Country Fried Rock

If it's not from New Orleans, I really do not appreciate jazz. It just does not speak to me. I have studied it and learned the basics of its subtleties and influences, but I am just not into jazz. I do have a guilty pleasure to which I will admit, though: I love a great pop song--not an over-produced piece of electronic marvels, but good old dance-able pop. I often refer to this type of music as my "running music," but truth be told, I listen to it in the car, too, especially on road trips. Don't tell anyone. Evidently, I am not the only roots music fan who has a soft spot for quirky pop: someone on the selection committee for the Americana Music Festival 2011 did, too, and thankfully, that is how I discovered Lake Street Dive at The Basement. Lake Street Dive formed when four jazz students at the New England Conservatory, an elite music university, hung out and goofed off with instrumentation and writing. Not their primary focus for a long time, Lake Street Dive's sound meandered until they found a funky groove, with soulful vocals from Rachael Price, electric guitar and trumpet from Mike Olson, drums by Mike Calabrese, and upright bass by Bridget Kearney. The unusual combination surprised even these young, but seasoned, musicians, and they kept playing the same clubs over and over refining their sound until it clicked. Bound by a love for much of the same music and deep friendships with each other, Lake Street Dive forges a unique, but not disjointed, sound. As each album refines who they are, some success comes in waves, with a cover song EP in May 2012 and a new studio album happening over the next year (which they had just confirmed the morning of our conversation). On the surface, Lake Street Dive does not match any of my typical music tastes--and I notably detest cover songs--but even their version of "Rich Girl" (written by Darryl Hall of Hall & Oates) captivates me. To fully appreciate Lake Street Dive, you must see them live. At the very least, check out their live DVD, Live from the Lizard Lounge, currently available digitally from their website. I only half-jokingly tweeted from their Americana showcase that Lake Street Dive should be sponsored by Trojans.... www.LakeStreetDive.com ------------------------------------------------------------------------ Songs in this Radio Episode Include: "Henriette," "Miss Disregard," and "Elijah" from Lake Street Dive "Bridge Over Troubled Water" Simon and Garfunkel (discussion of vocal harmony and influential music) "Andy Warhol" David Bowie (from conversation about the Hunky Dory album) "Rich Girl" Hall and Oates (finding the joy in pop music, also one LSD often covers) "Aunt Betsy" Joy Kills Sorrow (bassist and songwriter Bridget Kearney's other band) "Ain't No Sunshine" Bill Withers "Nowhere Man" The Beatles (previous discussion about vocal harmonies, but also because of comment about the right producer helping a band achieve more than they can on their own) One from next week's episode, Neal Casal's "Bird With No Name"

Glossary is one of those bands that several other bands have mentioned in interviews as being their favorite band.  Oddly, that's become Glossary's calling card: your favorite band's favorite band...that you've never heard of.  Songwriter Joey Kneiser even sums it up, "Your fans are out there.  They just don't know you exist yet."  For a band who has been together at its core since the mid-1990's and released several albums to critical acclaim, Glossary just cannot escape "cult band" status.  Their writing is straightforward and solid, their playing is top-notch, and their sound is influenced by many genres, but maintains a cohesive rock-based sound without varying so much as to lose its identity nor being so overly influenced as to become neo-anything.  Glossary records sound like Glossary. As someone into emerging music, even I did not discover Glossary until The Avery Set mentioned their (at that time) upcoming album, Feral Fire.  I began to follow Glossary online, with several near-misses at live shows, and did not track them down officially until Americana Festival 2012 in Nashville.  One unusually hot Saturday afternoon in the Basement's parking lot, Glossary delivered on a set that was just what I hoped for--rocking, danceable, and packed with fans.  I briefly introduced myself after the set to Kelly Kneiser, gave her my card, and helped carry some gear.  Several months later, Joey and I chatted via telephone for the radio show. Glossary's current album, Long Live All of Us, brings in their Muscle Shoals to Memphis musical interests, all balanced on top of the early songs of Bruce Springsteen and The Replacements.  The entire album makes you want to move, and came from a desire to find the positive in music in an economy that seems bleak.  No matter what, you have yourself and your friends, and music can be your fun.  Glossary's network of friends in music help them sustain their creative path, and mutually support one another along their journey.  It's really pretty cool.  With a gig at Bonnaroo 2012, hopefully a great booking agent will help them bring their music to a much broader fanbase. www.Glossary.us -------------------------------------------------------------------------------------------------------- Songs in this episode include: Glossary Long Live All of Us:  "Keep It Coming," "Trouble Won't Last Always," "A Shoulder to Cry On" South San Gabriel (side project of Centro-Matic) "Trust to Lose" Deer Tick "Born at Zero" Lucero "Sometimes" The Replacements S***, Shower, Shave (Live in 1989, official release) "(Un)Satisfied" Next week's episode Lake Street Dive "Hello, Goodbye!"

Band of Heathens developed from a side project of several Austin songwriters at Momo's, each of whom were pursuing other projects of solo work and sideman gigs. As they continued the residency and players flowed in and out of their scene, Gordy Quist, Ed Jurdy, and Colin Brooks realized that these Good Time Supper Club "Heathens" might just form a band of their own. Ultimately, the band became the Band of Heathens, and their first two live CD's captured their great live vibe sharing creativity and connection amongst themselves and with the audience. Since their first studio record produced with Ray Wylie Hubbard, the Band of Heathens have continued to tour heavily, playing 150-250 dates per year. Although different players have rotated through since 2004, the songwriting trio has remained as the heart of Band of Heathens, until late 2011, when Brooks announced that he was leaving to pursue other creative avenues. By the time we talked with Gordy Quist, the Heathens had had a few months to adapt to being a five-piece instead of a six-piece, but also to losing one-third of their songwriting base. Through Top Hat Crown and the Clapmaster's Son, Band of Heathens worked from a free-flowing creative base, in constant pursuit of writing and challenging each other with both playing and lyrics, but losing Brooks' portion of the interaction resembled losing a wheel on your vehicle for a while. Band of Heathens intended to go into the studio for a new record in early 2012, but instead have chosen to find themselves together in their new format, rather than force something before they have found their new language. Quist believes that his songs are continuously evolving creatures, and does not feel bound by the lyrics he originally wrote, or the particular notes originally written, and this freedom to let songs grow over time has made the personnel change somewhat less chaotic; Band of Heathens were not rigid in the first place. They bring improvisation to the folk element of their songs, with a comfort from the blues and rock and roll traditions that also influence them. Jurdy and Quist played several dates as a duo this winter, fueling their writing, giving outlet to songs that are not Heathens' tunes, and stoking a new fire that will be the next Band of Heathens album. www.BandOfHeathens.com ---------------------------------------------------------------------------------------------------- Songs in Episode 1219 Band of Heathens Include: Band of Heathens "Medicine Man," "Enough," "Gris Gris Satchel" Lyle Lovett "Ain't It Something" from I Love Everybody Ray Wylie Hubbard (also because George Reiff was part of this project) "Coricidin Bottle" Owen Temple "Danger and Good Times" (Owen and Gordy have a weekly songwriting challenge to each other) One from next week's episode 1220 Glossary "The Flood"

When does a rowdy bar band become more than that? The Bearfoot Hookers of Athens, Georgia, assembled from an art teacher who designs album covers, an adult child of an Episcopal priest, and a guy obsessed with the home recording process. These three core members of The Bearfoot Hookers balance their time playing between their hometown and their adoptive home, Waycross, Georgia--the swamp land of South Georgia from which Gram Parsons emerged, and twang still reigns. Waycross is a quirky little town, with an inordinate percentage of incredible musicians and people who love music, surprising because of its remoteness and apparent lack of highbrow culture. What is not evident on the surface, is Waycross's history and how the power of roots music has seeped into the swamp water and its people. Like many musicians with a childhood filled with the sounds of gospel music and families who believe deeply in conservative Christianity, the guys in The Bearfoot Hookers are pulled by the internal strife of writing real-life songs about drinking in a bar with your buddies, and knowing how their lifestyles trouble their parents. That conflict, and the themes that arise from writing about it, expands the depth of the lyrics for The Bearfoots Hookers, and plants them beyond "just a bar band." Their most recent record explored those mixed emotions and resulted in their version of a gospel record, as if Lynyrd Skynyrd became introspective and wrote Beer Drinkin' Gospel Revival. With a rotating cast of supporting musicians and "special guests," The Bearfoot Hookers play layered, full rock music, and their musicianship offers a great time, including for those who are not looking for self-reflection. By frequently playing solo gigs with their songs as well, an acoustic night with just their songs and Bearfoot Hookers songs yields thoughtful commentary on living an open-minded, accepting life and knowing that one's choices simultaneously cause pain for one's family of origin, even when you disagree with one another. This contrast in playing style offers different audiences access to music beyond Life At The Bar from The Bearfoot Hookers. With life changes, such as the first of the band members to have children this year, The Bearfoot Hookers anticipate more changes in their lyrics for their next record, and they are excited to get together and being writing and collaborating soon. www.TheBearfootHookers.com -------------------------------------------------------------------------------------------------------------------------- Songs from Episode 1218 Include: The Bearfoot Hookers: "Memphis," "Ready to Ride," "Rain Don't Stop the Trains" ("Ready to Ride" has been featured in the TV show Hart of Dixie, with Rachel Bilson.) Adam Payne Band: "Insecure" Flying Burrito Brothers: "High Fashion Queen" Betsy Franck: "Lost on the Road" (Betsy's new solo album will be released this summer.) Lynyrd Skynyrd: "Swamp Music" One from next week's episode, #1219Band of Heathens: "Should Have Known"

Lincoln Durham started playing violin at age 4 via the Suzuki Method of instruction. By 8, he was hiding on stage facing the wall playing fiddle with the Osceola Opry--a loose association of players who met monthly in an old wooden schoolhouse to cover Hank Williams and Bill Monroe songs for the gathered farmers and country folk. Durham picked up the guitar in his early 20's, which captivated his interest more than the fiddle ever had. Wandering through a period of singer-songwriter expression, Lincoln still felt pulled by something different in music, but had not been able to define it for himself, let alone have it clearly expressed in music.He did not really find his musical voice until a year of "wood shedding" in solitude--rarely interacting with anyone other than the person making his meal in a take-out shop, and only out of necessity. Without television or radio, Durham read and wrote profusely. Lincoln prefers dark works that reflect the intense feelings he expresses in music, from Edgar Allan Poe to Cormac McCarthy. This reclusive process allowed him to reflect more than he wanted, evaluated who he really was more than he intended, and ultimately to write more plainly than he thought he could. The lyrics became straightforward and raw, depressing and cutting, intentional and introspective.By the time his most recent record was released, Lincoln Durham had recorded and re-recorded some songs several times, as his self-evaluation and reflection changed through performance and critique, and the sound would vastly change until he found what he wanted himself to sound like. Durham's long-time friend, Ray Wylie Hubbard "got" Lincoln's essence, in some ways, before Durham himself figured out what he was. This partnership translates cleanly to recording, and teaming with George Rieff, Rick Richards, and Hubbard brought the expansive, but replicable, sound that Lincoln sought. Although he generally performs as a sort of one-man band, Lincoln Durham's performance is expansive, captivating, and loud--not a quiet singer-songwriter on stage with a guitar any more at all.www.LincolnDurham.com------------------------------------------------------------------------------------------------------------------------------------------Songs in Episode #1217 include:From The Shovel vs. The Howling Bones: "Mud Puddles," "How Does a Crow Fly," "Last Red Dawn"Ray Wylie Hubbard, The Grifter's Hymnal "Hen House," chosen because this tune is co-written with Matt King, who is also mentioned in this showBand of Heathens,Top Hat Crown & The Clapmaster's Son "Free Again," not only fellow Austin musicians, but also partners in some of Lincoln's songwriter nights at Gruene HallThe Black Keys, Rubber Factory "Act Nice & Gentle" getting big sounds from only 2 people on stageCowboy and Indian, "Ledbellies (Hurt My Pride)" one of Lincoln's favorite bands to hear when he gets a chanceThe Bearfoot Hookers, Beer Drinkin' Gospel Revival "Memphis" from next week's radio show, Episode 1218--one of their songs will be in an upcoming episode of Hart of Dixie with Rachel Bilson

New Country Rehab combines the extensive fiddle experience of John Showman, who had never fronted a band before, with a drummer, Roman Tome, trained in Latin percussion who had never used a drum kit before, an electric guitar player, James Robertson, who had never gone acoustic, and ultimately adding a bass player, Ben Whiteley, who had played upright bass since he was a teen. Each of the band members brings years of playing to New Country Rehab, but their experiences and influences converge only as this band. Ultimately, their goal is to make music inspired by old traditional country, bluegrass, and old time music, rather than push the definitions of either and invent their own progressive sounds. New Country Rehab's mission is as much to reinterpret traditional songs of artists like Hank Williams and Bill Monroe as it is to create their own songs. Showman formed the band to expand beyond his own fiddle prowess, having spent so many years creating progressive, mainly instrumental tunes. For a musician for whom songwriting is fairly new, though, his years working with everything from "jamgrass" to jazz have given him a breadth of string music's repertoire in popular music from which to pull. Typically, Country Fried Rock avoids "cover songs," but New Country Rehab takes those originals and makes them their own; New Country Rehab arranges the songs into something more than a cover. Narrowing down an extensive repertoire into just a few songs for a record can be difficult, and for New Country Rehab, this yields a bit of an inconsistent sound to the album as a whole, but makes perfect sense in the greater realm of music that is this band. They only took three days to record the entire thing--and for less than $5000 (CAN) including artwork and pressing. Covering all of their musical styles in less than 45 minutes does not do them justice; you really need to hear them headline a show to feel the arc of their prowess. http://www.newcountryrehab.com/ ---------------------------------------------------------------------------------------------------------------------------------------------------------- Songs in Episode #1216 include: 3 from New Country Rehab's self-titled debut Creaking Tree String Quartet, Side Two "Dirty Rotten Scoundrels" (John's former band) Black Flag, The First Four Years "Louie Louie" (John's punk phase as a teen, also chosen because of the use of cover songs being completely reworked for different genres, as part of the conversation) Dead Kennedys, Bedtime For Democracy "Take This Job and Shove It" (chosen for similar reasons as the Black Flag tune, but also in response to Showman leaving Classical music behind abruptly) Mac Wiseman, The World's Greatest Bluegrass Bands "Wreck of the Old 97" (part of the discussion about bluegrass standards and innovation within a repertoire) Waco Brothers, Straight Outta Boone County "Nine Pound Hammer" (more of taking traditional tunes and making them your own) The Whiteley Brothers, Taking Our Time "Saskatchewan Blues" (these are Ben's father and uncle, accomplished and noted Canadian musicians in their own right) The Magnificent Sevens, "Red River Beaver Fever Rag" (label mates on Dollartone Records, also more about fusing genres and making the hybrids your own) Rakish Paddies, "Cooleys Maid Behind the Bar" (traditional Irish fiddle tune standard) One from next week's episode, #1217 Lincoln Durham, The Shovel vs. The Howling Bones "Love Letters" US audiences can catch New Country Rehab in April HERE.

Ha Ha Tonka records flow thematically, bound together by a premise or idea, but not so tightly as to be concept albums.  Initially, the  themes were obvious, like Buckle in the Bible Belt, moving towards historical, as evidenced in the album artwork for Novel Songs of the Nouveau South, but for their recent record, Death of a Decade, the idea that emerged from which these songs began surprised me:  Michael Jackson's death.  As Brett Anderson explains, every decade their seems to be some iconic political or entertainment figure who passes away, somehow creating endpoints for their times by their death.  Jackson was a controversial figure in life, but even his greatest detractors accede that he was one of the greatest entertainers of our era.  With Michael Jackson's passing, it was the death of a decade. For a rock and roll band, loosely forming their album around the idea of cultural segments being defined by the deaths of icons was really the least of the changes for the band.  What really makes Death of a Decade different than their previous records is the addition of the mandolin.   After a South By SouthWest (SXSW) "after party" a few years ago, the guys all picked up different instruments and played ridiculous cover songs with their buddies in other bands, and Anderson fortuitously had grabbed somebody's mandolin.  As far as the sound of the songs on DoaD, introducing new instrumentation brings out the rootsy side of their rock and roll tunes.  While frequently compared to R.E.M.'s use of the mandolin in the Green and Out of Time albums, Brett really just became enamored with the little instrument and tried to work it into every song he could. Finding a sound they like and taking it as far as they can has become a theme in itself for Ha Ha Tonka.  They discovered their ability to make decent harmonies on tour, driving in the van and deciding to create parts for "Sky Rockets in Flight," (actually called "Afternoon Delight") by Starland Vocal Band, but given new life from the Will Ferrelle movie, Anchorman, which the guys had just watched.  This extensive use of harmonies grew to the point where they decided "to just record as much vocals as possible" for their last release.  Ha Ha Tonka had recorded an a cappella song, "Hangman," on their first record, but it took quite a while before they were comfortable singing it on tour.  One magical day at the Austin City Limits Festival, when it had not rained in ages in most of Texas, the skies opened as Ha Ha Tonka sang this song.  The crowd stood in the rain, cheering them on, at one of those mystical moments that only happen at music festivals. www.HaHaTonkaMusic.com ------------------------------------------------------------------------------------------------------------------------------------------------------- Songs in Episode 1215 Include: Ha Ha Tonka, Death of a Decade, "Usual Suspects" and "Problem Solver" Ha Ha Tonka, Buckle in the Bible Belt, "Hangman" The Pixies, "Debaser" R.E.M., "You Are the Everything" (along with "Losing My Religion," two notable uses of mandolin for R.E.M.) Talking Heads, "Once in a Lifetime" (specifically for their collaboration with Brian Eno on this album and the use of African drumbeats and other asynchronous rhythms at Eno's suggestion, part of the conversation about what producers bring to a project) Middle Brother, "Me Me Me" Tea Leaf Green, "I've Got a Truck" One from next week's show, Episode 1216 New Country Rehab, "Angel of Death"

When Angela Easterling posted late this fall that she was putting out a record in sung in French on Valentine's Day 2012, I thought she was kidding.  Beguiler was still fresh--less than a year since its release.  Mon Secret is not a hastily conceived album, though.  It has been three years in the making, and the circumstances simply converged to make the record itself happen rapidly.  Easterling and her  dear friend, Marianne Bessy, a professor of French at nearby Furman University, had tossed around the idea for years, and even included one song in French as a bonus track on a previous release. Angela Easterling left her family farm in the Upstate of South Carolina at 17, heading to college in Boston to pursue a career in musical theatre on Broadway, but an acoustic guitar and the popularity of female singer-songwriters like the Indigo Girls and the Lilith Fair festival captivated her.  Despite the vibrant folk scene of Boston and successful open mic nights at Club Passim, Easterling left for Los Angeles, finishing college out there.  In southern California, Angela discovered what she had not been open to finding in South Carolina:  country music.  The more she cruised through Laurel Canyon, the more the Carter Family pulled at her musically.  When she finally returned to her family's historic farm, they nearly lost the property from which she had previously escaped.  Development boomed, and farmland was in its path. Once back in South Carolina, Easterling began to appreciate what the Palmetto State offered for independent musicians:  a very affordable cost of living and easy travel for East Coast and Deep South touring, making it possible to make a living as a musician without a "day job."  While the talent pool is smaller than LA or Nashville, there are individuals on par with the greats in their skills, those people are just rare gems that one must snag quickly.  Now cruising the foothills, Angela finds the California sounds of Laurel Canyon's heyday calling her.  With two albums released in the past year, though, she finds that she is suddenly prompted to write, now that her mind is clear after those projects. www.AngelaEasterling.com ------------------------------------------------------------------------------------------------------------------------------------ Songs in Episode 1214 include: Angela Easterling, "Jouet" from Mon Secret Angela Easterling, "Truck Drivin Man" from Earning Her Wings Angela Easterling, "Happy Song" from Beguiler The Carter Family, "No Telephone in Heaven" Tim Easton, "Festival Song" Daddy (Will Kimbrough and Tommy Womack), "Glory Be" Crosby, Stills, & Nash, "Long Time Done" Indigo Girls, "Tried to Be True" Next Week's Featured Artist, Episode 1215 Ha Ha Tonka, "Usual Suspects" Several great outtakes right here:

AmericanaFest always amazes me: such an incredible collection of roots music showcases, where it is impossible to catch every "must see" show. I quickly discovered in 2010 that I have two favorite venues, The Station Inn and The Basement, and when debating which performances to catch, I stay put in one of those locations. This completely unscientific method is how I caught Patrick Sweany's showcase at Americana 2011. I did not think I could make it to another venue and back to catch a show during his same time slot, so, even though Sweany was not on my obsessively plotted "grid" or even on my radar musically, I stuck around and was blown away. For me, that experience is what makes this particular music festival stellar; I always find my new favorite band by happenstance. Patrick Sweany grew up near Akron, Ohio, and spent nearly a decade playing regular local gigs there and in his first foray to Eureka Springs, Arkansas, with a jaunt as opening act and van driver on another band's national tour. Sweany's immersion in deep blues began very early, though, with jugband music and Piedmont blues bonding him with his father. His dad gave him his first guitar, taught him some chords, and took him to a nearby high school auditorium to hear bluegrass, as well as to the Kent (Ohio) Folk Festival, where Sweany ultimately attended college on the six-year plan. Patrick moved to Nashville relatively late, in his view, saying, "Everyone came here ten years before I did." With roots ranging from blues to bluegrass, Sweany's music manages to maintain an earthy, melodic blues tone, but where he really shines is in live performance. Patrick Sweany's live show makes his music. Combining the showmanship of James Brown (without the dance moves) with a Springsteen-like rock intensity, Patrick Sweany's charisma engaged the too-cool Nashville fans who refuse to even bob their heads. He nailed it. While I really enjoy his last record, That Old Southern Drag, to truly capture how incredible he is, you must experience him performing for a crowd. From the interplay with the audience and his band, to the passion with which he shares his songs, Patrick Sweany is one of those guys you must see live. In the words of former band mate, Dan Auerbach, and even earlier by the blogger for Now This Sound Is Brave, "I can't figure out why this guy isn't world famous." www.PatrickSweany.com There are extensive outtakes from this interview posted on SoundCloud. ____________________________________________________________________________________________________ Songs in Episode #1213 include: "Them Shoes" from Patrick Sweany's Dan Auerbach-produced album, Every Hour Is A Dollar Gone "Sleeping Bag" and "Oh! Temptation" from Sweany's recent release, That Old Southern Drag (produced by Scott McEwan and Joe McMahon) "Keep a Knockin'" Buddy Holly's Crickets "I'm Done" Jimbo Mathus "The Finer Things" Derek Hoke "Gloryland" Kevin Gordon One from Episode 1214, Angela Easterling "Happy Song" from Beguiler

Some songwriters craft tunes with the intent of making social commentary, but rarely do those same songs last through two Presidencies and manage to incite emotion from both sides of the political aisle. Such is the case for James McMurtry, who observes what he sees, but does not claim control of where his songs may go for listeners. "People are listening for themselves in popular songs," he says, which is why his lyrics speak to human situations that do not neatly fall into "Left" or "Right" boxes. People are much more complicated than that. Many performers can relate to McMurtry's years playing Jimmy Buffett cover tunes to placate a bar owner, while slipping in an original song just rarely enough to keep eyebrows from raising. James is not afraid of ruffling feathers, even of his existing fans, as long as the lyric honestly portrays what he sees. From irate email from loyal Texas fans, to adoring crowds in Bangor, Maine, (find out why in the radio show), his music stretches from Southern rock and folk to Americana, incorporating diverse, but dedicated audiences. McMurtry has endured long enough to have multi-generational crowds, where he is the thing that binds parents and children together in music. For all the weightiness of some of James McMurtry's songs, he does not describe himself as a "political songwriter." While he acknowledges how others may categorize him that way based on a small subset of his music, overall, he defines himself more as an observer. McMurtry's next record is not written yet, but he anticipates his first set of more personal songs, because he has "run out of everything else to write about." www.JamesMcMurtry.com ---------------------------------------------------------------------------------------------------------------- Songs in Episode 1212 Include: 3 from James McMurtry, including one in tribute to Guy Clark a song from producer CC Adcock, "All 4 the Betta" Lucinda Williams, "Born to Be Loved" John Hartford, "Turn Your Radio On" version 2 Jonny Burke with the Band of Heathens, "Ship Come In" One from Episode 1213, Patrick Sweany, "Police Car Blues"

There's a theme in Country Fried Rock radio episodes, where somehow, the bass player is usually the "character" in the band. In Paladino, however, Annie Rothschild insists that they all are quirky and amusing. It's difficult to see how they could surpass her ebullient discussion of music, and the surprising range of genres to which she regularly listens. Our conversation started, with our mutual hometown, Atlanta, and one of the Peach State's many enduring Southern jam bands, Widespread Panic--who just happened to have their first record, the original version of Space Wrangler, released on her dad's record label, Landslide (early Webb Wilder, Derek Trucks, Colonel Bruce Hampton, Tinsley Ellis also recorded for Landslide). (Space Wrangler was later picked up by Capricorn and released in an expanded format.) Paladino's music combines something of a traditional country intent with a delivery somewhere between the Velvet Underground and New York-style punk, although they view themselves as a country band, not of the Nashville sound. Rothschild is drawn to blues and soul music, with a healthy discussion of Delta blues and New Orleans music and a penchant for soulful gospel, like TL Barrett and the Youth for Christ Choir. While her own influences range across many sounds, the band members themselves bring in even broader inspiration, but their common language as Paladino flows easily. Paladino works together with levels of comfortable interplay, from developing grooves between Rothschild's upright bass and the drums, to the melding of lyrics and melody, and fleshing out songs. The band even travels with the two small children of some of the band members and a great-aunt nanny. It's one thing to take your own kids on the road, but when band mates enjoy hanging out with toddlers that are not their own, that really shows their familial bond. With nearly an entire album's worth of new material road-tested, Paladino is ready to bring some professional guidance from a key producer to their next record, hopefully yielding a more cohesive, distinctive sound. www.PaladinoMusic.com --------------------------------------------------------------------- Songs in Episode 1211 Include: 3 from Paladino Pastor TL Barrett and the Youth for Christ Choir, "Like a Ship" Allen Toussaint, "Southern Nights" (long version) Tedeschi Trucks Band, "Love Has Something Else to Say" Grand Mal, "Count Me In" (one of Chris's former bands) Allman Brothers Band, "Stand Back" One from next week's show, Episode 1212 James McMurtry, "We Can't Make It Here" (abridged for this episode, but the full tune next week)

Margo Price of Buffalo Clover feels pulled in many directions with the music she writes and performs. With the development of her side project, Margo and the Pricetags, the lure of traditional country finally has an outlet, and rock can stay with Buffalo Clover. That said, the band is as eclectic as their self-description. The core duo with her husband, Jeremy Ivey, morphs with members and special guests, which yields different feels for each record and even their performances. Despite a personally tragic year, the band's success with the release of Low Down Time expanded to include a tour in the UK and a noted video filmed in Liverpool. The album demonstrates their influences, moving from psychedelic roots rock through a waltz and a twangy love song. Buffalo Clover has relied on the kindness of their friends in the music business to pull in different skills and support, from their indie label, Palaver Records, to noted recording studio, The Bomb Shelter, and buddy Micah Hulscher,  on keys. This release, though, is more cohesive than previous releases, with everything having a roots rock basis. The dynamic of a married couple writing and co-writing yields a competitive creative filter, pushing each other to improve and rework songs in their development. Recently, though, Buffalo Clover has worked more collaboratively with the band members and friends in developing songs, even building bluesy riffs from which songs expand. They want to emphasize the 1960's rock vibe of their music, but like many creative folks, they are pulled in many directions--while trying not to confuse the listener and still have outlets for all their musical ideas. www.BuffaloClover.com _________________________________________________________ Songs in Episode 1210 include: 3 from Buffalo Clover's latest release, Low Down Time The Statler Brothers, "Flowers on the Wall" The Kinks, "Apeman" Henson Cargill, "Skip a Rope" Alabama Shakes, "Hold On" (also recorded at The Bomb Shelter) Sam Doores and the Tumbleweeds, (not yet released in US) "Wrong Time to Be Right" Bob Dylan, "On the Road Again" (electric Dylan) One from Next Week's Episode 1211, Paladino, "Ode to Misery"

The Famous bring together a punk influence with traditional country, yielding music that seems to emerge only from California. I always imagine skateboarders who listen to country, not for the irony, but for the cool-factor. In the case of The Famous, though, their music is as much a product of the craft brewing scene as anything else. From brew pubs to brew fests--even a song in homage to their favorite beer--The Famous have found a well-heeled, selective audience for their music in the greater San Francisco Bay region. The Famous's live performance, though, is as carefully mastered as the beers their fans enjoy. The Famous's "Experience" combines the group dynamics of evangelism with the imagery and actions of a revival, with their music as the centerpiece, not religion. While not as irreverent as Reverend Horton Heat, one can easily see why The Famous are a logical opening act for them. Lyricist Laurence Scott views himself as the musical weak link in the band, but his role as showman keeps him in the forefront. Working closely with Victor Barclay who writes the basis of their music, the two flesh out each song and develop them further with the rest of the band. From their debut Light, Sweet Crude to their current record, Come Home to Me, The Famous have defined themselves to their selective fans. Their upcoming release will be their first to take on a national scope, just at the right time. www.TheFamous.net -------------------------------------------------------------------------------------------------------------- Songs in Episode 1209 Include: 3 from The Famous'sCome Home to Me Old 97's "Eyes for You" from their Early Tracks Drag the River "Death of the Life of the Party" Modest Mouse "All Nite Diner" Southern Culture on the Skids "Zombified" Reverend Horton Heat "Big Sky" "St. Cathleen" from Next Week's Episode 1210, Buffalo Clover

When sisters Phoebe and Callie Cryar met brothers Taylor and Bruno Jones at a picnic and music jam at their mutual friend's home, little did the then-teens realize that just a few years later the four would form a folk band called, The Vespers. Despite growing up in families who had experienced careers in the music industry, they had really gleaned more about the reality that it was not an easy life path as neither of their family members remained in the business. As the foursome has moved forward, though, they have called upon their families' support as well as some notable friends, such as Brian Simpson, formerly of Cadillac Sky. As their name, The Vespers, indicates, the members of the band are fundamental believers in Christianity, although the songs themselves are not necessarily evangelical. Sonically, though, the tunes are simple folk songs, with a touch of twang in the instrumentation. Despite their youth and professed nervousness, The Vespers performed on Music City Roots to immediate acclaim. Despite only having time for them to play two songs, the band brought it all to that performance in a way that clearly won over sceptics. I found them that night--as I was watching MCR for the other bands on the line-up, but, for the first time ever, tracked them down to feature based on their performance. Tell Your Mama hints at the sounds that may be to come from The Vespers. Whether they hone their twangier, amped up tunes or drift towards the mellower, folk songs could move them from one set of fans to an entirely different crowd. They are most comfortable with fans similar to themselves--young, energetic, Christian college students--which may ultimately make them a more financially viable band rather than the strength of their still-developing style. See The Vespers live, and you will enjoy them; get their record, and you will surprise yourself when you find yourself singing some of their catchy melodies, whether you want to or not. www.TheVespersBand.com --------------------------------------------------------------------------------------------------------------------- Songs in Episode 1208 include: 3 from The Vespers, Tell Your Mama 1 from the O Brother, Where Art Thou? soundtrack Cadillac Sky, "You Again" "Dreaming of You" by former Cadillac Sky member, Brian Simpson  The Carolina Chocolate Drops, "Trouble In Your Mind" The Avett Brothers, "Shame" Arcade Fire, "Month of May" One from Next Week's Episode 1209, The Famous

When Brett Detar ended his band, The Juliana Theory, he was not sure he would ever play music again. Seeking a change, he became the customer service department and chief stain remover for his wife's vintage clothing shop. Detar fully escaped music, trying to evade his self-doubt about his ability to write songs or be an artist at all. During these years, every scrap of paper of a lyric or theme crammed into a box, waiting for Detar to make them into music. Once Brett decided that music still was his creative purpose, the development of Bird in the Tangle proceeded swiftly. Brett heavily researched the players he wanted and knew that Nashville offered the professionals and the sounds he imagined to bring these songs to life. Pete Young's production brings a full, layered sound to Detar's songs, contrasting with the solo tour that Brett ran in support of Bird in the Tangle. Brett Detar, himself, though, embodies many contrasts, tall man with a soft speaking voice, physically transforming himself from long-haired, bearded troubador to freshly haircut and shaved self-portrait subject, and expressing himself through musical styles that differ based on how he has grown conceptually. For fans expecting "another" record from his former band, they will not find it here; however, for those who like to see how an artist matures and follows their muse wherever she may lead, they will love it. Bird in the Tangle stands on its own, for those who never knew Detar's previous work. www.BrettDetar.com ------------------------------------------------------------------------------------------------------------------------------------------------------------------ Songs in Episode 1207 include: 3 from Bird in the Tangle, Brett Detar's recent release which can be downloaded for free from his website Townes Van Zandt, "If I Needed You" Gomez, "Extra Special Guy" (Producer Peter Young sings backing vocals on this one.) Ralph Stanley, "In Despair" Robert Ellis, "Friends Like Those" Deep Dark Woods, "Sugar Mama A preview of next week's Episode 1208, The Vespers, "Tell Your Mama," available for free download on Noisetrade