Lest you think Ms. Ames is just a female version of Hank III or JTE, overall the word I’d have to use to describe the music on this, her third album, is pretty.  Not in a lace and pop star way, but in a good old fashioned country sense with singing and playing like you got from Nashville a couple, or more, decades ago.  Blessed Is the Love That Abides and Not Sorry Anymore are perhaps the best examples of that classic country feel.

Several of the songs have a hint of Celtic influence in them, like my favorite on the album, Back To Santa Rosa and the title track, Laurel Canyon Road.  By the way, it’s not *that* Laurel Canyon Road, but rather one in North Carolina that serves as the proxy for a song about strip mining.  It’s also worth noting she does a stellar cover of Neil Young’s Love Is A Rose, much more up-tempo and a dance floor number versus the simpler style of the well known Linda Ronstadt cover.

With her wonderful voice and an outstanding band I’m looking forward to future releases from Carolann Ames just to see where she takes her musical explorations.  In the meantime, Laurel Canyon Road is a great throwback to when country music was about the music.

 Originally formed in 2003 as a means for five friends – Jones, guitarist Jim Campilongo, singer/guitarist Richard Julian, bass player Lee Alexander and drummer Dan Reiser – to pursue their mutual interest in traditional country music, The Little Willies borrowed their name and spirit from Willie Nelson and hit a home run with their 2006 release, which included country standards along with a handful of original songs. 

 Although Norah Jones is the headliner, singer-songwriter Richard Julian and guitar virtuoso Jim Campilongo have had significant independent careers, and the musicianship by all the members is outstanding, with a bit of attitude.  Julian has a handful of well-received albums to his credit, and he splits the singing duties on The Little Willies’ releases fairly evenly with Jones.  Jim Campilongo has carved out an unsual career path, initially with his band the 10  Gallon Cats and later as a solo performer, doing instrumental country and rockabilly music that incorporates elements of jazz.  Originally influenced by blues guitar legend Roy Buchanan, Campilongo has Buchanan’s inventiveness along with the lightning-fast technique of a Bill Kirchen.  As a testament to his prowess among guitar enthusiasts, in 2010 Fender issued a signature Telecaster in honor of Campilongo – a reproduction of Campilongo’s 1959 Telecaster.  On For the Good Times, Campilongo’s Telecaster twang takes center stage on “Diesel Smoke, Dangerous Curves” and “Tommy Rockwood.”

But of course, Norah Jones’ presence will sell most of the albums, and that is fine.  Her vocals are sassy and superb.  Among my favorites are “Remember Me,” the Scotty Wiseman song recorded by Willie Nelson on his 1975 masterpiece Red Headed Stranger, and the title tune, which was written by Kris Kristofferson.  All-in-all, For the Good Times is an excellent album, lively and rewarding.  The collective talent of the members of The Little Willies is evident on virtually every track.  

 1) R.E.M. – Collapse Into Now

 2) Old Californio – Sundrunk Angels: I keep coming back and listening to this album.  It’s rock ‘n’ roll, and twangy, and a little bit funky.  There are slide guitars and harmonicas, ballads and ditties.  It’s a veritable jambalaya of Americana music.

 3) Suzanna Choffel – Steady Eye Shaky Bow: Choffel, a guitarist as well as singer, manages to put a very jazzy spin on some tunes that are otherwise more country and pop, all while maintaining an Austin sensibility to the production.  Normally when someone says music is hard to classify it’s because the music is all over the map.  In this case, the songs are in a consistently similar vein, albeit not something you hear very often.  Undoubtedly the best Americana album of the year to play for someone who says they don’t like country and twangy.

 4) Gillian Welch – The Harrow & the Harvest: I was a little bit meh about this record when I first heard it.  But it’s grown steadily on me since it came out.  I think what I like most is that it’s so different from just about anything else I heard all year, and yet it’s still so essentially Gillian.  If you just listened to this once or twice and then put it away, go back and listen again 6 months later.  You’ll see.

5) Sons of Fathers – Sons of Fathers: And speaking of great harmonies in the vein of Welch & Rawlings, check out the debut release of David Beck and Paul Cauthen, otherwise known as Sons of Fathers.  These guys have a crack set of musicians behind them and give a vocal performance that is mesmerizing.

6) Milk Drive – Road From Home: Sometimes there’s no substitute for the ability to shred.  Milk Drive consists of members who collectively have probably won more picking awards than any band in existence.  They’ve put a jazz spin on a bluegrass sound and are seriously pushing the envelope of how sophisticated Americana music can sound.  Not to mention that instrumental virtuosity.

7) The Bottle Rockets – Not So Loud: An Acoustic Evening: Just as the unplugged MTV performance by Pearl Jam defined the very plugged-in sound that was grunge, this acoustic performance by a normally loud band shows why they’ve been so successful.  With all the amplifiers stripped out, the songs are still well written and well performed and stand the test of time.

8 The Decemberists – The King Is Dead: Lots has been written about the early 2011 release by one of the darlings of the indie crowd.  For me, this album showed how wide ranging they can be with its twangy influence that simply presents Colin Meloy and his mates in a new light that’s an easy extension to their previous catalog.

9) Dave Alvin – Eleven Eleven: No real surprises here, it’s another solid effort from Alvin who proves that, first, he can without fail drum up a supporting ensemble that’s so incredibly tight you’d swear they’ve played together for years.  And second, he keeps writing songs that convey such a sense of time and place that you’re transported with him to the moment in time so carefully documented in the lyrics.

10) Sarah Jarosz – Follow Me Down: Jarosz’ vocals have gained strength and capability on her second release.  Combine that with mandolin (and other strings) chops that may be the best in Texas even though she’s barely old enough to vote and you have a winner.  She just gets better every time you see her.

11) The Band Of Heathens – Top Hat Crown & the Clapmaster’s Son: I liked this album as a follow up to their two previously acclaimed efforts, but the real reason it’s in the years top was that it provides new material for them to perform live.  You have to catch them in a club to experience the full joy of TBOH.

12) Robert Earl Keen – Ready For Confetti: Another album that’s here because it’s just full of good songs.  Keen has his sound and his fans and no one’s going home disappointed from this.

13) Sinful Savage Tigers – The Last Night Of The Revels: A really solid effort from a group that’s bound to start gaining more notice.  They’re just too good and the tunes too catchy to fall into some regional bucket where they only play for the locals.

14) Great American Taxi – Paradise Lost: Sort of an Americana supergroup, Great American Taxi is a little retro and a little progressive and someone you need to go hear live.

15) Wilco – The Whole Love: The year off did these guys right.  There’s more excitement in this record than I’ve heard from Tweedy & company in a while.

16) Beirut – The Rip Tide: Another good release from one of the kings of the neo-Balkan indie sound.

17) Hayes Carll – KMAG YOYO (& Other American Stories): Carll continues to craft a unique sound and there are some real keepers on this album.

18) The Gourds – Old Mad Joy: Kevin Russell and his band mates have pushed out the boundaries on what most people would consider “Gourds music”, which was a pleasant surprise.

19) Allison Krauss & Union Station – Paper Airplane: Krauss is back into her groove from the rock-royalty side projects and as much as I enjoyed those, this seems to capture her spirit better.

20) The Wailin’ Jennys – Bright Morning Stars: When it’s all about the vocals, you can’t do much better than the Jennys.  Another group I have to recommend seeing live.

I instantly fell in like with McLauchlan’s music when I saw him on PBS in the mid-seventies playing with John Prine and Steve Goodman at the Philadelphia Folk  Festival (I remember he sang “Maybe Tonight” from his 1974 album Sweeping the Spotlight Away – “Maybe tonight at the motor hotel there’ll be a stewardess and a glass of booze ...”).   The Scottish-born, Toronto-raised McLauchlan has a gritty, harmonica-driven style of folk and folk rock that produced some memorable albums for the True North label.   Some of his early work, including Day to Day Dust, which as a teenager I practically wore out on my turntable, is out of print (not to worry, I downloaded the disk into the computer - a miracle of modern technology!).   

Human Writes is McLauchlan’s first album in six years.  It’s a good one.  McLauchlan’s unique voice shines through in this, his 14th solo album (McLauchlan has recently been a member of Lunch at Allen’s, a band that was conceived, quite literally, during lunch at Allen’s restaurant in Toronto).  In releasing the album, McLauchlan acknowledged that not all his work has been top-40 material.  “Each album I’ve released comes from a very personal creative space,” McLauchlan was quoted in his True North bio.  ”Sometimes your fans connect and join you in that space, and sometimes, unfortunately, they don’t.”  But  Human Writes should not be one of those lonely trips to the outhouse.   With a supporting crew that includes McLauchlan’s son Duncan on trombone and some beautiful songs, this looks like a strong outing.  It is a mellow, introspective effort, however, that isn’t for everybody and isn’t intended to be.   McLauchlan plays acoustic guitar (a handmade instrument built in 1938), piano occasional harmonica on the album.  The steel guitar and soft trombone accompaniment  give this album an atmosphere that is sweeter than some of McLauchlan’s past work.  But the songs are generally good (I didn’t care for his ode to the simple life, “Pickin’ Up Mary Lou”).

Songs from the Street, released by True North in 2007, provides a compelling retrospective of McLauchlan’s work.  For the uninitiated, I would recommend starting with that one.  For converts, Human Writes would be a good addition to the collection.

#1. JASON ISBELL & THE 400 UNIT, Here We Rest (Lightning Rod)

I’d be lying if I said that I wasn’t hoping for a full-on rock assault from Isbell and crew. What I got was something better — a nuanced musical tour of his home state of Alabama. From the back porch acoustic sway of “Codeine” to his soulful swagger on the Muscle Shoals classic “Heart on a String,” Isbell proves that his musical talent is boundless. (Twangville reviews here and here and here.)

Audio Download: Jason Isbell and the 400 Unit, “Codeine”

#2. LYDIA LOVELESS, Indestructable Machine (Bloodshot)

Here’s to a newcomer who established her presence with authority. Her debut burst from the gate with a fire-cracking, rabble-rousing confidence. (Twangville review here.)

Audio Download: Lydia Loveless, “Can’t Change Me”

#3. KASEY ANDERSON AND THE HONKIES, Heart of a Dog (Red River)

This January release has held a steady spot in my musical rotation. Anderson and the Honkies run the table with an outstanding collection of rockers furious and ballads forlorn. (Twangville review here and here.)

Audio Download: Kasey Anderson and the Honkies, “Mercy”

#4. DAVID WAX MUSEUM, Everything is Saved

A potent mix of Appalachian and Mexican folk music makes for one of the year’s most vibrant musical celebrations. “Some of us come with new hearts, most of us come with used hearts, baby, why do you look so sad?” (Twangville review here.)

Audio Download: David Wax Museum, “Born With a Broken Heart”

#5. THE DUKE AND THE KING, The Duke and the King (So Recordings)

Although these songs were technically culled from the band’s two earlier UK releases, they are finally getting a proper US release. I’m not sure what took so long but it was well worth the wait. We’ll call this Americana soul, filled with beautiful harmonies and haunting melodies. (Twangville review here.)

Audio Download: The Duke and the King, “Shine On You”

#6. THE DECEMBERISTS, The King Is Dead (Capitol)

The Portland, Oregon band intentionally shifted away from the song-cycle approach that defined 2009’s The Hazard of Love. Simpler doesn’t mean less striking, as this release gloriously proves. Guests Peter Buck and Gillian Welch are just icing on the cake. (Twangville review here.)

Audio Download: The Decemberists, “Down By the Water”

#7. NATHAN HAMILTON, Beauty, Wit & Speed

Austin, Texas songwriter Hamilton just gets better with age. His latest is filled with songs of lyrical intelligence and musical restraint, delivered in a style that is warm and assured. (Twangville review here.)

Audio Download: Nathan Hamilton, “The Heart That Aches To Open”

#8. BARNSTAR!, C’Mon!

This is how music is supposed to sound, fresh and carefree. These five talented folk and bluegrass musicians serve up engaging covers ranging from the Louvin Brothers to the Traveling Wilburys and from Paul Simon to Neil Young. And don’t miss their brilliant take on Dawes’ “When My Time Comes.” Then, of course, are the handful of originals which more than hold their own alongside the covers. (Twangville review here.)

Audio Download: Barnstar!, “Northern Rail”

#9. BUTCH WALKER AND THE BLACK WIDOWS, The Spade (Dangerbird)

Walker proves yet again why he is the master of melody. He and his crack outfit crank out another collection of sing-along rock anthems. It’s like power pop fueled by a case of Red Bull. (Twangville review here.)

Audio Download: Butch Walker and the Black Widows, “Summer of ’89″

#10. JO WYMER, Living With Scars

Explosive is the best word to describe Wymer and this release. Her voice is strong and forceful, an intensity matched by her crack band. And the songs? Tales of love gone wrong delivered with immensely catchy hooks. What’s not to like? (Twangville review here.)

Audio Download: Jo Wymer, “This Ain’t Love (Love and War)”

#11. CARRIE RODRIGUEZ AND BEN KYLE, We Still Love Our Country (Ninth Street Opus)

Americana has a rich tradition of male-female duets, from Johnny and June Carter Cash to Graham Parsons and Emmylou Harris. Add Rodriguez and Kyle to the list. Their vocals blend magically as they wrap them around this collection of six classic covers and two originals. (Twangville review here, here and here.)

Audio Download: Carrie Rodriguez and Ben Kyle, “Your Lonely Heart”

#12. BUFFALO TOM, Skins (Scrawny Records)

The fact that this Boston-based power trio just celebrated their 25th anniversary (with the same line-up!) would be an impressive enough milestone. Commemorating it with yet another in a long line of raw rock and roll records makes for quite the celebration.

Too Drunk to Truck, by Roy Sludge
This album was tailor-made for Twangville. Old school in all the best ways, it might as well be a collection of lost classics from the Sun Studios archive.

The title track kicks off the album with a strong indication of what will follow. Yup, songs about trucks, drinking and ornery women, although not necessarily in that order.

Well I drive all over this country, roaming from town to town
When day is done I’m gonna have my fun I’ll pick ‘em up and put ‘em down.
I’ll flirt with some old waitress, try to push my luck.
But when push comes to shove I’m too tired for love ‘cause I’m too drunk to truck.

The song also unleashes Sludge’s secret weapons: Boston-based guitarists Duke Levine and Kevin Barry. Both have a sound pristine and precise, yet filled with character, Barry on the lap steel and Levine on the electric guitar. And I shouldn’t neglect bassist Jim Haggerty, who brings his own rockabilly cred from his role as bassist for Wanda Jackson.

Sludge sings of drinkers remorse on the amusing “I Got Hammered (Then I Got Nailed).” Haggerty’s walking bass line mimics the pounding that comes from a bad hangover as Sludge laments, “spent the next five days in jail, but the rest I can’t recall ‘cause of too much alcohol.”

I’m sure that there are two sides to every story, and “Hell Hath No Fury” provides Sludge’s perspective on a love gone wrong. “She lives to hurt me, she lives to make me mad,” he sings, “she loves to burn me, when I’m sad it makes her glad.” Ouch.

Sludge and crew bring out the country shuffle as on the swinging “Eight Would Be Great.” A few tracks later, the band cranks it up in fine Sun Records fashion on “If You Can’t Rock Me.” Levine, in particular, lets it fly with some magnificent guitar licks and solos.

The record closes with a mighty fine cover of Johnny Cash’s “Drive.” It is the perfect capstone to a release that showcases a classic sound with skill and flair. But don’t take my word for it. Bruce Springsteen recently stopped by to check out Sludge during a recent run of residency shows.

Audio Download: Roy Sludge, “If You Can’t Rock Me”

This Round Is On Me, by Maxim Ludwig and the Santa Fe Seven
My favorite musical discovery this year was LA-based Maxim Ludwig and the Santa Fe Seven. The band has the perfect combination of great songwriting and playing that is playful and loose. As we move towards the close of the year, Maxim and the Seven have just released a new ep that features his strongest songs yet.

“Stacy C’Mon,” the opening track is one that should be familiar to Twangville readers. Maxim was kind enough to share it with us earlier this year. I, for one, can’t get enough of it – from the catchy riff to the sing-along chorus, it has simply lodged itself in my head.

“Nothing At All” adds a bit of R&B shuffle to the mix, in large part courtesy of a soulful sax that joins the fray. Maracas give the song an extra flair, complimenting the wailing slide guitar. Ludwig leaves no doubt where he stands on the future of a relationship: “Between you and nothing, I choose nothing at all.”

The opening of “On Bunker Hill” teases with a mournful woman’s voice set against a somber synthesizer. When a piano joins the mix, the song builds into a majestic rocker reminiscent of the Band. The maracas return on “Red Eyes,” which has a restrained boogie beat that hearkens back to Little Feat.

Take a shot, this round is on me,” Ludwig sings on the rousing closer “From the Alley View.” I’ll join in with a toast to this ep and more great music to come!

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

THE PLAYLIST
Mannequin Man, Kingsley Flood (from the self-released ep Colder Still)
I’d forgotten how potent the Kingsley Flood live show was until I saw them light up the Lizard Lounge in Cambridge this past weekend. Although acoustic guitar and fiddle are part of their instrumentation, they are way more than a roots band. They pack their songs with an aggressive yet infectious edge. I’m lovin’ this track that reminds me a bit of the Violent Femmes.

Audio Stream: Kingsley Flood, “Mannequin Man”

Parade, Oldjack (from the self-released Maxi-Single)
The headline on Oldjack’s web site says “Old Soul Rock and Roll” and damn if that ain’t what they deliver. This is classic rock – think Joe Cocker, Leon Russell, the Rolling Stones and maybe even some Lynyrd Skynyrd – played to perfection. Lead singer Dan Nicklin howls while a bevy of female singers wail. Throw in multiple guitars, an organ and a rock solid rhythm section and you’re primed for a rock and roll revival.

Audio Download: Oldjack, “Parade”

One Guitar, Willie Nile (from the River House Records release The Innocent Ones)
“I’m a soldier marching in an army, got no gun to shoot but what I’ve got is one guitar, I got this one guitar,” sings Nile on this stand-out track from his latest release. It is a fitting lyric for an artist whose songs are filled with an unbridled passion for rock and roll. Rock on, Willie, rock on!

Audio Download: Willie Nile, “One Guitar”

Turn It Up Or Turn It Off, Harrison Hudson (from the Favorite Gentlemen Recordings release American Thunder)
There is some music, loaded with hooks and overflowing with energy, that is just tailor-made to be the soundtrack of any party. Put this one down on that list. The songs on Harrison Hudson’s latest have the feel of classic 1960’s rock and roll while maintaining a modern-day sound. And did I mention the hooks?

Audio Download: Harrison Hudson, “Turn It Up Or Turn It Off”

Westside Street, The Deep Dark Woods (from the Sugar Hill Records release The Place I Left Behind)
This quintet from Saskatchewan, Canada was a pleasant surprise at the recent Americana Music Conference. Their songs are like aural pictures, soundscapes regal yet forlorn. In the Robbie Robertson tradition, these boys prove that some of the best Americana comes from North of the border.

Audio Download: The Deep Dark Woods, “Westside Street”

Bite Your Tongue, High on Stress (from the self-released Living Is a Dying Art)
Let it not be said that they don’t know how to rock in Minneapolis. And High on Stress will be happy to prove it to ‘ya. The band’s latest serves up a healthy dose of Midwestern rock and roll, the kind that sounds better the louder that you play it. And I mean that as a compliment.

Audio Download: High On Stress, “Bite Your Tongue”

Says Lately, Scotty Alan (from the Spinout Records release Wreck and the Mess)
The Michigan native went to Los Angeles to record his latest release. Arriving in LA, Alan gathered an impressive group of players, including long-time Jackson Browne and Ry Cooder collaborator David Lindley and legendary Ian McLagan among others. The results speak for themselves, songs vibrant and pulsing with energy.

Audio Download: Scotty Alan, “Says Lately”

Over the past several years, Columbia Records has dug into their vaults to unearth some vintage Cash recordings. Their latest release documents some classic Cash live shows dating back to an early 1956 show in Dallas through his 1964 Newport Folk Festival appearance and a 1970 visit to the Nixon White House. All told, the two-disc set includes over 50 tracks from 10 shows spanning more than 20 years.

Here’s your chance to win this impressive collection. To win, post a comment with your favorite live performance of this year. A winner will be selected at random when the contest ends on Monday, 19 December 2011 at midnight ET.**

“Here is a young fellow that’s really been sellin’ the records throughout the country and a guy that’s got a million fans all over these United States.” said the announcer introducing Cash at the 1956 Dallas show captured here. If he only knew then…

**By participating in Twangville contests you agree to allow Twangville to post the winner’s name and city on our web site. We pass along the winning addresses to the record company or pr agency for fulfillment. Twangville will not use your address for any other reason. Contest open to US residents.

The set was loose and fun, with 14 musicians crowding the stage. The fact that many of the original players participated only added to the excitement for both musicians and audience alike. In fact, at times it seemed as if the musicians were having the most fun.

And the performances? Some were a bit rough around the edges but all were spectacular. Among the artists who rose to fame in Muscle Shoals were Dan Penn, performing his composition “I’m Your Puppet,” and Candi Staton, who sang her 1971 hit, “He Called Me Baby.”

Contemporary performers who jumped at the chance to sing with the Muscle Shoals band included Lake Street Dive’s Rachael Price, who captivated with her take on the classic “I Never Loved a Man the Way I Love You,” and Gary Nichols of the SteelDrivers covering Wilson Pickett covering the Beatles’ “Hey Jude.”

Soulful singer Mike Farris stole the show with a stunning take on Etta James, “I’d Rather Go Blind.” Wet Willie’s Jimmy Hall, the poor soul who had to follow Farris, summed it up best, “I don’t know why I have to sing after Mike Farris. He put a hurt on me.” Amen, Brother Jimmy, amen.

Alas, there is no video of Farris, but here is Gary Nichols take on “Hey Jude.”

He joked that with the limited time he needed to get right to the hits. But the comment isn’t as funny as it seems when you consider the depth of his catalog. And McMurtry was in fine form as he mined it for some gems. “You Can’t Make It Here” and “Levelland” were stand-outs among many.

And his between-song quips are hysterical, but more on that later this week.

WILL KIMBROUGH
I’ve long been a fan of Will Kimbrough, both for his exceptional Americana pop songs as for his outstanding musicianship. He’s even made it up to the Northeast, where I live, a few times as a solo performer.

Seeing him with a band, however, and on his home turf, no less, was a special treat. And the Mighty Kimbrough didn’t disappoint. He sampled songs from throughout his career all the while proving why he is the go-to guitarist for artists from Rodney Crowell to Jimmy Buffett to Emmylou Harris. He has a great sense of melody that permeates both his songs and his solos.

BUDDY MILLER & JIM LAUDERDALE
Miller and Lauderdale took advantage of the Americana Conference to do something that they had never done before – co-headline a gig together. While feigning a lack of rehearsal time, the duo led their talented crew through an enticing set that leaned heavily on classic country covers. “If you don’t believe me, then listen and you’ll believe me,” laughed Lauderdale on their limited preparation. To celebrate George Jones’ 80th birthday, the boys pulled a few gems from the Jones songbook.

The set ended with the two promising to work together on a proper release. Judging from how well they sounded together and the ease at which they performed, it will undoubtedly be a release to savor.

THE DEEP DARK WOODS
One of my pleasant surprises for the week was Saskatoon, Canada’s The Deep Dark Woods. They are one of those bands whose music has a distinctive feel to it, strong songs that create their own ambiance. Their live show brings these songs to life with extended solos from the band’s two guitars and keyboard player. The show took place in the aptly named venue The Basement, a room that added an additional dark feel to the music.

And standing next to me were Buddy Miller, Gurf Morlix and Greg Liesz. If that isn’t a testament to the quality of the music, I don’t know what is.

THE BOTTLE ROCKETS
The Bottle Rockets were the only band whom I sought out twice during the Conference, first at the Mojo Nixon Radio Performance and then for their own official showcase. It was a testament to how much I enjoy their music and that they rarely make it to the Northeast when touring (hint, hint gentlemen).

The band performed as a predominantly acoustic trio, recreating the sound of their recently released live acoustic album. Perhaps because of the acoustic feel or maybe because they were performing before a rapt audience of fans and fellow musicians, the set had a warm, laid-back feel to it. They mixed it up between their prepared set list and some choice audience requests.

HAYES CARLL
There are artists that are musicians and there are artists that are entertainers. Hayes Carll straddles the line with skill and grace. His songs blend intelligence and humor while his live show fills the time between songs with uproarious banter.

Carll’s mid-set performance by his “other” band the Ego Brothers was a great example. “For the longest time, I was labeled as Americana because I wrote all these depressing songs,” he explained, “I was always jealous of those rapper who wrote all those happy songs.” With that background, Carll and co-conspirator John Evans introduced the comically narcissistic “There Ain’t Enough of Me to Go Around.”

The rest of the set was loaded with more entertaining moments. In the absence of duet partner Cary Ann Hearst (of Shovels + Rope), Carll sang both parts of “Another Like You,” turning his head left or right depending on which role he was playing.

A cover of Tom Waits’ “I Don’t Wanna Grow Up” was just icing on the cake.

Here’s a previously recorded performance by the Ego Brothers.

And because their set was so darn good, here’s a bonus video from Buddy Miller and Jim Lauderdale.

Bromberg’s career has been the oddest, with long periods of withdrawal from public performance to pursue his passion as a violin-maker. Between 1971 and 1980 he released no fewer than ten albums (check out Demon in Disguise and Wanted Dead or Alive for some of his best), but since 1980, he has entered a recording studio only a handful of times. Between 1990 and 2007 he released no records (although his old record company rereleased most of his back catalog and produced a retrospective in 1998). In 2007, he released his ‘comeback’ album, the all-acoustic Try Me One More Time, which featured a bit more slide guitar playing than his 1970s efforts but otherwise was totally in character. With his newest release, Use Me, Bromberg has upped the ante, this time calling on longtime associates Levon Helm, John Hiatt, Keb’ Mo’, Dr. John, Tim O’Brien, Vince Gill, Los Lobos, Linda Ronstadt and Widespread Panic to collaborate. For those who are songwriters, he asked them to write him a song to play on the album. The album includes songs by Bromberg, Hiatt, O’Brien, David Hidalgo (of Los Lobos) and Dr. John. Then he performed each number with its songwriter, and collaborated with the non-songwriters. And Use Me was no acoustic effort. The cover photo of Bromberg clutching a Telecaster was the first indication this album would be different than the last. Its up-tempo tone makes puts it among the most listenable Bromberg albums ever – equal to his radically eclectic early work (R&B and bluegrass on the same disc!). Bromberg’s singing style makes his him an acquired taste, but to the initiated that doesn’t matter. Among the album highlights are “Blue is Fallin’” (with O’Brien), “Diggin’ in the Deep Blue Sea” (with Keb’ Mo’), “The Long Goodbye” (with Los Lobos) and “Lookout Mountain Girl” (with Vince Gill).

Ry Cooder has mined many of the same veins of roots music but has gained more notoriety with the wine and brie set with his forays into movies and world music (most of which, don’t get me wrong, are excellent). But Cooder’s own work is more down home, and his guitar playing distinct (check out Into the Purple Valley or Paradise and Lunch among his 1970s work). In recent years, he has been focusing on concept albums that spotlight Cooder’s populist political bent. Although Pull Up Some Dust and Sit Down is not a concept album, it does feature some of the populist themes of those recent effort and takes a tone somewhat similar to 2007′s My Name is Buddy. Featuring all original songs, it opens with Cooder’s musical diatribe about the financial crisis – “No Banker Left Behind.” The album runs from the gamut from folk to Spanish-tinged ballad to rock to blues. As always, the playing is excellent. Check out “John Lee Hooker for President” for an uncanny homage to both the singing and guitar playing style of Hooker.

WHAT’S IN A NAME?
The running joke all week was how to define Americana. The context was typically in light of Merriam-Webster having recently added the term to their dictionary. “Look it up,” was the oft-proffered response that was even featured on the event t-shirt. The reality, though, is that it is a challenge to define a music genre that touches so many other types of music. The Conference and Festival did little to resolve this question, bringing together a group of artists as diverse as they were talented. From a Muscle Shouls R&B tribute to country gentlemen Marty Stuart, from the Mexican folk stylings of the David Wax Museum to the rock of Will Hoge, well, you get the picture.

The answer came to me on the final night while listening to James McMurtry play “Levelland.” Here was a song heartfelt and honest, tackling real subjects yet with a winsome melody that was engaging enough to transcend the lyrics.

Americana isn’t about the style of music, per se, it is about musical story-telling in the finest American tradition. It documents colorful characters dealing with the curveballs that come their way, chronicling how they sometimes succeed and sometimes take it on the chin. It is about musical integrity and commitment to the song.

That, for me, is Americana.

PANELS: STORIES, INSIGHTS AND LAUGHTER
One of the pleasant surprises was a collection of informative and entertaining panels each day. The panels explored topics both musical and economic, with a typically eclectic group of industry professionals offering their perspectives.

Among those I attended was a panel on songwriting featuring John Oates (yes, that one), Jim Lauderdale, Angel Snow and Matraca Berg. They had an interesting discussion on co-writing. Oates, no stranger to the topic, talked about how the experience is as much about trust between collaborators as it is about writing an actual song.

Two panels on Technology explored various ways that musicians can find success in an online world. Ben Swank of 3rd Man Records talked about the label’s subscription series, a highly successful outing that both mines the label’s archives and delivers some pretty darn cool newly recorded digital singles.

A discussion of fan-funding (a la Kickstarter) was as much about the intangible benefits as it was about the dollars. One of the panelists remarked that one of the great benefits of the model was that it has helped artists learn how to interact with their fans.

A panel on artist development centered on the Civil Wars, with the duo’s Joy Williams and John Paul White joined by their extended business team. It was fascinating to hear from the full team as they described their methodical approach to building the Civil Wars’ commercial success while staying true to the artistic vision.

The most entertaining, if not informative, panel was called “Road Warriors: Tales from Life on the Road.” A seasoned group that included legendary road manager Phil Kaufman (of Gram Parsons fame), the Bottle Rockets’ Brian Henneman, Billy Burnette (toured with Fleetwood Mac and Bob Dylan, among others), Amy LeVere and Ian McLagan swapped stories that kept a full room entertained.

The fun started early as each described their time spent on the road. When LaVere stated that she had only been on the road consistently for three years, the rest of the panel, all lifers, affectionately jeered here. It was McLagan who summed it up best when he declared, “there’s nothing special about being on the road. It’s the one or two hours that you get to play that matter most.”

MUSIC, MUSIC EVERYWHERE
Sure, many folks were there for the official evening showcase performances, but it was hard to step foot around Nashville without seeing music. The first afternoon found Will Kimbrough and Tommy Womack doing an impromptu performance in a hotel lobby space and Steve Forbert performing in an art gallery.

Nashville-based Brite Revolution magazine took over a conference room to record some impressive performances from a range of artists in attendance. I stopped by to catch the Jayhawks as an acoustic duo, sound checking with an impressive cover of “Love Hurts” before the cameras rolled for a performance of “She Walks In So Many Ways,” their latest single. (Download the studio version here).

And then there was Mojo Nixon and his program for Sirius XM’s Outlaw Country radio program. Mojo invited the Bottle Rockets, Kenny Vaughan and Luther Dickinson (North Mississippi All-Stars) into the studio for a live performance in front of a small crowd. As one would expect, Mojo’s between song banter was as entertaining as the actual performances.

Nashville’s Broadway is home to many a honky-tonk, so when in Rome… I caught a stand-out set by the Silver Threads on Friday afternoon. Featuring former Bostonians Eileen Rose (voice/acoustic guitar) and Rich Gilbert (electric guitar/pedal steel), the group tore through some country classics that included a knock-out performance of Tammy Wynette’s “Stand By Your Man.”