I’ve written a bunch about Adam Carroll. I’ve covered his solo records (here), a duo record with Michael O’Connor (here) and now a live from Flipnotics Cafe record.
To quote myself here’s what I originally wrote about the song “Oklahoma Gypsy Shuffler” when it first appeared on Adam’s record Old Town Rock N Roll:
The song is about a loner who roams the land getting into and out of trouble, both mortal and of the soul. With lines like “drivin’ down the west coast highway”, “songs out the window was all he had to lose” (can’t you just picture the songs floating out the window?), “cuttin’ heads on the chitlin’ circuit”, and “snorting cocaine off a buck knife” Oklahoma Gypsy Shuffler is as timeless as the Oklahoma dust bowl and the howling winds of West Texas.
I think that pretty much nails it, except to say that this live record features production and playing by Scrappy Jud Newcomb and along with the older songs Adam throws in a couple of new ones. If you are an Adam Carroll completist like myself you’ll want to buy this one (here). Catch Adam Carroll at Flipnotics on 9pm on Friday night and then stay for friend and Austin legend Beaver Nelson (or go a little early to see Scrappy Jud Newcomb).
Here’s something simple and beautiful from Canadian (by way of Scotland) folk singer David Francey. I’ve loved everything I’ve heard from David so I look forward to hearing more of his music on Saturday, March 20 at 10:00 PM at Stephen F’s Bar.
I made a pact with myself about 4 years ago never to post major label schlock on Songs:Illinois. One reason for my boycott is that on the whole major label releases equate to overproduced, lowest common denominator crap. The second reason is that the majors aren’t thrilled with music blog coverage and I’m not that keen on having my site summarily deleted.
But I couldn’t resist with this new record by Isaac Russell due out in 2010 on Columbia/Sony. Isaac is a Provo, Ut based singer songwriter who has recently been on tour with Pete Yorn, as well as recording with Dennis Herring (The Hives, Elvis Costello, Counting Crows). I’m not sure how he got all these big breaks, but I’m willing to guess at least part of the reason is his hard work, his songwriting ability, and his velvety vocals. “House of Cards” is from that forthcoming, as yet untitled, major label debut. Catch Isaac Russell in Austin at SXSW on Wednesday, March 17 at 8:00 PM at the The Ale House.
Paul Cebar (as well as friend and collaborator Willy Porter) have led “go to” bands that play Chicago during the summer festival season. Both guys are able to appeal to the various cliques that attend these rites of summer. Paul Cebar does it by having a tight band that is able to play any style of music at the drop of a hat. Paul is known for having a good time and creating music that helps others do the same. So for that reason and others this acoustic outing is a departure. For me it’s a a nice bonus.
The new record was recorded without overdubs and completely acoustic. This allows you to hear what really happened in the studio as well as hearing every nuance of both Paul’s acoustic guitar playing and his vocals.
One Little Light On is available at Cd Baby now here.
I had an “a ha” moment this morning. A ha! This is why I have a music blog! A ha! This is what music should sound like! And simply, a ha!
Sam Doores is a New Orleans based folk singer who grew up singing gospel at church, was converted to folk after seeing Ramblin’ Jack Elliott, and then took the course of many young artists by exploring the music of Dylan, Gutherie, et al. Seeing that he is presently in New Orleans it’s no surprise that a bit of jazz and afrobeat have crept into his music. Sam Doores doesn’t have a proper debut record out as far as I can tell. These songs are lofi samples off an early demo ep. As you can hear he’s onto something special; I hope to hear more from Sam in the months to come.
Catch Sam Doores at Circle Bar in New Orleans on Jan 15 or at the annual Folk Alliance shindig in Feb. in Memphis.
I usually don’t jump at writing about press releases (in fact I get so few since I unsubscribed to just about every email list) but there are a few people that I still listen to. So when I read about something new from Anaïs Mitchell by way of Thirty Tigers it was news to rejoice to. The new record Hadestown is a recording of her adaptation of the greek myth Orpheus and Eurydice. I’ve heard a song or two in person and they are special and unique in the world of music. How can they not be? The songs that make up her folk opera, which is based on a story thousands of years old, use the folk idium to loosely tell a story that bends and twists in ways that are unique and challenging.
As a result on the song “Way Down” you get Tom Waitsesque vocals, muted trumpet, an angelic choir and Anaïs’ own unique vocal delivery.
P.S. Anaïs Mitchell will join about a hundred other folk artists this February 17-21 in Memphis, TN for the annual folk pilgrimage known as Folk Alliance.
A couple weeks back Canadian based blogs Herohill, Slowcoustic, and Chicago based Song:Illinois (here) went a little overboard over Canadian singer-songwriter Cam Penner. There was some good natured ribbing and recrimination over the fact that I was first to discover this excellent Canadian singer-songwriter in their own backyard. Now I hate to say it but I’m going to do it again.
Chris Coole is a Toronto based clawhammer banjo player of some renown (in fact he may be one of the best in the world). He’s played with and for some great artists over the years (Jenny Whiteley, Jim Cuddy, Sylvia Tyson, and Justin Rutledge.) But it’s with this, his first solo record, Old Dog, that Chris has really stepped out/up. The album features 5 original songs as well as some traditional numbers and covers of songs by The Band, John Hartford and Dave Dudley. The record also features friends on fiddle, pedal steel, mandola, cello and percussion. The song styles range from traditional folk to honky-tonk to contemporary bluegrass. I like that Old Dog has a nice, easy, casual feel. The record sounds organic and the songs are a natural for Chris’ laid back vocal delivery and masterful guitar/banjo playing.
It was hard to pick just one song since there’s a variety of styles on the record and since there are so many fine songs. But I forced myself to choose one and it’s the Chris Coole original “Hell To Pay” (although a close second was either the title track “Old Dog”, the duet called “The Bottle Got The Best Of Me” that reminded me of Prine/Dement, or the John Hartford cover “Wish We Had Our Time Together”).
The Providence based band Brown Bird has been blowing up my Twitter feed thanks to Slowcoustic (posts here and here). The band plays a gloomy blend of americana and indie folk. David Lamb’s voice is deep and resonant, his songs are suitably dark and are laden with many intense images and appropriate instrumentation. The band sits somewhere between the slow dark folk of J. Tillman and the punk spirit of O’Death.
The band’s new record The Devil Dancing is out November 10th and can be preordered now through Peapod Recordings. Here are two songs from the new record that show the depth and range of Brown Bird’s music.
Bop Ensemble is a Canadian folk supergroup of some sort. I’m honestly not familiar with all (any!?) of the members of the group. But I like the sound of the band I hear on “Flash Around the Globe” from their new record Between Trains.
Today is one of those posts when you have to listen for yourself and see what you think.
Usually everything we review is so brand new it’s barely available to purchase. It’s very rare that we take a look back at some lost or forgotten artist. It took the combination of a Chicago label and an artist that never gained the recognition he deserved to break our pattern. The artist in question is Jay Bolotin and the record in particular is his eponymous debut. While aspects of the song “It’s All In That” may sound dated the recording quality is rich (as would be expected of something put down on tape rather than disc). And it’s his heartfelt lyrics of love for his wife and newborn child that still resonate today.
I usually don’t cut and paste but here is Locust Music’s bio info on Jay Bolotin:
Jay Bolotin’s musical awakening hearkens back to his youth in Kentucky learning songs from old timers and songsmiths of the region – among them John Jacob Niles. 18 years on, he found himself on the east coast with a record deal and cut two albums. Only the first would find some form of release in the late 60s before Jay dropped out of the music scene – however temporarily – for an abandoned boys camp in New Hampshire before reemerging two years later in Nashville’s fertile music scene. Here, Jay cut his teeth as a songwriter, befriended and worked with a veritable who’s who of Nashville country and folk musicians before retreating yet again – this time into the depths of Kentucky through the rest of his 20s.
Jay has called Cincinnati home for the last three decades. He is recognized today as a prolific artist, writer, composer, musician, and filmmaker. He has composed and performed scores for dance productions, films, and television. His woodcuts are represented in many major collections, including the Museum of Modern Art in New York.
Here’s the song “It’s All In That”, you can purchase a 180 gram vinyl or trifold digipack cd here through Locust Music.
Here’s another song from the excellent new Peter Mulvey record on Signature Sounds. If you’d like an invite to the Oct. 11 Chicago area house concert email me at cbonnell@gmail.com.
From the moment I heard of The Wingdale Community Singers I was intrigued. The band was “put together” by novelist Rick Moody and features Hannah Marcus and David Grubbs (Squirrel Bait). They set out to celebrate old time Appalachian music as well as the written word.
I’ve written about the band here and you can read a first person account of the band by Rick Moody in the Guardian here. So I don’t have much more to say, except that their blend of secular dance music (Appalachian folk) with gospel and strains of rock is just so good. Their new record is called Spirit Duplicator and is out on Scarlet Shame Records (purchase now here or here).
Here’s the one cover on the record, the Carter Family’s “Death Is Only A Dream”.
I like these older punkish guys who leave the noise behind and embrace the folk and roots of their parents. I’m thinking of AA Bondy, William Elliott Whitmore and Tim Barry. And now Curtis Harvey (Pullman, Rex).
Curtis Harvey’s debut release Box Of Stones comes out on Fat Cat on November 3. The record was recorded in his basement studio and you can hear the warmth that setting helped create on the song “Older Too”.
P.S. 60’s folkie and subversive artist Michael Hurley has a new record coming out on Gnomosong. It’s called Ida Con Snock. The record was recorded with the band Ida in Levon Helm’s studio. Here’s “Wildgeeses”. Buy it here.
As I sit here listening to Allen Toussaint’s excellent new record The Bright Mississippi I realize I’ve selected the only jazzy song from the new Peter Mulvey record to share with you. Perhaps I was influenced by the New Orleans vibe of Toussaint. Or perhaps I needed a pick me up. Either way “some People” has got a jauntiness that sets it apart from the other fine (yet typical singer-songwriter fare) found on his new record Letters From A Flying Machine. Peter is another of the amazing artists being represented in the states by Signature Sounds Records. What may set Peter apart from his contemporaries is the fact that he’s been recognized as an outstanding acoustic guitar player as well as a singer and writer.
“Some People” is clever and funny with both political and philosophical musings. In the end when all is said and done the song is very zen. Peter will be on the road all summer including a particularly arduous and lengthy spell when he’ll be traveling (guitar and all) on his bike.
I’d like to add my voice to the handful of music blogs that have been praising the debut release from Howard Eliott Payne (Candie Payne’s brother and formerly The Stand frontman). Both You Crazy Dreamers and Music Like Dirt have featured the music from Bright Light Ballads and I’d just like to throw one more voice (and song) into the mix.
Howard actually had me at the cover art. It certainly harkens back a few decades to the artwork of Dylan, Young and Parson albums. Much the same can be said about the low key music found inside. While a few songs like “Come Down Easy” reach a gospel-like crescendo, more often they are minor masterpieces like “Dangling Threads” and “Until Morning”. These songs are more self assured than usually found on a debut.
Willy Porter is a mid-west boy through and through. He’s quite successful in the Chicago market as well as surrounding markets like Milwaukee, Madison, Ann Arbor etc. His Midwestern values shine through on the title track of his new record called “How To Rob A Bank”. It’s a bitter look at the way large corporations have plundered the nation.
Instead of barging down the door and heading straight for the vault the robber in “Bank” joins the bank’s board, hangs out in country clubs “farting in velvet couches”, and begins his corporate raiding. The song is an indictment of the robber barons of Wall Street, the politicians in Washington and the people supposedly in charge of minding the proverbial store. It’s all put together in a song that musically reminds me of Loudon Wainwright or Todd Snider.
The new record was released today and is available here.
The Moore Brothers’ new record Aptos has been out since the beginning of March. That’s a very short time, except for music bloggers that are now covering releases that are coming out in June and July. Clearly The Moore Brothers didn’t hire any of the seemingly hundreds of pr companies cropping up to promote to music blogs or they would have been all over Elbo.ws and Hype by now whether they deserved it or not.
Deserve it they do. The new record has received great reviews from a few high profile online outlets that tend to delve deeper into these sorts of things than your generic pr driven indie rock music blog. This is the band’s fifth record (wrote about them here, here) and to my ears it’s their most accomplished yet. On the surface the songs seem simple but they are not. Some songs pulsate with a stop and go rhythm that propels the songs forward almost dangerously (those are the odd numbered songs) and some are quieter but no less forceful (those are the even numbered songs). The band has hooked up with friend Joanna Newsom who sings and play harp on a song or two and producer/artist Kelley Stoltz for production duties. Each brother (there are two) takes turns by composing/writing alternating songs; one doing the even numbers and one doing the odds.
Aptos is a modern day classic, that had it been released by the Beach Boys or CSNY or even The Beatles would have fit within their catalog of songs. Here’s an odd numbered song written by Thom Moore. “Variety” features upper register vocals that reminds me of prime Game Theory with vocal harmonies that recall the best of the Beach Boys. It’s a short little pop song of the highest order.
I’m committed to supporting and writing about the music of David Wilcox. At times I find his music a little too sensitive and refined. But then again his voice is a wonderful instrument, his guitar playing as good as any other singer songwriter, and his songs often a marvel of simplicity and honesty.
So when something new comes up I usually get to it asap. David’s new record on What Are Records? is called Open Hand. David and his band recorded it mostly live in the studio and put it on analog tape (no pro tools or studio witchcraft). The results are organic and warm. If you have room in your heart for James Taylor or even Jack Johnson I’d encourage you to check out the songs of David Wilcox. Buy it here. Two songs from the new record:
Sometimes I labor over a post wondering if the music is good enough, if the artist is “legit” enough or simply if I care enough. That’s not the case with a Richard Shindell post. The man is clearly in the upper echelon of the folk world. And his stature and music has only grown since his move to Argentina. With each new release he continues to blend the culture of Buenos Aires with his original homeland of New Jersey, it’s an odd, beguiling combination.
It’s been too long since his last record of original songs though. His covers record South Of Delia tided us over for a time with it’s reinterpretations of classics from Bob Dylan, Woody Gutherie and Bruce Springsteen (and new classics from Josh Ritter and Jeffrey Foucault). The new record is called Not Far Now (Signature Sounds) and Richard describes how he knew it was time to record a new album below:
“There are various subtle indications that it is time to make a new album,” he explains from his adopted hometown of Buenos Aires. “Like when my fans start looking at me funny, when I’ve run through every puzzle at every level in the sudoku book, or when my children start to ask me what I do for a living…”
The song I linked to is about a mule. Apparently it’s a song that Richard has been performing live and that people respond to for the obvious reasons:
“Of the eleven songs on this record,” Shindell reflects, “there are three that have shown up pretty regularly in my live sets during the past year or two. People seem to like ‘Clara’ the most, as do I. This is perhaps explained by the fact that Clara is a mule, and people generally like songs about mules.”
I don’t think of Steve Forbert (here, here and here) as a lighthearted or particularly funny songwriter, but this new song from the upcoming LP The Place And The Time is just that. It reminds me more of a Loudon Wainwright song than a classic Steve Forbert tune.
Pre-order an autographed copy here from Steve Forbert.
{Abbreviated post due to a nasty intestinal bug – you don’t want to hear the details!}
Glad you found me at my new url. Songs:Illinois is committed to writing about music that is under-appreciated and unique. I've found that the music I write about shares a couple of traits. And they are: lyrical integrity, musically diverse, and written/performed by compelling characters.
Most songs found here are free and legal and have been provided by either the artist or label. If for some reason you'd like to have a song removed, please email me at cbonnell (at) gmail.com.
