Remember when you used to stay up late at night watching Yo! MTV Raps and then Headbanger's Ball on MTV? Or taping college radio shows? I say this to lead into the idea that the last decade is probably going to be known as the decade of suck. Or maybe I'm just getting old. Probably. The past decade in music has been marked by hyper-petrification of ritual and genre all under the pseudo guise of hybridization. Nothing new has come out that isn't just rehashing of some thing that came before. At least the cats in the nineties had the dignity to just straight up sample something, rather than attempt to copyright something as their own by lifting the cadence and melody. Even the genre of americana has had some rather dubious efforts: uh, how about Gangstagrass? Kidding, kind of. I mean, No Depression covered it. It really seems the internet has made it impossible for people to relax, myself definitely included. Which makes Gillian Welch's anachronism only moreso. Which makes OCMS's simulacrum only moreso. Which makes the jam-grass scene so hard to believe and Punch Brothers so goddamn good. And actually, I shouldn't get down on OCMS, because their live shows are much more like the recorded material hasn't been. Which is also a damn shame because they are a fine band. Anyways, I'm just hoping that the next decade will net some art instead of so much artifice. Good luck artists, and work hard.
In a related story, here's an interesting commentary on the slow rise of a gold record. Slow and steady wins the race boys and girls. More of these and maybe a little less FM country with a "cold can of beer" in every damn chorus.
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Hey, got a couple free hours to kill? Well... Double banjo at 33:00...
Filthy Still is a band from Providence RI. These cats really hit it hard, and we're very excited to get them on the No Pepper stage. You can read their whole bio through the link, and it's worth a read. This band has had some reasons for quitting, but so far they've come through with an intensity that only adversity can breed.
Any time I hear a banjo in a punkacana context, I can't help but think of Dave Macon (he ain't my uncle). A lot of the old time cats only got any recognition in their later days. I think Dave Macon would have been in good company with any of the young dude/tte/s out there hitting the highways today in their rusty econolines with a trailer full of instruments that didn't used to go together like banjos and Fender Twin Reverbs and drums and stuff. I guess Macon would have been pretty comfortable with Henry's Rifle or Filthy Still, or any of the ball busting bands from Muddy Roots.
We're totally stoked that they're coming to Americana Tuesdays on Feb. 14th with Henry's Rifle. Henry's Rifle is continuing to hit the road like a trooper, carrying his message with a machine gun banjo and a head full of fire. Keep an eye on this dude: with a work ethic like this and a stage performance like he's got, he might go far, provided his van don't bust.
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The Music of Bill Monroe
Friday, January 13th, Dan Johnson and his Expert Bluegrass Pickers are going to be up at Caffe Lena, gathering with a bunch of local pickers to celebrate the music of Bill Monroe, legendary songwriter, mandolinist, and tenor singer. Known as The Father of Bluegrass Music, his great spirit still stretches over the ever-growing borders of the genre and infuses the harmonies and breaks with a driving seriousness. Don't miss this great opportunity to hear a bunch of great picking and singing.
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The Year Detuned:
Highlights from a Dark Club
I'd have to say one of the most amazing thing I've ever seen at Valentine's is Star Anna and the Laughing Dogs performing to about 15 people. Star Anna has major starpower. She's also got the most satisfying and aching aesthetic about her textures and sounds. Def get with her music if you're into any kind of electric americana.
One of the other highlights from this year has to be the Hayes Carll show, even though I mistook some English hippie for Carll out in front of the club. Carll has the stage presence of someone who's been on the road a long time, but not too long. It's like seeing a burning firework on the way up into the big dark glowing sky. His songs are hard hitting and straight up, with a good measure of self-effacement and some good-natured irony.
I think my absolute favorite moment of this year, though, was the Blackwell Sinners' performance of "Kansas Was a Good Man," way back in February. They did the last couple choruses a capella, and everyone in the place was singing along and clapping. In that moment I knew everything was good about the place where I lived and the people I knew, and that things were going to work out.
Americana Tuesdays has come a long way since last February, when we kicked off the series with an amazing show featuring Woody Pines and his spectacular band including David Long and Zack Pozebanchuk. We've had a blast with everyone that's come through this year, and we'd like to recognize a few folks who've helped us along the way.
Thanks first and foremost to the continued support and encouragement of Howe Glassman, who's responsible for the venue and the weekly concept. We're not worthy!
Next, thanks to our sponsors, especially Chris Wienk and the crew at WEXT and Greg Haymes and the people at Nippertown.
Last, thanks to all the sidemen. These are the cats who really keep things going between shows, and I'm lucky as hell to have had the chance to play with all these guys: Pete Murphy, Max Figarsky, Roger Noyes, Evan Gavry, Brian Elsenbeck, Jeff Arensberg, Dan Archer, and Dave Walsh.
It's been a real fun year. Stay tuned or get tuned!
Just when you thought Americana Tuesdays could not get any cooler, we go and bring Hamell on Trial to the No Pepper stage! January 10th is the night - Valentine's is the place - $5 is the charge.
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Americana Tuesdays "wonderful"
Writing for the TU Best of 2011, Michael Eck sez "[i]n April an unnamed combo consisting of bassist Michael Bisio, fiddler Mat Kane and mandolinist Sten Isachsen played as part of Dan Johnson's wonderful Americana Tuesdays program at Valentines's. The trio simply assaulted "Kitchen Girl." Conjure Bill Monroe and Albert Ayler in a stripped-to-the-waist fistfight and you're only halfway there. Imagination spattered like blood. Why this group has yet to reconvene is anyone's guess and quite possibly a criminal offense." Thanks!
Dan Johnson and his Expert Sidemen Commence Studio Recording
The band has laid down the bones for twelve tracks for the album, which is slated for release sometime in late spring. We're very excited that the Americana Tuesdays host band has finally pulled it together to get this thing going. Now there's a lot more studio work to do laying down the icing on this cake and fine-tuning every note. Expect great things.
Some of you might have missed it yesterday, so I'll mention it again. This Sunday, Dan Johnson and his Expert Sidemen are going into Bender Studios in Delmar, NY, to start recording a brand new album with engineer Sten Isachsen. We've got 12 songs picked out that we're very excited to be putting on record. We'd like to invite you to lend us a hand if you're so inclined: money is great, but we also could use help with art, distribution, and promotion. Drop us a line at americana.music.club@gmail.com or stop down to Americana Tuesdays.
-Music Desk
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Album Review: Southern Flavor
Bill Monroe's Southern Flavor provides a useful reference for contemporary bluegrass musicians. Recorded in the late eighties, this album provides a valuable insight into the way Monroe conceived of bluegrass music, particularly at a time when it was largely obscured by even it's closest relatives. While bluegrass continues to maintain a somewhat clandestine presence in Americana culture, those who love the music seek out the true branches, listening intently for the ancient tones. This album presents to us a mature portrait of what Monroe had developed, as well as a sign post for where he expected the music to go.
One lesson that Southern Flavor has for contemporary bluegrass musicians is in the simplicity of the instrumental parts. On the ballads, the instrumental mandolin parts are very straight and unadorned, adhering closely to the melody of the song. In doing so, the voice of each instrument rings clearly, because it is not overwhelmed by technique. On "The Days Gone By" Bill starts his break with a barking syncopated double stop, but then seems to reconsider, and decides to play the melody in a straight tremolo. The rest of the breaks on this album are characterized by a similar restraint. The liner notes say the album was "[r]ecorded digitally using the Mitsubishi X-850 32 track system, without overdubs or the use of earphones. Every effort was made to capture these songs 'live,' as they were performed, without alteration." The fact that there are double and triple fiddle parts throughout the album precludes improvisation on the fiddle parts. The banjo parts similarly adhere to the melody with a simplicity that is easy to overshoot. The live-to-tape recording made it necessary for the arrangements to be simple, well-rehearsed, and essential. Extraneous or ornamental parts would have unnecessarily complicated the takes, and would have added little to the actual heart of the music.
The instrumentals are all Monroe originals, and it is in these four pieces that I think contemporary string players might look most for renewed direction in bluegrass music. All of the mandolin on this album emphasizes right hand rhythm over fancy left hand work. The predominant feature of the mandolin technique on this album is tremolo. This tremolo is so filled with light and shade that it could be a life time study unto itself, without ever considering how Monroe puts notes into it. Monroe's mandolin on this album playing emphasizes the rhythm and drive of the melody over ornamentation. In other words, it's more substance than style. Listening to his earlier recordings, we can hear that Monroe went through phases where he delved more deeply into ornamentation. Southern Flavor, though, stands as a model of a style of mandolin playing that might not attract much attention, but stands the test of time.
Every contemporary bluegrass musician, for pay or play, makes a reckoning with Monroe's legacy. Southern Flavor presents many aspects of this legacy: repertoire, technique, attitude, arrangement, harmony. Above all though, the mandolin (or string) player can look to this album for a deep study in finding depth in simplicity.
Southern Flavor
1988 MCA Records
Produced by Emory Gordy, Jr.
track listing:
Stone Coal (Monroe)
Life's Highway (Bobby Smith)
What a Wonderful Life (Raymond Huffmaster)
Texas Lone Star (Monroe)
Give me Wings (Gerald Evans)
Sugar Loaf Mountain (Bill Monroe)
White Rose (Carl Butler)
The Days Gone By (Bill Monroe)
Southern Flavor (Bill Monroe)
Take Courage Un' Tomorrow (Arr. by Bill Monroe)
Bill Monroe: Mandolin, tenor vocals, lead vocal on "White Rose"
*Emory Gordon: Acoustic bass on "What a Wonderful Life," "Give me Wings," and "Take Courage Un' Tomorrow"
The instrumental "Southern Flavor"
Monday, December 12, 2011
Hey Americana Music Club
Tomorrow night at Valentine's: Blackwell Sinners and Michael Eck.
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The Blackwell Sinners are gnarly family harmony wailing.
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Michael Eck's latest album, In My Shoes, is a collection of folk songs about things like people and places. The album was recorded in one take at the WEXT studios. Pretty lo-fi, but laudable. You can see why that would be an attractive avenue for a songwriter on a budget. Or a guy who just didn't want to mess with mixing a bunch of textures. Or maybe just a guy who wanted to confront the silence.
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Merry Xmas
Ramsay Midwood posted this one by Mike Nicolai. In spite of the cheeky title this one's a hit.
Rusty Belle is a band from Western MA. They got mad flavor. And they'll be at Americana Tuesdays this January.
See also their alterincarnation The Vanity Pack. Wowza double boo-ya.
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NEWS FLASH
Dan Johnson and his Expert Sidemen to Begin Recording
This weekend the boys are going into Bender Studios in Delmar to start tracking an album of original songs with engineer Sten Isachsen. We're all pretty excited to get this one together. If you'd like to help us out with this project, send an email to americana.music.club.com or come down to Americana Tuesdays and let us know what you might be able to do to help us get this album off the ground.
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I hate a song that makes you think that you are not any good. I hate a song that makes you think that you are just born to lose. Bound to lose. No good to nobody. No good for nothing. Because you are too old or too young or too fat or too slim or too ugly or too this or too that.
Sean Rowe is one of the "most industrious of poets," as per Ramsay Midwood.
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Fist-fighting Paramecium
Woody Guthrie devoted a pretty good bit of his autobiography "Bound for Glory" to a description of two paramecium fist-fighting. I think what he meant was, it's turtles all the way down.
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Palatypus
This Thursday night at Valentine's: Palatypus. Here's an interview I did with the dudes way back in the day when their album "Lazaretto" had just come out.
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Green Sweatshirt
Here's a new one by me.
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"In this business you either sink or swim or you don't." -David Smith
