Country Music
  • Kow
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    Me too. And it's all your fault.
  • Kow
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    Moot_Geeza wrote:
    I love this man.

    So nobody misses it.
  • Assuming it's not an internet hoodwink.
  • That's quality.
  • Saw Hayes Carll last month, one of my worldies.  Odd venue (Kings Place, near St Pancras), but decent gig.  Didn't arrive as early as we planned, so I missed the chat our friends with him outside (doubt I would've added much to 'play a Prince song', 'our mate's gonna be fucking gutted' and 'try a scotch egg' though).  I'm not overly keen on his new record, but some tracks are good and most of it sounded decent live.

    Quite keen on this one.  Ryan Gosling meets Get Off My Train:

  • Keep going back to Traveller by Chris Stapleton at the moment.  It's a hugely successful record, but to me it doesn't sound anything like the modern country artists that sell by the truckload.  I endured a Country Music Awards show on Sky the other day, and Stapleton was one of the genuine few highlights (team Lambert over here though, she nice).  Not as polished as Eric Church & co, decent lyrics, good sound to the full band stuff and the ballads hold their own.  It's a very good album but I can't put my finger on why it's taken off compared to similar artists who don't make a ripple.  I'm definitely not knocking it, I just wouldn't have guessed he'd receive mainstream success. @afgavinstan, if you liked Traveller you should try a Jamey Johnson album.  

  • Didn’t realise the CMAs were on Sky. I’d probably give those a shot. Sky Arts, by any chance?
  • Yep.  It was enjoyable for a mixture of right and mostly wrong reasons (wasn't sure what to expect, it was a sort of country-ish Eurovision).  Worst act was a male duo hand-gesturing their way through a set that looked like a Meatloaf cast-off.  Kacey went ever-so Dolly.  Eric Church a the track where he namedrops Ray Wylie Hubbard (thought it would've been rude not to buy his album after that, I'm not keen though).
  • I fancy a look at that for Musgraves and Lambert. Hopefully it’s on catchup.
  • @poprock, check out Elizabeth Cook.  I'm a few years late buying the album that earned her recognition, but she hits a sweet spot between decent songwriting and CMA sheen (much like Brandy Clark, Musgraves' previous album etc). 

  • cockbeard
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    Not listened yet as I'm in a pub and it would be rude to put my headphones in for half an hour

    Tempted to though, anyway stream of new Lydia

    http://www.npr.org/2016/08/11/488660920/first-listen-lydia-loveless-real
    "I spent years thinking Yorke was legit Downs-ish disabled and could only achieve lucidity through song" - Mr B
  • Got mates round for a bbq, not convinced it'd be a hit on the speakers but I'll be on this later.
  • Album is a solid [7] for me.  She's lost more of the twang but the sass has been pushed even further forward.  Goodbye ramshackle alt country, hello Beltylungs McPoprocker.  After four listens the track Heaven has gone from 'oof, what's she doing?' to the possible highlight.

    Edit: Can't stand 'Bilbao' though.
  • cockbeard
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    Sturgill Simpson just posted this on Facebook, and wow, it will loss him a few friends in Nashville, but thank good he has the balls to say what he thinks
    http://www.musicrow.com/2016/08/acm-creates-award-to-celebrate-merle-haggards-legacy/

    Many years back, much like Willie and Waylon had years before, Merle Haggard said,
    "Fuck this town. I'm moving." and he left Nashville.
    According to my sources, it was right after a record executive told him that "Kern River" was a bad song. In the last chapter of his career and his life, Nashville wouldn't call, play, or touch him. He felt forgotten and tossed aside. I always got a sense that he wanted one last hit..one last proper victory lap of his own, and we all know deserved it. Yet it never came. And now he's gone.

    Im writing this because I want to go on record and say I find it utterly disgusting the way everybody on Music Row is coming up with any reason they can to hitch their wagon to his name while knowing full and damn well what he thought about them. If the ACM wants to actually celebrate the legacy and music of Merle Haggard, they should drop all the formulaic cannon fodder bullshit they've been pumping down rural America's throat for the last 30 years along with all the high school pageantry, meat parade award show bullshit and start dedicating their programs to more actual Country Music.

    While Im venting about the unjust treatment of a bonafide American music legend, I should also add, if for no other reasons than sheer principal and to get the taste I've been choking back for months now out of my mouth, that Merle was supposed to be on the cover of Garden & Gun magazine's big Country Music issue (along with myself) a few months back.
    They reached out to both of us in October of last year while I was on a west coast tour. Merle was home off the road so I took a day off and traveled up to Redding.
    He was so excited about it and it goes without saying that I was completely beside myself along with my Grandfather who has always been a HUGE Merle fan. We spent the whole day of the interview visiting in his living room with our families and had a wonderful conversation with the journalist. Then we spent about two hours outside being photographed by a brilliant and highly respected photographer named David McClister until Merle had enough...he was still recovering from a recent bout of double pneumonia at the time and it was a bit cold that day on the ranch.
    But then at the last minute, the magazine's editor put Chris Stapleton on the cover without telling anyone until they had already gone to print. Don't get me wrong, Chris had a great year and deserves a million magazine covers...but thats not the point.
    Its about keeping your word and ethics.
    Chris also knows this as he called me personally to express his disgust at the situation. Dude's a class act.
    The editor later claimed in a completely bullshit email apology to both Merle's publicist and ours (Chris and I share the same publicist) that they didn't get any good shots that day.
    David McClister..
    2 hour shoot..
    no good photos..
    OK buddy,..whatever you say.
    Anyway, Merle passed away right after it came out.

    Some days, this town and this industry have a way of making we wish I could just go sit on Mars and build glass clocks.

    Sturgill
    "I spent years thinking Yorke was legit Downs-ish disabled and could only achieve lucidity through song" - Mr B
  • Wow, Guns & Garden Magazine killed Hag.  Bonus points for Stapleton, it took me a while to buy it but Traveller deserves the popularity. 

    I usually find dedications at awards ceremonies a bit cringey, particularly if the deceased was An Artiste 'O Merit.  It's not the inevitable covers that bother me, but the roving camera showing how much every single person in the audience is feeling the feels.
  • Holy shit, unexpected excitement.  Was gonna link to a Sturgill track but I just found this:

  • I'M GOING TO SEE JOHN PRINE IN APRIL!

  • The Hell or High Water soundtrack has a Colter Wall track on it, I'm enjoying his stuff on Youtube (he's yet to release a full album).  19 years old, apparently.  Must've hit the unfiltered tabs early:

  • Miranda Lambert double album’s just out. She’s doing a UK tour as well.
  • If you like country music and Rich Hall, this is highly unlikely to be a waste of your time:



    If you despise both, the section from 17.30 to 21.15 might still be worth a go.
  • cockbeard
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    You mentioned this the other day, made my ears prick up, will be watching later
    "I spent years thinking Yorke was legit Downs-ish disabled and could only achieve lucidity through song" - Mr B
  • I loved it.  Particularly the bit at the end where he asks various songwriters to choose stand out lines from personal favourite songs.  Ray Benson's choice was a bit goosebumpy for me.
    Spoiler:
  • Was planning on putting this in a PM for Nick, but as workid showed interest, handpicked Prine:

    From John Prine:

    Such a classic album I'm separating wheat from wheat, but the deep cuts for me would be Sam Stone, Far From Me and Angel From Montgomery.  Workid enjoyed Justin Townes Earl's version of Far From Me on an album club thing ages ago #nevaforget.  

    Having said that, Hello in There is probably the quintessential Prine track.  



    I saw him at the London Palladium a few months ago, and an old guy next to me - at the age where rocking backwards and forwards to music appears to be accidental - started oops upside your heading to this.  He got the dreaded feels.

    From Diamonds in the Rough, Souveneirs is the one.  'Broken hearts and dirty windows make life difficult to see/that's why last night and this morning always look the same to me'.  Also The Late John Garfield Blues.

    From Sweet Revenge, which is possibly my favourite of his, Blue Umbrella is the masterclass break-up track (you could probably fill a best-of with 'it didn't work out' Prine tracks).  I can't choose from the rest, so maybe Grandpa was a Carpenter and Please Don't Bury Me would serve as good examples of his less downbeat efforts.



    There's so much gold on this album it goes hand in hand with his debut for anyone thinking about dabbling.
  • Thanks for this Geez, gonna use each shout out as a jumping off point and will surely enjoy the rabbit hole I get lost in. Will let you know how it goes.
  • From Common Sense, Middleman is a fun opener and Come Back to us Barbara Lewis... and Wedding Day in Funeralville are the big hitters.  Saddle in the Rain gets its groove on too:



    Album closes with a cover of You Never Can Tell, so I'll tell a lame work anecdote.  I was playing it from the speaker pod thing, and a colleague did a pfft, tut, eyeroll thing. I asked what, and the answer was 'jumping on the Pulp Fiction Bandwagon'.  In 1975, righto.

    From Bruised Orange, That's The Way The World Goes 'Round and Bruised Orange (Chain of Sorrow) are the standouts.  Sabu is a good example of the 'whut?' side of Prine's songwriting.  Strong chorus, again.



    Happy Enchilada, makes me smile every time.

    From the patchwork quilt albums, Storm Windows is a blinder.  Living in the Future, Unwed Fathers, Speed of the Sound of Loneliness, Lake Marie, Long Monday.  Ain't Hurtin' Nobody is a bit Stan Ridgway, but if that's not a problem it's an of-its-time gem (come to think of it it was probably ten years out of date on release).  

    The Missing Years is the only other legit solo effort.  Go for All the Best, Daddy's Little Pumpkin or Jesus, The Missing Years on That.  If you don't mind early 90's country rock production get on it.

    From the duets, In Spite of Ourselves is the worldy.  Wedding Bells with Lucinda Williams is great.  We're Not the Jet Set (Dement again), Storms Never Last (Lee Ann Womack), Who's Gonna Take The Garbage Out (Dement, perfect foil), Dim Light, Thick Smoke & Loud Loud Music (Amanda Shires).  All good listening though.

    Anyone diving in further should check out both discs of The Singing Mailman Delivers, which contains early recordings/demos etc, and most of his very best songs.
  • Another one for Harry Dean Stanton:

  • Been bomping Jason Isbell Southeastern these last couple of days. Good album. Elephant turned me on, but the rest of the album is spanking too, albeit with Elephant as the standout.
  • Just had a look at the tracklist to shout out a couple more but I can't single anything out.  Front to back it's superb, probably top 5 albums ever for me, always glad when someone latches onto it.

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