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.  

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.

We here at Twangville get to hear tons of great music. We share as much of it as we can with you and just hope that you like it as much or more than we do.

On a personal note, in the past year or so, I’ve had a hard time getting as excited about the artists that dwell in our ever-widening arena of Twang-related performers. Not sure why it is, really. There have been some fine albums come out, but I have to say, the majority of albums that have really captured my attention this year lean far more into the rock realm than in the roots realm. As a proud Texan, I’ve even had a hard time finding regional artists that grab me the way in which Lone Star heroes like Robert Earl Keen, Randy Rogers or Charlie Robison have done pretty easily over the past decade.

Hell, Gillian Welch’s new, universally-adored album hasn’t captivated me in near the manner that it has other fans and critics. Not even close, actually.

Thankfully, a few recent arrivals, as well as a few future releases, have helped lure me from my existential roots funk. If you’re like me and have felt as though this might be a slightly off year thus far, let these help you find your way back into the sweaty, grimey embrace of all that is Twang…

HOPE FOR THE MAINSTREAM - Sunny Sweeney, Concrete ~
I’ll spare you the “this is what modern pop country needs” diatribe. Top 40 country is what it is and always what it has been, most likely. The plain fact is, this album is just plain good. Great even. Adult subject matter mixed with urgent, catchy arrangements inside of songs that are all-around well-crafted gems.

HOPE FOR TEXAS / RED-DIRT COUNTRY - Reckless Kelly,Good Luck & True Love ~
The vets from Austin are back. No concept, no agenda, just straight-forward Texas roots-rock that never aims to be enjoyed by only Texan frat-boys (a penchant that’s become an epidemic in these parts). You’d be hard-pressed to find a more reliably solid and enjoyable band anywhere.

HOPE FOR ALT-COUNTRY (OR WHATEVER) – The V-Roys, Sooner or Later AND The Old 97′s, The Grand Theatre Volume II ~
While The V-Roys collection is a fine retrospective and the latest from The Old 97′s is a vibrant gathering of freshly rocked tunes, both bands helped usher in what we now call “Alt-Country,” and these albums prove that sometimes, you gotta just leave the heavy lifting to the big-boys. Young hipsters from Brooklyn that want to be country slackers, take note: These two records show you that navel-gazing, token Johnny Cash shout-outs and dirty t-shirts aren’t substitutes for giving a damn and writing songs that people want to truly listen to every bit as much as they want to bang their head to also.

HOPE FOR THE FUTURE OF ROOTS FOLK - Robert Ellis, Photographs AND Levi Lowery, I Confess I Was a Fool AND Gaston Light, Peel ~
Three young artists that traverse the broad scope of folk, roots and overall twanginess as well as anyone in their demo. Ellis whispers his songs in a sparse manner that demands the focus of the listener and reveals a maturity beyond his 22 years. Lowery, fresh off of a short stint as leader for the now-defunct Cadillac Sky takes his bluegrass chops and blends it with his own humor, vulnerability and feel for sounds that transcend simple unplugged roots tunes. Gaston Light, from Dallas, is the brainchild of 22 year-old Jason Corcoran. Where Ellis and Lowery navigate the line of folk and country, Gaston Light goes from that traditional sonic point and speeds towards a garage-rock rowdiness that never detracts from his sharp writing and keen sense for what just sounds good.

By now, surely it’s no secret that country and punk go together about as good as peanut butter and chocolate. And typically, when these two classic American forms of music are welded together, the result seems to resemble a harder, thrashing product.

Of course, the overall ethos attached to artists that practice either style in their pure forms are very closely connected and often times, that’s what comes through the strongest, even more than the actual musical symbiosis.

Nick 13, a country crooner specializing in the celestial, rockabilly cosmos that screams “California Country” also knows his way around a punk stage. As leader of the so-called Psychobilly band Tiger Army, out of Berkeley, Nick 13 has recently released a self-titled solo album that goes well beyond the standard acoustic-folk records that many punk lead men release when they take a break from their main gig. Nick 13 has assured anyone that’s asked that indeed, Tiger Army, a band that’s a veteran of the Warped Tour, isn’t finished, even though he’s dabbling in another musical pool these days.

With a look that’s properly all tatted-up, Nick 13′s brand of barroom Bakersfield country is nothing short of pure enjoyment. Throughout the album, the songs possess the urgency of an artist truly appreciating the medium he has chosen and grasps the history of the sound and not the trendiness that has clouded its present and future.

Audio Download: Nick 13, “All Alone”

In what is shaping up to be the label roster of the year, Bloodshot has released another trademark, insurgent country gem. Eddie Spaghetti, the leader of infamous Seattle group the Supersuckers, stepped away from his buds of over 20 years to craft Sundowner, an album that might have a bit less venom, a tad more polish, but every ounce of the swagger that so many have come to identify the venerable band with over the years.

Think about it: Going back to last year’s Justin Townes Earle triumph, Harlem River Blues, Bloodshot has been on a roll. Recent releases by Spaghetti, Exene Cervenka, and the upcoming Ha Ha Tonka record (which is also stellar) make a strong case for the well-established and respected label to remain so for some time to come.

The twang that has always informed the garage punk rock of the Supersuckers is given a far greater seat at the table here. In fact, that swooning AM Country gold flavor is pure refreshment in the case of his relatively straight-up take on Willie Nelson’s classic, “Always on My Mind.”

Of course, it wouldn’t be possible, thankfully, for Spagheti to go a whole record without getting wild-ass and hell-bent. “Jesus Never Lived on Mars” is a roadhouse rocker that forcefully reminds any who dare listen who the hell he is and where he’s from.

It’s impressive enough for a fellow from the woodsy Northeast to sound so damn southern, and even more so when one considers that this record is really just a nice little sidebar for Spaghetti before he gears up for the Supersuckers next 20 years of dangerously greasy grooves.

Producing some stellar, if not downright seminal, works can be a real pain for an artist. Ask Lucinda Williams what’s it been like to answer questions about why each of her albums can’t be Car Wheels on a Gravel Road? Ryan Adams has tried for years to overcome the “Where’s the next Heartbreaker?” stigma. Classic albums bring about Herculean expectations.

While Texan, and Lost Highway artist, Hayes Carll has yet to fully reach the heights of the aforementioned alt-country heroes, he isn’t far from the top at this juncture. This much is surely the case after the release of his dependably solid, if unspectacular, KMAG YOYO. That sounds bad, but it’s not, really. Spectacular work isn’t common, yet Carll has seemingly made the uncommon a regular occurrence for himself over the years.

Just as it is when David Ortiz has a subpar year of “only 28 homers”, it’s still a banner season for just about any other big-leaguer, For Carll, producing an album that doesn’t exactly make us forget about his superb Trouble in Mind, or even his indie-breakthrough, Little Rock, only means that he has set the bar supremely high and that simply reaching that bar, while still quite a feat, doesn’t really get the job done in the grand scheme when it comes to some folks, but hey, this is still an album that will rightfully find it’s place enar the top of many year-end lists.

Look, the album is worth your time, promise. And, if anything, this is the album where Carll really asserts himself and makes it even more difficult for folks to continue to lump him into the stale “Texas-artist” category or make the same comparisons to Guy Clark and Ray Wylie Hubbard, yet again. Sure, those influences are present, as they should be, but there’s also hints of Subterranean Dylan with the title track, and early 1980′s Haggard with “Chances Are.” making it even tougher to back Carll into a stylistic corner, he uses the same wit that was shockingly present with his biting “She Left Me For Jesus” to produce a white-trash gem of a duet with “Another Like You.” The male/female duet number takes the Gram/Emmylou dynamic and shoves easy-cheese down its drunken pie-hole while dousing it in fuzzy-navel wine cooler.

Like I said. Maybe the album isn’t his best, but it surely would be a career, life changing work for just about any other would-be troubadour.

The album roars off to a start with Shakin’ All Over, a wah-wah drenched 50′s rock-and-roll song with White channeling Link Wray.  And when Jackson sings that when her man is next to her she “gets chiiiiiills down her spine” you have to shake out the goose bumps.  Next they swing into Rip It Up, a tune that reflects the style that made Jackson the doyenne of rockabilly back in the 50′s and 60′s.  From there, they go into Busted, a boozy, honky-tonk country song that reminds me of the scene in The Blues Brothers where they’re singing the country songs behind the chicken wire.

This is a good point to talk a little about the production on the disc.  If you heard White’s collaboration with Loretta Lynn, you know the underlying theme here.  Although I have to say I think he’s lightened up compared to Van Lear Rose.  Listen to the Hank Williams song, Dust On the Bible, on this project, and then go back and listen to something from the Lynn project and you’ll see what I mean.  There are a couple of missteps on this album, most notably a version of the calypso-influenced Rum and Coca-Cola, made famous by the Andrews Sisters.  The light hearted nature of music from the islands just doesn’t match with Jackson’s or White’s style.

A couple of other songs I have to mention.  First is You Know That I’m No Good, a cover of the Amy Winehouse self-portrait.  I’m not sure I like this version better, but you’d be hard pressed to hear the sound of sultry distilled into a purer essence than what Wanda oozes out here.  The album finishes with Jimmie Rodger’s Blue Yodel #6.  It’s just Wanda singing and Jack playing acoustic guitar, and while it’s clear that Jackson’s voice has lost some of the punch of youth, she more than makes up for it with the passionate wailing of “wish a tornado would blow my blues away”.  Whew.  You’ll have to excuse me now while I go catch my breath.

Much noise has been made over the past decade as we have seen bands that reveled in roots-rock rowdiness polish their tones a bit and venture into the waters of pop and even experimental sounds. Of course, for every Wilco, there’s a band like Son Volt – a band that has stayed the country-rock course.

While acts such as the Jay Farrar-led Son Volt, or even the Bottle Rockets, have managed to produce a decent number of quality, twangy releases, while other contemporaries have strayed into the world of rock, they have all done so with rotating rosters, and not with the original line-ups that helped create their well-known name.

A band that fits quite comfortably into the above sonic-shifting mix would be The Old 97’s. One key factor that seperates these four guys from the aforementioned bands? They’ve stayed together and kept the original line-up intact for all these years. In fact, the way in which the band has managed to effectively handle the various situations that have led many a group to break-up is as remarkable as the fact that the music they are creating has every bit of edge, spunk and relevance as it did when they first cashed in their major label chips with 1997.

The Old 97’s have indeed endured uncertain times over their almost two decades together. Rhett Miller’s attempts at solo-stardom, and the everyday intricacies of starting families and living adult lives have all threatened to induce change in their structure, but have yet to actually bring such alterations about.

Of course, a few years ago, upon the release of Fight Songs and especially Satellite Rides, it wasn’t the change in personnel that many fans were nervous about. The more slickly polished, pop-rock flavored tones of Satellite Rides were a clear departure from the group’s cow-punk beginnings. While that album has now come to be viewed favorably, it’s safe to assume that their new record, The Grand Theatre, Vol 1, is the album that those troubled by the poppier direction would’ve appreciated, all those years ago.

On this new album, out on Oct 12 from New West, anthems are a plenty. Also, few songs this year will boast a more sweeping, joyous and perfectly-suited chorus than “A State of Texas.” Even though Miller and bass player Murry Hammond are no longer residents of the Lone Star State, it’s made clear on this standout track that one’s mailing address doesn’t define where one’s soul lives.

Miller’s trademark wit and clever wordplay also finds its proper place, up front and center. “Every Night is Friday Night (Without You)” and “Champaign, Illinois” are, quite simply, killer, alt-country classics. Throughout the twelve song collection, blasting beats and urgent guitar command their share of attention, as well.

Sure, 2008’s Blame it on Gravity contained evidence of a band returning to their earlier sound, but that chugging, rollicking sonic wasn’t as prevalent as it is in this excellent return to form. At times, as one listens to the new album, it might be necessary for the listener to remind themselves that they are in fact, listening to the new album, and not Hitchhike to Rhome or Too Far Too Care.

That’s not a bad thing, in this instance, either. The Old 97’s understand that progression isn’t necessarily a matter of continuing a path that leads one away from where they began. Progression is often a matter of development – the following of a muse that simply knows where one belongs.

Judging by one of this year’s best albums, it’s clear that this is a band who knows where they belong, and are glad to be back.

Being a blogger doesn't get you any closer to the stage

Sunday Morning Gospel Hour – It’s always challenging to get the crowd into the groove early on Saturday or Sunday. One strategy is to follow the traditional route and put on an old time revival performance. The Peter Rowan Bluegrass Band hit this dead center featuring a lot of 50′s and 60′s bluegrass from the likes of the Stanley Brothers and Bill Monroe. The other way is to schedule Trombone Shorty & Orleans Avenue. They had the entire crowd at Star Stage up and on their feet dancing 10 minutes into the set. Pity any band that has to follow those guys.

Best Retro Moment – A big, free music festival in Golden Gate Park in San Francisco just begs some comparisons to hippies and Summer of Love and flower children. The crowd for 7 Walkers, featuring the Grateful Dead’s Bill Kreutzmann, was certainly a throwback to that era. Tie-die, Birkenstocks, and “alternative” brownies and cookies were ubiquitous. And musically, the Walkers have few peers. But given the setting, it’s just too easy to play to that crowd. So I have to give this award to Fountains of Wayne and their 70′s medley vamp of Boston, Foreigner, ZZ Top, etc., in the middle of Stacy’s Mom. It was so unexpected, and so well done, you couldn’t help but grin and sing along no matter how embarrasing it was that you still remembered the lyrics to those songs.

Tightest Sound – I know I’ve said this before, but the best rhythm section is Americana music today has to be the combination of Lisa Pankratz on drums and Sarah Brown on bass. They can lay down a groove that’s transcendental. Add to it Cindy Cashdollar on dobro, pedal steel and slide, and Dave Alvin himself on guitar and it doesn’t get much better. But this year they were outdone by The Dukes of September, a super group featuring Donald Fagen, Michael McDonald and Boz Scaggs. They not only ripped their own classics, but also hit numbers from The Band, the Dead, and Bo Diddley. What really put it over the top, though, was the vocals from Cat Russell. I wasn’t familiar with her, but I’m a fan now.

Best Live Set – OK, yeah, this sounds like I’m being redundant, picking the best live set at a live event. But live sets always fall into two categories; playing songs from their recordings as true as possible to the recording, and playing songs true to the moment. This is the latter category. Jenny Lewis and Jonathan Rice did a great set with songs from each of their catalogs and a special appearance from Elvis Costello. But the version of Love Hurts was what it must have sounded like the first time Emmylou and Graham sang it. It was just magical. For my money, though, The Band of Heathens set topped it. With 3 members of the band playing lead guitar on several songs it was an instant revival of Southern Rock from 30 years ago, even though it was all original Heathens material. It’s easy to see why they’re frequently voted Austin’s best live band.

So all in all it was an excellent 3 days of music, and if you can stand the crowds there’s not a better place to be the first weekend in October.