Category: Americana (Page 16 of 23)

Monsters of Folk: Monsters of Folk

September 29, 2009 /


RIYL: Hem, The Weepies, Bittersweets

The term “super group” is bandied about all too frequently, often arousing great expectations that are rarely fulfilled. The door to disappointment is left wide open; participants hedge when it comes to contributing their best songs or find their creativity stifled when compromising to serve to other egos. Yet while it’s rare to witness the second coming of an all-star outfit like Blind Faith or Crosby Stills and Nash, a blending of big names inevitably cranks up the curiosity factor regardless.

On the other hand, a summit session involving lo-fi provocateurs M Ward, Conor Oberst, Mike Mogis and Jim James (AKA Yim Yames) might be greeted with some hint of suspicion, given the fact none of them is known for emphatic exposition. Surprisingly then, this, their first recorded collaboration, comes across as significantly more inviting and accessible than just about anything these individuals have managed on their own. While the name of the conglomerate indicates a tongue planted firmly in cheek, the songs themselves are straightforward and sincere. What’s more, given the fact that the songwriting is shared collectively and that all the instrumentation is doled out between them, the set is surprisingly consistent, showing equal input from all four contributors. And though most of the music is on the mellow side, the melodies make an emphatic impression – from the folkie sing-along of “Man Named Truth” and the gentle caress of “Magic Marker” and “His Master’s Voice,” to the breezy country sway of “The Right Place” and the steady ascent of “Whole Lotta Losin’” and “Ahead of the Curve.” They’ve done their ongoing outfits proud, while making what may well be the best album of their collective careers. (Shangri-La 2009)

Monsters of Folk MySpace page

Americana, CD QuickTakes, CD Reviews, Emo, Folk, Melodramatic, Rock

Guy Clark: Somedays the Song Writes You

September 29, 2009 /


RIYL: Townes Van Zandt, Steve Earle, Kris Kristofferson

Guy Clark seems like the kind of guy who would happily buy you a beer and then swap some stories. It’s an impression reflected by the easy affability suggested in his songs, an unpretentious everyman attitude in this new album’s entries, “Somedays You Write the Song” and “The Guitar,” each an unassuming narrative offering a humble nod to his muse. In fact, Clark’s modesty is unnecessary; as the writer of such songs as “Desperados Waiting for a Train,” “L.A. Freeway” and innumerable other standards, he’s become one of Nashville’s most dependable songsmiths.

Not surprisingly then, Somedays the Song Writes You finds Clark doing what he does best, sharing everyday observations and intuitive introspection — poignant, affecting and etched like always from a knowing perspective. Clark’s palette encompasses a brittle mix of world-weary resignation and tentative optimism, with songs such as “Hemingway’s Whiskey,” “Eamon” and the remorseful “Maybe I Can Paint Over That” taking their place among the most impassioned entries in his repertoire. Still, Clark doesn’t click with every entry. “Hollywood” and “Wrong Side of the Tracks” trudge along without ever gaining momentum, and a cover of his late pal Townes Van Zandt’s “If I Needed Someone,” while an admirable choice, fails to add anything to the original. Fortunately though, these are minor quibbles, because ultimately, Somedays The Song Writes You proves worthy of one terrific Guy. (Dualtone Music 2009)

Guy Clark website

Americana, CD Reviews, Country

Nanci Griffith: The Loving Kind

September 28, 2009 /


RIYL: Emmylou Harris, Patty Griffin, Dolly Parton

One would be hard pressed to find a better representative for Americana music than Nanci Griffith. If that statement appears to ring of hyperbole, then suffice it to say that a single listen to Griffith’s outstanding new album, The Loving Kind, ought to provide all the proof necessary.

As her fans will attest, Griffith’s made great albums before – Other Voices, Other Rooms and Late Night Grande Hotel being two of the more obvious examples – and each affirmed her penchant for repositioning heartland traditions and serving them up in a way that’s both endearing and affecting. However, this set takes a new turn, upping the ante with a series of emotionally tattered narratives accompanied by heartfelt sentiment. It commences with the title track, an unflinching view of an interracial courtship that defied the mores of the early 20th century, and transitions into other equally incisive offerings. The songs that follow continue this theme, delineating those who have been marginalized by society – a man framed for a crime he didn’t commit (“Not Innocent Enough”), those in search of brighter horizons (“Across America”), the woman who mourns the fact that marriage has saddled her with unwanted responsibility (“Party Girl”), a farming family’s sense of futility and desperation (“Cotton’s All We Got”)… not to mention her mournful tribute to fellow songwriter Townes Van Zandt, whose immense talent couldn’t prevent him from unraveling (”Up Against the Rain”). Each vignette is delivered with unabashed authenticity – fiddles, pedal steel, mandolin and a gentle ramble – creating a compelling listen that’s gentle on the ear and yet still pressing on the soul. (Rounder 2009)

Nanci Griffith website

Adult Contemporary, Americana, CD QuickTakes, CD Reviews, Country, Folk

Phonograph: OKNO

September 24, 2009 /


RIYL: Guided By Voices, ELO, Pavement

Just in general, Brooklyn-based quintet Phonograph would seem to have a formidable task ahead of them in trying to carve out a distinctive niche in rock’s already overcrowded arena. Bands spring up almost daily, each competing for attention and some measure of popular acclaim. Fortunately, Phonograph jumped off to an impressive start with their 2007 self-titled debut, a set of songs that blended atmosphere and Americana so adroitly, neither was able to overpower the other. Lead singer Matthew Welsh was clearly weaned on the Tom Petty school of slow drag, his vocal drawl coming across as the perfect accoutrement for the band’s weary, ragged shuffle. The songs evolved like a slow burn, frayed around the edges but steadfast nevertheless. Other tracks took a more rustic route, bringing to mind Neil Young and the Band in all their tattered glory. And while Phonograph’s penchant for tossing in all matter of cosmic effects occasionally crowded the proceedings with unnecessary distraction, their assertive, straight-ahead designs remained as basic and unmistakable as the flat black discs that inspired their name.

Nevertheless, as history has proven, it’s the artists that demonstrate variance and flexibility that are ultimately hailed for being the most innovative and intriguing. The Beatles are the ultimate example; from the midpoint of their career, their songs branched out in a multitude of directions, whether it was rock, country, blues, ska, folk, psychedelia or experimental. And while it would be presumptuous to mention Phonograph in the same breath as the Beatles, it ought to be noted that the former do emulate the latter, at least in the sense that they leave no boundary unbroken.

Indeed, OKNO finds the band on an even more adventurous tack than the one they took before. Having amped up the energy level, they kick off the set with the buoyant “You/Me” and sprinkle in a number of equally infectious offerings from that point on, from the effusive strains of “Less Than Expected” and “Holy Rollers” to the rambling banjo-based clap-along of “Mountain Tops,” the chipper steel guitar sway of “American Music” and the quaint ukulele serenade of – what else? – “Uke.” Make no mistake, the group still seems tempted to dally with psychedelic cacophony, and even their most melodic moments frequently run head-on into some discordant dissolves. Happily, though, those intrusions don’t allay the inviting approach OKNO conveys overall. The fact is, this is one of the most satisfying albums a relatively novice band has delivered in quite some time. Here’s hoping Phonograph choose to crank up their sound for a long time to come. (BNS, 2009)

Phonograph MySpace page

Americana, Artists, CD QuickTakes, CD Reviews, Pop, Psychedelic, Rock

Patty Loveless: Mountain Soul II

September 24, 2009 /

It would seem inevitable that Patty Loveless would opt to make a return to her roots via this sequel to 2001’s critically acclaimed Mountain Soul. Like that earlier effort, Loveless tackles tradition, serving up Americana standards that embody her rural Kentucky origins. Loveless’ honey-soaked vocals effortlessly meld with these country classics, whether it’s the mournful intonation of “Half Over You,” “Prisoner’s Tears,” “When the Last Curtain Falls” and “You Burned the Bridge,” the rousing bluegrass romps of “Busted” and “Blue Memories,” or the gospel wail of “Friends in Gloryland,” “Working On a Building” and “(We Are All) Children of Abraham.” Still, what binds this set so seamlessly is a reverence for back porch purity, a down-home sensibility imbued by fiddle-fueled, banjo-driven, mandolin-tinged arrangements and the music’s undeniable authenticity. Emmylou Harris, Vince Gill, Al Perkins, and Del and Ronnie McCoury each stamp their indelible touch on the proceedings, but its Loveless’ obvious reverence for the material that leaves the most lingering impression. Loveless deserves kudos for discarding commercial concerns and aiming instead for authenticity. (Saguaro Road Records 2009)

Patty Loveless MySpace page

Americana, Artists, CD QuickTakes, CD Reviews, Country

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