Rolling Country 2020

Dow, thanks for keeping this thread alive and highlighting some good new tunes.

Thanks! Here's another covers album: The Night You Wrote That Song: The Songs of Mickey Newbury, by Gretchen Peters. Cut to the chase: most of the time, when Newbury's words reach an emotional dead end/are misty and bleached out, floatin' on the clothes line one too many times---now he's got me doing it--but most of those times, the music keeps going, unpacking and setting things up on the um consolation medicine shoe truckbed---anyway! Peters and her crew bring out the richer colors and other signs of life in the melodies and rhythms---opener "The Sailor" is restless and murky, sometimes a little too much of the latter, but mostly in good proportions, especially when top-of-game Newbury words emerge, "I never met a stranger/'Til I'd known him for a time."
She also lines them up well, so, for instance, when the "She Even Woke Me Up To Say Goodbye" guy. who's been dumped one more time, and know's he'll soon be surrounded by pitying eyes--no merciful murk this morning, fumbles his way to "It's not her heart, it's her mind"--she ain't mean, she just crazy, so forgive her, Lord, he does seem pitiful, sticking that little poison pin in
---but then, he finds his own mind in a paper bag, in thee excellent "Just Dropped in To See What Condition My Condition Was In," annd his unsatisfied mind is. frankly, quite a mixed blessing and bag all through this set: oh he'll show you alright, but his heart, Lord, means so well, so we can all be alone together, taking solace in the sounds (radio-ready, as written).
Desperate times call for desperate measures, so sometimes he even rocks, or this album does, given the material: "Tell Me Why You Been Gobe So Long" could be Jerry Lee, "Leavin' Kentucky" could be Pistol Annies.
And I like the way hopeful little folks of successive decades barely get a chance to set out in the verses, before the choruses of "Heaven Help The Child" come swooping back, look out! So many radio-ready songs make me sick of that money-shot chorus, no matter how good it might be in relative moderation---but this works, it's even the point, I'm pretty sure.
"San Francisco Mabel Joy" works technically, except the tear-jerking twist at the end is one way too many, ack puuuke, but I think that's the only song/track that's entirely indigestible, once you know where it's going (fairly sodden even before that).
Not sure about "Saint Cecelia," since Peters swallows a bunch of words again, but suspect it's just as well.
Damn if "Three Bells for Stephen" doesn't work as finale: Mickey Newbury, in the role of---Stephen Foster, ladies and gentlemem, AKA "Deeear hearts, and gentle peeeople"---yes, it suits him, and he's got the chops to get away with it, at least when Peters and them are channeling Newbury channeling ect.--I think. Check it out maybe.
https://gretchenpeters.bandcamp.com/releases (Seems like all of her albums are here.)

Ashley McBryde, Never Will: now that I've listened several times, the title reminds me of Sun Ra's Nothing Is, only more so, because it's a grower---not a grabber, but a taste worth acquiring. Also, her second , self-released set was Elsebound, oooo---but don't get thee wrong idea, bub, she ain't no Star Trek gyrl---arrival on Warner Nashville was---tah-dahhh!---Girl Going Nowhere.
This is so country that it may be post-country, not in terms of tunes and arrangements, but lyrics and singing. especially considering what's expected of young female artists, incl. the sassy ones: Notice of "One Night Standards" is served, take it or leave it, with no show of conscience or wounds or revenge sex or giving up on love or even brass, just, this is how it's gonna be, and mostly what we won't do, which is mostly not to talk about our pasts or futures or even much of the present, except mebbe "That's all, " or "Move over" (well that will have been for the better-be-immediate future).
So, a lot of bad and some possibly good memories and other possibilities are excluded, *almost* conspicuous by their absence, but her motel room is solid.
Hell, even "Shut Up, Sheila" ("Why don't you and Jesus go take a walk down the hall") is smack-down as brush-off: the hospital room machinery around "my mother's mother" is already loud enough to compete with the family discussion; they don't need any more noise. Secular no-frills values phrased in a way that recalls Hank Jr.'s "We say grace, we say ma'am, if you don't like that, we don't give a damn," although they'd only agree with him about that last part, and even then def. minus his agonized sonic martyrdom. She's putting in just enough effort to spell it out, for somebody who can't take a hint, that's all.
The relatively softer, lighter (gray) "Stone" ("You and me are cut from the same stone," she muses to someone gone) spells a possibility just enough for me to think that her telling said goner that she's "shy like you," but not so it shows, is one reason for her solid-to-heavy vocal tendency, her black hole for the usual country sunshine and moonshine: it's sonic armor.
But solid can be stolid, inert, even, on some tracks---like the less-good works of Tracy Nelson---and her accompaniment should never just rumble along inpassively, cos she can do that. She can sing higher, as on Stone"-- also seems to be overdubbing some self-harmony tracks at times---and on "Velvet Red," where the music does change it up (as happens often enough, really: seems like 7.5 keepers out of 11 songs), into sweet tattoo popgrass: her parents got drunk on Velvet Red and made a baby, so they named her Velvet Red, awww---like The Band Perry looking at family pictures.
Family stuff comes back to life and death in the heavier "Martha Divine," addressed to Daddy's sidepiece: "My Mother is an angel, my father--is not--and some of him's rubbed off on me...How can it be murder, if I bury you alive," and if the 'thoratahs don't agree, "I'll say the devil made me do it." ("Rubbed off, " eh?) And "Voodoo Girl" is slamming toward country metal (couple power ballads here too maybe? But if so, with no mullet nostalgia, believe it or not)
Was thinking she's taking the Gretchen Wilson stance further, though she doesn't claim to be a redneck, and even, in the spoken word intro to "Styrofoam" (which cruises along to an ain't no-big-electronic- groove-thang), she easily reads what she says are her notes re origin of good substance, pronouncing words like "extruded" with no show of effort or achievement, then with a satisfied mind lists many ways you can make use of the sty, would go well with "Red Solo Cup."
Still--the stolid selections, though not that numerous, leave a lingering impression, so far: why I said it it's a grower, not a grabber--overall, I do get into it more than I ever did Girl Going Nowhere, but maybe now I'll go back to that, and look for her indies.

Search suggests mentions of Nicole Atkins on ILM (and there ain’t many) are largely confined to the Rolling Country threads, so bumping this one to say her new LP, Italian Ice is really good.

Thanks for the reminder, Jeff! Yeah, here she is on bandcamp: https://nicoleatkins.bandcamp.com/album/italian-ice
Will prob be more Related than Country when it's time for ballots, ditto Shelby Lynne's s/t, although it is romantically fixated, maybe self-torturing enough to qualify for real country. Musically, seems like she's absorbed Dusty In Memphis (less the vocals than basic combos, some of the writing and what makes both of those cohesive, regardless of source), maybe Irma Thomas, Bonnie Raitt, Barbara Lewis---but, aside from her own "I Got You," it never comes off as yet more classy sincere retro: everything goes where she needs it to, right now, to stand and express herself---idiomatically, sometimes idiosyncratically, but clearly enough.
(True even when Cynthia Mort's words go riding with Lynne's music, which is about half the time.)

So usually she's thinking out loud/bumping around the bulbs and walls of her head, but she's never mumblecore, can and does project, even before "Here I Am," the showstopper---or so it could be--- but is easily followed by the eeriest track, "The Equation," a surefooted sleepwalker, sleep prowler.

She's cool, or at least keeps the air conditioner on, never complacent---another time, she confesses:
Trapped inside my stories keeps me going/Don't count the days I've been gone/Dark glasses shield me from my intentions/And loneliness/Puts me in my place/Another West Coast sun is going down...

Oh yeah, speaking of growers-not-grabbers, I've been getting (not too slowly) into Steve Earle's aforementioned Ghosts of West Virginia more than expected. POV character works hard, plays hard, eventually gets "Black Lung," which he's well aware he wouldn't have if he stayed out of the mine,"but then I wouldn't have nothin." Spends it all, incl. on Saturday night (cue for hillbilly rockabilly "The Fastest Man Alive"), because it won't do him no good "on Judgement Day"(later "under the ground," which he prob means both ways). The balance of electric and acoustic music adds dimension and direction, also balancing his limited voice, which he's learned the hard way not to strain, even when he's calling out the names of dead miners, on "It's About Blood," with the Dukes swelling into a thundercloud that never bursts.
The vocal that I can't get out of my head is by Eleanor Whitmore, whose fiddle may have taught her how to sing up and down the walls like that, while her man is gone (she's used to it, but doesn't like it).
Wish there were more songs from her point of view, also other non-miners, for instance commenting on what minecentric living does to a community---especially when a lot of natives (even before John Prine's Daddy) got the hell out.
Also, he doesn't go near the Trump-favoring tendencies of some left-behinders---for a bit of that, and other stuff like mountain meth and getting "Knocked up, my-my," see solo albums, esp. debut, of knockee Angaleena Presley.

Three comparatively humdrum tracks out of ten, but they gain by context, especially "The Mine," which is hopeful in a Springsteeny way, which means sing-songy yet empathetically ironic---sure, kid, things'll be all better when you got a job down in there.

i love the Earle album, it's very on point for the moment

Yeah, man---what is it about that mountain-associated music that gets this Houston-to-Nashville-to-NYC guy going like that? Train A-Comin', with Norman Blake and Peter Rowan, The Mountain, with the Del McCoury Band, and now Ghosts of West Virginia.

as a Nashville-to-NYC guy myself, I'd say that you should never be against an ethically-sound, thoughtful urbane hayseed but that's likely just my upbringing talking

Update from xpost Marshall Chapman:

Tomorrow (Friday) I'll be doing a special livestream compliments of Country Standard Time on FaceBook starting at 4pm CT (5pm ET, 2pm PT). I'll be playing songs, telling stories, and taking your requests.

Then on Saturday at 3pm CT (4pm ET, 1pm PT), it's back to my regular weekly livestream (also via FaceBook) from Springwater.

As some of you know, my new CD Songs I Can't Live Without is out and running. So if you haven't already, you may order it by clicking here. All orders will be mailed within one week of purchase. And as a bonus, each order will include a signed essay I wrote about the recording of this album ... why I chose each song ... what each song has meant to me over the years, and so on.

It's been great hearing from everyone. We need to all stick together during these turbulent times. Here's wishing you strength, peace, and love.
Visit Marshall's new Website
https://www.tallgirl.com/

oho--words of prisoners set to music by various artists:
https://www.nodepression.com/album-reviews/on-long-time-gone-prison-music-project-gives-voice-to-those-society-dehumanizes/?mc_cid=8c11eb8572&mc_eid=b850f832a1

Diplo's country-pop-hip-hop-etc album, with Thomas Rhett, Young Thug, Zac Brown, others:
https://www.rollingstone.com/music/music-country/diplo-nashville-country-album-thomas-wesley-1010729/

i hate diplo's country production; particularly unhappy with the direction he's pointed Cam in.

WTF happened to Cam? She's working with Diplo now? Made one great album 5 years ago that was a smash radio success - seemed to have cracked the contemporary female pop country puzzle while still having some substance to the songs. "Diane" was pretty good, too. It was surprising not to see her make another album with Bhasker in 2017-2019 range.

She did "So Long" with him last year, also her own acoustic version, with just 2 or 3 Nashville cats. Another Cam album is coming out this summer, according to Rolling Stone, but I haven't found a title or date. According to this coverage, her recent co-writers incl Natalie Hemby, Liz Rose, Lori McKenna:
https://www.songwriteruniverse.com/cam-songwriter-interview-2020.htm

Video of her new track, "Til There's Nothing Left," embedded in that article: very nice! Still cracking country media guardrails for females, hopefully.

Oh, and while we're still waiting for yon studio Margo, this is mostly pretty fahn as in fine:
https://margoprice.bandcamp.com/album/perfectly-imperfect-at-the-ryman Though I must wanr yall that she does "Proud Mary," and it's the slow-fast "PM": like the Ike & Tina def w/o Ike & Tina. Otherwise, in descending order of complaints, she sometimes extends the ends of lines with bah-bah vibraaato (Shakira does it better), the drinkin' medley seems maybe(?) a tad awkward, like she and the Price Tags needed to rehearse this bit of their old club act maybe(?) a tad more, and some words fall down a well---but the overall momentum and emotional relevance don't. In other words, it's one live album that doesn't seem to have gotten any tweaks, and needed hardly any. (But I'd skip that "Proud Mary" if I were you).

i think Cam is a major talent; she's a monster live and more than half of Untamed is absolute top level pop country. I'm just flummoxed by her many lacking crossover misfires: the boring Sam Smith track (which undoubtedly got her real paid), the unnecessary Christine and the Queens cover, the obligatory generic Christmas song, the Diplo thing. Both of the new singles sound disposable to me, but I could give "Nothing Left" another try i guess? I'm hopeful there's more there there but i need to hear it.

"Nothing Left" seems pretty poignant and sexy to me, low-key and flashy in all the right places, testifying to a relationship that still works. She wants it to go on and on, 'til there's nothing left, sounding like she implicitly recognizes that such a day will come, because death if nothing else. But my first time was with the video, so I'm influenced that way. Here's hoping the album is good.

Strung out once again on Whitney Rose, while replaying her latest, We Still Go To Rodeos: songs, like the budget-mindful, but not cowed, title track, about getting through this and that, but also sometimes he (not nec. always the same he) drops the ball. On first listen, I thought the guitar might be too much with us, but listening again I got that instruments always respond to her, often writing in short, punchy phrases, although her vocal approach is more float like a butterfly, sting like a bee. Structures seem like she might have been listening to good early Elvis Costello, especially in "Believe Me, Angela"---looks like one of his old titles, doesn't it---but this is strictly woman-to-woman, warning the other one not to take her man, because he sucks. But wait there's more: narrator might be over-eager, overselling "Angela! I like that nane." And still more, maybe--this simple male mind will have to lean in.
"Thanks For Tryin'" gets into a building recurrence that somehow reminds me of "Crimson and Clover," while "You'd Blame Me For The Rain" is this album's "Can't Stop Shakin'" Southwestern groove thing, the shrug of a strong shoulder. But there's also room and time enough for real-enough country feel, even a little bitty tear she won't let go, won't let it let her down, can't afford to, she thinks (budget-mindedl like she's learned to be).

(PS: Reasonably good audience recordings on YouTube indicate that the guitar volume can be a problem via club sound system, just because she doesn't have the biggest, loudest voice, but I'll take my chances when feasible; meanwhile, maybe she'll livestream, with control over the mixing, or just with her own acoustic guitar, that could work with her songs too).

https://whitneyrose.bandcamp.com/releases

Margo has a sad little thread of her own here: The Margo Price c/d

Her new studio set is due now in early July, which-iirc-was when it was initially supposed to be out?

I believe she pushed it back from early May

That sounds right. I'm probably mixing it up w/her summer tour with Chris Stapleton that's been pushed back/cancelled.

May 8th it was.

"til there's nothing left" is probs my favourite song of the year. just sounds so glorious

with the windows UP
spending all my LOVE

and those final chorus adlibs. mmmmmmmmmmmmm

need another album so bad - "road to happiness" was also great

Dear fans... pic.twitter.com/7JlcH2NMl6

— Lady A (@ladyantebellum) June 11, 2020

Lady A isn't a very good band name. They should keep brainstorming. I wonder if The Beguiled is taken?

Agreed that Lady A is a bad call... we can't say this, so we'll abbreviate it? Maybe just "Lady"?

they can tour with lady g!

practical question: how did they get the "ladya" twitter handle in 2020?????

$$$$$$

check this shit out, it's 1996 and I'm a writer for Norm MacDonald's Weekend Update:

In music news this week, country music group Lady Antebellum changed their name to Lady A in order to avoid racist connotations with Civil War history. The meaning of the A in the new name? ANTEBELLUM.

The group's manager says the new name was their second choice, after their record label rejected their first choice: Lady Racist.

Didn't they try unofficially doing this 5 or so years ago? Using Lady A in different settings and talking about being ashamed of their name. Maybe it didn't take with people and they think it'll go better in 2020?

In other country groups with unfortunate names for the times news

#GASLIGHTER pic.twitter.com/Cieo4vBNZC

— Dixie Chicks (@dixiechicks) June 11, 2020

Their name comes from "Dixie Chicken," not the Johnny Reb-associated anthem, which itself (aothorship of which has been disputed by descendants of black string band musician---that's def an old time thing; the Carolina Chocolate Drops met at a convention of like-minded African-American pickers 'n' pluckers) references Dixie as an already-existing area-name (for that matter, the seldom-performed introduction, at least the version I heard on a Civil War comp, is from the POV of a jiltee who is about to head South, or at least takes solace from the resolution to do so, by cracky---in that context, it's not regional anthemy-type anthem per se, and could imagine the Dixie Chicks covering that version).
Of course, some say that "antebellum" is a purely historical term, but----
So far on Twitter, DCs have often been defended for their anti-Iraq-Invasion stance (and Natalie added that George W "makes me ashamed to be from Texas"---how could you be ashamed to be from Texas, On YOUR KNEES INFIDEL), But, if they change it to the Chicks, the D Chicks, De-Chicks, fine, whatevs.

When I first heard of Lady Antebellum, the cheesy name made me not want to listen, but then I had to write show previews, and they didn't sound so bad---v. young, clean-cut, Southernish, nothing to make me think of rebel flags etc. But why such a name, sheesh. Wonder if Confederate Railroad is still around?

"The* De-Chicks, that is.

hey, ***THEE DEECEES***, or """THEE DCS***, that's American (but will DC Talk object)

dexys chicks

Pretty sure Confederate Railroad is still chugging somewhere on the Sports Bar/Honky Tonk circuit.

confederaterailroad.com is still chugging along without a functioning "Fun Stuff" link on their site header.

but who needs a Fun Stuff page when you've already got a Photos page chock full of fun stuff!!!

https://i.imgur.com/EsMT4fv.jpg

https://i.imgur.com/951cz17.jpg

https://i.imgur.com/J0Is3Fr.jpg

https://i.imgur.com/GrABxLd.jpg

https://i.imgur.com/AAWzbc8.jpg

https://i.imgur.com/6V5tlN6.jpg

Fourth pic from the top rules (despite stiff competition from 1 and 5)!

x-post

But according to Seattle’s Lady A, neither the band nor any members of their team reached out to her before making the change.

This Lady A — a 61-year-old black woman whose real name is Anita White — has been playing the blues under the name for more than 20 years. She began singing as a gospel performer at church and started going by Lady A for karaoke nights in the Eighties. She’s released multiple albums with the name, and on top of her day job working with Seattle Public Utilities, she’s gearing up to release another album, Lady A: Live in New Orleans, on her birthday on July 18th.

https://www.rollingstone.com/pro/news/lady-antebellum-lady-a-country-blues-1013919/

Oh man. Good luck to her and them getting this all sorted out.

Meanwhile, this might be the right way to present concerts, if also *masks* people

Billy Bob’s Texas And Lone Star 92.5 To Host #GIVEFORLIFE Blood Drive June 25

New shows announced for July along with rescheduled concerts for 2020
FORT WORTH, Texas - The legendary Billy Bob’s Texas, located in the heart of the Fort Worth Stockyards National Historic District, first opened in 1981. While concerts for June have been postponed due to social distancing as a result of the COVID-19 virus, the colossal Billy Bob's Texas will continue hosting concerts as soon as possible.

Though “The World’s Largest Honky Tonk” will remain closed for the time being, per the latest executive order from Texas Governor Greg Abbott, Billy Bob’s Texas along with Lone Star 92.5 will be hosting a #GIVEFORLIFE blood drive on June 25 from 6am - 7pm (CT). Parking is complimentary in the main Billy Bob’s parking lot, and in the lot to the east of the building. Call or text 800-366-2834 to make an appointment.

For more information on the #GIVEFORLIVE blood drive, visit HERE.https://billybobstexas.com/news/lone-star-92-5-summer-blood-drive-2020

Just Announced! Tickets will go on sale Tuesday, June 16 at 10AM for new concerts in July such as Randall King (7/2), Neal McCoy (7/3), The Bellamy Brothers (7/4) and Mike Ryan (7/10 & 7/11).

Though the current mandates listed in Phase 3 of Governor Abbott’s reopening plan states that bars can open at 50% capacity, we feel that in the interest of health and safety for our staff, guests, and entertainers, we will be opening at HALF of the restricted capacity.

Therefore, these newly announced concerts will be limited to 1,500 tickets.
1000 socially distanced Reserved Seats
500 socially distanced General Admission

There are a number of concerts that have been rescheduled such as Roger Creager (7/17), Robert Earl Keen (7/18), Cory Morrow (7/24), Gary Allan (8/1), Drake White (8/14), Tracy Byrd (8/21), Chad Prather (8/23), Sammy Kershaw (9/11), Justin Moore (9/26), Shane Smith & The Saints (10/17), "Hold My Beer" with Randy Rogers and Wade Bowen (10/23), Lonestar (10/30), Josh Ward (11/13), Colter Wall (11/19), Easton Corbin (11/27), Stoney LaRue (12/5), Jon Pardi (12/10 & 12/11), Flatland Cavalry (12/26).

For more information on all rescheduling and future announcements, visit HERE.
https://billybobstexas.com/news/lone-star-92-5-summer-blood-drive-2020?utm_source=2911+Media+Alert&utm_campaign=61a504a8df-2020-06-12_BBT_June-release&utm_medium=email&utm_term=0_6ce95af186-61a504a8df-55168218

Circle airing Live At Billy Bob’s Texas!

Live at Billy Bob’s Texas gives the listener a front row seat to concerts at the World’s Largest Honky Tonk. The music series has compiled powerful performances featuring hits from legendary country music artists like Willie Nelson, Charlie Daniels, Eddy Raven, Gary Stewart, Asleep at the Wheel, Janie Fricke and more.

Circle network is carrying Live At Billy Bob’s Texas! Launched in January, Circle Media celebrates the country lifestyle and puts fans inside the circle of everything country. Circle offers entertainment news, documentaries, movies, archival, new and licensed programming, Grand Ole Opry performances, and more. Based in Nashville, Circle includes a linear network as well as a companion over-the-top (OTT) premium entertainment service which is expected to launch in spring 2020. Circle is a joint venture between Opry Entertainment Group, a subsidiary of Ryman Hospitality Properties, and Gray TV.

Go to CirclePlus.com for shows, schedules and a simple guide to getting the channel.

Visit BillyBobsTexas.com/live-at-billy-bobs for more information.

Location:
Billy Bob's Texas
Historic Fort Worth Stockyards
2520 Rodeo Plaza
Fort Worth, Texas 76164
(817) 624-7117
DIRECTIONS

About Billy Bob's Texas:
Located in the heart of the Fort Worth Stockyards National Historic District, the 100,000 square foot cattle barn became Billy Bob's Texas in 1981. Since then more than 17 million visitors have enjoyed live entertainment and real bull riding at "The World’s Largest Honky Tonk".

The facility can hold 6,000 rowdy patrons on a given night and has been host to hundreds of musical acts, from Alan Jackson to ZZ Top. On Fridays and Saturdays, the venue also features live bull riding – a step up from the mechanical variety. It seems like an unlikely source for a series that has sold millions of albums.

Billy Bob’s has been named the Country Music Club of the Year 10 times by the Academy of Country Music.

To buy Billy Bob’s Texas merch, or any of the Live at Billy Bob's Texas CDs and DVDs, click here to visit the online store, or to buy tickets for special events and concerts, go to billybobstexas.com.

For important updates and more information visit Billy Bob’s Texas social channels linked below.
Instagram | Twitter | Facebook | YouTube

https://gallery.mailchimp.com/bf141dbbd818f4f933816b13a/images/d95809f1-a6b4-4eff-8460-350e81eddd37.jpg

"linear network": The Circle is on digital antenna TV where I live, but haven't yet gone to antenna.

In same email: virtual benefit concert for KNON, local listener-supported radio:

https://mcusercontent.com/bf141dbbd818f4f933816b13a/images/dd7a5a9b-e122-45c3-b6b1-e65eb719bded.jpg

Smith Entertainment Group's Live At Billy Bob's incl. some I heard, thought were pretty good: ones by Merle, Coe, and Gary Stewart (although that last was pretty eerie, and came out around the time he killed himself), but didn't know there were 50! Incl. artists famous at the time at least, and even still alive in some cases, others not so much. What a time trip. Wonder if Cross Canadian Ragweed are still around?
https://billybobstexas.com/live-at-billy-bobs

Mainly remember the single they did with Lee Ann Womack.

new Colter Wall single, a little more pep in his step suits him well

https://youtu.be/_P0q4AC02Io

Wonder if Cross Canadian Ragweed are still around?

They broke up in 2010, but leader Cody Canada has a solo band called The Departed that's basically been doing the same thing (Red Dirt Southern Rock) since then.

Those Billy Bob's live albums are staples of Texas truckstop CD racks.