chicago last spring and comprising songs from his one full-length album and two eps, is a spectacular demonstration of his songwriting prowess.

Album opener “Nobody’s Man”, from his debut ep, is a personal favorite. “I’d rather be nobody’s man than somebody’s child,” sings Pug. It is a statement of independence but not without some regret at his loneliness. “There’s an ugliness growing up inside me, from where it has come I don’t know.”

“Lock the Door Christina,” from the In the Meantime ep, serves as both a love letter and a warning. “Lock the door, Christina, I’m standing on your porch tonight,” he sings with a gentle sway.

An electric guitar joins Pug’s acoustic to give “Speak Plainly Diana” some extra punch. Not that it needs it as Pug’s lyrics pack plenty of punch already. To wit, “And when there’s too much to get rid of, and you get rid of me, speak plainly to me Diana, there’s nothing you must be.”

“Call It What You Will” finds Pug struggling with heartache. “I call today a disaster, she calls it December the 3rd,” he laments, “call it what you will, I’m heartbroken still, words are just words.”

Live At Lincoln Hall is a great introduction for those who haven’t heard him and a treat for those who already have. And with a new release shortly to follow, it is the perfect set-up for what could be Pug’s best year yet.

Audio Download: Joe Pug, “Call It What You Will”

Grand Hotel, by The Explorers Club
This talented sextet from Charleston, SC whip up a magical blend of three minute pop masterpieces. Each track is masterfully crafted, filled with spectacular musicianship and brilliant harmonies.

Lead single “Run Run Run” opens with some regal horns before giving way to a bouncy pop beat. A percussive march towards the chorus is rewarded with a blast of airy harmonies as the band sings, “I’ll run run run ‘til I get back to you, run run run, do what I have to do, run run run ‘til I get back in your arms again.”

“Anticipatin’” starts off with a guitar, piano and organ riff that recalls the opening of the Beatles “Get Back.” The opening quickly transforms into a classic pop melody that leads to a falsetto-led chorus. Throw in some tasty guitar riffs and you’ve got a feel-good classic.

Did I mention harmonies? “Go For You” brings them in full force. The song’s already head-bobbing and harmony-laden chorus reaches even higher when the horns join the fray. The fun continues with “I’ve Been Waiting,” which matches percussion and taut guitars with honeyed harmonies.

Album closer “Open the Door” starts with a bit of flamenco guitar before launching into an emotional ballad that builds towards a symphonic conclusion. This is the kind of music that makes Brian Wilson smile.

Audio Stream: The Explorers Club, “Run Run Run”

THE PLAYLIST
Abaddon Blues b/w All the Good You Lose (demo), Kasey Anderson and the Honkies
Kasey Anderson and the Honkies rocked out on 2011’s Twangville fave Heart of a Dog. But last year is so last year. A new year is upon us now and Anderson and crew have hatched plans for a new album.

Here are two tracks recorded for the album to be known as Let the Bloody Moon Rise. One is a bruising blues number with the Honkies; the other is an Anderson demo recording of a brilliant ballad.

Like what you hear? Anderson and the Honkies are going the sponsorship route to fund Let the Bloody Moon Rise. Click here for more details on the campaign and here to lend your support.

Gloryland, Kevin Gordon (from the self-released Gloryland)
Gordon is Louisiana’s answer to James McMurtry, spinning tales of weathered characters that come across as part song, part short-story. Check out the bluesy, dark and edgy title track.

Audio Download: Kevin Gordon, “Gloryland”

Bandit of Love, Jenny Dee and the Deelinquents (from the DeeVeeUs Records single Bandit of Love b/w That Moon Was Low)
For years Boston musician Jenny D’Angora has played with various punk and rock bands. Now she’s stepping out with a new outfit that pays homage to the 1960’s girl groups and their shiny pop sound. It’s retro with all the trimmings, what’s not to like?

Audio Download: Jenny Dee and the Deelinquents, “Bandit of Love”

Caught Me Thinking, Bahamas (from the Universal Republic release Barchords)
Toronto-based singer-songwriter-guitarist Afie Jurvanen, who records as Bahamas, reminds me of Harry Nilsson. His simple and airy arrangements stand in contrast to the often dark side of his lyrics. He actually pulls off a slight Caribbean feel with this track as he sings, “Back when we started, before we parted, I would wonder what would make her stay; what was I thinkin’, as if my drinkin’ was the only thing that drove her away.”

Audio Stream: Bahamas, “Caught Me Thinking”

One Voice Together, Martin Sexton (from the Kitchen Table release Fall Like Rain)
Simply put, Sexton has one of the most magical voices singing today. It is a voice soulful and smooth as molasses.

Audio Download: Martin Sexton, “One Voice Together”

A Good Feelin’ to Know, Tom Gillam (from the Great Tone Records release Rustic Beauty)
Austin by way of Philly singer-songwriter Gillam takes on the free-wheelin’ Poco classic. It is a great cover selection as it fits comfortably along side Gillam’s originals. He and his band have a relaxed feel that just makes the music fun.

Audio Download: Tom Gillam, “A Good Feelin’ to Know”

Aim For the Heart, Ruthie Foster (from the Blue Corn Music Release Let It Burn)
“When in Rome,” the old saying goes. Foster took it to heart, figuratively if not literary, with her latest release. The album came to life in New Orleans, where it was infused with the spirit of local musicians including the Funky Meters rhythm section of bassist George Porter Jr. and drummer Russell Batiste. While most of the album is covers ranging from the Band’s “It Makes No Difference” to Adele’s “Set Fire to the Rain,” Foster includes a couple of originals including this soulful track.

Audio Download: Ruthie Foster, “Aim For the Heart”

Honolulu Blues, Craig Finn (from the Vagrant Records release Clear Heart, Full Eyes)
At this point there should be little doubt that Finn is one of rock’s most literate lyricists. He puts the point on that exclamation with his debut solo release. Finn leaves the rock and roll musical bravado of the Hold Steady behind and proceeds with more subdued arrangements that shine an even brighter light on his lyrics.

We’re all good, we’re all bad
We’re euphoric and we’re sad
We roll the rock away and check the tomb

Audio Stream: Craig Finn, “Honolulu Blues”

Runaway, Imperial Teen (from the Merge Records release Feel the Sound)
The winter snow may be falling as I type this but the shimmery sounds of Imperial Teen are transporting my spirit to a summery place. The arrival of the band’s latest release, filled with upbeat melodies and bright harmonies, is a sure sign that summer will soon be upon us, right? If not, you’ll find me cranking this one by the fireplace.

Audio Download: Imperial Teen, “Runaway”