The first song on the record, Shasta, has a driving background banjo part that reminded me of 80’s era Pat Metheny.  It serves as a good warm up to Big Hook, a pretty traditional take on bluegrass, with some tasty mandolin to go with Hargreaves’ fiddle playing.  Lost in Lunel, about the French mandolin festival, also hews to the bluegrass genre.

More of the album, however, is jazz focused.  April Joy does the fusion idea proud with a bluegrass instrumented take on a traditional sounding jazz tune.  That leads into the John Scofield composition, There Will Never Be Another/Not You Again, that would have been right at home back in the day when I used to catch some of masters at a couple of Kansas City clubs.  I also have to mention Road Song, a tune that quickly goes on the attack with a fiddle/bass duel, but then transitions into something more New Orleans than Harlem.

On the whole, Prelude is a record I’ll probably go back to when I’m in the mood for something a little different.  The musicianship on this all-instrumental album is pretty fabulous.  It is, though, more jazz and ambience than my normal daily diet of music.

In American society’s current musical climate (without a lot of love of Americana music), you wouldn’t think that a “classic” sound would show up out of nowhere. Not only is JT Earle’s indie-darling status progressively more established, but the newbie Joe Pug ain’t no lightweight either. Earle had nothin’ but love for Pug and it wasn’t hard to see why. Pug’s lyrically dense songs recall Dylan in structure; on the other hand, Earle’s opryland honky-tonkin’ ways perfectly cleansed the pallet from Pug’s literate dense think-pieces.

With just one look at his bowtie, the retro motif was already apparent. JT began the set with a throwback to his early days, before he had a career or even an ambition. He plays a walking baseline bluegrass cover in John Henry like no one else.

Earle had a small band with standup bass and fiddle. The sound fit Earle perfectly. JT played some blues covers (”Cadillac Blues” by Lightnin’ Hopkins) and a bunch of new tunes. A new track about an MTA empoyee (from NYC) sounded great in the full band setting.

While the songs are well-written, the simpler singer/songwriter tracks such as “My Momma’s Eyes” slowed the momentum of the show (and the band left for a few). But they certainly showed Earle’s range as a performer. JT seems more and more seasoned with each show.

The opening act, Joe Pug, had a fresh energy that was palpable. His new record “The Messenger” has a fuller sound than his EP. For most of the live show, Pug used a few new guitars and his voice.

Pug began the set with three songs from the Nation of Heat EP. They truly set the tone for the show. The thoughtful “Hymn 35″ resounded with the verses like “I am faith / I am belief / Except for when I’m not / I am the teeth of champions / I am the rust of water rot.” The track certainly draws valid comparisons to Dylan but has a more serious intensity.

The track’s from the new album had a decidedly more laidback feel. Even with just a guy and a guitar (though Pug did call out his guitarist to fill out the sound on a few numbers), they seem more comfortable and less urgent. That is not a criticism, but rather an observation. Pug’s track “The Door Was Always Open” from “The Messenger” had a catchy building feel to it that ended in a powerful bridge.

Pug’s energy was fresh and new. He said out loud “Living the Dream” a few times and his enthusiasm seemed a lot like a younger Josh Ritter. He certainly knew how to have fun with it.

Each of them at different points in their careers, Pug & JT came together for a wonderful show. The two of them are bringing the classic sound back to the alt-country genre, keeping it from being swallowed up in the mire of indie-rock (whatever that is). Keep it up boys.

Photos by Suzanne Davis

Traveling a path that has led him from his native Virginia, to NYC and Los Angeles, singer/songwriter Sharif (Myspace / Official) has honed his skills as an emotive performer that sheds all inhibitions with the vulnerable and excellent slice of pop, Kisses & Lies.

The artist known as Sharif, tip-toes a fine line between saccharine and jubilant. That said, most of the 14 songs mercifully fall into the category of the latter, on this his third studio album. Gems such as twangy album opener “Far From You”, and the equally twangy duet with heart-throb hero Rhett Miller, “Dark Side of the Dawn”, are great examples of tunes that would fall comfortably onto a Zach Braff movie soundtrack. Most of the album’s tracks lay on a bed of acoustic arrangements, augmented with sweet harmonies and an even sweeter pedal steel that gives the songs an alt-country warmth that glows.

Lyrically sticking to various forms of love, Sharif doesn’t mind ripping his heart right from his sleeve entirely and simply offering it to the listener, as is. The lack of pretense that flows through the entire record results in an engagingly organic experience.

We were prepared to release the record, the same way Nation of Heat was done.  But then Logan from Lightning Rod approached us in the fall and everything happened quickly and I think both sides felt very comfortable about everything.  We both wanted something similar and yeah I’m very excited and I think they are going to do a great job distributing the record and getting the word out.

What was the biggest difference between the recording of Nation of Heat and Messenger?

The biggest difference was this time I knew I was recording a record, whereas the first it time, it almost got made by accident.  I was just recording songs.  This one was made after a year or two touring.  So this one was intended to be a record.  It’s a little bit different being aware of that while you’re doing it.  I’m not saying it’s a good thing or a bad thing, but it’s very different.

How important to you was it to have the full band in the studio for songs like “Messenger” and the re-working of “Speak Plainly, Diana”?

For me it was very important.  Because that’s how I have sort of been….I’ve been very interested in working with a band.  It was very important that we get them in there.  It was a little more difficult, because I’d never recorded with a band before.  It took a little time and it took some pulling your hair out a little bit, but I’m glad we did it.

The Nation of Heat EP was the 7 songs, and now Messenger has just the 10 songs on it, was that a purposeful decision to keep it short and digestible?

There were a bunch of other songs on the cutting room floor, but I just felt like these ten made the whole….They held together and ordered themselves.  There are a few that didn’t make the cut that might find their way onto something, but I just felt really comfortable with these 10.

This is a question I wonder about a lot for all artists, so here goes.  You’ve been playing most of the songs on Messenger live for a long while now, I think I have bootleg versions of 8 of the 10 songs, does make any difference to you as a performer now that they’re out or is it just more of a pride at making and releasing the record?

As a performer, it is great when the songs are already on a record.  I think its much easier for the audience to understand and hear songs they’ve already heard.  It’s cool to hear the audience like a new song, but it can be sort of difficult to hear two new songs in a row.  I mean your brain is doing a lot of processing, there is a lot going on.  So, I really like when we’ve released a song and people know it coming into a show.  It makes a big difference.

I was wondering if I could get you to respond to this quote from Steve Earle—he was quoted by The New York Times said that when he was a teenager, that he thought it was “possible to create songs that might be ‘literature that you consume while driving in your car.’”   When asked recently if he thought that was still possible and if  there was anybody right now that he thought was putting out music that qualifies as literature, he said “Absolutely. I think Joe Pug does. I think my son [Justin Townes Earle] does when he’s in his best form.”

Wow. I mean….. my only comment is wow.  There is nothing else to say about that.  That’s awesome.  That’s just really [expletive] cool.

[later]

Steve has really helped me so much more.  He’s kind of taken me under his wing and I could go on for an hour talking your ear off about Steve Earle and how much he’s meant to me.  But, yeah that’s really cool.

Messenger was released February 16th on Lightning Rod Records.  Check out the Twangville review here.  Also check out Joe Pug tour dates (including shows with Justin Townes Earle and Josh Ritter) here.
Here is Joe covering a Hank William’s classic.

Sao Paulo is the fourth record from the Detroit-London based Deadstring Brothers.  In their typical fashion, the album is a concise ten song run of blues, soul, and country influenced rock and roll.  Opening with classic steel guitar on the title track and closing with the country rock perfection of “Always A Friend of Mine”, the album never hits a bum note.  Highlights for me are “Adalee” and “The River Song”, but it’s just as easy to point to any other back to back songs on the record.  I’d rank Sao Paulo a bit ahead of 2007’s Silver Mountain and right up there with the classic (in my mind) Starving Winter Report.  Album by album and song by song, the Deadstring Brothers are building an impressive catalog of classic rock and roll records.

So in conclusion, if you are a fan of the Faces, the Stones, the Allmans, or the Black Crowes, do yourself a favor and pick up Sao Paulo or any of the Deadstring Brothers albums.  If they’re not your new favorite band, I’ll eat my vinyl collection.

Patty Griffin has just released her new album Downtown Church. The album was brilliantly produced by Buddy Miller and has an excellent supporting cast. On this album Griffin captures the soul of the traditional African-American Church, as well as the beauty of more traditional hymns. The mix of songs on this album capture a spirit of forgiveness that is truly the central message of Christianity. These songs don’t have anything to do with the exclusive legalism of the mainstream American Church. Instead there is a soothing redemption given.

I don’t care what your affiliation, songs like “little Fire,” which features Emmylou Harris, will warm you deep in your soul (even if you don’t believe in one). She reinterprets classic Gospel songs and hymns like “Tear This Building Down” and “All Creatures of Our God and King.” Buddy and Julie Miller both join her on this project. On “Never Grow Old” Buddy’s voice adds an authentic roughness to complement the softness of Griffin’s voice. Downtown Church offers no condemnation, just beauty, soul and hope.

This is Walker’s fifth release as a solo artist and through the years his overall production style has been shifting with each release from rock n’ roll to pop n’ roll.  I mean, he’s always known a hook and nothing has changed here.  While some of his lyrics have always irked me, it’s also something that makes Walker endearing as he’s obviously a master of his craft that doesn’t take himself too seriously and has fun going to work.  I envy that and would love to one day go to work with Butch.

My favorite from first listenings of the new disc was definitely “She Likes Hair Bands” which opens with:

She likes hair bands
On satellite radio
But I was in one
So it’s a little too close to home

Hilarious and true at the same time.  The album has its fair share of heartbreak, “Someone Should Take You Home” being the best of these, but you’ll also find yourself smiling through the tears. The 60’s piano stylings mixed with the Prince-sounding guitar solo of “They Don’t Know What We Know” is a new twist on the love affair while “Fixed Gears and Broken Parts” features some damn fine finger snapping over Butch pining away for an old love who now has a man that “quotes books from your apartment that he’s never read.”  Those one liners are great and I Liked It Better When You Had No Heart is full of them.  There’s also the opening “Trash Day” that hates on the rich MILFs, “young Christian men,” and another one that got away. 

Michael Trent is the Black Widow who is billed as co-writer/lyricist for all the tracks but Butch fans won’t notice the addition.   Although not included on this album, check out Walker’s recent cover of Taylor Swift’s hit “You Belong With Me.”  You can find that here:  http://www.youtube.com/watch?v=KOQAjsi0YQA.

Reckless Habits comes out of the gate burning with a New Orleans-style, swampy. roots number, One Of These Days, that could have been a Tony Jo White composition, with horns.  Other songs that get that second line feeling going are New Millenium Blues where “mommy’s got two jobs and daddy’s got three”, the John Hartford tune Got No Better, and a version of the Bill Monroe classic Big Sandy River.  The album finishes with the other half of the bookends, Parade, a cut that’s basically the sound of a New Orleans parade band coming up the street and then moving on.

Another primary musical influence in Reckless Habits is clearly Gram Parsons.  From the title cut and it’s story, “poor old Gram burned up in the desert”, to Albuquerque, NM, there’s a lot to love for fans of pedal steel, dualing lead guitars, and multi-part harmonies (think Allman Brothers).  In that same vein is American Beauty (guess who that’s a shout-out to) and Fuzzy Little Hippy Girl about the summertime festival scene.

Finally, I have to mention the musical Easter eggs.  You know, those little surprises you find hidden in an album.  Sometimes they’re from the songwriter, like the verse “wild horses singing rock and roll” about the friendship Parsons had with the Stones.  Other times it’s more of a production gift.  Listen to Cold Lonely Time and remember the first time you heard the soaring female vocal moan/scream of Claire Tory in Great Gig in the Sky.  In some ways, that’s what the whole album is about: a musical gift to today’s listeners from a number of musicians who are no longer with us, but channeled through Great American Taxi.

I was thrilled when word came that Eef Barzelay was getting the Clem Snide (Official / Myspace) gang back together in 2009, after a break of a few years. While Barzelay’s solo work is solid, it just didn’t have the same zip that I have always recognized in the earlier Clem Snide albums. “Moment in the Sun”, from their 2002 EP of the same name, is a great example of the dry wit that defies mere quirk and actually makes a point while being cleverly direct. With that tune, as well as many others from Clem Snide’s catalog, self-importance is called out and questioned in such a frank manner that it’s foolish not to see it their way. That same candid and wryly comedic spirit is quite evident in their latest record, Meat of Life.

Barzelay’s loose, ramshackle vocals are the perfect passenger for the garage-folk vibe Clem Snide continues to throw down with great success. With each raw electric guitar strum, it’s clear that these guys get exactly what they want to be and make no false steps into reinvention, simply for reinvention’s sake. “Wal-Mart Parking Lot” isn’t merely the stand-out track from the new album, but it is another case of Barzelay targeting a pop-culture touchstone to paint a picture that isn’t exactly what it initially seems to be. When you really listen to Meat of Life, it’s likely that you may see that there are varying levels of quirk that can actually seem to be more logical than whimsical.

The building itself is strikingly humble. No running water. No air conditioning. Six spare benches and a few cushions for visitors. One can’t imagine that much has been changed since the building was originally built as a Spanish tavern in the 1750s.

But the music. The music is sublime. With a bit of Dixieland, a touch of blues, a dash of folk and a whole lotta old time jazz, the Preservation Hall Jazz Band make a magical sound.

To celebrate this institution, over twenty artists journeyed to New Orleans to record with the group in the hallowed Hall. Give credit to the album’s producers, who did more than just invite a random selection of popular artists. Rather, they paired the group with a diverse array of musicians who, in their own right, represent a rich picture of American music styles.

Buddy Miller finds the country swing in “I Ain’t Got Nobody” while Pete Seeger brings out the folk edge of “Blue.” Amy LaVere and Paolo Nutini seem to have stepped back into their 1920’s with their stylized vocals. Jim James takes it a step further, singing through an old school bull horn on “Louisiana Fairytale.”

The collaboration between the band and the Blind Boys of Alabama is a spiritual summit of epic proportion. Not to be outdone, Richie Havens’ melancholy turn on “Trouble In Mind” is mesmerizing. Tom Waits gets the band groovin’ with his “Tootie Ma Is A Big Fine Thing.’ The highlights are endless.

If nothing else, you should be buying this album to support Preservation Hall and its efforts to continue a rich music tradition. The fact that you’ll be getting such rich music from a storied musical institution is a bonus. Well, a really big bonus.