In the American sense, songsters are keepers of musical tradition while at the very same time challenging and reimagining the concept. Traveling from city to city, state to state, songsters prided themselves on the ability to play music for any variety of occasion or audience. But with this nomadic lifestyle, the same attention paid to recognizing and learning traditional music was applied to more popular musics, leading to a veritable melting pot of change and reinterpretation of modern and classic standards. While for many the first and main example of this phenomenon would no doubt be the blues, Smithsonian Folkways’ Classic African American Songsters seeks to show a more complex side, full of invention and creativity beyond the music of the Delta. Featuring the likes of Lead Belly, Mississippi John Hurt, and Big Bill Broonzy, among others, the 23rd album in Smithsonian Folkways’ “Classic” series adds further insight into an often forgotten period in African American music.
Detroit jazz violinist Regina Carter has never failed to delight us in the past with her wide-ranging explorations of genres. On her latest album, Southern Comfort, she continues this tradition, effortlessly slipping into the realm of folk and bluegrass music as she traces her father’s roots. Based on research into music collected by the Lomax family and John Wesley Work III, Carter strives to replicate the raw beauty and emotional impact conveyed by these field recordings. Her arrangers have done an excellent job, providing Carter and her band with a cohesive set of tracks, primarily based on traditional tunes but also including a few of country charmers of recent vintage such as “Honky Tonkin’” by Hank Williams and Gram Parson’s “Hickory Wind.”
Delving into the pathos of Appalachia, the album begins with “Miner’s Child,” a traditional fiddle tune that calls to mind John Sayles’ film Matewon. Other highlights include the hoedown “Shoo-Rye,” the Cajun instrumental “Blues de Basile” (originally recorded by Dennis McGee with African American accordionist Amédé Ardoin), the bittersweet “I’m Going Home,” and the only track with vocals, “I Moaned and I Moaned” which takes us to church complete with fervent handclapping before seguing into a rock guitar and violin duet between Carter and Marvin Sewell. Other musicians include Jesse Murphy on bass, Will Holshouser on accordion, and Alvester Garnett on drums.
Fans of Carter as well as those who enjoy the music of groups like the Carolina Chocolate Drops will appreciate Southern Comfort and the contemporary renditions of these traditional gems.
Kandia Crazy Horse is well-known for her music journalism. Her writing has been featured in the Village Voice, San Francisco Bay Guardian, and Creative Loafing and she also served as the editor of Rip It Up: The Black Experience in Rock & Roll. With Stampede, the esteemed music journalist steps out from behind the pen and in front of the microphone for the first time. This debut album is a collection of eight original and two cover songs that showcase Kandia’s raw, strong and rich vocals as well as her talent as a songwriter. With Stampede she has begun to make her mark as not only a music critic, but also a country music artist.
Of the original songs in the album, there are three in particular that stand out, propelled by knock out performances. “California,” the album’s lead single and the first to be written for the album, is Kandia Crazy Horse’s nod to her California rock country love, written after an extended stay in Sunset Beach. From the very beginning, the song screams of wide open spaces and breezy road trips with the top down through the barren west as the sun sets:
The following track, “Congo Square,” definitely ups the ante on the energy scale, but reads as a tribute to her late mother’s humanitarian lifestyle. “Cabin in the Pines” is her father’s song. Originally, Kandia conceived of this album as a tribute to her late mother, but this song is in recognition of her father and particularly references stories he would tell of his boyhood in Southwest, Georgia which included visits to one of the town’s jookhouses.
The two covers on the album include Kandia’s version of “A New Kid in Town,” a piano-driven version of the Eagles’ hit from 1976. Stripping the song of its original, open, but very present instrumental arrangement and the plush harmonic bed of the Eagles, Kandia inserts her raw, soul-filled solo vocals that gently pierce the space around the piano’s accompaniment. A personal favorite of mine is her cover of Neal Casal’s “So Many Enemies.” Her slightly slower rendition retains the energy and life of the original song, but her vocals add a different edge to the performance.
Overall, this album is a colossal step into the artist world and a statement that all should take notice.
Philadelphia singer-songwriter Amos Lee burst on the scene in 2005 with his self-titled debut album that established him as a 21st century folk rock singer with a soulful edge. Since then he’s released three more critically acclaimed albums that have gradually tilted towards a more countrified version of folk. On Mountains of Sorrow, Rivers of Song he goes the whole nine yards, recording in Nashville with producer Jay Joyce and supplementing his touring band with well-known studio musicians including Jerry Douglas on Dobro, Mickey Raphael on bass harmonica, Jedd Hughes on mandolin, and Tony Joe White on guitar. Proving he’s much more than a singer-songwriter, Lee also picks up the banjo, acoustic and electric guitars, mandocello, and ukulele, while keyboardist Jaron Olevsky performs on an impressive range of instruments including accordion, bass, marimbula, omnichord, piano and toy piano, pump organ, Hammond B3, and vibraphone.
This variegated sound palette never overwhelms Lee’s heartfelt vocals, and offers plenty of variety between tracks. “Stranger,” “Plain View,” and “Tricksters, Hucksters, and Scamps” are pure country finger picking frolics while “The Man Who Wants You” gets down with some bluesy rock. The biggest hit off the album, the haunting “Chill in the Air,” features vocal harmonies by Alison Krauss and earned Lee his first appearance at the Grand Old Opry:
Other songs that stand out from the pack are “High Water” with its distorted rock guitar and vocals and the title track duet with Patty Griffin. While the musicianship is superb, the album is more commercial than Lee’s previous efforts and some of his songs lack the lyrical depth we’ve come to associate with his work. But if you’re a fan of roots music, folk and bluegrass, there is certainly much to enjoy.
The number of African American singers who’ve broken into country music is minimal, and black female country singers are practically unheard of. Though Linda Martell was the first black woman to sing at the Opry and released Color Me Country back in 1969, forty years later you can still count on one hand the number of black women who’ve received any significant recognition in the genre.* Fast forward to 2013, and a new country singer is trying to break down these barriers.
Adrianna Freeman, a native of Tallahassee, Florida, is the daughter of a sharecropper who, like many African Americans of his generation, grew up listening to country music. Adrianna took her father’s dream to become a country singer and made it her own. She first gained notoriety playing in small bars across Nashville, where she now resides. After getting the attention of Teddy Gentry (of the super-group Alabama) and finding herself the subject of rave reviews for her track on his “Teddy Gentry’s Best New Nashville” compilation album, Freeman was able to secure Gentry to produce her debut, Either You Do Or You Don’t. The album has been well-received around the globe, gaining airplay on radio stations from the United Kingdom to Australia, and for good reason. Freeman’s winsome voice may just take her down the road to country stardom. Some of the strongest tracks on the album include “Leavin’”, “Think of You,” and “There’s Gonna Be a Rainbow.”
Adrianna’s single, “Just a Girl,” was recently selected as the official theme song of the National Network for Youth (NN4Y), an organization that helps homeless and runaway youth:
This track will appear on her new EP scheduled for release in early 2014.
Reviewed by Ian Hallagan
*For more history check out the new book Hidden in the Mix: The African American Presence in Country Music (Duke University Press, July 2013), an excellent compendium edited by country music scholar Diane Pecknold that “examines how country music became “white,” how that fictive racialization has been maintained, and how African American artists and fans have used country music to elaborate their own identities.” NPR has a review of the book here.
Harry Belafonte was not only one of the most popular entertainers of his era, he also had an integral role in the Civil Rights Movements and led many other humanitarian efforts over the course of his career. These are detailed in three products released in 2011-2012.
The subtitle of the 2012 paperback edition aptly sums up Harry Belafonte’s autobiography: a memoir of art, race, and defiance. Over the past few years, Belafonte, who is now 85, has worked tirelessly to cement his considerable legacy—one that goes far beyond his “King of Calypso” moniker. Though this may sound somewhat self-serving, readers will benefit greatly from Belafonte’s first-hand account as told to Michael Shnayerson through a series of in-depth interviews. Of course ample space is given to Belafonte’s early years in the Caribbean and New York, as well as his acting career and musical triumphs. His work as a political activist, however, is the most captivating aspect of the memoir. After a number of humiliating episodes on the entertainment circuit, particularly in Las Vegas, Belafonte dedicated his life to fighting racism, both in the U.S. and abroad. This led to a close friendship with Martin Luther King, Jr., who turned to Belafonte to marshall the forces of the entertainment industry in support of the Civil Rights Movement. Not only did Belafonte bankroll much of King’s work, but he was also a key negotiator with both Robert Kennedy during his term as U.S. Attorney General, and with John F. Kennedy, in efforts to move the civil rights bill forward. Episodes related during this period will certainly enlighten and inspire many readers, as will those related to his later efforts to battle apartheid in South Africa and free Nelson Mandela.
Overall, this is a thoroughly engaging book with a great deal more substance than the typical entertainer biography—but then Belafonte was no typical entertainer. He’s led an extraordinary life that few can equal.
Belafonte worked with his production company, Belafonte Enterprises, and director Susanne Rostock on this biopic companion to his autobiography. Though something of a “Cliff Notes” version of the book, the DVD does capture the key biographical elements, frequently making use of the same first-person interviews with Belafonte that were transcribed in My Song. These interviews often come across as a bit stilted, but there are plenty of other commentators that weigh in and add gravitas. What’s really captivating, however, is the archival footage from Belafonte’s ground- breaking television shows from the late 1950s-1960s and from various concerts speeches as shown in the following trailer:
Many will be seeing this footage for the first time, and it’s definitely worth the price of the DVD just to have access to Belafonte’s early television specials. Educators at all levels should also find the documentary to be an extremely useful and engaging device for teaching various facets of Black history.
Released on the same day as Sing Your Song, this short 14-track compilation offers a brief overview of Belafonte’s recording career, including the calypso “Matilda” and two other folk songs from his groundbreaking album Belafonte (1956), “Jamaica Farewell” from Calypso (1956), “Man Smart (Woman Smarter), “Mama Look a Boo Boo” and (of course) “Banana Boat Song (Day-O)” from Belafonte at Carnegie Hall (1959), the “My Angel” duet with Miriam Makeba from An Evening with Befonte/Makeba, and several additional songs, primarily drawn from the 1950s-1960s. If you’re looking for a single disc overview of Belafonte’s career, this is a start. Let’s hope that Legacy will soon devote a complete box set to Harry Belafonte.
The prolific Eric Bibb released two projects in 2012, bringing his total discography to around 35 albums over a career spanning four decades. Bibb was recently named Acoustic Artist of the Year by the Blues Foundation in Memphis, and the following albums prove he deserves this honor.
Eric Bibb continually digs deeper into the wellspring of American music for inspiration and never fails to delight his audience. For Deeper in the Well, he took his “satchel of new songs” down to Breaux, Louisiana, where he assembled an all-star group of roots musicians including Dirk Powell (of the Cajun group Balfa Toujours) on banjos, fiddle, mandolin, accordion, and upright bass; Cedric Watson (of Bijou Creole) on fiddle and backing vocals; Danny Devillier on drums and tambourine; Christine Balfa on Cajun triangle; and Grant Dermody on harmonica. Additional guests include Michel Pepin and Michael Jerome Browne playing guitar, fretless gourd banjo and mandolin on a cover of Taj Mahal’s “Every Wind in the River,” and Jerry Douglas playing Dobro on “In My Time.”
The opening track “Bayou Belle” sets the scene, with Watson weaving his Cajun fiddle through the melody:
This is followed by a cover of Harrison Kennedy’s blues classic “Could Be You, Could Be Me,” which segues into a rousing string band arrangement of “Dig a Little Deeper in the Well,” which Bibb first heard on a Doc Watson recording. Other highlights are an arrangement of the traditional song “Boll Weevil” by Dirk Powell and Grant Dermody, and Bibb’s “Sinner Man” which allows all of the instrumentalists to shine.
As with many of Bibb’s albums, he sets a modest pace, content to let his music flow from one track to the next. This creates a very cohesive blend, yet it’s far from monotonous. His approach to the music tends to focus listeners’ attention on the subtleties of the performance and the ensemble, without resorting to any overt displays of virtuosity. One would think that the group has been playing together for years, and let’s hope they reunite on future projects! The album is accompanied by a 20-page booklet with song lyrics and liner notes by Bibb.
Habib Koité and Eric Bibb are both products of musical families, and brothers in their commitment to pass on their legacies. In Bibb’s case, his earliest influences were his father, folk musician Leon Bibb, and godfather Paul Robeson. Likewise, Malian musician Habib Koité grew up watching his parents perform and their music “rubbed off on me.” The two first collaborated 10 years ago while recording the Putomayo album Mali to Memphis. Recently, Bibb made his first trip to West Africa to record with Koité in Bamako. Together, they explore roots music from two continents.
The album initially alternates between songs composed and performed by each musician, but by the third track, “Needed Time,” the brotherhood solidifies and a true partnership is formed, with the two creating and performing four songs together in a mix of French and English:
An attempt is also made to match sounds and timbres. Bibb performs on a variety of acoustic instruments: 6 & 7 string guitars, 6-string banjo, baritone guitar, and baritone, soprano and B-string ukuleles. Koité plays an acoustic nylon string guitar, 6-string banjo, and 8-string ukulele. Percussion is added by Mamadou Kone, while Olli Haavisto contributes pedal steel guitar on a cover of Dylan’s “Blowin’ in the Wind.” The result is an intimate coffee house style performance, with the two musicians blending in a way that denotes a general sense of bluesy folk music, but with an underpinning of rhythms and harmonies that are unmistakably West African. Even though Koité performs on banjo and guitar, his use of the pentatonic scale and plucking style are more suggestive of the Malian four-stringed kamale n’goni.
Brothers in Bamako will be enjoyed by anyone interested in world or roots music, especially those who enjoy acoustic string instruments. The album is accompanied by a handsome booklet with song lyrics, photographs, and liner notes by Etienne Bous.
Throughout much of the 1970s, Charley Pride garnered hit after hit for RCA Records, earning several number one spots and becoming only the second African American country artist to be inducted as a member of the Grand Ole Opry. His first full-length gospel album, Did You Think to Pray, led to Grammy Awards for Best Gospel Performance as well as Best Sacred Performance in 1972. Now, Music City Records has finally released this Charley Pride classic on CD, completely remastered and with the bonus track “Wings of a Dove,” produced by Chet Atkins.
Did You Think to Pray mixes traditional Southern gospel songs with contemporary fare. Some of the great classics include “Angel Band” (composed 1862), “Did You Think to Pray” (composed 1876) and the 1930s hymn “I’ll Fly Away,” while songs like “This Highway Leads To Glory” and “Let Me Live” are more recent creations. But whether from the mid-19th century to the late 20th, each song is brilliantly arranged and sung by Charley Pride. Another bonus for country and roots music fans is the participation of The Jordanaires, who provide the vocal accompaniment on “Angel Band” and “This Highway Leads to Glory.”
If you’re a fan of Charley Pride, or if you’re interested in learning more about African Americans in country music, or if you simply wish to hear more recent renditions of Southern gospel classics, Did You Think to Pray is highly recommended.
Formats: DVD; online rental via Netflix, Youtube, Amazon, etc.
Release date: June 6, 2012
A documentary claiming to encompass the history of the banjo is setting a high standard. The banjo, called “America’s quintessential instrument” by the filmmakers, developed from African stringed instruments brought over by slaves. It became part of the full American musical vernacular by the mid-1800s. When this movie isn’t trying to make vague political statements about racial politics as related to a musical instrument, it’s relatively interesting. However, its scattered focus and meandering pace results in a mediocre and incomplete telling of what should be a fascinating tale.
For instance, we’re never told or shown exactly what the precursors to the banjo looked or sounded like, or where in Africa they originated. Also left out are any details about how the banjo spread from the slave quarters to the whole of American folk music. It would also be nice to see how a banjo is put together, and what different types are used today (apparently the producers behind The Banjo Project originally conceived of a 3-part series, which unfortunately had to be distilled into one episode).
However, all is not lost. There is a huge redeeming feature to this film—plenty of great music featuring the banjo. The story is at its best when it centers on banjo players past and present (Pete Seeger, Earl Scruggs, Taj Mahal, Carolina Chocolate Drops, etc.). Since the banjo is used in almost every form of American folk music, the film can spotlight a diverse array of players and styles. The filmmakers should have let the music and musicians do all of the talking, and they would have ended up with a more direct and powerful story. Narrator Steve Martin, who’s technically adept with a banjo but a rather dull musical entertainer, gets too much screen time.
The pros and cons are aptly illustrated in the official trailer:
If you like the sound of a well-played banjo and are curious about American folk music, then this movie is worth viewing. It premiered on PBS last year, so it might air again on your local PBS station. However, given the lax focus and sluggish pacing, plus the inappropriate attempts to score political-correctness points, it’s not recommended for purchase. One caveat: the for-sale package includes an insert listing all the old and new musical sources heard in the film, and that is worth owning by a true banjo aficionado.
Imani Uzuri has performed with artists as varied as John Legend, Talib Kweli, Sly & Robbie, The Roots, and Bill Laswell. The North Carolina singer/songwriter has also traversed the world, soaking up melodies from Eastern Europe, Brazil, Ethiopia, Morocco, and Asia, and allowing them to coalesce with her own rural traditions. The result of these cross-pollinations is a uniquely personal style of roots music presented on her sophomore album The GypsyDiaries.
A significant departure from her 2008 release, Her Holy Water: A Black Girl’s Rock Opera, which as the title suggests was more rock than roots, Uzuri has hit on a winning formula with her new album―one that is sure to propel her career forward. Based on the theme of travel, including worldwide journeys as well as internal explorations of self, GypsyDiaries is lyrical yet moody. According to Uzuri, the songs reflect the joy of new experiences and connecting with people, but also the accompanying loneliness and angst.
An acoustically driven album, Uzuri is accompanied variously by cello, violin, sitar, guitar, flute, and a variety of percussion in a mix that is rhythmic yet fluid. Her vocal stylings range from what might be called a Middle Eastern influenced R&B on “Soul Still Sings” (a bittersweet tribute to her grandmother) to the jazzy lilt of “I Sing the Blues” to “Raga For My Lovers,” accompanied by Kaoru Watanabe on Japanese Shinobue flute.
Following is a live performance of “Beautiful,” the album’s opening track, featuring Stef Vanes on acoustic guitar (the album version features Christian Ver Halen on guitar):
Anyone with an affinity for acoustic folk and world music is sure to enjoy The GypsyDiaries.
This is the second album from “roots collective” or “roots super-group” South Memphis String Band. Original members Jimbo Mathus (Squirrel Nut Zippers, Tri-State Coalition), Alvin Youngblood Hart (Muscle Theory) and Luther Dickinson (North Mississippi All Stars) are joined by Justin Showah (Knockdown South, Hill Country Records). The album mines the deep traditions of blues and “hill music,” but also proudly delves into the corny and politically-incorrect dustbins of novelty and medicine-show songs from the times before rural electrification.
Those who get offended by corn-pone and somewhat racist humor of yore, avoid this album. Those who can take it in the spirit it’s intended will enjoy the skill of the band’s playing and will probably enjoy hearing faithful reproductions, in relatively high fidelity, of tunes resurrected from obscure and scratchy old 78-rpm records.
Here’s the band covering Charley Patton’s “Some Of These Days,” one of the tracks on the album:
Far from a serious-minded “curation” of these old songs, the South Memphis String Band’s approach is to wade in and have fun, with all seriousness focused on pitch-perfect and rock-solid playing and singing. According to the record company’s website, “The album was recorded traditionally using four old-fashioned ribbon microphones and as quickly as possible in deference to the organic/natural approach that one observer called ‘the pure sound of fingers, strings, wood and throats.'” That’s a fancy way of saying, these guys delivered the music together, self-balanced, and probably in complete takes. Just like in the olden days when these songs were being recorded new.
Cutting to the chase, this is an excellent album, probably the best new recording I’ve encountered so far this year. It is fresh, original, imaginative and expertly played. But it also harkens from a long tradition of Southern string bands, particularly the black string bands of the Carolinas and Georgia. The Carolina Chocolate Drops are rare birds in that they can successfully take an old tradition and make it sound new, with a strong imprint of their own voices and minds.
After the Drops’ last album, Genuine Negro Jig, founding member Justin Robinson left the group and was replaced by Hubby Jenkins. Robinson was a fiddle ace and singer, Jenkins is a master of the banjo, guitar and mandolin. So the group’s sound has become less fiddle-centric (founding member Rhiannon Giddens is also masterful with the bow). This album also presents a more relaxed sound, with most vocals handled by Giddens and/or founding member Dom Flemons (he’s the dude with the suspenders and cool hats in most of the group’s videos).
Production of Leaving Eden is also more laid-back. The album was recorded at producer Buddy Miller’s Tennessee home studio, some tunes on a back porch as the sounds of a southern night roll on in the background. It’s not a low-fi production—as a matter of fact, the band’s vocals and instruments sound clearer and more natural than any previous recording—but it’s closer to what the group probably sounds like when they pick tunes for pure enjoyment in their own homes or rehearsal space.
On several tunes, Adam Matta augments the band, on beatbox and/or vocals. Matta is also currently touring with the Drops. Also, Flemons sings more on this album than past efforts, and that’s for the better. He has a strong and interesting voice, and his preferred songs are often from the less-remembered repertoire of times past.
Both Flemons and Giddens are students of their tradition, and have found gems in old songbooks and instrument-instruction books. On Leaving Eden, the second track, “Kerr’s Negro Jig,” comes from a circa 1875 songbook. And, next to last is a compilation of two ditties from Tom Briggs’ Banjo Instructor of 1855: “Briggs’ Corn Shucking Jig / Camptown Hornpipe.” Finally, the band borrows a vocal-harmony shout, “Read ‘Em John” from Alan Lomax’s recordings of the Georgia Sea Islands Singers.
Following is a video of “Boodle De Bum Bum” from a live performance on WYNC’s Soundcheck:
As in the case with their cover of “Hit ‘Em Up Style” on the previous album, the Drops try out a tune leaning toward modern hip-hop stylings. In this case, it’s Giddens’ “Country Girl,” which is a country/hip-hop crossover. It will work on the radio, but it’s a bit out of style with the rest of the album. The sentiments expressed are nice—after traveling all over the world, there’s not better place than home —but the feel is overly commercial.
But that’s a minor quibble. This is a great album that will likely find very frequent rotation in your music queue, long after you’ve paid the Amazon bill.
Good albums are easy to review. Picking out positive qualities and delving out a little praise isn’t really that difficult. But when an album is great, things get tough, and there’s something about Bones for Tinder that makes it especially challenging to review. Accredit this to what you will—the eclectic mish-mashing of genres, the group’s collective abilities—but that something is remarkable.
Here, the oft-ignored tradition of African American old-time music wanders in a new direction. Lead by Justin Robinson (formerly of the heavily praised Carolina Chocolate Drops), the Mary Annettes (comprised of North Carolina musicians ElizabethMarshall, KyraMoore, SallyMullikin, and JoshStohl) take what’s already familiar to fans of the Drops and filter it through their own tastes. For a band whose members credit Erykah Badu, Loretta Lynn, and “ossified remains of mammals” for inspiration, the process yields something we haven’t heard a whole lot of. Bones is unabashedly rooted in traditional music, but those aforementioned influences come out loud and clear.
The album’s opening track, “Neptune,” along with the later appearing “Bright Diamonds,” “Thank You Mr. Wright” and “Nemesis or Me,” stick to the relative basics. Here, Robinson and his cohorts adopt a kind of singer-songwriter mentality, applying their old-time roots to a format that embraces atypical instrumentation and song structure, often backing Robinson’s vocals with a loosely-formed string trio, hand claps, percussive banjo and autoharp. Later, “Ships and Verses” and the haunting “Kissin’ and Cussin’” (which previously appeared on the Chocolate Drops’ Geniune Negro Jig) rely on—here comes the Erykah Badu influence—spoken word and rap traditions as much as folk and old-time. “The Phil Spectors” and “Gypsy Death and You,” tinged with subtle electric guitar and surprisingly contemporary drums, are a strong end to the album.
Following is a live performance of “Devil’s Teeth,” recorded August 2011 at the Cat’s Cradle in
That’s not to say, though, that there was ever really a weak point. Where Robinson and the Mary Annettes could have gone wrong, they went very, very right. Bones for Tinder is spot-on, an inspired and well-wrought album that appeals to fans of the Chocolate Drops’ brand of old-time without being an old-time album. It’s simultaneously of the moment and incredibly traditional, not trying too hard to be on either end of the spectrum. In the easy, unforced kind of way that can only be created by someone who really knows what they’re doing, Bones for Tinder is an extremely likable album, and for that alone (whether you can put your finger on what else makes it so good or not), it deserves some praise.
A joint production of reggae label VP Records and country label Warner Music Nashville, Reggae’s Gone Country is exactly what it sounds like: a collection of country music classics stripped down to their roots, infused with reggae aesthetics and instrumentation, and given to some of the Jamaican popular music industry’s hottest stars to interpret for a contemporary audience. If the idea seems a tad gimmicky, the first listen might not do much to help the situation; it can be a conceptual challenge to come to grips with the album’s outlandish combination of driving reggae drum, bass, and skank guitar rhythms overlaid with twangy country pedal steel, fiddle, and banjo ornamentations. Once the listener has acclimatized to this fascinating juxtaposition of musical elements, however, Reggae’s Gone Country is actually a wonderful album through and through, with several beautiful and innovative renditions of expected and unexpected country favorites by an all-star cast of reggae luminaries (like Beres Hammond and Freddie McGregor), current kings and queens of the Jamaican popular music industry (like Tarrus Riley and Etana), and brand-new up-and-coming stars such as 21 year-old Romain Virgo, whose collaboration with country legend Larry Gatlin on the Gatlin Brothers’ song “California” is the album’s lead single:
To truly appreciate Reggae’s Gone Country, however, one must know the story behind it. According to the liner notes and an informative YouTube mini-documentary, VP Records vice president Cristy Barber dreamt up the concept for the album as a way of uniting her two loves (reggae and country music), and she assembled a crack team of Nashville and Kingston producers and musicians to help put the project together. But what many reggae and country fans alike may not realize is that country is, and historically has been immensely popular in Jamaica, and it actually shares much in common with reggae—both are musics of marginalized working class populations, both sing of love, criminals, and spirituality, and both relish a good story. Thus, the songs chosen for the album were not simply U.S. country favorites foisted upon a group of Jamaican reggae stars largely unacquainted with them, but rather some of the most popular and beloved country tunes in Jamaica itself.
While the album’s story might be an inspiring account of cross-cultural collaboration and mutual appreciation, however, the logistics of its production may have stifled some of its potential for true genre-bending creativity. Indeed, if the record sounds like a collection of reggae rhythm tracks recorded by session musicians in Jamaica, sent to Nashville for leads and ornamentation by American country string players, and then shipped off to the singers to add their vocal contributions, that’s largely because it is; the liner notes state this in no uncertain terms. While the quality of the musicians is extremely high—collaborators include reggae drum luminary Sly Dunbar and pedal steel legend Mike Johnson—the music itself is therefore fairly ‘safe,’ with each instrument playing a clear, compartmentalized, genre-defined role and straying little from it. There are, for example, occasional incidences of the backing musicians from one idiom toying with elements of the other (as when the lead banjo plays the trademark reggae guitar ‘skank’ pattern on L.U.S.T.’s rendition of The Statler Brothers’ “Flowers On the Wall”), but I think there was definitely fertile ground for more musical experimentation of this kind, and that a closer collaboration between the various groups of musicians themselves might have better facilitated it.
Overall, though, this is certainly an album worth checking out; there is not a song on here that I haven’t grown to love, though some certainly stand out more than others. Tarrus Riley’s version of “The Chair” by George Strait and Duane Stephenson’s interpretation of “Suspicions” by Eddie Rabbit are personal favorites, and even dancehall DJ Busy Signal’s autotuned vocals on his rendition of Kenny Rogers’s “The Gambler” somehow seem to work in the context of the project as a whole. In the liner notes, Cristy Barber explains that “with the music industry where it is now, we need more people at the reggae party and I am really hoping this album will give more exposure to the genre.” I, on the other hand, am inclined to believe that it will do more to expose reggae fans to country classics than it will to inspire country aficionados to develop a taste for reggae’s contemporary trendsetters. Either way, Reggae’s Gone Country is undoubtedly a unique and thoroughly enjoyable first step in what may very well become a long series of collaborations between Nashville and Kingston, and I for one am quite interested to find out what directions these relationships may take in the future.
The Blind Boys of Alabama are a world renowned gospel quartet group that has graced churches and stages across the globe. In 2010, they were inducted into the Alabama Music Hall of Fame. During the induction ceremony, they performed a number with up-and-coming country music star Jamey Johnson, which was such a success they were motivated to release an entire album of country music. The result is Take the High Road, a pleasant fusion of the BBA’s classic gospel quartet sounds with those more closely associated with country music. Whether one is a fan of quartet, gospel, or country music, this album is sure to offer something to that will both delight and inspire.
This sacred music project draws on country music influences from several sources; through the musical content itself, the production capabilities of Jamey Johnson and also through the notable guest country artists that are featured. The title track, “Take the High Road,” features the voices of fellow quartet The Oak Ridge Boys. This pairing occurs seamlessly as the voices of both groups create a powerful ensemble. In true tag-team fashion, members of both groups alternate leading this up-tempo piece. “Take the High Road” truly sets the tone for this album as a jubilant admonishment to keep the faith and persevere. More somber subjects are also explored, as seen in the selection “I Was Burden.” Featuring Lee Ann Womack, this piece discusses the redemptive power of a spiritual encounter stating, “I was a burden ‘til the Lord laid His hands on me.”
Following is the official music video for “Take the High Road”:
The collection of songs covered in this album range from classic country and gospel tunes to popular hymns. One memorable selection is a song penned by popular bluesman McKinley Morganfield, also known as Muddy Waters, titled “Why Don’t You Live So God Can Use You.” Its simplicity and straightforward message has made for easy adaptation to many church services over the years. Another notable selection is the hymn “Have Thine Own Way, Lord” featuring Jamey Johnson. Notions of country music are immediately invoked in the introduction of the song with the inclusion of steady acoustic guitar strum. Likewise, Johnson’s mellow, soothing “drawl” provides a distinct yet pleasant contrast to BBA’s harmonization of the chorus.
Take the High Road serves as the ultimate reminder of the connectedness of musical expressions of the United States. The manner in which quartet gospel, country, and blues influences are fused throughout this album showcase not only the talents of these musicians but is also indicative of their common ancestry. I would suggest that one would be hard-pressed to strictly delineate where the “country” begins and the “gospel” ends as they share similar roots in early African American expressions. These sonic and expressive ties are highlighted and crafted throughout the album, which makes this musical collaboration a most excellent listening experience.
Tompkins Square recently launched its “Long Gone Sound” series with Mama, I’ll Be Long Gone: The Complete Recordings of Amede Ardoin, 1929-1934. This reissue project was obviously a labor of love for producer Christopher King, who also penned the liner notes and remastered directly from the original 78s, many from his own collection. The goal was to “represent, for the first time, every surviving recorded instance of Ardoin’s singing and playing.”
Amédé Ardoin, a rural black French-speaking Creole, became one of the most revered Cajun musicians in Louisiana. Rising to fame in the 1920s, he performed at dances and house parties for both black and white audiences throughout the bayou region and west into Texas. His syncopated Afro-Creole accordion style and spirited vocals influenced everyone from first cousin Alphonse “Bois Sec” Ardoin to later musicians such as Conray Fontenot and Iry LeJeune (who re-interpreted and popularized many of Ardoin’s songs in the1950s). Ardoin frequently partnered with Cajun fiddler Dennis McGee, and the pair made some of the earliest recordings of Cajun and Creole songs, ranging from one-steps, two-steps, waltzes, blues narratives, and love songs.
Though the majority of Ardoin’s output was previously released by Arhoolie on the CD I’m Never Comin’ Back (1995), the two-disc Mama, I’ll Be Long Gone offers eight additional tracks featuring Ardoin and McGee. These include rare recordings from their very first sessions in 1929: “Taunt Aline,” “La Valse Ah Abe,” “Madam Atchen,” “Two Step De Mama,” “Two Step de Eunice,” and “Two Step de Prairie Solieau”—plus two tracks from their final 1934 session: “Sunset” and “Tout Que Rest C’est Mon Linge.”
Mama, I’ll Be Long Gone is highly recommended. Anyone interested in Cajun music, the roots of Zydeco, or early fiddle and accordion styles will greatly appreciate this compilation.
John-Alex Mason’s sixth full-length album, Jook Joint Thunderclap, branches out from his one-man band reputation. Although Mason’s signature guitar (acoustic, electric, and cigar-box) and floor drums sound comes through on several tracks, what really makes this album stand out from his previous work is the new elements brought in by Gerry Hundt’s mandolin, Fara Tolno’s djembe, Lightnin’ Malcolm’s guitar, Cedric Burnside’s drums, and most of all Cody Burnside’s rap-style vocals. The result is a convincing and appealing fusion of a wide variety of styles that nevertheless allows Mason’s playing and singing to shine through.
“Delta Bound (Prologue)*” kicks off the album with a driving early rock ‘n’ roll feeling, cut with Gerry Hundt’s harmonica and Mason’s blues-colored singing. The tune straddles generic boundaries with elements borrowed from multiple traditions, but clearly fits into Mason’s typical blues and rock style. The sense of sharp juxtaposition increases in the second track, “Gone So Long.” The track opens in a blues-rock style with electric guitar, drums, and Mason’s vocals, but abruptly changes tone as Cody Burnside’s rap-style rhymes reorient the listener’s perception of the guitar and drum parts. The instruments take on more of a heavy acoustic funk quality under Burnside’s lyrics, even though they do not change significantly over the course of the track.
The next track, “More than Wind,” shifts gears once again, as Mason layers his slow blues delivery over the string-band sounds of fiddle (provided by Lionel Young) and mandolin.
Jook Joint Thunderclap absorbs an eclectic mix of influences from different musicians and performers. Its juxtapositions of musical styles from track to track, as well as within each cut, might be disorienting were it not for Mason’s distinct vocal style bonding and anchoring the many voices that sound on the album. It demonstrates both Mason’s flexibility and strong sense of personal identity as a musician, and its hybrid sound offers something for a wide variety of tastes.
Collaboration on this album by the Carolina Chocolate Drops and Luminescent Orchestrii stemmed from an impromptu jam session at the Folk Alliance Festival in Memphis, TN. The seven musicians played one of each band’s hits (“Knockin’” and “Hit ‘Em Up Style”), which later formed the core of this EP.
Luminescent Orchestrii (LO), formed in 2002, is an unlikely alliance of circus composer, old-time fiddle player, experimental theater composer, and free jazz bassist. The New York-based band combines Romanian gypsy melodies and Appalachian folk fiddle with elements of funk, punk, and hip-hop—all the while transmitting a spirit of “traditional” music. The Carolina Chocolate Drops’ (CCD) music is no less a product of hybridity. The trio started with a pure traditionalist approach, making a weekly pilgrimage to Mebane, NC, to learn from an aged old-time fiddler. When they struck out on their own, the “Drops” quickly gathered followers and musical influences. The group acknowledges the historic roots of black string-band music, but the players are passionate about constant transformation and renewal of their music from other musical traditions such as Gaelic, blues, jazz, and hip-hop.
The first track on the EP, “Short Dress Gal,” reimagines Sam Morgan’s New Orleans jazz tune from 1927. Dom Flemon and Rhiannon Giddens’s (both of the CCD) vocal style on the choruses remains relatively faithful to Morgan’s, but the ensemble trades in the horn section of the 1920s for fiddle, electric guitar and bass, and vocal beatboxing. On the verses, Flemons delivers in a straightforward hip-hop style. The final bridge and chorus give a nod to the style of the Morgan original, as the band members cut loose in vocal imitations of a New Orleans-style horn section.
The LO leads the second track, “Escoutas (Diga Diga Diga).” A fiddle intro sets a “traditional” stage in the opening bars, then the guitar and banjo transform the mood with a driving rhythm that is soon picked up by the voices. This guitar and banjo rhythm—together with Adam Matta’s beatboxing—sustains the ensemble as the vocalists trade (Romanian?) rhythmic chanted lyrics with the fiddles who repeat and spin out their opening figure. The track fades with Matta vocalizing a “trumpet” solo over hand claps from the band.
The third and fourth tracks recreate the performance that brought the two bands together at the Folk Alliance Festival. “Hit ‘Em Up Style” first appeared on the CCD’s 2010 album Genuine Negro Jig, and is a cover of R&B artist Blu Cantrell’s single from 2001. “Knockin’” first appeared on LO’s 2005 album Too Hot to Sleep. Both tracks maintain the bands’ tendencies for stylistic eclecticism with a story-telling spirit that makes their music sound age-old and fresh at the same time.
In honor of the 80th birthday of Ray Charles, Concord Records recently released Rare Genius: The Undiscovered Masters, a compilation culled from four decades worth of demos and other previously unreleased material. Though only 40 minutes in length, the CD is loaded with treasures ranging from soul to country, pop and gospel. And Concord didn’t skimp on the packaging either, contracting the noted soul and R&B authority Bill Dahl to pen the liner notes.
The disc opens with “Love’s Gonna Bite You Back” from March 1980, featuring what Dahl refers to as “a Charles vocal that’s a signature mixture of sandpaper grit and heavenly goodness.” Other standout tracks include “I’m Gonna Keep on Singin'” (featuring the Raelettes), a bluesy cover of the country classic “A Little Bitty Tear,” and a jazzy arrangement of “Wheel of Fortune.” The undisputed highlight of the album is Charles’ duet with another music legend, Johnny Cash, on Kris Kristofferson’s “Why Me, Lord?”—one of the biggest country/gospel crossover songs ever written. Recorded in 1981, for some unknown reason the duet was never released and was only recently discovered in the Sony vaults.
It should be noted that many of the selected tracks existed only as stripped down versions, which had to be re-engineered and overdubbed. Concord organized a team of top-notch musicians to provide the sweetening: guitarists Keb’ Mo’ and George Doering; organist Bobby Sparks; trumpeter Gray Grant; trombonist Alan Kaplan; bassists Trey Henry and Chuck Berghofer; drummers Gregg Field and Ray Brinker; and background vocalist Eric Benet. This should not in any way be considered a remuddling of classic songs, as is so often the case with posthumous tweaking. The musicians stayed true to the original versions, thus beathing new life into these treasures from the vault. All in all, a fitting tribute that will please both soul and country music fans.
The known number of African Americans playing country music prior to Charley Pride’s emergence in the mid 1960s is small. Most famous would be harpist Deford Bailey, founding member of the Grand Ole Opry, then maybe the Louis Armstrong-backed Jimmie Rodgers sessions, and there were of course several integrated string bands recording in the 1920s. But how many were vocalists? And how many were sharing a microphone while singing close harmony brother-style duets with a white man?
German reissue specialists Bear Family Records presents us with at least one: Allerton and Alton, known as the Cumberland Ridge Runners, performed in the Portland, ME area in the late 1940s and early 1950s until the Korean War called them both men into duty. Though no formal recordings were ever made for any label, several radio shows, demos, and home recordings were preserved and Bear Family has now released them to the public for the first time ever. In typical Bear Family style, the CD is nearly 80 minutes long and the booklet and liner notes are well written and lavishly illustrated. The story of how these men met, the nonchalant way in which they addressed the race issue, and how the segregated army forever changed their lives is a fascinating snapshot of mid-century American culture, the roots of bluegrass music, the devastating effects of war, and the power of music to transcend racial stereotypes and prejudices.
Consisting of three 15-minute radio programs, complete with introductions and banter between songs, the CD features the two Al’s carrying on the country music brother duet tradition (i.e. the Monroe Brothers, the Blue Sky Boys, Bailes Brothers, etc.) while hamming up their put-on southern accents. The radio announcer introduces their style of music as “hillbilly and folk music with mandolin and guitar.” Allerton himself calls their music “old-time picking and singing.” Liner notes author Hank Davis describes their style as “mountain music,” or “the roots of bluegrass.” However it is worded, the listener is treated to close harmony duet singing, blistering mandolin solos at break-neck speed, and Charlie Monroe-styled guitar runs on the acoustic guitar. Though the CD may garner much attention as the first issued recordings of country music’s first interracial duo, or even possibly as a prime example of 1940s and ‘50s hillbilly music from the Northeast, the music is flat-out entertaining for all country music fans and a special treat for anybody who enjoyed listening to the old-fashioned barn dance radio shows popular on WSM, WWVA, WLS, and the like.
Following is the promotional video:
The liner notes benefit from extensive interviews with Al Hawkes (Allerton), who preserved the photos and recordings, as well as the family of Alton Meyers. Hawkes went on to found Event Records (recording a legacy of Northeast bluegrass, rockabilly, and country music) and has been acknowledged by several organizations as a pioneer in the bluegrass genre. This CD brings long-awaited attention to the early bluegrass contributions of Alton Meyers and adds yet another chapter to Hawkes’ legacy. Highly recommended!
The Holmes Brothers‘ music is hard to classify. Put this new CD into your iTunes library and it gets classified as blues. Guitarist/vocalist Wendell Holmes says they play “American roots music” in a promotional video made by Alligator Records. Even more than their other albums, this latest from the New York City-based band defies categorization. There are soul tunes, blues tunes, gospel tunes and some country-western flavors; there are cover tunes and originals. What results is a very enjoyable musical gumbo, with less edge but more soul than some of the band’s previous albums.
The Holmes Brothers―brothers Wendell and Sherman Holmes plus drummer Popsy Dixon―have been playing together since the 1970s, but didn’t make their first album (In the Spirit on Rounder) until 1989. Since then, they’ve put out a steady stream of recordings and toured tirelessly. All of that ground to a halt in 2008, when Wendell Holmes was diagnosed with bladder cancer.
Wendell Holmes’ successful battle with cancer is central to this album. The time off the road led to more original tunes than any previous Holmes Brothers album. Plus, the new songs resonate with reflections and lessons drawn from the cancer experience. In all, Wendell Holmes wrote or co-wrote 7 of the album’s 14 tunes, and Sherman Holmes wrote two others. The band also covers a tune by the Beatles, “I’ll Be Back.” And they present the recording debut of “Something Is Missing” by John Ellison, who wrote the soul classic “Some Kind of Wonderful.”
The following is a behind the scenes look at the Holmes Brothers regarding the making of Feed My Soul.
This album has a quiet intensity to it. It sounds comfortable, relaxed and natural. Singer/songwriter Joan Osborne did a fine job producing it and singing backup on some cuts. The recording, at Long View Farm Studios in Massachusetts, was well-done, adding to the laid-back feeling. For example, Wendell Holmes’ guitar solos are generally panned right, not placed in your face in the center, and are somewhat back in the mix. In other words, the solos are in balance with the band and sounding like if the whole band is together in front of you, playing together. It sounds and feels like a Holmes Brothers live performance, which is not to be missed.
The vocal harmonies are also a highlight of the album, as on all Holmes Brothers recordings. These guys are older and maybe a little less edgy, but they still make beautiful harmonies and still have strong pipes.
The whole album flows very nicely, but there are stand-out cuts: “Fair Weather Friend”; “Living Well Is the Best Revenge”; a cover of “Pledging My Love” by Don Robey and Ferdinand Washington; the cover of the Beatles’ “I’ll Be Back”; and the title track. Here’s hoping the Holmes Brothers remain healthy and vital and turn out some more recordings!
The rise of the Carolina Chocolate Drops have been detailed here since their quiet debut years ago (see BlackgroovesOctober 2006, December 2007, May 2008). The popular press has paid a good amount of attention to their continuation of black stringband traditions, a tradition largely forgotten or ignored until recently. The great enthusiasm for the Chocolate Drops work, be it musical, historical, or cultural is welcomed with open arms. The energy produced by, and surrounding, this trio of young musicians indicates larger yearnings by players and enthusiasts of traditional American music; namely, that many feel uncomfortable with the racially divisive implications of genres like old-time and R&B, balladry and blues. This enthusiasm, as well as the conflations of genres, is apparent in the early press and chart positions of the Chocolate Drops’ Nonesuch debut, Genuine Negro Jig.
This record, a remarkably diverse, accomplished, and thought provoking work, was greeted with great attention with coverage by national press, including NPR’s All Things Considered, Fresh Air,Paste, Rolling Stone, and countless folk, blues, and old-time magazines and blog leading up to and following its Feb 16th release. The record charted in the top ten on the Billboard Folk chart, and topped the Bluegrass chart. Genuine Negro Jig is clearly popular, and also difficult to place.
This is largely due to the diversity of styles that are represented on this disc. When the Chocolate Drops formed in 2005, brought together by the Black Banjo Gathering in Boone, North Carolina, the bulk of their repertoire was given to them from elder North Carolina black fiddler Joe Thompson. This was the content of their debut record for Music Maker (see blackgrooves….), which surprised many listeners who didn’t know black musicians were part of this musical tradition.
Since their mentorship with Thompson, the Chocolate Drops continued to expand their repertoire to include jug band songs, ballads from the British Isles, country blues, and fresh versions of popular songs from more recent eras. While rooted in stringband instrumentation, they pull from a while range of influences and find a way to match their talents to the song, regardless of genre, just like they say stringbands used to do in the early 20th century.
The result of these influences is the genre-busting collection found on Genuine Negro Jig. Square dance style stringband tunes like those featured on Dona Got a Ramblin’ Mind are still present here in the rousing “Don’t Get Trouble in Your Mind,” “Cornbread and Butterbeans,” “Cindy Gal” and “Sandy Boys.” These are high-spirited fiddle and banjo driven songs, with the addition of instruments like the jug and bones (literally, cow bones used as a percussion instrument, which was a popular aspect of minstrel performances). But the Chocolate Drops also bring styles inspired by early 20th century black stringbands characterized by the influence of jazz, such as the Papa Charlie Jackson tune, “You’re Baby Ain’t Sweet Like Mine,” and the blues-jazz influence is also heard on “Why Don’t You Do Right?” a song taken from the Harlem Hamfats. “Why Don’t You Do Right?” is a terrific vehicle for Rhiannon Giddings’s tremendous vocal talents. Classically trained at Oberlin Conservatory, Giddens’s voice is extremely versatile. She is able to adapt effortlessly from the slow blues of “Why Don’t You Do Right?” to the English ballad “Reynadine” to the soulful vocals of one of their biggest crowd pleasers, “Hit ‘Em Up Style.”
Following is a clip of the Carolina Chocolate Drops performing “Hit’ Em Up Style” at WDVX’s Blue Plate Special (courtesy of Knox News):
“Hit ‘Em Up Style,” is the most obvious point to notice the Chocolate Drops connections between repertoires, as well as displaying their ideas about traditionality. A cover of a 2001 R&B hit for Blue Cantrell, the song is lead by Giddens singing and playing fiddle, with Flemons accompanying on tenor banjo, and Robinson providing a beat-box. The space that connects “traditional” and “modern” is exactly the territory the Chocolate Drops occupy so well. As explained by Giddens, the song of a women seeking revenge on her cheating man is perfectly resonant with themes of country and blues songs from generations back. It also gets to the heart of the creativity of these three performers, who have no desire to be “preservationists,” as Robinson puts it, but to add their own creative voice to make the songs theirs.
To this end Genuine Negro Jig contains their first original song, Justin Robinson’s hauntingly beautiful “Kissin’ and Cussin’.” While utterly original, this song not only makes fine use of the autoharp (an instrument not commonly featured outside folk and old-time music) but also borrows phrases from American songs from the 1920s in allusions to Richard “Rabbit” Brown’s “James Alley Blues.”
The last song that deserves special attention is the title track, not only because it synthesizes so many of the traditional/modern issues embodied by the Chocolate Drops, such as the creative use of foot stomps, fiddle and bones, but also because of its historical significance. “Snowden’s Jig (Genuine Negro Jig)” was a tune Dan Emmett learned from the Snowden family in Ohio in the late 19th century. Emmett is commonly known as the composer of “Dixie,” the unofficial anthem of the South. “Snowden’s Jig” as an example of both musical and social exchanged between white and black musicians, lead historians Judith and Howard Sacks to further investigate the relationship between Emmett and the Snowdens. This ultimately lead to suggesting that the Snowden’s, rather than Emmett, were the actual composers of “Dixie.”
This hints to the fact that the Chocolate Drops represent something significant. Their success musically, and their popular reception, indicate new territory is being opened in African American music in areas that have largely become associated with white America. Genuine Negro Jig contains new sounds brought about by musicians who seek to educate, but more importantly to create music that speaks to their experience in life, informed equally by tradition and creativity. It is a fantastic lesson, and an endlessly enjoyable listen.
**[Note from Nonesuch]: Customers ordering Genuine Negro Jig through the Nonesuch Store receive the album both on CD and as audiophile-quality, 320 kbps MP3s. In addition, with those MP3s will be a full seven Nonesuch Store-exclusive bonus tracks, all recorded before a live audience at Santa Monica’s famed Village Recorder studio in November 2009.
This month we’re cleaning house and taking a look at some worthy albums from 2009 that we didn’t have a chance to feature in earlier issues. In addition to three full length reviews—Rev. Timothy Wright’s The Godfather of Gospel, Wu-Tang Chamber Music, and Will Downing’s Classique—we’ve picked over 40 jazz, blues, hip hop, soul, rock, funk and world music albums that we think deserve more attention. Featured artists include Ray Charles, Calvin Richardson, K’Naan, Willie Isz, Tanya Morgan, T-K.A.S.H., Mos Def, Dead Prez, Fashawn, Fela, Alex Cuba, Ricardo Lemvo, Rokia Traore, Mulatu Astatke, Jahdan Blakkamore, Little Walter, Koko Taylor, Shemekia Copeland, Cyril Neville, Otis Taylor, Red Halloway, Nicole Mitchell’s Black Earth Strings, and more.
There are some other great albums released in late 2009 that we still hope to cover in the coming months, so stay tuned.
Drawing on his own rural roots, and the notion that good songs have nothing to do with genre limitations, Ray Charles released his Modern Sounds in Country and Western Music, Vol. 1 and its follow-up Vol. 2 in 1962. For this release, Concord Records has remastered both volumes and released them together on one CD, marking the first time Vol. 2 has ever been released on compact disc. From “Bye Bye Love” to “Your Cheating Heart,” Charles and his backing band make these tunes shake and swing, croon and wail, showcasing his powerful interpretive abilities as well as his musical vitality.
The story of the landmark recording Modern Sounds in Country and Western Music is featured in this edition of the podcast series, “Ray Charles, Genius,” produced by Bret Primack for Concord Records:
God Forbid is a New Jersey-based bi-racial heavy metal group fronted by Byron Davis and featuring drummer Corey Pierce, well known for their ability to traverse and blend myriad subgenres and substyles within metal. EarthsBlood comprises two discs: a new studio album, and a live recording from the Starland Ballroom in New Jersey. The former showcases the band’s tight rhythms, varied textures, and melodic intensity, while the latter makes a good representation of their previous work and blistering live energy.
Here is the official video for “War Of Attrition” from the album Earthsblood (courtesy of Century Media Records):
Southern soul singer Calvin Richardson has a reputation for singing like he’s from the generation of ‘70s soul, not the generation of neo-soul and urban contemporary music. Consequently, Facts of Life, Richardson’s tribute to soul legend Bobby Womack, is a fitting application of his style and talents. From “Across 110th St.” to “Love Has Finally Come At Last,” Richardson delivers with both sophistication and grit, doing justice to Womack’s legacy and repertoire.
Here is the official music video of Calvin Richardson covering Bobby Womack’s “Woman’s Got To Have It” (Courtesy of Down Home Films):
This Los Angeles-based band, fronted by lead singer Shola Akinshemoyin Vaughn and featuring Albert Sadia on drums, mixes alternative rock and electronica with Afro-beats in their first full-length release. The songs on the album are said to reflect on Shola’s journey to Ghana to reconcile with her father, but don’t be fooled by the cover. This is not world music per se, and it’s not overtly Afro-centric, but it’s a definite move in that direction from their initial EP, which was straight ahead indie rock. Definitely a group to watch.
Here is the official music video for “Love is the Cost” from the album Less than Lion (Courtesy of Divisable):
If you like Sharon Jones & the Dap Kings, you might wish to check out Lee Fields & the Expressions. Fields, a funk/soul veteran who first emerged in the 1970s, has been compared to James Brown so often that he was nicknamed “Little J.B.” Fields is now back on the scene, riding the popularity of the “new soul revival movement” and crate digger’s affinity for hard funk. Though most of the album is based on the old-school funk model complete with horns, strings, and vibes, there’s just enough of a hip hop edge on the production to lend a more contemporary feel.
Following is a video of Lee Fields & The Expressions performing “Love Comes And Goes” (from My World) live at Southpaw in Brooklyn on June 5th, 2009 (Courtesy of Truth & Soul Records):
Dust-to-Digital has done it again. The company that produced Goodbye Babylon, a wonderful historical CD set of early gospel recordings lovingly tucked into a wooden crate packed with genuine southern cotton, has followed up with another unique gospel offering. Take Me to the Water: Immersion Baptism in Vintage Music and Photography 1890-1950 is half picture book, half liner notes in the form of a hardcover book with an accompanying CD affixed inside the back cover.
The bulk of the 96-page book features beautifully reproduced sepia-toned photographs of “immersion baptism” from the collection of Jim Linderman; that is, out-of-doors full body immersion in lakes and rivers, often en masse. Included are some extremely rare, early images of African American baptisms such as the panorama stretching across the back and front covers labeled “Black Billy Sunday, Indianapolis, Aug. 3, 1919, Baptising at Fall Creek” (one of the few images with such a complete identification). A brief essay by Luc Sante provides the context necessary to understand the images, including a general history of baptism, an overview of the featured denominations, and a description of the settings and emotionally charged states of the participants.
Now, on to the music. The 25 “Songs and Sermons” on the accompanying CD are “derived from extremely rare records” from the collections of Steven Lance Ledbetter (Dust-to-Digital’s owner/producer) and legendary record collector Joe Bussard, among others, and ” have been remastered to produce the best possible sound.” Ledbetter also wrote the accompanying liner notes, included at the end of the book. The tracks, of course, all have a baptism/water theme, including various renditions of “Wade in the Water” (a few also appeared on Goodbye Babylon). Selections range from such African American heavyweights as the Rev. J. M. Gates (his singing sermon “Baptize Me” from 1926) to lesser known artists such as Moses Mason (“Go Wash in the Beautiful Stream’) and Rev. E. D. Campbell (“Take Me to the Water”). White southern gospel artists include the Carter Family (“On My Way to Canaan’s Land”), the Carolina Tar Heels (“I’ll Be Washed”), and Ernest Stoneman’s Dixie Mountaineers (“Down to Jordan and Be Saved”).
Together, the photographs and music make a stunning package. As Sante states in his essay, “Whether you have ever actually experienced a baptism or not, whether you are a believer or not, these pictures and the music that accompanies them transmit all the emotional information: the excitement and the serenity, the fellowship and the warmth, the wind and the water.”
War, social injustice, personal plaints, and calls for action have long fueled musical creation and performance—Liner Notes.
Folkways Records, founded by Moses Asch in 1948, emerged on the heels of the social protests of the 1930s and 1940s. In fact, Asch created something of a haven for left-leaning musicians, both black and white, such as Pete Seeger, Woody Guthrie, and Josh White, who became staples of the famous folk music label. For this compilation, Jeff Place and Mark Gustafson (Smithsonian Folkways’ staff) selected 22 tracks from the Folkways’ vault, as well as from other labels more recently acquired by Smithsonian Folkways, including Monitor and Paragon (the latter was founded in 1970 to document the music of political movements worldwide). An effort was made to represent a broad spectrum of the struggles for economic and social justice, from anti-war protests to civil rights anthems to songs used by union organizers and the labor movement. Place and Gustafson also sought to demonstrate that protest songs did not originate with the folk music revival, thus a number of pre-1950 tracks were included.
African American artists are well represented on this compilation. The disc opens with the “Freedom Now Chant,” sung by participants during a Civil Rights era mass-meeting in Hattiesburg, Mississippi, and collected by noted scholar Bernice Johnson Reagon. One of the most famous African American folk singers, Huddie Ledbetter, a.k.a. Lead Belly, is represented by a 1930 recording of “Bourgeois Blues,” inspired by the time (presumably one of many) that he was denied a room in a Washington, D.C. hotel.
Big Bill Broonzy, perhaps equally famous as one of the seminal pre-WWII blues artists, contributes “Black, Brown, and White,” a song so controversial in the U.S. that he ended up recording it in Europe. For those who aren’t familiar with the song, the refrain is “If you was white, you’re alright / if you’re brown, stick around / but if you’re black, oh brother, get back, get back, get back.”
An even more controversial song, “Strange Fruit,” is provided by Brother John Sellers, a blues and gospel singer who moved to Chicago during the Great Migration. His 1961 arrangement with flute, guitar, and drum accompaniment offers an interesting contrast to the classic Billie Holiday version, though I find that the flute distracts from the haunting lyrics.
One of the gems on the set is a previously unreleased 1946 recording by Champion Jack Dupree, “I’m Going To Write the Governor of Georgia,” referencing the racism he continued to confront upon his return to the U.S. after WWII, and implying that he was treated little better than he had been during his two years as a Japanese P.O.W. Obviously the song made little difference, for Dupree fled to Europe in the 1950s and didn’t return until shortly before his death in the early ‘90s.
Classic Protest Songs comes with a well-illustrated, well-annotated 29 p. booklet which includes a bibliography and discography of suggested reading/listening. If you don’t have the original Folkways/Paredon/Monitor recordings, this compilation will make a fine addition to your collection.
Artist: Charley Pride
Label: Music City Records
Catalog No.: 05297
Release date: January 20, 2009
There is no dearth of Charley Pride collections in existence. Thus, the questions surrounding any new collection are: what is so special about this one? And how does it measure up to the leading standard, in this case BMG Heritage’s 2003 Anthology.
Thenewly released Ultimate Hits Collection, a double-disc of 32 tracks of good quality reissues, but with limited notes, provides a good retrospective of Pride’s career without any major omissions, but the problems of this collection are deeper.
Music City Records, a small label (perhaps a personal project of Pride’s, though unconfirmed) is making a concentrated effort to sustain interest in the once great country music star, and this compilation includes material from his heyday, beginning in 1966, through his latest gospel effort in 2006. During his reign as a hit maker (mid 1960s to early 1980s), Charley Pride was the only black mainstream country music star, and it’s not insignificant that after years of such isolation he has turned to gospel music in the 21st century, where blackness is the standard. Yet this transition remains mostly ignored in this collection, including only two tracks from recent gospel works, “Jesus, It’s Me Again,” and “Amazing Grace.”
The problem with reissuing Charley Pride is twofold– there are no new perspectives presented here, and the disc fails to cast Pride in a light that makes him seem relevant. Charley Pride was a major force to be sure. As a member of the Grand Ole Opry with 24 #1 Country hits, back to back winner of the CMA’s Entertainer of the Year (1971-1972), and Country Music Hall of Fame inductee, he doesn’t have to worry about his place in country music history. He does, however, need to worry about his place in country music today.
Compared to other country music icons such as Merle Haggard, Johnny Cash, Dolly Parton, Vince Gill, Loretta Lynn and Marty Stuart, Charley Pride (and this collection) have done very little to connect his pioneering work to contemporary audiences. In an era where gospel music has become a major secular musical form, and at a time when Darius Rucker (of Hootie & the Blowfish) is providing the country charts their first black performer since Pride, the importance of examining Pride’s career would seem prime for deeper understanding. What we are given here are such platitudes as “As of 2008, Pride continues to tour regularly throughout the United States and Europe… he also enjoys playing golf, spending time with his family and working out with the Texas Rangers.”
Yet even if the packaging, liner notes, and general presentation fall short of something significant and new, a light shone on Charley Pride is always welcome. This double-disc collection includes all the hits that made Pride a household name, and further proves that he deserved every accolade garnered in his career, reminding us of just how good he was. The Ultimate Hits Collection reminds us of the huge appeal of hits like “Does My Ring Hurt Your Finger,” “Kiss an Angel Good Morning,” and “I Know One.” His powerful baritone against back-up singers, steel guitars, and string arrangements, creates a nostalgic appreciation of the trajectory of the mainstream country sound. Though often surrounded by different country sounds, Pride is never bested by production, a claim that cannot be said of all 1970s country stars. Pride makes the song his, whether he’s nostalgic, in love, heartbroken, or singing praise, Pride has the ability of all great country performers to make you think these songs were written on the edge of a motel room bed, or on a barroom cocktail napkin.
Pride is poised for a crossover comeback along the lines of Johnny Cash’s late American recordings with Rick Rubin, or Loretta Lynn’s Van Lear Rose, produced by Jack White. What would serve him best at this stage is to tap into the incredible creativity and force behind gospel music today, and highlight the long-standing connections between country music and gospel. Yet to do this, he would first have to come in from the golf course, and really get to work.
Morello, best known as a heavy metal guitarist and former member of Audioslave and Rage Against the Machine, now has another claim to fame as the “other half-Kenyan Harvard graduate from Illinois.” His latest solo album also reflects another side, which is decidedly folksy, but with a definite political edge. Morello is no stranger to politics- his father was Kenya’s first black delegate to the United Nations and his parents met during Kenya’s struggle for independance. Here, in his alter ego as Nightwatchman, he tackles a number of issues ranging from post-Katrina New Orleans to war. His distinctive songwriting along with his acoustic vocal-guitar arrangements have already led many to brand him as something of a modern day Dylan.
Noted ’60s folk singer Richie Havens recently released his first studio album in four years, singing covers of Pete Townshend (“Won’t Get Fooled Again”), Peter, Paul & Mary (“The Great Mandala-The Wheel of Life”) and Jackson Browne (“Lives in the Balance”). The majority of the album, however, features new material composed largely by Havens, including the title track which lambasts political leaders and “Fates,” his ode against capitalism.
British R&B songstress Estelle has hit it big with her sophomore release, which has garnered significant attention including placement on many “Best of 2008” lists. Kanye West, John Legend, and Cee-lo make guest appearances, ensuring success on this side of the pond, while Wyclef Jean and Will.i.am lend a hand on production. A major selling point is the album’s diversity. By incorporating elements of dance-hall, hip hop, R&B, soul and ska, every track offers up something distinctly new and fresh.
Neo-soul singer/songwriter Conya Doss is a native of Cleveland who has been developing a considerable following, especially in Europe, since her debut album was released in 2002. Despite this fact, she still doesn’t have the backing of a major label and continues to self-release her projects, while earning a living as a teacher in the Cleveland public schools. Still features 14 tracks with a predominant focus on love and relationships that never become overly sentimental, and she keeps up the pace by alternating between up-tempo numbers and ballads.
Hil St. Soul is a duo featuring Zambian-born, London-raised neo-soul singer/songwriter Hilary Mwelwa and Victor Redwood Sawyerr, an instrumentalist and producer, who also shares songwriting credits. Like Doss, Hil St. Soul’s music largely appeals to the over-30 crowd and thus has been ignored by the major labels. Case in point, the song “Sweetest Days” reminisces about the time when “There was no Nintendo or computer games but a natural interaction with your friends.” But if you fall into this demographic and enjoy original soul with a dose of jazz, R&B, funk, and hip hop, you might want to check out this album.
There are any number of young R&B singers we could have added to the list, but we have to give credit to Raheem Devaughn for keeping the soul alive, and keeping it fresh with healthy doses of hip hop. In an effort not to be constrained or classified, Devaughn claims to be a “R&B-hippie-neosoul-rock star.” His music almost achieves this level of diversity. He frequently references classic R&B, such as when “Friday (Shut the Club Down)” playfully evolves into “My Girl,” and “Butterflies” is somewhat reminiscent of British-invasion era rock. What most impresses, besides his incredible vocal technique, is his ability to reach a wide audience without selling out.
Concha Buika is a Spanish artist of African descent. Born on the island of Majorca, her parents were refugees from Equatorial Guinea. Though extremely popular in Spain, Buika is just beginning to garner international attention for her unique brand of flamenco fusion. Niña de Fuego, her third album, recently received a Latin Grammy nomination for Album of the Year. Possessing a uniquely husky voice, Buika takes on the Spanish copla, then adds some ranchera songs along with several new songs she composed in collaboration with Javier Limón, who has produced some of flamenco’s biggest stars.
Watson is an accomplished fiddler from Louisianna (via Texas) who specializes in reviving old Creole fiddling styles while striving to make this music accessible to new audiences. He honed his skills while playing with Dexter Ardoin and the Creole Ramblers, Jeffrey Broussard and the Creole Cowboys, and most recently the Pine Leaf Boys. On his self-titled new release he offers up a number of new songs that he composed, including “Cedric Zydeco,” “TexaCreole Two-Step,” and “Zydeco du Violon,” along with his own arrangements of traditional tunes such as “La Valse de Grand Basile” and “La Vieille Chanson de Mardi Gras.” In addition to fiddle, Watson also pitches in on accordian and vocals, and is assisted by Jeffrey Broussard on electric bass, Chas Justus on electric and acoustic guitar, and Corey Ledet on scrubboard and triangle, among others.
This compilation documents the development of hiplife, a hybrid form of hip hop and highlife that emerged in Ghana in the 1990s. The music draws on various international forms- including American and Jamaican hip hop, R&B, Afro-Cuban jazz, dancehall, ragga and reggae- while incorporating indiginous Ghanian languages (rapping in Twi), styles and instruments, such as the two-stringed kolgo. Featured artists include Reggie Rockstone (known as the “Godfather of Hiplife”), Tic Tac, Batman Samini (“King of African Dancehall”), King Ayisoba, and Ofori Amponsah, along with several artists representing the London diaspora.
Burning Spear. Jah is Real (Burning Music, August 2008)
One of the biggest names in reggae roots music, Burning Spear (a.k.a. Winston Rodney) has released his most ambitious record since relocating to Queens, New York several years ago. Most notable are the contributions of Parliament Funkadelic’s Bootsy Collins on bass and Bernie Worrell on keyboards, who add a heavy dose of funk to the mix. The political messages, however, are still at the forefront, especially on “One Africa” and “No Compromise.”
Senegalese-born Seckou Keita, also known as the “Hendrix of kora,” fronts this UK-based quintet, which also features his sister Binta Suso on vocals and his brother Surahata Susso on drums, along with Egyptian violinist Samy Bishai and Italian bassist Davide Montovani. Intent on expanding the traditional range of the kora, Keita experiments here with new tunings while also drawing upon his griot roots and incorporating a vast range of African and international influences.
More Dirty Laundry: The Soul of Black Country is the second in a pair of discs dedicated to an expansive and inclusive look at black contributions to country music, and the breadth of music that falls into the realm of County Soul is enough, I hope, to fill more compilations in the future.
The artists included on the disc are not exactly names one might consider when thinking of black country musicians. Of course, if it were limited to the standard black country artists, there would hardly be enough material for two compilations. Charlie Pride, DeFord Bailey (the Grand Old Opry’s first black star), and Ray Charles, with his genre shattering Modern Sounds in Country and Western Music, are nowhere to be found on either disc. This is by design, since those artists are well documented elsewhere. Dirty Laundry (released in 2004) and its sequel, More Dirty Laundry (2008), provide “a collection of black approaches to country music” which is both a more inclusive and a more accurate representation of African American contributions. Because the institutionalization of country music essentially cut black musicians out of the picture, black artists have had to find different ways to approach the genre.
Listening to these compilations becomes a game of rethinking what country music is. Can you hear the country in Ruth Brown’s rhythm and blues version of the country standard “Tennessee Waltz”? Can you hear a Merle Haggard type twang in the voice of Stoney Edwards on “Honky Tonk Heaven”? Or conversely, can you hear the “soul,” (which is to say “blackness”) in the honky-tonk piano and pedal steel of Vicki Vann’s “You Must Think My Heart Has Swinging Doors”?
More Dirty Laundry gets to the heart of what one associates with country music. And who’s doing the associating. If country is limited to pedal steels, honky-tonk piano, and southern twang, Country Soul keeps all those elements, but also adds horns, gospel stylings, back-up singers, and soulful singing by artists like Solomon Burke and Bobby Womack that would make Hank Williams blush.
But country music isn’t just limited to the instrumentation and sonic textures, but is as much wrapped up in the history, the heartbreaks, and stories of the songs. Arthur Alexander’s “Everyday I Have To Cry,” and O.B. McClinton’s “If Loving You Is Wrong” ring the same sad tones often associated with the lily white country music from George Jones to Garth Brooks. O.C. Smith’s “The Son of Hickory Holler Tramp” is as compelling a story of country roots as Loretta Lynn’s “Coal Miner’s Daughter,” again, with a different approach. Take a story of pride in humble Southern beginnings and a deep devotion to family, swap the twangy telecaster and banjo of Loretta Lynn’s version for Smith’s driving bass guitar and blaring horn section, and you have two musical approaches to the same material.
Both Dirty Laundry and More Dirty Laundry make fantastic listening experiences. They cull from a wide and deep tradition that has been hidden in the cracks of other genres. Many of the artists represented here are famous in their own right (Ike and Tina Turner, Solomon Burke, James Brown), just not as country music stars. Fantastic liner notes by Jonathan Fischer provide an outline of the history of black participation and influence on the trajectory of country music as well as detailing each performer’s individual connection to country music, often through writing and producing credits for white stars.
These records may not be what you expect, and because of that, they make us realize how narrow our expectations have become.