Tag Archives: “Hank Williams”

Americana and Roots Music Broadside: 12 Albums For 12 Months

Pixabay License

Between Thanksgiving and New Year’s Day there is a seemingly endless flow of articles from music writers, along with reader polls from publications, that attempt to come up with a definitive list of albums, songs and musicians which are the best, greatest or favorite. With about a hundred thousand new albums released each year, it would be impossible for any one person to listen to every single oneWith about a hundred thousand new albums released each year, it would be impossible for any one person to listen to every single one in order to somehow quantify or offer an objective opinion, but it makes good copy and click-bait.

With such a public thirst for lists, wouldn’t it be of disservice if I at least didn’t attempt to offer my own? Although I don’t like ranking systems when it comes to artistic endeavors and I adhere to a “there’s no such thing as bad music” personal standard, the reality is that the collective we all like some lists. In our hyperactive and volatile modern lives it’s the fastest way to catch up on what we may have missed. Since nobody wants to be left out of the loop, Wikipedia publishes an article that links lists of lists of lists, which are indexed by subject matter and linked to other lists. So whether you’re looking for the greatest unsolved scientific questions, all the characters in The Walking Dead or Brazilian Films of the 1930’s…there’s a list for it.

Below, in no particular order or rank, are twelve albums that I have enjoyed over the past twelve months. There are no rules I abide by, it’s neither definitive nor complete of what I’ve listened to, and the music doesn’t even need to have been recorded or released this year. Hope there’s something here you’ll discover for yourself.

Emily Scott Robinson – Traveling Mercies

Robinson travels across the country in an RV with her husband, and she recorded her third album, Traveling Mercies, in East Nashville with producer Neilson Hubbard. This one has been on my playlist longer than any other, and I’ve also added her other work.

If you’ve heard of her for the first time this year it’s likely because of the song “The Dress,” which deals with her experience of rape. She was 22, drugged in a bar, and assaulted. Like many others, she didn’t report it, and dealt with the aftermath by falling into depression. She went through therapy and eventually became a social worker and crisis counselor before dedicating herself to music full-time. I’m unable to explain exactly how or why this song has affected me in such a powerful way, but it tears me up every time I listen.

J.S. Ondara – Tales of America

A large part of American folk and roots music has come to us from Africa through the forced migration by abduction into slavery. This year a young man of 26 from Nairobi, Kenya, who came to America by choice has released what I believe to be one of the finest debut albums ever. He chose to settle in Minnesota in 2013 because it was once the home of Bob Dylan, whom he discovered in his teens and memorized many of his lyrics. After taking online guitar lessons and doing the open-mic circuit, he developed a unique songwriting style and added in a sense of fashion that’s not often in a genre seen beyond cowboy couture.

The Milk Carton Kids – The Only Ones

Clocking in at less than 30 minutes, it’s fitting that when The Milk Carton Kids released this in the UK, it was on a 10-inch vinyl pressing. With their glorious, luxurious harmonies, Kenneth Pattengale’s 1954 Martin 0-15, and Joey Ryan’s 1951 Gibson J45, this is a completely stripped down seven-song set that was recorded last summer. Not only do they still hold the Paul and Artie vibe, but are getting mighty close to exceeding it.

Various Artists – Come On Up to the House: Women Sing Waits

Here’s something that is totally uncool to admit in public when among music people: I’ve never liked Tom Waits all that much. He’s written some great songs, but I’ve felt that his voice and instrumentation have gotten in the way. There was a six-month period around 1983 when I listened to Swordfishtrombones every day while under the influence of some heavy duty weed, but that’s about it. So it’s been a joy to listen to this tribute to his music sung by women who make it more melodic and bring out the best in them. I’m a cover song freak anyway, so this one works for me.

Justin Townes Earle – The Saint of Lost Causes

A confession that I never thought I’d share: with each year that passes, I find myself looking forward to the next album from the son rather than the father. Ten years ago, when I started listening to Justin’s music and following him on social media, it felt as though he might not make it past his 30th birthday. In 2010, after a nasty public fight at a club, he entered rehab — not for the first time — and it seems to have kicked his butt down a better path. He was married in 2013, they had a baby four years later, and now comes his ninth album, The Saint of Lost Causes. In a recent interview he shared that he and his dad are working on some sort of collaboration for 2020, which I sit on the edge of my seat awaiting.

The Delines – The Imperial

It took five years for this Portland-based band to release a follow-up to their 2014 debut, Colfax. In January 2016 vocalist Amy Boone was hit by a car in Austin, breaking both of her legs, which required several major surgeries and a long recovery that put the band on hiatus. Author and songwriter Willy Vlautin’s lyrics seem perfect for Boone’s approach and style, and the band is seasoned, soulful, and tight. The Delines are Amy Boone on vocals; Willy Vlautin on vocals and guitar; Sean Oldham on drums and vocals; Cory Gray on vocals, keyboards, and trumpet; and David Little on bass and vocals.

Better Oblivion Community Center – Better Oblivion Community Center

Phoebe Bridgers and Conor Oberst teamed up for a folk-rock-pop album that is far less duo and more about the band. They’d been writing songs together since spring 2017, and kept the project quiet until earlier this year. This is unlike each other’s solo work, and whether you’re a fan or have no clue who they are, it just works.

Audie Blaylock and Redline – Originalist

Back in 1982, at age 19, Blaylock joined Jimmy Martin and the Sunny Mountain Boys as a mandolin player for nine years. After stints with Red Allen, Rhonda Vincent, and others, he formed Redline back in 2004. This year they’ve released their seventh album, and the current lineup has Blaylock doing lead vocals and guitar, with Evan Ward (banjo), Mason Wright, (fiddle), and Reed Jones (upright bass) filling out the lineup. The Originalist is split with six new songs and six classics. I love the powerful sound and harmonies, and have been delving into the catalog. (Just a note about the video: This is a performance from Mike Huckabee’s show, and I want to be clear that this is not a person I support, with his right-wing political views and rhetoric. But Blaylock’s music is great.)

Ordinary Elephant – Honest

Crystal and Pete Damore met at an open mic in Texas in 2009, got bitten by the creative bug, bought an RV, and hit the road to play wherever they could. Performing and recording under the band name Ordinary Elephant, they were named Artist of the Year at the 2017 International Folk Music Awards. Crystal handles lead vocals and acoustic guitar, while Pete plays clawhammer banjo and sings harmony. I’d also recommend checking out their first album, Before I Go.

Hank Williams – The Complete Health and Happiness Recordings

This set was released back in June and includes eight shows that Hank recorded on two successive Sundays at WSM-AM in Nashville in October 1949. These transcriptions were sent out as radio shows that had spots left out so the local announcer could read ads or other copy. Including the theme song below, there are 49 tracks on this set, presented for the first time the way they should be heard. In previous years, beginning in the early ’60s, these performances have been sliced and diced umpteen ways. Even though these recordings are 70 years old, they’re of excellent quality and Hank and his fellow musicians are simply outstanding.

Luther Dickinson and Sisters of the Strawberry Moon – Solstice

This is a stellar one-off production that has Dickinson surrounded by a group including Amy Helm, Amy LaVere, Shardé Thomas, Birds of Chicago, and the Como Mamas. The concept took three years to put together and was recorded over a four-day session at the Dickinson family’s Zebra Ranch Studio in Independence, Mississippi.

Echo in The Canyon Original Soundtrack

Doing an album of cover songs from the ’60s for a film rather than using the originals is taking a big chance, but the recordings are so intertwined with the documentary that I think it works well. I’m a fan of Jakob Dylan’s work with The Wallflowers, as well as his vocal style, so perhaps that’s part of why I find this collection palatable. He did a fine job of bringing in a strong group of modern-day songsters and a solid backup band to support him. I know this collection has been panned by many reviewers, but I’ll stick my neck out and give it two thumbs up. This clip features Jade Castrinos.

HIDDEN TREASURE #13:

The Starbugs – Kids Sing Bob Dylan

I consider this one of my greatest discoveries of the year. Released back in October 2011 under the name The Starbugs, the group features Jessie Hillel, Rebecca Jenkins, Sarah Whitaker, Ben Anderson, and Roisin Anderson, who at the time were aged 7 to 15 and are from New Zealand. Produced by Radha Saha and David Antony Clark, it must have taken quite some time to go through 40 Dylan albums to find songs that would work with preteens. The entire album is a pure delight, and the man from Minnesota himself gave his personal blessing for using an alternative version of “You Ain’t Goin’ Nowhere.”

This was originally published in an altered format as an Easy Ed’s Broadside column at No Depression: The Journal of Roots Music’s website.

Many of my past columns, articles, and essays can be accessed here and at my own site, therealeasyed.com. I also aggregate news and videos on both Flipboard and Facebook as The Real Easy Ed: Americana and Roots Music Daily. My Twitter handle is @therealeasyed and my email address is easyed@therealeasyed.com.

Life and Death From Hank Williams to Townes Van Zandt

Hank Williams and Townes Van Zandt

I didn’t plan to submit a column on this topic, but then again I rarely know what will spill out of my slightly scorched and damaged brain cells until I fire up the old 11” MacBook Air, turn up the music, and let my fingers fly. It was actually Christmas Day that seemed most likely to be up for discussion, since I noticed that so many musicians have died on that date through the years. Vic Chesnutt, Eartha Kitt, bluesman Robert Ward, James Brown, Bryan “Snoopy” MacClean from the band Love, Damita Jo, Dean Martin, and Johnny Ace, who shot himself in the head. On the plus side, it’s also a pretty good day for being born: Jimmy Buffett, Merry Clayton, Barbara Mandrell, Dido, Chris Kenner, Tony Martin, and, way back in 1907, Cab Calloway.

Just for kicks I did a fast forward to the first day of the year and lo and behold if there weren’t quite a few musical oddities on New Year’s Day. For example, in 1773 the hymn that became known as “Amazing Grace” was first used to accompany a sermon led by John Newton in the town of Olney in England. It’s the birthday of bandleader Xavier Cugat – that’ll take you back, especially if y’all can remember his wife Charo, who was 41 years younger than him and a regular guest on the Merv Griffin Show – and also Joe McDonald from Country Joe and The Fish.

Things turn dark in 1953 when at age 29 Hiram King “Hank” Williams died right after midnight on New Year’s Day of a heart attack in the backseat of a Cadillac, likely brought on by a lethal cocktail of pills and alcohol. He was transported back to Montgomery, Alabama, in a silver coffin, placed onstage at the municipal auditorium, and it’s estimated that somewhere between 15,000 and 25,000 mourners passed through. His last single, released in November before his death, was “I’ll Never Get Out Of This World Alive.”

Carl Perkins put out “Blue Suede Shoes” three years later on the same date, and in 1959 Bill Haley and The Comets’ “Rock Around The Clock” soared to number one after it was used in the film Blackboard Jungle. This is the second time the song topped the charts, and although the record business used fuzzy math back then – and probably still does – it’s said it sold over 25 million singles. In that same year, Johnny Cash made his first of several trips to San Quentin prison to perform and was seen by a 19-year-old Merle Haggard, who was serving time for grand theft auto and armed robbery.

On Jan. 1, 1962, The Beatles auditioned for Dick Rowe, head of A&R for Decca Records. He turned them down in what is considered one of the biggest mistakes in music industry history, selecting instead another band who also tried out that day, Brian Poole and the Tremeloes. BBC-TV debuted Top Of The Pops in 1964 with the Rolling Stones, Dusty Springfield, Dave Clark Five, The Hollies, and Swinging Blue Jeans. In the United States, in 1965, The Beatles had three albums in Billboard Magazine‘s top ten from Capitol Records.

On the first of January in 1967, the Hell’s Angels put on a concert in Golden Gate Park in San Francisco. Called the “New Years Wail,” it featured Big Brother and The Holding Company and the Grateful Dead. In 1975, Stevie Nicks and Lindsey Buckingham joined Fleetwood Mac, Nirvana signed a one-year deal with Sub Pop in 1989, and the following year radio station WKRL in Clearwater, Florida, played Led Zeppelin’s “Stairway to Heaven” over and over for 24 hours.

Townes Van Zandt died on the morning of Jan.1,1997, at 52 years old of a fatal heart attack. The son of a prominent oil family, he endured poverty for much of his life and suffered from mental illness, addiction, and alcoholism. He drifted around from his home state of Texas to Tennessee and Colorado. In a New York Times article published in May 2009, they wrote that “on good nights he seemed to disappear into chronicles of existential joy and agony” and “on bad nights he would fall off his stool onstage, too drunk or high to get through a set.”

In the article Steve Earle, who released a tribute to his mentor titled simply Townes, said “I met him at his absolute peak artistically. He had a really horrible reputation because of his behavior, but I also knew that he had made a decision to write songs at a certain level, that how good the songs were was primarily important to him. I committed to making art whether I ever got rich or not by Townes’s example.”

When Earle himself was sliding deep into his own addiction problems, Townes came to visit and Earle recalls he told him “I must be in trouble if they’re sending you.”

This article was originally published as an Easy Ed’s Broadside column over at No Depression: The Journal of Roots Music.

Many of my past columns, articles, and essays can be accessed here at my own site, therealeasyed.com. I also aggregate news and videos on both Flipboard and Facebook as The Real Easy Ed: Americana and Roots Music Daily. My Twitter handle is @therealeasyed and my email address is easyed@therealeasyed.com .

Poetry At The Intersection of Miller and Hank

As this year begins, America has lost Miller Williams. The husband of Jordan, and father to Karyn, Robert and Lucinda, he was a poet, editor, critic and translator with over thirty books to his credit. In his biography published on the Poetry Foundation website, they posted that his work was known ‘for its gritty realism as much as for its musicality. Equally comfortable in formal and free verse, Williams wrote poems grounded in the material of American life, frequently using dialogue and dramatic monologue to capture the pitch and tone of American voices.’

For someone who spent his life in academia, teaching at several institutions before joining the faculty at the University of Arkansas in 1970, he seemed most comfortable writing in a style that was both accessible and captured a rhythmic quality. This unattributed quote about himself is one he seemed to enjoy: ‘Miller Williams is the Hank Williams of American poetry. While his poetry is taught at Princeton and Harvard, it’s read and understood by squirrel hunters and taxi drivers.’

Miller passed away on January 1. It was the same date that Hank died fifty-two years earlier, and what I find most interesting is the story of how the two men met. In March 2013, Oxford American published an interview with Miller by Jackson Meazle, and this is an excerpt:

Q: You have written somewhat extensively in argument for rhyme and meter in poetry. How has music informed your work? Arkansas, like many Southern states, has such a rich musical heritage. Has music always been of interest to you and your work?

MW: I do believe that poetry is more satisfying when it has a pattern similar to those of songs. I wish that I could sing well, as I’m sure you know my daughter Lucinda does, and writes her own songs. Hank Williams (no kinship there) told me that since he often wrote his lyrics months before he set them to music, they spent those months as sort-of poems. I think the kinship is real.

Q: Did you ever meet Hank Williams in person?

MW: Yes, [in 1952] I was on the faculty of McNeese State College in Lake Charles, Louisiana, when he had a concert there. I stepped onstage when he and his band were putting their instruments away and when he glanced at me I said, “Mr. Williams, my name is Williams and I’d be honored to buy you a beer.”

To my surprise, he asked me where we could get one. I said there was a gas station about a block away where we could sit and drink a couple. (You may not be aware that gas stations used to have bars.) He asked me to tell his bus driver exactly where it was and then he joined me.

When he ordered his beer, I ordered a glass of wine, because this was my first year on a college faculty and it seemed the appropriate thing to do. We sat and chatted for a little over an hour. When he ordered another beer he asked me about my family. I told him that I was married and that we were looking forward to the birth of our first child in about a month.

He asked me what I did with my days and I told him that I taught biology at McNeese and that when I was home I wrote poems. He smiled and told me that he had written lots of poems. When I said, “Hey—you write songs!” he said, “Yeah, but it usually takes me a long time. I might write the words in January and the music six or eight months later; until I do, what I’ve got is a poem.”

Then his driver showed up, and as he stood up to leave he leaned over, put his palm on my shoulder, and said, “You ought to drink beer, Williams, ’cause you got a beer-drinkin’ soul.”

He died the first day of the following year. When Lucinda was born I wanted to tell her about our meeting, but I waited until she was onstage herself. Not very long ago, she was asked to set to music words that he had left to themselves when he died. This almost redefines coincidence.

“Compassion” is a poem by Miller that was published in 1997. Should the words be familiar, it might be from the song of the same name that Lucinda released this year. The poem is rather short, and the song speaks volumes.

Have compassion for everyone you meet,

even if they don’t want it. What seems conceit,

bad manners, or cynicism is always a sign

of things no ears have heard, no eyes have seen.

You do not know what wars are going on

down there where the spirit meets the bone.