Here’s a classic video from the Barfield archives. Let’s get funky now.

Dr. John has recorded steadily over the years, weaving a tapestry of work featuring the various strains of music prevalent in his native New Orleans.  But with his latest release, Locked Down, Dr. John returns to that familiar foundation he laid down in Gris-Gris.   With the support of The Black Keys’ guitarist Dan Auerbach, Dr. John has created a work that would fit in well with those earlier works. 

There are numerous strong tracks on Locked Down, each of which reveals Dr. John’s penchant for exotic rhythms and eery sound effects.   The opening title track incorporates a familiar groove reminiscent of Dr. John’s more mainstream funk of In the Right Place, as does the second track, “Revolution.”  But the third track, “Big Shot,” takes the next step into a spaced-out weirdness that at moments echoes Gris-Gris.  For a taste of Dr. John’s delicious keyboard work, check out ”Ice Age.”  ”Kingdom if Izzness” is classic Dr. John, and “Eleggua” incorporates the kind of rhythmic cool madness that made Gris-Gris so memorable.             

With Locked Down, Dr. John proves he is still in top form.

For me, the true harbinger of spring is the arrival of the SXSW Music and Media Conference in Austin, Texas. Or rather, spring begins for me when I arrive in Austin for SXSW. With upwards of 2,200 bands and 19,000 attendees, SXSW is the world’s premiere music conference. Even better, it is one heck of a party.

Over the next week I’ll be sharing some of my highlights from SXSW 2012.

THE MUSICAL THEMES
No Plug Required?
Perhaps the most enjoyable musical theme, for me at least, was the range of acoustic artists. I’m among the first to line up for the wash of an electric guitar but there are times when the quiet musicianship of an acoustic artist just can’t be beat. Glen Hansard and Frank Turner, artists whose between-song banter is as sharp as their songs, performed multiple stellar sets. London-based Antonio Lulic was captivating while Denver’s the Lumineers were enchanting and, with their debut album just released, are ones to watch.

And then there was Tom Morello, whose guitar reads “whatever it takes,” a mantra that he brings to life with his hard-hitting performances.

Attack of the 1980s and 1990s
I want my MTV! Artists who first established themselves in the 1980s and 1990s were out in force. Whether you desired the goth of the Cult or the Jesus & Mary Chain or the pop of Thomas Dolby or Lionel Richie (with special guest Kenny Rogers!), you could find it at this year’s event. SXSW has become as much an opportunity to announce one’s return as it is to announce one’s arrival. Other artists who appeared included Counting Crows and Bob Mould, who delivered an intense performance of his band Sugar’s debut album.

Rap, Hip-Hop and Electronic Music Make Their Mark
Two of this year’s music themes fell outside the typical Twangville fare. Rap and hip-hop have had an increased presence in previous years but came into their own this year. From up-and-comers playing a showcase to big names playing label gatherings and unofficial events, the genre made its presence known.

DJs and electronica artists also made some noise this year. 24-year old Skrillix got a lot of buzz, although I can’t say that I saw him or any artists from this genre. Maybe next year.

”THE MUSICAL EQUIVALENT OF “PLUG AND PLAY”
Many artists make their time in Austin count, performing upwards of 4-5 times in a single day. Having made the trip and with a large and captive musically-starved audience, why not? The Lumineers took this to heart and performed no less than 12 times over four days. Quipped Bahamas, “We’re playing 127 shows over the next 3 days… We’ll be playing anywhere there is a pa.” On behalf of the music fans at SXSW: thank you.

YEAR OF THE WRISTBAND
Every year I write about how the quantity of day parties gets bigger and bigger. This year was no exception. The new wrinkle this year it was the rise of the multi-day event. Many party sponsors apparently figured that one day just wanted enough. Three and four day affairs were commonplace, with many taking over stores, bars and yards in East Austin. Many of these show relied on a music venue staple – the wristband – to manage capacity. At one point I had eight bands gracing my wrist. Wristband tan anyone?

BIG NAMES, WITH AND WITHOUT CORPORATE SPONSORSHIP

Sure, Bruce Springsteen captured the spotlight, but this year was notable for the plethora of well-known and established artists who converged on Austin. Many of these were promotional appearances sponsored by companies who thumbed their noses at any global economic uncertainty as they looked to make a major splash at the event.

Doritos was the, um, big winner with a stage built a stage into the base of a 56 foot vending machine. Seriously. Snoop Dogg was among the artists featured on the stage apparently built to satisfy those with a super-sized case of the late night munchies.

But Doritos wasn’t the only brand using music to reach the masses. Red Bull built a stage on an empty lot and invited artists ranging from Erykah Badu to the Crystal Method to perform.

In some cases, big name artists bypassed the corporate sponsorship and simply threw their own parties. Notable in this camp was 50 Cent, who invited his friend Eminem to join him to perform his 2003 album Get Rich or Die Tryin.

OCCUPY SXSW
Regardless of one’s political bent, Tom Morello’s Occupy SXSW show was not to be missed. Morello, joined by Wayne Kramer (of MC5 fame) broadcast his raucous 1am showcase into the street so that the masses could enjoy it. Then, as the 2am end time approached, Morello invited club attendees to follow him into the street for a few final songs. Under a watchful police eye, Morello and the band led the crowd of several hundred people in Woody Guthrie’s “This Land Is Your Land.” Continuing on, albeit now acoustic as the power had been shut off, Morello served up his own “Worldwide Rebel Song” as the crowd joined in.

Photo credits: Teenage Kicks (Tom Morello); Matt Carney (Glen Hansard); Derek/Holidaze (Space Available); Ryan C Jones (Artist Walking).

In this case, “project” really does seem to describe the work that went into the album.  It was recorded in New Orleans and her backing band is the rhythm section for The Funky Meters, a New Orleans institution.  Those guys, plus Ike Stubblefield on Hammond B3, create a dirtiness that’s more forward than many of Ruthie’s other efforts.  But keeping the Lord’s music in the balance are the Blind Boys of Alabama, featured on 4 tunes, and soul master William Bell on another one.  The net result is a disc that’s about half gospel & blues and half rhythm & soul.  It’s a potent mix.

The gospel tinged part of the album manifests itself right from the beginning: Welcome Home is a Foster original with the Blind Boys that’s the poetic explanation of faith, “my mind didn’t know how to get there, I trusted my heart and, I swear, my soul came to welcome me home.”  Other songs in this spirit are Lord Remember Me, the Robbie Robertson number It Makes No Difference, and a fantastic a capella The Titanic, also with the Blind Boys of Alabama.  Good material for your Sunday morning rotation.

The other theme running through the disc is remakes of some familiar songs from other artists.  I hesitate to call them covers because several of them bear little resemblance to the original.  Ring Of Fire is unrecognizable unless you really listen to the lyrics.  There’s almost a Motown feel to the Los Lobos penned This Time.  Ruthie puts a dark blues spin on the Pete Seeger classic If I Had A Hammer.  And her version of the CSNY hit Long Time Gone is, IMO, a major improvement on a song that I already loved.

In the end this is a strong offering from an artist that’s already at the top of her game.  Ruthie’s vocals are great, the backing band is stupendous, and the song selection is great.  I just dare you to sit still for the whole album.  Can I have a Hallelujah?

Start chair dancing with this single, an original number, Aim For the Heart.

Audio Download: Ruthie Foster, “Aim For the Heart”

Live At Lincoln Hall, by Joe Pug
Since arriving on the singer-songwriter scene in 2008, it didn’t take long for Joe Pug to establish himself as a rising star. This live album, recorded in Chicago last spring and comprising songs from his one full-length album and two eps, is a spectacular demonstration of his songwriting prowess.

Album opener “Nobody’s Man”, from his debut ep, is a personal favorite. “I’d rather be nobody’s man than somebody’s child,” sings Pug. It is a statement of independence but not without some regret at his loneliness. “There’s an ugliness growing up inside me, from where it has come I don’t know.”

“Lock the Door Christina,” from the In the Meantime ep, serves as both a love letter and a warning. “Lock the door, Christina, I’m standing on your porch tonight,” he sings with a gentle sway.

An electric guitar joins Pug’s acoustic to give “Speak Plainly Diana” some extra punch. Not that it needs it as Pug’s lyrics pack plenty of punch already. To wit, “And when there’s too much to get rid of, and you get rid of me, speak plainly to me Diana, there’s nothing you must be.”

“Call It What You Will” finds Pug struggling with heartache. “I call today a disaster, she calls it December the 3rd,” he laments, “call it what you will, I’m heartbroken still, words are just words.”

Live At Lincoln Hall is a great introduction for those who haven’t heard him and a treat for those who already have. And with a new release shortly to follow, it is the perfect set-up for what could be Pug’s best year yet.

Audio Download: Joe Pug, “Call It What You Will”

Grand Hotel, by The Explorers Club
This talented sextet from Charleston, SC whip up a magical blend of three minute pop masterpieces. Each track is masterfully crafted, filled with spectacular musicianship and brilliant harmonies.

Lead single “Run Run Run” opens with some regal horns before giving way to a bouncy pop beat. A percussive march towards the chorus is rewarded with a blast of airy harmonies as the band sings, “I’ll run run run ‘til I get back to you, run run run, do what I have to do, run run run ‘til I get back in your arms again.”

“Anticipatin’” starts off with a guitar, piano and organ riff that recalls the opening of the Beatles “Get Back.” The opening quickly transforms into a classic pop melody that leads to a falsetto-led chorus. Throw in some tasty guitar riffs and you’ve got a feel-good classic.

Did I mention harmonies? “Go For You” brings them in full force. The song’s already head-bobbing and harmony-laden chorus reaches even higher when the horns join the fray. The fun continues with “I’ve Been Waiting,” which matches percussion and taut guitars with honeyed harmonies.

Album closer “Open the Door” starts with a bit of flamenco guitar before launching into an emotional ballad that builds towards a symphonic conclusion. This is the kind of music that makes Brian Wilson smile.

Audio Stream: The Explorers Club, “Run Run Run”

THE PLAYLIST
Abaddon Blues b/w All the Good You Lose (demo), Kasey Anderson and the Honkies
Kasey Anderson and the Honkies rocked out on 2011’s Twangville fave Heart of a Dog. But last year is so last year. A new year is upon us now and Anderson and crew have hatched plans for a new album.

Here are two tracks recorded for the album to be known as Let the Bloody Moon Rise. One is a bruising blues number with the Honkies; the other is an Anderson demo recording of a brilliant ballad.

Like what you hear? Anderson and the Honkies are going the sponsorship route to fund Let the Bloody Moon Rise. Click here for more details on the campaign and here to lend your support.

Gloryland, Kevin Gordon (from the self-released Gloryland)
Gordon is Louisiana’s answer to James McMurtry, spinning tales of weathered characters that come across as part song, part short-story. Check out the bluesy, dark and edgy title track.

Audio Download: Kevin Gordon, “Gloryland”

Bandit of Love, Jenny Dee and the Deelinquents (from the DeeVeeUs Records single Bandit of Love b/w That Moon Was Low)
For years Boston musician Jenny D’Angora has played with various punk and rock bands. Now she’s stepping out with a new outfit that pays homage to the 1960’s girl groups and their shiny pop sound. It’s retro with all the trimmings, what’s not to like?

Audio Download: Jenny Dee and the Deelinquents, “Bandit of Love”

Caught Me Thinking, Bahamas (from the Universal Republic release Barchords)
Toronto-based singer-songwriter-guitarist Afie Jurvanen, who records as Bahamas, reminds me of Harry Nilsson. His simple and airy arrangements stand in contrast to the often dark side of his lyrics. He actually pulls off a slight Caribbean feel with this track as he sings, “Back when we started, before we parted, I would wonder what would make her stay; what was I thinkin’, as if my drinkin’ was the only thing that drove her away.”

Audio Stream: Bahamas, “Caught Me Thinking”

One Voice Together, Martin Sexton (from the Kitchen Table release Fall Like Rain)
Simply put, Sexton has one of the most magical voices singing today. It is a voice soulful and smooth as molasses.

Audio Download: Martin Sexton, “One Voice Together”

A Good Feelin’ to Know, Tom Gillam (from the Great Tone Records release Rustic Beauty)
Austin by way of Philly singer-songwriter Gillam takes on the free-wheelin’ Poco classic. It is a great cover selection as it fits comfortably along side Gillam’s originals. He and his band have a relaxed feel that just makes the music fun.

Audio Download: Tom Gillam, “A Good Feelin’ to Know”

Aim For the Heart, Ruthie Foster (from the Blue Corn Music Release Let It Burn)
“When in Rome,” the old saying goes. Foster took it to heart, figuratively if not literary, with her latest release. The album came to life in New Orleans, where it was infused with the spirit of local musicians including the Funky Meters rhythm section of bassist George Porter Jr. and drummer Russell Batiste. While most of the album is covers ranging from the Band’s “It Makes No Difference” to Adele’s “Set Fire to the Rain,” Foster includes a couple of originals including this soulful track.

Audio Download: Ruthie Foster, “Aim For the Heart”

Honolulu Blues, Craig Finn (from the Vagrant Records release Clear Heart, Full Eyes)
At this point there should be little doubt that Finn is one of rock’s most literate lyricists. He puts the point on that exclamation with his debut solo release. Finn leaves the rock and roll musical bravado of the Hold Steady behind and proceeds with more subdued arrangements that shine an even brighter light on his lyrics.

We’re all good, we’re all bad
We’re euphoric and we’re sad
We roll the rock away and check the tomb

Audio Stream: Craig Finn, “Honolulu Blues”

Runaway, Imperial Teen (from the Merge Records release Feel the Sound)
The winter snow may be falling as I type this but the shimmery sounds of Imperial Teen are transporting my spirit to a summery place. The arrival of the band’s latest release, filled with upbeat melodies and bright harmonies, is a sure sign that summer will soon be upon us, right? If not, you’ll find me cranking this one by the fireplace.

Audio Download: Imperial Teen, “Runaway”

Here are three clips to celebrate James and her legacy. The first is a spectacular performance of her hit “I’d Rather Go Blind” with Dr. John. The second finds her rocking the house with Chuck Berry, Keith Richard and friends on Berry’s “Rock and Roll Music.” The third is a take on Otis Redding’s “Hard to Handle” captured on New Years Eve 1982 with the Grateful Dead.

When My Time Comes, Barnstar! (from the self-released C’Mon!)
I somehow missed this song when it was released on Dawes’ debut back in 2009. My bad. I’ve corrected that now thanks to the guys in Barnstar! Even better, they’ve taken an already great song and made it even greater. Even Dawes agrees.

Audio Stream: Barnstar!, “When My Time Comes”

Time Spent in LA, Dawes (from the ATO Records release Nothing Is Wrong)
The best songs do more than catch one’s ear, they create an experience that takes you away from where you are. The fact that this song is about Los Angeles misses the point. The melancholy of melody and lyric becomes a destination of its own. “You got that special kind of sadness, you got that tragic set of charms, that only comes from time spent in Los Angeles, makes me wanna wrap you in my arms.”

Audio Stream: Dawes, “Time Spent In Los Angeles”

More Like Them, Lydia Loveless (from the Bloodshot Records release Indestructible Machine)
If you had any doubts that Loveless was a free — and feisty — spirit, look no further than this song.

Why can’t I be more like them, the kind of people who feel sad when relationships end
Well honey I don’t want you now, but it’s not about him
Why can’t I be more like them

Audio Stream: Lydia Loveless, “More Like Them”

The Understanding, Jones Street Station
If you’re going to release only one song in a year, it had better be a good one. By that standard, this Brooklyn quintet doesn’t disappoint. What starts with some quiet harmonies and an acoustic guitar builds into a pop song of epic proportions.

Turn to a stranger, take her hand, then you’ll understand. Where are my friends who are lost and alone. May they find their way back home.

Audio Download: Jones Street Station, “The Understanding”

Mannequin Man, Kingsley Flood (from the self-released ep Colder Still)

I was born to be a mover, not a mannequin man
Sworn to shake the sugar, not like a mannequin man
I’ll be damn before you take me like a mannequin man

Audio Stream: Kingsley Flood, “Mannequin Man”

Daydrunk, Butch Walker and the Black Widows (from the Dangerbird Records release The Spade)
I went back and forth between this track and “Summer of ’89.” It was a photo finish to say the least. In typical Walker fashion, this song is a power pop slap in the face – loud, brash and totally awesome.

Audio Stream: Butch Walker and the Black Widows, “Day Drunk”

Stopping By, Jason Isbell and the 400 Unit (from the Lightning Rod Records release Here We Rest)
Isbell is at his best when he explores the thoughts and emotions of troubled characters. He has an innate ability to provide an honest portrayal that captures the tension in both lyric and music. This track is a prime example, the tale of a child making a surprise visit to an estranged father.

I think the best of me’s still standing in the doorway
Counting cars and counting days and counting years
I could say you made me go through life the hard way
But it might’ve been worse if you were here…

Audio Stream: Jason Isbell and the 400 Unit, “Stopping By”

No Easy Way Out, The Duke and the King (from the So Recordings release The Duke and the King)
I was first enchanted by the sense of wanderlust that permeates this song. Repeated listens, however, showcase the band’s impressively nuanced musicianship.

Audio Stream: The Duke and the King, “No Easy Way Out”

Guilty Girls, Buffalo Tom (from the Scrawny Records release Skins)
From the opening guitar riff to the final fade, the band impeccably combines sparkling harmonies with an edgy rock sound. This is the kind of song that was made to be played loud. And often.

Audio Stream: Buffalo Tom, “Guilty Girls”

Maybe, Paul Collica (from the self-released It’s Not Me, It’s You )
This is a great high-energy power pop song but that’s not the sole reason that it is on this list. Collica infuses the song with a sonic quality that should make many “top 40″ artists green with envy. All the more impressive, he wrote, performed and produced it entirely on his own.

Audio Download: Paul Collica, “Maybe”

Beauty, Wit & Speed, by Nathan Hamilton
“Give me the mad ones, the sad ones, the ones who’ve got nothing to lose,” sings Hamilton in “Through Ether and Time” from his latest release. It is a telling comment and a great introduction to an album that deftly explores the search for comfort and contentment in one’s passing years.

“In All That We Might Find” finds Hamilton longing for the past, recalling the excitement to be found in earlier times. “In the age of information the screens of isolation, Bathe us in a cool blue glow,” he reflects, “The network imperfection, the lack of real connection has left us feeling more alone.”

“Fire to Metal” is a haunting reflection on the wound’s left by an ex-lover. A drum beat that echoes a heart-beat starts the song, soon joined atmospheric synthesizers and an acoustic guitar. “There is no greater pain or consolation than the memory and phantom feeling of your touch,” he sings as the song’s musical accompaniment and intensity increase.

The piano and muted trumpet on “Rust of Age” recall a late night jazz club, the perfect feel for the confessional tone of the song. “We all must face our grave mistakes of body, mind and soul,” he sings, “But I believe I’ll take the dirt and leave behind the hole.”

The tempo, if not the sentiment, quickens on “The Heart That Aches to Open.” Electric guitar solos at the beginning, middle and end of the song weave a shimmering melody as Hamilton takes a more assured tone in his quest. Don’t get me wrong, Hamilton is still feeling lonely and alone, but there is a welcome sense of contentment on this track.

Amy Cook joins Hamilton for the slowly burning “Days of Caution.” The song perfectly captures the swirl of emotion between two lovers:

The days of caution rise
And lift themselves to show
Surrender in our eyes
And a hunger in our soul

It is a rare find to encounter an album that commands attention with an alluring blend of intelligence and restraint. Put this one down on that list.

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

Number Seven, by Will Hoge
Can anyone guess what studio album release this is for Hoge? I thought that you could. Looking at this release in the context of its predecessors shows the evolution of the artist. If the early years were spent as an carefree rocker, Hoge has mellowed and matured over his last few releases. That said, his songs have lost little of their charm and appeal.

“Fool’s Gonna Fly” finds Hoge saying goodbye to a lover. Longtime readers know that I have a sarcastic streak and love a good “kiss off” song, so there should be no doubt that I would enjoy this one:

Shakespeare was a traitor as far as I’m concerned
He wrote a bunch of stories ’bout stuff he never learned
He never loved a woman least not one as mean as you
Romeo would’ve just split town and tried to find somebody new

If “Fools Gonna Fly” is his break-up song, “No Man’s Land” is his ode to falling short in a quest for love. “I count my blessings on the days we get along, but I can count on one hand the days that I do nothing wrong,” he laments. The song becomes a fine bar-room sing-along as Hoge kicks into the chorus, “She’s like a fine wine, I’m like whiskey from a jar…”

“Too Old Now to Die Young” finds Hoge reflecting on the wild years of youth with the perspective of middle-aged maturity. “I loved the pleasure and cursed the pain, oh, foolish things I’ve done, I’m too old now to die young,” he sings while a bristling slide guitar wails.

Hoge slows things down for “Trying to Be a Man,” a tender ballad that chronicles the celebration and tragedy of a young man finding love and family. Vince Gill guests with some solemn acoustic guitar accompaniment for added effect.

While a part of me misses the more raucous songs of Hoge’s early career, it is refreshing to see an artist explore new musical horizons.

Audio Stream: Will Hoge, “Too Old Now to Die Young”

THE PLAYLIST
Midwest Winters, Bradley Wik and the Charlatans (from the forthcoming release Burn What You Can, Bury the Rest…)
“Those midwest winters will suck your soul away,” sings Wik on this song that starts off melodic and brooding before exploding into a cathartic guitar fury. Although he now resides in Oregon, these songs were born from growing up in the Midwest and have the hearty rock feel of that region. Burn What You Can, Bury the Rest… is filled with this heartland rock and roll, rich with tales of hard-working, well-intentioned characters.

Audio Download: Bradley Wik and the Charlatans, “Midwest Winters”

Pine, The Poison Oaks (from the self-released Pine)
What happens when you gather together a large group of Americana musicians in the studio to “experiment”? Apparently you end up with some great pop tunes and performances. Boston-based fiddler Laura Cortese, the cornerstone of this new collective, is joined by a talented group of friends whose musical pedigree includes Crooked Still, The Low Anthem and Josh Ritter’s Band, among others. If this is an experiment than we will call it a resounding success.

Audio Download: The Poison Oaks, “Pine”

Good Luck and True Love, Reckless Kelly (from the No Big Deal Records release Good Luck and True Love)
Austin’s Reckless Kelly have always been a bit of a paradox. The boys established themselves in Austin with songs rooted in the Americana storytelling tradition. Yet the boys clearly live to rock and roll. Don’t believe me? Check out their latest release. Pure rock and roll, Texas style.

Audio Stream: Reckless Kelly, “Good Luck and True Love”

Gimmie Back, 13ghosts (from the This Is American Music release Liar’s Melody)
My recollection of 13ghosts was a band that produced music dark, brooding and demanding. Well, this doesn’t sound like that band. The tempos are faster and the songs are grittier. All the better, I say. As singer-songwriter Brad Armstrong says, “I got my radio tuned to the independent rock and roll station.”

Audio Download: 13ghosts, “Gimmie Back”

The Weight of Changing Everything, Tim Easton (from the self-released release Since 1966, Volume 1)
Easton has blessed us with two albums this year, the first a rollicking rocker and the second an acoustic gem. This track is from the latter release and is a shining example of Easton’s powerful songwriting. In a single song he deftly tackles politics, both personal and national, with a message of positive change.

Nobody’s perfect, nobody should be
Nobody can get it right every day
Maybe you happen to have some answers
Please shine your light to help us spread
The weight of changing everything.

Audio Download: Tim Easton, “The Weight of Changing Everything”

Maybe, Paul Collica (from the self-released It’s Not Me… It’s You)
I’ve always had a musical sweet tooth and this track – and album – is downright cavity-inducing. The guitars sizzle, the bass pounds and the chorus soars. Knowing that Collica recorded all the instruments himself, mostly in his home studio, is just icing on the cake. This is a sonic boom of the best kind.

Audio Download: Paul Collica, “Maybe”

Punchline, The Farewell Drifters (from the Heart Squeeze release Echo Boom)
If you like your bluegrass with a pop sensibility, this just may be the band for you. The instrumentation may say bluegrass, but the vocals and songs have a clean-cut 1960’s pop feel.

Audio Download: The Farewell Drifters, “Punchline”

American Tune, Crooked Still (from the Signature Sounds release Friends of Fall)
The Boston folk quintet celebrate their 10th anniversary with a splendid ep, placing their distinctive stamp on some cover songs and sharing a few originals. This take on the Paul Simon classic is a prime example, with Aoife O’Donovan under-stated vocals accompanied by the band’s sublime arrangement.

Audio Download: Crooked Still, “American Tune”

Message To Ya, Daryl Hall (from the Verve Forecast release Laughing Down Crying)
It’s been seven years since Hall’s last solo release and a few more than that since his last proper release with John Oates. Yet Hall hasn’t been idle, hosting a web series “Live From Daryl’s House“, a cool show that finds Hall hosting veteran and emerging artists for song and conversation. Perhaps those collaborations sparked the creative burst behind fun-loving tracks like this.

Audio Download: Daryl Hall, “Message To Ya”

I Am Trying to Break Your Heart JC Brooks & the Uptown Sound (from the Bloodshot Records release Want More)
It may seem odd for Bloodshot Records, notorious for a roster full of outstanding Americana artists, to sign a soulful old school R&B artist like Brooks. It isn’t, though, when you consider that Bloodshot’s hallmark is music as accomplished as it is authentic. Brooks fits right in when measured against that criteria. His soulful croon, matched with the rich grooves of the Uptown Sound, makes for some potent R&B. And what better introduction then to hear the band’s killer take on this Wilco classic.

Audio Stream: JC Brooks & the Uptown Sound, “I Am Trying to Break Your Heart”

With thanks to Twangville reader Melisa Askew, here is Mike Farris shredding Etta James’ classic “I’d Rather Go Blind.” Farris is backed by many of the talented artists who were the backbone of the Muscle Shoals sound.

I’ve also included a clip of Jimmy Hall (of Wet Willie) getting the joint jumping with a raucous take on “Land of 1000 Dances.” Hall had the unenviable task of following Farris — watch the first 25 seconds to see what Hall had to say about it.

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.