But Todd and Eric Fink have ruined my blissful ignorance. No, they haven’t written lyrics about restoring ponds, but rather they’ve managed to do it the “right way.” They’ve made a Carbon neutral album. But the beauty of the record is that it’s environmentally conscious without being holier than thou. The songs, fleshed out by an 8-piece ensemble, drip with authentic folk/country string-band touches on “The Joke, The Threat & The Obvious.”

The rousing “Caged Lion” is an immediate standout. The resophonic guitar and fiddle interplay in this song truly gives me goosebumps. You can’t help but nod your head to the beautiful group harmonies and double bass. “And in these hard hard times / Lies deep and dark like an old coal mine.” The lyrics truly embody the spirit of Appalachia.

The track “Circles” has an even more refined and singable chorus (accentuated perfectly by banjo lines). It’s a piece of melodic country-folk perfectly melded with classical (strings only emphasize emotions). “Moonlight Lady” is an upbeat country number that sounds like it was secretly recorded at a great Nashville bar. It’s got lots of chops and a singable chorus as well.

With any CD that has 15 tracks and almost an hour’s worth of material, some filler has to find it’s way in there. The Giving Tree has managed to really stay consistent with the upbeat numbers. Nestled right in the middle, track “Diamond” emphasizes the lush arrangements at a slower pace. It lacks the head nodding enthusiasm of their other tracks.

While string bands often lack the energy on tape, the Giving Tree and their green practices have somehow bucked that trend. The Fink brothers have a hit upon something: the blend of harmonies, fiddle and songwriting. It comes out on September 21.

The two main protagonists for the album are vocalists Natalie Houck and Jared Deck. Although either of them could probably carry the group with no problem, their concerted effort provides some great moments. On Never That Easy there’s just the slightest delay between the two voices singing the same lyrics making for a distinct sound. Only Love starts with some nice piano and pedal steel and with Natalie’s vocals could easily be a Patsy Cline number. The Ryan’s vocals come in and add a fullness Owen Marshall couldn’t achieve with Cline using 50′s technology. Although it’s just him singing on Watching Over Me, there’s a similar effect except it’s Roy Orbison they’re idolizing.

Side 2, er, I mean the second half of the record, moves more into a 70′s feel. Going Back To Austin has a bit of art rock to it, but even better there’s some Duane Allman style tasty guitar licks. Hang On evokes Roxy Music, and should be called the husband’s song for the chorus of “you were right, dear”. The album finishes with Blue Water and the passionate, angst-filled wailing of Marty Balin and Grace Slick, circa 1967 Jefferson Airplane.

I mentioned a lot of artists Say You’re a Sinner brought to mind. In no way are Green Corn Revival a thinly disguised cover band, though. They’re starting from the idea that imitation is the sincerest form of flattery, and then they’re building their own style and sound on top of it. The result is a thematic journey that weaves its way through the sound of some great Americana artists, but is a solid effort even if you’ve never heard the pioneers that inspired it.

The middle of the album slows down a bit and failed to catch my attention on repeated listens, but picks up steam again around track 8, with the juvenile “Cuckoo” which talks of “skipping school and smoking cigarettes.” Contrasting this track is the next, “Everywhere I Go” a beautiful ballad showcasing Lissie’s vocal range along with a sonic nod to friends Band of Horses. (Bill Reynolds recorded some of the tracks on this album.)

Overall Catching a Tiger is a good listen falling somewhere between polished pop and folk.

RIYL: Driving with the top down, bikini bottoms, warm sun

http://www.fatpossum.com/artists/lissie

I had seen Cory’s name around a lot recently, opening up for various acts and on festival bills, but had yet to check out his music. And, perhaps unsurprisingly, it wasn’t quite what I had expected. For one, the Wandering Sons consisted of more than just Sons. Adriel Harris backed Chisel on both keyboards and some stunningly beautiful harmony vocals. For another, this wasn’t another one of those new breed alt. country bands (i.e. Ryan Bingham, Sons of Bill). Chisel and Co. veer closer to folk-rock, folk-soul, or just classic rock. Fortunately for Chisel, he has the vocal talents to make it work and the Wandering Sons have the chops to make it soar. The band savored each song in the set, most of which can be found on their excellent full length Death Won’t Send a Letter. Unfortunately, my favorite song of the set, a number titled “Never Meant to Love You”, is not included on that album. Chisel prefaced the song by saying “I’ve noticed a lot of people doing Dylan covers this weekend…..so instead of doing a Bob Dylan song, I’d do what most artists do, which is play you a Bob Dylan song that I ripped off and changed the words to”. Hey, at least he admits it. The lyrics were pretty awesome and to top it all off, at the end of the first verse, Chisel lapsed into one of the finest Dylan impressions I’ve ever heard.

Next up, I split my time between Sharon Jones and the Dap Kings and Chris Thile’s Punch Brothers. Though both were excellent, I would have to give the edge to the Dap Kings. The quintessential hard working soul band, the Dap Kings are a backing band in the stratosphere of the Funk Brothers or the MGs. The Punch Brothers were surprisingly upbeat. Dressed like they stole their wardrobe from the Clinch Mountain Boys dressing room, the avant-garde string band displayed some classic bluegrass picking. They covered not only Bill Monroe’s “Brakeman’s Blues”, but also the Strokes’ “Reptilla” and an extraordinary version of Radiohead’s “Kid A”.

Photo by Michael Spencer

Before Preservation Hall closed out their set with Tao Rodriquez Seeger (and numerous others) guesting on “We Shall Overcome”, Ben Jaffe (tuba player and band leader) thanked Folk Festival founder George Wein for inspiring his parents to found the Preservation Hall in New Orleans fifty years ago. The actual Hall, which gives the band its name, was the first place south of the Mason Dixon line where black and white musicians were invited to make music together. And what beautiful music it was.

My next moved involved following Jim James over to the Quad stage, where he would be supporting Ben Sollee and Daniel Martin Moore‘s set. The set featured the same 4 members (Ben Sollee, Daniel Martin Moore, Yim Yames, and Dan Dorff) that had played at Yim Yames set the day before. However, this time they were focusing on the Dear Companion record released this year by Sollee and Moore with Yames producing. The record is a benefit record to raise awareness about the evils of Mountain Top Removal mining (MTR). The band was just finishing up its Appalachian Voices tour and they arrived at Newport in fine voice indeed. They opened with “Something, Somewhere, Sometime,” showcasing the vocal wizardry that these 4 voices can create. The band was stunning throughout, speeding up, slowing down, and reveling in the moment. I would try to describe it, but words ain’t gonna do it. It will have to be sufficient to say that it was the highlight of my weekend.

Sollee and Moore both played some solo material to fill out the set. Moore played “That’ll Be the Plan” from his excellent debut LP Stray Age. It was followed by a new Sollee song “Electrified” that embodied the cellist’s elegant mixture of soul, bluegrass, and innovative lyricism. Highlights from Dear Companion included an emotional reading of “Fly Rock Blues”, which included an intro by Moore that explained the cruel and destructive nature of fly rock (when MTR occurs, explosions often sending huge rocks flying huge distances in unpredictable directions). Sollee’s rendition of “Only A Song” brought the audience to its feet for an early standing ovation.

The set closed with a pair of songs, the first of which was a longtime Sollee fan favorite, “Bury me with my car”. Featuring a driving melody that revves up the audience, the song got even more help with time as the band brought up Sarah Jarosz for some banjo and background vocals. The song also showcased percussionist Dan Dorff or as James put it “Dan ‘the Swiss Watch’ Dorff, timing so precise you won’t be able to tell if he’s man or machine”. Dorff added some awesome body percussion slapping his hands, thighs, chest, head, and pretty much every other body part during the song. The last number was the title track “Dear Companion”. The band brought out the entire Preservation Hall Jazz Band to join them for the song—as James put it “the sound of Joy on this earth…the Preservation Hall Jazz Band”. The sound was incredible as the stomp of the song was wonderfully augmented by Preservation Hall’s horn section.

The festival closed with one of my favorite singers on God’s green earth: Levon Helm. I had see Helm and his Ramble on the Road a couple years previously and was excited about the opportunity to see them again at Newport. Unfortunately, Helm wasn’t in the finest vocal shape for the performance (understandable for a throat cancer survivor who tours as frequently as he does). He gave it his best on a rollicking rendition of “Ophelia”, but the raspy lead vocal was his last for the evening. It was still enjoyable to hear the Ramble, which never tires of playing the classic compositions of the Band.

It seems a fitting end to the festival. The Band broke boundaries by incorporating soul, country, rock, classical, jazz, and who knows what else into their version of Americana music. A decent metaphor for what the 2010 Folk Festival did, from the Preservation Hall Jazz Band to Sharon Jones & the Dap Kings, from Doc Watson to the Avett Brothers. It was all there.

Find more info including podcasts of many of the performances for the week at NPR.

Photo’s by Michael Spencer where credited.

Ray Lamontagne’s latest project might be the most un-Lamontagne album he has done, thus far, even though it’s the first album he has produced for his own self. God Willin’ & The Creek Don’t Rise, his fourth studio LP, was recorded in Lamontagne’s New England cabin with the help of his country, soul-brothers, the Pariah Dogs. Featuring the in-demand pedal steel of Greg Leisz, this record boasts a group feel that, understandably, hasn’t exactly been present in the previous efforts of the solemn, bearded one.

While most of the album elegantly ambles in the folky terrain of country music, there are some bluesy stompers that recall certain, earlier works, most notably Lamontagne’s stellar 2006 record, Til the Sun Turns Black. The lead single and the album’s standout track, “Beg Steal or Borrow” plays like a more laid back, less neurotic Ryan Adams tune from his prolific, Cold Rosesera. To be sure, that’s in no small part to the contributions of the aforementioned Mr. Leisz, wh is also a frequent collaborator of the eccentric Adams. Also, in the span of that specific tune, the trembling fender strat and shuffling beat just find a groove and live in it as if it went ahead and paid first and last months rent for it.

Certainly, Lamontagne has been a star as a folk-intensive, singer/songwriter, but this album and it’s beautiful set of songs is surely an Americana album of the highest order.

Two years removed from Asking for Flowers, Edwards has toured sporadically in 2010 , but her only U.S. dates have been a short NE run that included a co-headlining bill with the legendary Alejandro Escovedo in Northampton, MA at the Calvin Theatre. The two songwriters also did acoustic sets at a local farmer’s market that afternoon, but I was ignorant of such plans at the time. However, I did make it to the Calvin.

Edwards played first with a four piece backing band that included guitarists Jim Bryson and Gord Tough (the latter of whom reminded me of Wilco’s Nels Cline in both appearance and sound). The two traded licks and displayed a wide versatility. Bryson also contributed keyboards to a couple songs, as the rhythm section of John Dinsmore (bass), and Lyle Molzan (drums) kept it in the pocket all night. The set list included several new songs including the rollicking “Going to Hell”, which sounded like it was musically inspired by early Billy Bragg records. Edwards introduced the song by saying it was about both ‘Canadian geography and lust.’ This sort of innuendo was also featured on my favorite Edwards tune and another highlight of the evening, the clever “Back to Me”. Though seemingly non-plussed by the audience, which only managed to fill half of the orchestra seats at the large theatre (Edwards asked whether they had handed out valium at the door), she remained cheery throughout. She gave the whole audience a thrill when she invited Bon Iver’s Justin Vernon to come on stage to harmonize with her on the gorgeous “Mercury” from her debut album.

She was called back for an encore, and returned to the stage solo with an acoustic guitar. A woman up front called out for “Buffalo”, the piano based opening track from Asking for Flowers. Edwards chuckled and said she’d try, but hadn’t played the song in awhile. She did more than try and quieted the whole theatre with her performance. The band then returned for “Asking for Flowers” and a fun cover of Loudon Wainwright’s “Swimming Song”.

She then turned the rest of the evening over to Alejandro, whose set you can read about here.

Photo by Michael Spencer

I’m really learning to love the Newport Folk Festival. This was my second year in attendance and I have been consistently impressed not only with the quality of the line-up, but also with the relaxed atmosphere. Music runs from about 11:30am to 7:30pm on 3 stages in Fort Adams State Park, Newport, Rhode Island on the first weekend in August every year (they added a Friday evening off site this year). It’s that simple. Throw in a unbelievably gorgeous location (a historic fort on the waterfront) and an unrivaled history, and it’s pretty easy to see how I have become such a fan. But hey enough of that, let’s get to the music.

First up Saturday morning was Sarah Jarosz. I didn’t know much about Miss Jarosz before the festival. For instance, I didn’t know she was a stringed instrument prodigy and can play claw hammer banjo, guitar, and numerous other instruments. I didn’t know she was nominated for a Grammy for the instrumental “Manisinneedof” from her debut album Song Up In Her Head. I didn’t know that she currently attends the New England Conservatory in Cambridge, MA. I didn’t know she was only 19. So, I was a little surprised when she kicked my ass at her 11:30am set. Playing solo, Jarosz switched between guitar, banjo, and mandolin throughout the set. She has a big voice that reminded me faintly of Ruth Merenda (Sometymes Why, the Mammals). She mixed originals with an eclectic bunch of covers, paying homage to Tim O’Brien (whom she played with the night before), Dylan (because its Newport), the Decembrists (whom she covered on her debut record), and Doc Watson (who would grace the same stage 3 hours later). I particularly enjoyed her rendition of Dylan’s “Ring Them Bell’s” from 1989’s Oh Mercy. But, it was two originals that left me spell bound, “Edge of a Dream” and the aforementioned instrumental “Manisinneedof”. The former has a great chorus of “step to the left, step to the right/ the middle of the floor, feels safe tonight” and the latter is wonderfully lyrical instrumental well deserving of its Grammy nod.

Photo by Michael Spencer

After Jarosz, I wandered between the Low Anthem, who were playing the principal Fort Stage, and A.A. Bondy, who was bringing his folk noir sound to the newly curated Quad Stage inside the fort. A.A. had a 3 piece band that added some weight to his dark tunes, and while it was impressive, I spent more time over at the Low Anthem’s set. The quiet orchestral sound found on their records turned into a louder orchestral sound at the massive Fort Stage. They had energy galore as they mixed some blues rock stomps in between tunes from the critically acclaimed Oh My God, Charlie Darwin. Just one year previously the entire band had volunteered to work the festival to gain admission, this year they played to the entire harbor. After their set, I migrated through the festival grounds from the high energy O’Death to the tight set by Sam Bush to the killer closing 3 songs of Brandi Carlile (Folsom Prison Blues, Pride and Joy, Mad World).

Photo by Michael Spencer

Next, I had to make one of those difficult festival decisions: Calexico, Yim Yames, or Horse Feathers? Though I was sorely tempted by Calexico, I ended up staying for the entire Yim Yames set before heading over to catch the end of Horse Feathers. Yim Yames (aka. Jim James from My Morning Jacket) came out in brown suit and launched into “His Masters Plan” a Monsters of Folk tune. It was stunningly beautiful as James high lonesome voice rang out over the Fort grounds. It was, as James would later say about the Festival in general, magical. James stayed mostly with his acoustic guitar, but occasionally went to an electronic omni-chord. The rest of his ‘band’ joined him for the last half dozen songs, Ben Sollee on cello, Daniel Martin Moore on bass, and Dan Dorff on drums and percussion. Harmonizing beautifully on the folk classic “Slyvie”, this band (which is on tour supporting Sollee and Moore’s record Dear Companion and raising awareness about the evils of Mountain Top Removal) clearly has something special. Highlights included a spot on “Golden” (Sollee nailed the pedal steel part on cello), an engaging “Smokin’ From Shootin’”, and a MMJ like rendition (in other words rocking) of “Gideon”.

Photo by Michael Spencer

Though I only caught the last couple minutes of their set, Horse Feathers was an engaging live band. Front-man Justin Ringle’s soft voice brings to mind other lo-fi bard’s like Iron & Wine’s Sam Beam or Nick Drake. However, Ringle was backed by an intriguing array of stringed instruments, which made the band sound both familiar and unique at the same time. First listens to their latest record Thistled Spring sound promising as well.

Photo by Michael Spencer

Next up on my docket was an 87 year old guitar picker by the name of Doc Watson. Though he was backed up by a bass player and David Holt, who joined in on guitar, percussion, bando, and steel guitar, Doc didn’t need much help as he delicately picked his way through “Deep River Blues” and other bluegrass standards and classics (some of which Watson himself wrote). He even took a solo stand towards the end of his set that proved beyond a doubt that the blue grass legend still had chops. At one point, Doc apologized to the crowd for not playing as fast as he used to. David Holt said something about knowing a couple 87 year olds who would like to play liked Doc does. The bass player then chimed in with ‘most 37 year olds would too’. True that. In between songs, Holt would give us history and background and Watson would crack jokes, “I’ve been married 64 years and I wouldn’t trade places…..with my wife for anything”.

Headlining on Saturday night was one of America’s greatest songwriters. Though he probably only rises slightly above the status of cult artist, John Prine exudes stage presence and confidence. An why wouldn’t he? The man has released more than a dozen stone cold classic studio albums and written at least that many classic songs, “Angel from Montogomery”, “Speed of the Sound of Loneliness”, and “Souvenirs” included. He came on stage backed by a hot shot guitarist Jason Wilber and bassist Dave Jacques (the same personnel that appear on this year’s excellent live record In Person & On Stage). Despite being a 3 piece, the band managed to rock out. Though “Angel From Montgomery” was slowed down to a crawl, the following “Bear Creek” rollicked and rolled like a Bob Dylan cut circa 1965. Prine also added his trademark wit into the set. Introducing “Fish and Whistle” by telling the audience that “I don’t know what this songs about, but it makes me happy.” He then told the story of the song, which was written as Prine was trying to convince a record producer that the record was done and did not need one more song. “I’ll write the worse song he’s ever heard, and then the record will be over with and I can go back on the road….but then I sang it a couple hundred times and started liking it”. He also included a monologue in “Lake Marie” that included the line “many years later we found ourselves up in Canada trying to save our marriage….or catch some fish, whichever came first.”

Prine closed with a duet with Jim James on “All the Best” followed by Jim Rooney and James joining the legend on his classic “Paradise”. Thus ended the first day at Newport, I could have listened to Prine all night, but alas I had to do with a battered copy of Sweet Revenge that spun in my dashboard throughout the long drive home.

We were standing
Standing by peaceful waters
Standing by peaceful waters
Whoa wah oh wha oh
-John Prine “Lake Marie”

Check out NPR for more info and downloadable sets from Prine, Horse Feathers, and many others.

Special thanks to Michael Spencer for the gorgeous shots. You can find more of his work at his official website.

Joe Hill’s Ashes, by Otis Gibbs
Gibbs is one of the most distinctive voices in Americana, both for the integrity in his songwriting and the authenticity of his voice. While some may find both a bit gruff, it gives his music a realism that can’t be doubted. Most songs are built around acoustic guitar, with tasteful accompaniment from mandolin, fiddle, upright bass and the occasional drum. The arrangements are simple yet compelling, keeping the focus where it should be: on Gibbs’ voice and lyrics.

The title track opens the album and sets a powerful tone for entire collection. Ostensibly the tale of Joe Hill, a union activist convicted of murder and subsequently executed, the song explores Gibbs’ observations about a disengaged society. “The world is full of lonely fools, staring at each other from across the room, wishing they could get up the nerve to speak their minds,” he sings. Despite the heavy sense of resignation in Gibb’s voice, he holds out some hope that the spirit still exists and is “waiting on a chance to shine.”

“Where Only the Graves Are Real” continues the social commentary with a potent punch.

Where are my true friends, where did they go, where are my true friends, where did they go, god damn all of my fake friends the ones who cling to me like I’m a star, everyone’s your best friends when you’re closing down the bars, god bless the ones who really are.

Album closer “Something More” is a somber reflection on society’s shortcomings. The song imparts a plea for change but with a heavy heart reflective of the long road to making it real.

I was thinking about songs and far away places, and I remembered the words I forgot to say, I was thinking about the lord above and why do the good die young and why do the worst of those among us never fail, and I’m trying to believe that there is something more to this world…

Little Piece of Dixie, by Blackberry Smoke
Call them southern rock’s new kids on the block. With twin guitars blazing, they “boogie on down to the redneck beat” as they proclaim in the blistering “Up in Smoke.” “Good One Comin’ On” has a relaxed swagger as the band pays tribute to the weekend, “2 6-packs of Shiner, 99 cent butane lighter, Lucky Strikes and a fifth of Patrón.” Sounds like the start of an interesting Friday night. “Prayer for the Little Man” starts as an acoustic ballad but builds into an easy-going mid-tempo rocker with a harmonized twin guitar solo. “Sanctified Woman” cranks it back up with a guitar riff reminiscent of Lynyrd Skynyrd’s “Gimme Three Steps.” Never a bad reference point. So grab that Shiner and crank it up.

THE PLAYLIST:

March 11, 1962, Mary Gauthier (from the Razor & Tie release The Foundling)
Not surprisingly, the song title is Gauthier’s birthday. Yet this song is less than celebratory. Instead, it’s the heartbreaking personal tale of Gauthier’s quest to find her birth mother and the conversation that ensued. It is a vivid reminder of music’s raw emotional power, especially in the hands of a talented songwriter.

Audio Stream: Mary Gauthier, “March 11, 1962″

(I Want To) Burn You (Down), Mike Doughty (from the ATO Records release Sad Man Happy Man)
The former Soul Coughing singer strikes acoustic gold with his latest release. The percussive edge to his music is matched only by the sharpness of his lyrics. “Something is reaching me now, Something that lives in the dark of my mind, It’s like a small thought is gone, it’s like a millstone ground it to sand.”

ONOLA, Susan Cowsill (from the Threadhead Records release Lighthouse)
I challenge you to listen to this song and not get swept away in the emotion of Cowsill’s elegy to her hometown in the aftermath of Hurricane Katrina.

There’s a hole inside my heart I don’t want you to see
You’ve given me so much I only wanna give some back you see
So I’m leaving here today I’m no good to anyone this way
I’ve gone to save my soul and then I promise you that I’ll be back again.

See Chip’s take on this release here.

Audio Stream: Susan Cowsill, “ONOLA”

Breakdown, Ketch Harbour Wolves (from the Dead Calm Records release Anachronisms)
The Canadian quintet create a powerful mood with their songs. Their songs are imbued with a sense of uneasiness and motion, as if they are always seeking something that lies beyond the horizon. In this case it’s a persistent guitar riff and a simmering synthesizer that provide a sense of urgency to the singer’s cry of “always heading for a breakdown.”

Audio Download: Ketch Harbour Wolves, “Breakdown”

Stranger Here, Cowboy Junkies (from the Latent Recordings release Renmin Park)
It is hard to believe that the Cowboy Junkies have been together for over twenty years. Over the years their sound has been remarkably consistent – music with a natural, flowing quality, immediately accessible yet possessing a depth that rewards repeated listens. Their latest release was inspired by a three month visit to China by band member Mike Timmins and his family. It is an impressive musical chronicle of exploration. I highly recommend visiting the band’s web site for detailed writings about the experience and its translation into this impressive release.

Audio Download: Cowboy Junkies, “Stranger Here”

Unbelievable, My Radio (from the self-released Give Up the Sun)
It was hard to leave the music behind when former Chauncey singer-songwriter JP Powell relocated from Boston to Roanoke, VA. Enter My Radio, the, pardon the pun, rock radio friendly group that Powell formed in his new hometown. This is but a sample of the group’s fare with its pulsing rhythm, pounding piano and hearty power guitar chords.

Audio Download: My Radio, “Unbelievable”

Wicked Heart, Tristen (from the self-released Tour EP)
I happened across Tristen late one night at my local. Their live show had a bit more edge than the tracks on their tour ep, but this Nashville-based group is one to watch.

Audio Download: Tristen, “Wicked Heart”

Space Captain, Herbie Hancock with Susan Tedeschi and Derek Trucks (from the Herbie Hancock Records release The Imagine Project)
What happens when a legendary jazz pianist gathers together a diverse array of artists to cover an album’s worth of classic rock songs? Some impressive results, starting with this impressive take on the Joe Cocker classic. Tedeschi and Trucks bring their trademark blues swagger while Hancock peppers the song with some impressive jazz piano jams.

Slow Burn, The Henry Clay People (from the TBD Records release Somewhere on the Golden Coast)
Los Angeles quintet The Henry Clay People serve up intelligent indie rock that is downright infectious. This raucous track is propelled by some tasty slide guitar and the singer’s quirky yet endearing vocals. If you’re looking for a rock song that will force a smile across your face, this is it.

Colored Lights, John Mellencamp (from the Island Records release On the Rural Route 7609)
The first time that I heard this song it was performed by the Blasters. I was immediately captivated by Dave Alvin’s rousing guitar and Phil Alvin’s rich vocals. Imagine my surprise to subsequently learn that it was written by John Mellencamp. As part of his recently released career-spanning box set, Mellencamp at long last provides his take on the song. The simple arrangement of two guitars (an acoustic and an electric) gives the track a demo feel, but is no less satisfying. And belated thanks, John, for introducing me to the Blasters.

I have to admit bias on this one. When a band can have lyrics like, “Second thoughts have occurred. I feel like a gigantic turd. Walking barefoot like a hooker at 3 in the morning,” I can’t give it a bad review. The truth is these boys from Georgia have unleashed a great album. The band is unsigned and primarily a local phenomenon. I have a feeling that is all about to change. In spite of the lyrics above (from the song “Swamp County”) this is no novelty act. Hayshaker is for real. 

They mix a sound that is at times Country, but with a twist. They know how to use power chord licks with abandon. Lead singer CC Rider has a voice that sounds as if it should be singing Indie Rock instead of Roots Rock. Female vocalist Laurie Rider rounds out the bands sound, which is hard to categorize. The best way to describe Hayshaker is “Kick-Ass” Country. The steel guitar haunts the music of the album, which is also a part of their uniqueness. Lyrically the band is at times humorous, but they are more often deep and impactful. They have a talent of mixing sarcasm with truth. It is time to jump on the bandwagon while it still has room. I have a feeling there will be a second deck on the bandwagon before too long.

MySpace

See You On the Moon, by Tift Merritt
I suppose that Merritt could sing the alphabet and I’d listen. There is such a genuine quality to her voice, an infectious spirit. It is a spirit that shines through her music despite the dark overtones of her latest release. “Engine to Turn” typifies this contrast. “I don’t know how to fix the world, I don’t know how to fix myself,” she sings against a foot-tapping melody. Brooding strings add tremendous texture to “Papercut,” finds Merritt comparing a former lover to a paper cut. “I don’t I don’t know why it would hurt, I can’t see why it would hurt but it does,” she sings while strings and a thumping back-beat add a brooding texture to the song. “Live Till You Die” is a personal favorite, a mid-tempo song anchored by hearty guitar power chords and a buoyant horn-laced chorus. The song contains the defining lyric of the album, as Merritt declares, “I have to say the things I feel, I have to feel the things I say.” Amen.

Audio Stream: Tift Merritt, “Mixtape”

Bears & Bulls, by The Stone Foxes
I wasn’t surprised to hear that this band hails from San Francisco. There’s a certain feel to the band’s music, a collegial feel that hearkens back to the city’s heyday. It was a time when musicians like the Grateful Dead and the Jefferson Airplane had a collective feel that transcended the music. The Stone Foxes have a similar vibe that fills their blues-based rock. And boy do they bring on the rock. “Patience” is a musical fireball led by a bruising guitar riff. If that weren’t raucous enough, the song breaks down into a sweltering guitar jam. “I Killed Robert Johnson” keeps up the intensity with the tale of a bluesman with a dark secret. “Through the Fire” slows things down a bit, but only a bit. What starts out as a slow-burning blues ballad builds to a fervent chorus. The album stand-out is “Passenger Train,” the sympathetic tale of a man who turns to robbery to cope with hard times. As a slide guitar wails, the man explains, “Times are hard and broken down, at least I can say that I tried, but I ain’t that bad and I ain’t that good, I just did what I did to get by.” If the Stone Foxes sound this good on record, I can only imagine what they sound like live. When are you coming to Boston, boys?

Audio Download: The Stone Foxes, “I Killed Robert Johnson”

THE PLAYLIST:

White Blank Page, Mumford & Sons (from the Glass Note release Sigh No More)
I’m perhaps late to the party but better late than never, right? The London quartet mine territory similar to the Avett Brothers,but with a fuller sound and, perhaps, a bit more intensity. This song is the perfect example, an ode to unrequited love that finds Mumford singing, “You desired my attention but denied my affections, my affections.”

The Ballplayer, Joe Purdy (from the Mud Town Crier Records release Sigh No More)
Purdy writes for quiet late night moments, performing acoustic guitar or piano ballads that focus attention on the ache in Purdy’s voice. This track tells the somber tale of a ballplayer reflecting on a less-than-successful career and the sacrifices that he made while pursuing his dream.

Audio Download: Joe Purdy, “The Ballplayer”

Second Last Call, Jay Bennett (from the Rock Proper release Kicking at the Perfumed Air)
Bennett was completing this album before his pre-mature passing last year. ‘Tis a tragic loss as he was hitting a creative stride coming off the brilliant Whatever Happened I Apologize. This boisterous acoustic song tells the tale of a guy meeting a girl at a bar but watching it all go wrong.

Bennett’s family and friends have made Kicking at the Perfumed Air available for free download here. They have also formed the Jay Bennett Foundation to honor his legacy in support of music and education programs.

Audio Download: Jay Bennett, “Second Last Call”

Memphis, KaiserCartel (from the Daniel Records release Secret Transit)
The Brooklyn duo serve up dreamy acoustic pop. While Courtney Kaiser usually sings the lead parts, Benjamin Cartel steps up on this ambling ballad. Even then, it is the combination of their voices that gives the song a magical quality.

Audio Stream: KaiserCartel, “Memphis”

Enjoy the Silence, Nada Surf (from the Mardev Records release If I Had a Hi-Fi)
Lately there seems to be a rash of covers-only albums. Nada Surf, a band with an extraordinary track record of marrying pop sheen with intelligent songwriting, steps up with their contribution – a collection of alternative and indie rock gems. This, their take on the Depeche Mode classic, keeps the tension of the original while giving the song a more jangly feel.

Great American Goldmine, Vanish Valley (from the self-released Vanish Valley)
Singer-songwriter Andrew McAllister moved to Los Angeles and connected with the Southern California country-folk legacy of Gram Parsons and his contemporaries. Never a bad thing. This gentle ballad has a captivating gentle sway.

Audio Download: Vanish Valley, “Great American Goldmine”

Alcoholic Baby, Barb (from the Yep Roc release Barb)
What happens when a group of Australian musical friends gather in the studio for a month with mass quantities of wine? Musical collective Barb is born. Liam Finn and touring partner Eliza Jane Barnes are the most known (at least around Twangville), but the members are equally talented. Call it angular pop, driven by a persistent drum beat and swirling with harmonies, piano fills and an abundance of electric guitar.

Where’s It Going, Ellery (from the self-released This Isn’t Over Yet)
The first thing you’ll notice about this husband and wife duo from Cincinnati is Tasha Golden’s voice. It is simultaneously silky and strong. It blends perfectly with the group’s piano-based pop for a refreshing summer soundtrack.

Audio Download: Ellery, “Where’s It Going”

Driver 8, Old 97s (from the New West Records release The Mimeograph EP)
In between their own studio releases, the Old 97’s tide us over with a four-song covers EP. This take on the REM classic stays true to the original but with the 97′s trademark energy. See the Twangville review of the entire EP here.

One Picture, Peter Bradley Adams (from the Sarathan Records release Free Sampler EP)
Formerly part of the duo eastmountainsouth, Adams scores with this simple yet tender love ballad about waking up next to a lover. “If there was one picture that I could take in my life, I’d take the one beside me in the dawn’s early light.” [Note: Adams is offering this song as part of a free sampler available on amazon.com here)