Monday Morning Video: Andrew Combs

Nashville-based artist Andrew Combs passed through Boston a few weeks back and played this gem.

I said E-M-I-L-Y, why, why tell me Emily
You got me wrapped around your finger like a chain around a D-O-G,
I said E-M-I-L-Y, why, why tell me Emily
Oh woman like you are trouble with a capital T.

Combs also shared some tasty new songs. Alas, the album is slated for 2015 so I guess we’ll just have to wait patiently. Hopefully this one will make the cut.

Frank Solivan & Dirty Kitchen – Cold Spell

By the late 60′s and early 70′s bluegrass had evolved from Bill Monroe’s radical take on old-timey music to a relatively known and expected performance and sound.  The Stanley Brothers, the Foggy Mountain Boys, The Osborne Brothers, and many of their peers followed a set framework and style with matching dress and choreographed solos.  It’s hard to fault anyone for the conformance because it had actually become possible to make a living as a musician on the moonshine circuit and harbor dreams of national exposure on The Grand Ole Opry and Hee Haw.  And as any student of innovation can tell you, that made it ripe for disruption.  Along came New Grass Revival, Hot Rize, and John Hartford, among others, bringing elements of jazz, blues, rock, and even classical music to vault bluegrass into a golden age of improvisation.  The newest album from Frank Solivan & Dirty Kitchen, Cold Spell, seems to be a paean to that era.

For those of you who’ve been spending time under a bluegrass rock lately, Solivan and his bandmates are one of the hottest acts around.  In a live performance, they tear it up, no other way to describe it.  Cold Spell manages to capture a lot of that intensity.  I think some of that is an all star cast of guests including John Cowan, Rob Ickes, Sam Bush, and Megan McCormick pushing an already incredibly accomplished set of musicians to new limits.  Ickes in particular, his dobro adding a tenor element that really rounds out of the sound of several tunes on the disc, leaves more space for Solivan and Dirty Kitchen to show off their chops.

Betrayal is a murder ballad of the finest heritage–upbeat music, but dark, dark lyrics.  No Life In This Town bemoans the leaving of a lover and the realization the town you used to know is gone.  Yeah Man is an instrumental number where everyone gets a chance to stretch out.  My favorite on the album is Country Song, a tune with a nice lyrical hook, but more importantly a 5 minute–or-so instrumental vamp in the middle that takes me to my happy place.

ColdSpell_6Panel_Final_SmallFileSize In this day and age a lot of bluegrass music is exploring the bookends of the genre.  It’s either a throwback to the early days or an exploration of the indie sound with Americana instrumentation.  Cold Spell crashes squarely through the middle of the style, with excellent instrumental skills and lyrical hooks that keep you swaying to the music when you aren’t dancing to the jams.

Haas Kowert Tice – You Got This

A few years ago I saw Casey Driessen at a music festival down in Austin.  Of the perhaps 100 people backstage at the moment, I’d guess half of them were fiddle players.  Every fiddle player who was performing that day was there.  It was impressive to see all that talent make their way to see someone who was an inspiration for them to improve their art and skill.  Bela Fleck has that effect on banjo players.  Chris Wood for bass players.  There are just a handful of musicians that have that unique combination of physical skill and creative ability that set the bar for the rest of the world.  Listening to the just-released first album from Haas Kowert Tice, You Got This, I wonder if I’m hearing the early career of someone else that will make that exclusive club.

The group is composed of Brittany Haas on fiddle (Darol Anger, Crooked Still), Paul Kowert on bass (Punch Brothers), and Jordon Tice on guitar and seemingly the chief songwriter of the group.  These three have been playing together since college, but careers took them to other groups, only to discover how much they enjoy making their own music.  The album is a completely instrumental work.  Haas and Kowert seem to shine a little more when it comes to specific licks and catchy phrases.  But it’s Tice’s work on the guitar that holds everything together and makes this a band, not a trio of individuals who happen to be playing on the same record.

Without a background in music theory, I’m somewhat challenged to even describe to you the music on this disc.  Grandpa’s Cheesebarn has a combination of staccato solos and flowing melodies in interesting keys that remind me of the first time I heard Igor Stravinsky.  Classical, bluegrass, I don’t know how they’re even remotely related, but it somehow seems that way.  Better Off is like chamber music for bluegrass instruments.  The Switchback Games have a dissonant sound in the intro and segues that really holds your attention.  El Camino has a walking bass and flowing fiddle that just says wanderlust to me.

haas_kowert_tice Although I’m hard pressed to explain exactly why I like You Got This, it’s something I threw in my CD player a couple of weeks ago and have found it really hard to not keep going back to it.  So if you’re interested in some Americana that’s off the beaten path, but still sucks you in, I recommend Haas Kowert Tice.

Mayer’s Playlist for July 2014, Part 1

ALBUMS OF THE MONTH

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”

Audio clip: Adobe Flash Player (version 9 or above) is required to play this audio clip. Download the latest version here. You also need to have JavaScript enabled in your browser.


THE PLAYLIST


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”

Audio clip: Adobe Flash Player (version 9 or above) is required to play this audio clip. Download the latest version here. You also need to have JavaScript enabled in your browser.


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.