the Sturgill Simpson c/d

Simpson's guitarist is really good. I love the solo on this one. I'd have to figure they are using the studio echo chamber on the solo, being that is a famous one.

https://www.youtube.com/watch?v=lK4UFSNGRdE

FYI I live in Kentucky where this guy is a something of a local hero and I've never heard it pronounced any way other than to rhyme with 'Virgil.'

Album is great, hope he continues in the 'Reptilian overlords and DMT' mode, and hope he keeps whoever is playing lead guitar on this thing, damn.

Yeah his lead player is siiiiick as fuuuuuck

good interview with the guitarist: http://www.thefader.com/2014/09/18/another-country-interview-laur-joamets-sturgill-simpsons-estonian-guitarist

sturgill's a damn good guitarist too.

opening for Willie seems like a no-brainer

i've been off the country wavelengths for a while but just took a listen to this - as good as advertised!

his voice is very much in the classic merle mode and i can totally dig it

as anyone points out, correctly, he sounds a LOT like waylon

i'm not even a drug fiend but the lyrics to turtles all the way down are fantastic

estonian dude is becoming an american pretty quick when he says things like "amen to that"

next interview he'll be all "you're darn tootin!"

There must be a hundred guitar pickers in Nashville muttering 'coming over here, taking our jobs' like some UKIP neanderthal in a dead English seaside town...

saw these guys open for Willie Nelson last night and they were straight fire. Laur Joamets is indeed an amazing guitarist, he was very much the star of the show, although Sturgill is a pretty sick guitarist too.

Xpost There seem to be a lot of Aussies in Nashville.

i like him fine, but i'm reactionary wrt his rise in popularity - a) i'm not so fond of the voice (nor waylon's, of which he's too derivative), and b) he's caught too much of the dudebro-ish fetish for rock-enough-to-not-be-uncool "outlaw"/druggy country males that usually extends to dreck like Hank 3 and rarely crosses the gender barrier

i'm kind of a fan but he's not as good as probably a dozen other current country artists i can think of off the top of my head tbh

and the backlash begins

I think he's great. He's a great musician, his band is great, I like his singing and I like the songs he covers along with his originals. I like Waylon, and I like that he is not afraid to sound like Waylon. I don't get a dudebro vibe from him at all, if anything there's sort of a jam band thing going on at times.

i'm kind of a fan but he's not as good as probably a dozen other current country artists i can think of off the top of my head tbh

― LIKE If you are against racism (omar little), Wednesday, December 31, 2014 6:19 PM (4 hours ago) Bookmark Flag Post Permalink

want this list

i think it's right to be wary of the "i hate all current country music, but i like this" line that so often accompanies praise of sturgill simpson, but that has very little or nothing to do with sturgill simpson.

i'm a little amazed that a country fan can dislike waylon's voice (see benbbag above), but i have enough non-acquired tastes to give it a pass, i suppose. (btw christgau didn't like waylon's voice much either.) but i think waylon's voice is a thing of beauty, and as much as i love strugill simpson, he can't (yet) approach it in subtlety and flexibility.

I'm a country fan always suspicious of Waylon. Not hard. A fair amount of outlaw bathos.

Btw this guy closer to early eighties "Big City" Hag.

I'll totally cop to not being a country fan and being hardly familiar with Waylon and having never heard of Sturgill Simpson prior to last night. Still was a good show though...

i guess i go so deep with waylon -- i think i have every LP of his, at least up until the late 80s -- that i forget about the whole outlaw thing, which is really not a huge part of his oeuvre all told, even if it defined his public persona for a lot of people.

watch this and see if you don't love it -- his singing, the drumming, his minimalist guitar solo, everything:

https://www.youtube.com/watch?v=E1-_cZoUOEE

(that's from the pre-outlaw period, before he grew a beard, obv.)

want this list

― man alive, Wednesday, December 31, 2014 10:23 PM (5 minutes ago) Bookmark Flag Post Permalink

Laura Cantrell
Brandy Clark
(Drive-By Truckers)
Merle Haggard
(Jason Isbell)
Miranda Lambert
Ashley Monroe
Kacey Musgraves
Willie Nelson
Brad Paisley
Angaleena Presley
Billy Joe Shaver
(Lucinda Williams)

I don't get a dudebro vibe from him at all, if anything there's sort of a jam band thing going on at times.

― Josh in Chicago, Wednesday, December 31, 2014 10:17 PM (11 minutes ago) Bookmark Flag Post Permalink

That's exactly what, or who, I meant by dudebro. Perhaps I've misunderstand the term.

last track on metamodern is fucking brilliant

i'm a little amazed that a country fan can dislike waylon's voice (see benbbag above), but i have enough non-acquired tastes to give it a pass, i suppose. (btw christgau didn't like waylon's voice much either.) but i think waylon's voice is a thing of beauty, and as much as i love strugill simpson, he can't (yet) approach it in subtlety and flexibility.

― I dunno. (amateurist), Wednesday, December 31, 2014 10:40 PM (Yesterday) Bookmark Flag Post Permalink

I don't dislike Waylon's voice, I just don't have a particular like for it, even as I've recognized or even admired its fine quality at times. There's something a bit too good old boy-ish in its mix of basso, molasses, and, perhaps crucially, certainty that sets off my regional prejudice along with political suspicions in a way that the more wavering John Anderson's, say, does not. I mean, I find Randy Travis' politics pretty offensive, but I don't find them suggested much by the sound of his voice, which I sometimes love.

(and that was supposed to be "I" misunderstand, or I've "misunderstood," up there)

You are the worst poster

voices dont have political properties

My comments from the Nashville Scene ballot (album kept growing on me, though not quickly enough to make Top Ten; def an Hon. Mention though)

Sturgill Simpson, Metamodern Sounds In Country Music: the only really weird thing about this famously “weird” album: his herky-jerk delivery of the reviewer-bait lines, minus words he’s dropped along the way. The ones that get through (I envy him any encounters with those aliens who “cut away the pain”) are even more appreciated than they would be if we could take said delivery for granted---especially because I keep glimpsing a basic/potential resemblence to Waylon Jennings singing Billy Joe Shaver (who can also write assertively quirky; does it lots, dang it).Perhaps this tendency is what he’s resisting, although it works great when he lets it flow over that “Long White Line.” He lets himself fall between the Waylon and the herky[jerk cadences, settles down like a tired old dog, but quite clearly conveys points about the “Voices” that won’t leave him alone, but “ain’t got nothin’ to say.” Could be the “they” who say say so much received wisdumb to everyone all the time, in the media, way down deep like the stronium-90 in post-WWII mother’s milk, all over the world (hence the title of Captain Beefheart’s album Safe As Milk). And/or the voices that Brian Wilson has also said he’s learned to ignore. It’s a fine song.
The herky-jerk itself becomes meta on “The Promise,” as Simpson huddles defensively/doggedly in your gaze, while trying to declare his intensions, before a climatic outburst: “WHAT AH’M TRYIN’ TO SAY---”, and he says it, yay. This leads to more sympathetic listening, as far as I’m concerned: professional performers are often isolated figures, and country artists in particular often have to go through some kind of careful (if not palpably torturous) process to sell anything oh so different. Psychedelic insights/experiences, if any, would seem especially hard to bring into the spotlight: you know it’s likely to sound like bullshit to most folks, and just a novelty buzz (good bullshit) to others. Which would also explain some of the tension, the reluctant pushme-pullyou in his vocal phrasing.
But the most unabashed, still somewhut humble psych offering, “It Wasn’t All Flowers,” is so good that it makes some sense for him not to deliver more like this, ‘cos like I said before , we might take it for granted. (On my copy, he immediately reverts to a look awaaay back over “Panbowl,” though not for nostalgic bliss, but more a sense of who, what and where now seem gone forever---the why of it is missing too, unless maybe that’s in the rest of the album?). Just speculative notes, still being made. Ready for his next, too.

xpost some of 'em have political properties to some ears: Greg Tate's written about getting creeped out (vs. critical appreciation) by Sinatra's voice, ditto Gary Giddens by Hoagy Carmichael's voice, despite loving, say, Sonny Rollins' version of "Skylark," and other covers of HC songs.

In both cases, has to do with old schools of racism (although Sinatra was liberal when that was risky for a young singer-actor, McCarthyism-wise, the New Joisey Italian sound reminded Tate of some early encounters/associations...) (Hoagy made Giddens think of an old dude in a rocking chair, waiting for his fellow Klansman to come moseying through the winter corn, on the way to this evenin's get-together)

I can't explain why Jennings' outlaw material comes off posturing in ways that Haggard and to a lesser extent Cash's doesn't. Certainly he's written fine material. But he's not weird enough to record reactionary plaints, dry love songs, kitschy love songs, all on one album -- and inhabit them like Hag. It's possible I've listened to the wrong albums.

Because Jennings as outlaw essentially was posturing? Playing a character, playing dress-up, etc. Willie just lets his freak flag fly. Merle, like Cash, essentially is (was) himself. But that whole outlaw movement thing, it's like this period where a whole bunch of real characters started playing fake characters. Granted, the likes of Hank Jr. was much worse at this.

I'm confused. What are we defining as outlaw material? My favorite of Waylon's outlaw material are the love songs, like Dreaming my Dreams with You, Wurlitzer Prize, Amanda, etc. He's a great stubborn wallower. I would say he really inhabits these songs.

"Wurlitzer Prize" is lovely, agreed

Uh how is Willie's transformation from suit wearing brylcreemned Nashville dude to hippie any more or less authentic than Waylon? Waylon rules y'all crazy

Yup. He did write a song about how that outlaw thing done got outta hand iirc

Also he covered Norwegian Wood in the mid 60s, and "Nashville Bum" feels like the first articulation of the "too badass for Nashville" thing that really fueled the outlaw scene, which frankly I guess I see Hag as his own man and not really apart of outlaw proper, though not to say he wasn't influential and IMO is the best country artist ever

Waylon was sly and funny in a way his fellow outlaws werent (mostly)

Waylon also more genuinely rooted in rock than the rest

I'm confused. What are we defining as outlaw material? My favorite of Waylon's outlaw material are the love songs, like Dreaming my Dreams with You, Wurlitzer Prize, Amanda, etc. He's a great stubborn wallower. I would say he really inhabits these songs.

― Heez, Friday, January 2, 2015 9:12 AM (35 minutes ago) Bookmark Flag Post Permalink
Yep. that's the basic appeal, and as for the capital o Outlaw bit, let's remember that WJ's "Don't You Think This Outlaw Bit Has Got Out of Hand" is one of his best, ditto "Are You Sure Hank Done It This Way": his signature take much more about the drive-by humor than any macho posturing---and when it comes to love songs, yeah, "a great stubborn wallower," which is in Sturgill too: something that can be abject, but assertive too, come hell and high water. Wounded macho mebbe, and why they both can sound a bit gutshot, so outlaw in that sense. So a lot of it comes down to how you hear his voice, which can seem way less agile than Willie's, for instance, but they make a pretty interesting duo.
Also, I seem to recall somebody, maybe Jennings' buddy Dave Hickey, writing back in the mid-70s that Waylon seemed very dubious about the proposed outlaw hype, a country parallel to the Southern Rock bandwagon (which, for that matter, Gregg Allman later said he found disconcerting: "I thought all rock was basically Southern.") And see Hickey's overview of Waylon's life and take on same, "His Mickey Mouse Ways":
http://www.texasmonthly.com/contributor/davehickey

And merle - did he go through the nashville grinder machine like the rest? Always seen him as part of the bigger bakersfield scene.

Waylon was sly and funny in a way his fellow outlaws werent (mostly)

― Οὖτις

Merle, bro

Idk in some ways I kinda wanna say if they werent on the outlaws album then they werent part of it tbh. Merle is great but he's a different thing

Yeah, he already had his own thing going, though prob the outlaw ad men had him in mind as an influence, re independent-minded-Bakersfield-bohemian manliness. But they wanted an image without the uptight right-wing connotations: less Eastwood, more Peckinpah. Speaking of the outlaws album, the deluxe reissue of Wanted! The Outlaws, from maybe a decade ago, is really good, esp. cause get more Jessi Colter (really enjoyed her brief, post-Waylon return, Out of the Ashes).

Core outlaw clique: Willie, Waylon, Billy Joe Shaver, Kris, David Allan Coe,Jessi Colter, Hoover

(Hoover? J. Edgar?)
Funny that Merle's independence eventually had him denouncing "Bush Wars" (all three of 'em!) in post-9/11 shows, and yet he never got Dixie Chicked---maybe because he was considered an outlier by then, or maybe because if even he was doing it, might lead some others to go public with their doubts, at least at that point (though even Toby Keith did eventually confess that he never quite got the connection between Osama and Saddam).

The Ballad of Dood and Juanita is awesome. Sounds like I should be spending time with the bluegrass series too.

Very good, I'd say.

But I also think he's best when he either leans into self-indulgence or when he goes full-on trad country, rather than when he tries to hedge bets between the two. This is much more the former than the latter, so there are some salty genre purists.

― jon_oh, Friday, July 12, 2024 5:44 PM (yesterday) bookmarkflaglink

the first half of this is really great

I should get back with him, that "shitty Eliminator" record he made me lose touch

i listen to the cuttin grass releases a ton.

yeah i dug those

i like this new one, he’s def back in his oldschool waylon bag more -i like him in that mode

Yes the bluegrass records are incredible

listened to this yesterday and would be curious to hear what influences you all are picking up, as its overarching sound felt more indebted to 70s smooth rock -- the kind that melded country, blues, and easy listening -- than to anything I've heard in the last 4 decades of country music. gone are the fiddles of "Dood" and "Cuttin Grass," the horns of "Sailor's Guide"...here, he's happy to indulge in an electric guitar solo or a prog-esque pairing of electric piano and operatic strings. much of the album he seems to be deliberately singing in a higher register, less interested in harkening back to Waylon or Johnny than to something closer to Jimmy Buffett, maybe?

yeah its def 70s rock/country/easy listening, a bit flying burrito bros. i think you could connect ~ramblin man era waylon to this. buffet connection works too

https://www.youtube.com/watch?v=d3Q0jqDGf2I

I’m digging back in the catalog today, finding myself newly re-appreciating the records I was meh about after watching his set at OutsideLands last night: him & his band rocked the fuck out they were so, so good.

The set lists and vids from this tour…hoo boy. They’ve been playing three hours, tons of covers, stuff from across his catalog. Going next week.

I saw him last week. Played 2 hours and 53 minutes w/ no break, and Stu talked a little but, but not much. I think it was the longest continuous set of live music I've ever seen.

They sounded great, of course. I got a bit bored at points, but I'm very much not a jam guy or a guitar solo geek. It was more impressive than mind-blowing, for me at least. (I enjoyed the two-hour Tyler Childers show I saw in August more.)

his singing is so good on the new album

I loved Metamodern Sounds but had been cool on what I'd heard since. Now my Twitter feed has been like 70% Sturgill propaganda for the past few days, so I need to dig into this new album and maybe revisit the older stuff. He's in town on my birthday so that might be a nice way to celebrate.

lol and I just checked and of course it's sold out. secondary market I guess if he really starts tickling my fancy.

Show was maybe one of the 10 best I’ve ever seen, and I’ve seen hundreds and hundreds. No opener, no encore, just three straight hours of absolute rippin rock n roll with freewheeling jams and barely even a moment break between tunes. I was blown away by the musicianship on that stage — they are an incredibly gifted group, and Sturgill is a far better guitarist than I gave him credit. (Just watched that YouTube above and it’s kind of hilarious how he’s unable to dumb anything down.) The whole show felt like something out of a bygone era, like what it must have felt like to see Zeppelin live, maybe. Most revelatory were the Sound & Fury songs — that album is easily my least favorite of his, but nearly all of the night’s most memorable moments came from it.

I kinda regret not going, but I've been pretty wiped out, and the idea of even three hours of awesome sounded too much to take. But I've heard nothing but great things about this tour, not least because Laur Joamets is back. Between him and Simpson it must have been like shred city up there.

I wish I would have been able to go, I've watched that Outside Lands set on YouTube like four times now, he's absolutely killing it right now.

wonder if he's bringing the same group with him to Europe?

intrigues

intrigued*

That's a good question. Those dates are all listed under the umbrella of the "Why Not?" tour, so I'd think it'd be the same but I'm not sure how popular he is there and if it allows for the costs of the full band.

this isn’t really anything but his current bass player played w Margo Price on her last tour, we saw him w her in SF — we only noticed him bc he seemed like he was stoned out of his mind (ie more stoned than the band at least), just grinning away at everything but holding it down bass-wise lol

Austin City Limits festival set tonight was killer