Archives for category: Darrell Scott

Darrell Scott at Grimey's, Jan. 31, 2012

Darrell Scott celebrated the release of Long Ride Home, what he describes as his most Country album to date with an in-store appearance at Grimey’s on January 31st. Darrell Scott  who has been nominated for a Grammy three times as well as collaborating with writers such as Emmylou Harris, Steve Earle and Guy Clark, was enjoying a rocking duet in the rear of the store.

Darrell reminisced about working with his father in his teens back in California saying that two of the songs on the CD were written on a retreat to Big Bear in The San Bernardino Mountains with his Dad when he was sixteen. The two tracks, “The Country Boy” and “You’re Everything I Wanted Love to Be,” have that pure California Country swagger having been written before mechanical bulls and Urban Cowboy.

On a personal note, this work could not have come at a more important time. After the completion of the project, Wayne Scott was the victim of a car accident in Corbin, Kentucky on November 25th, 2011. The project became a loving tribute to his father and the musical heritage that has been passed on from father to son.

Having been able to hear the new songs with a full band at Station Inn a few months back, it was exciting to hear the final work, probable his most collaborative yet, working with his long time percussionist Kenny Malone as well as Patty Griffin and Guy Clark to name a few.

In the midst of The Band of Joy tour, I had the opportunity to interview Darrell, not wanting to go after the obvious, “How is it working with Robert Plant?” question, I decided to look at where Darrell was at working as a “utility” player, a man with all kinds of string instruments, a gun slinger.  It reminded him of how it was playing in his Dad, Wayne Scott’s band back in the Inland Empire of California.

That interview turned out to be a harbinger of his next album, returning to his roots, turning full circle. The article was set to publish in a national publication but was cut before publication at the end of 2010.  In a way, the article fits more what Darrell did with this project even more than what he did with Robert Plant.

I now present the never before published work.

Darrell Scott: From California Honky Tonks to Band of Joy

            Darrell Scott was back in Nashville for some down time from touring with the Robert Plant project Band of Joy named after the band Robert and John Bonham were a part of before starting Led Zeppelin with Jimmy Page.

Brad Hardisty: Are you working on some song demos since you’re back at home?

Darrell Scott: I should be but with the tour and everything, I just can’t think about it right now.

BH: You don’t get much of a chance to be the sideman?

DS: I am so busy with my own songs that I’ll play for friends but that is about it.

Darrell had been touring solo in support of his recent release A Crooked Road, a collection of personal post cards about family, his children, and relationships. It was a personal effort by a well known Nashville songwriter that has written songs that have been recorded by a diverse roster of performers.

BH: Your songwriting has that real depth to it, reminds me of Jimmy Webb (“Galveston”, “Wichita Lineman”)

DS: Oh definitely, my two favorite writers are Jimmy Webb and Guy Clark, but I like all kinds of well written Country, Pop, whatever.

Darrell has had dozens of songs recorded by Major Artists. In fact the song “You’ll Never Leave Harlan Alive” a tribute to songwriter, Harlan Howard was recorded by several different artists including Brad Paisley, Patty Loveless, Kathy Mattea, Red Molly and even former Ozzy Osbourne guitarist, Zakk Wylde.

Darrell was born on a Tobacco Farm in London, Kentucky, the son of Wayne Scott who passed down a love of Country Music. After a few economic based moves Darrell’s family settled down in an area known as “The Inland Empire”, San Bernardino County just 60 miles east of Los Angeles but a world away from the Sunset Strip and glitz of Hollywood where back in the day there were still remnants of Nashville West.

DS: I played Honky Tonks, Bowling Alleys whatever in my teens. A lot of times we were the backing band for Country Artists that were traveling the circuit like Ernest Tubb (The Texas Troubador) or we were the headlining band.

BH: A lot of people don’t realize all the Country Music that came out of California.

DS: Yeah, I mean all those people that came out from Oklahoma and the south for work brought the music with them.

BH: So you were gigging a lot?

DS: I would end up sitting at the Pedal Steel with a Telecaster in my lap.

BH: A lot of music gear in Country music came out of California.

DS: Leo Fender, the Telecaster and his Electric Steel Guitars. Then there was Paul Bigsby (The Bigsby Vibrato), Mosrite (guitar builder for Joe Maphis) and even the Dobro Company was out in California, Guy Clark worked for Dobro.

Darrell was a “Nashville Triple Threat” before he moved to Tennessee, developing his skills as a Performer, Musician and Songwriter. He had an unreleased New York Singer/Songwriter album done that his label never released before deciding to move to Nashville

BH: So how did you end up in Nashville?

DS: My wife was as a school teacher, I figured I could keep the music going and housing was cheap. I really didn’t want to move here at the time, but, it was the logical decision.

Darrell brought a lot to the table when he moved to Nashville in 1991, becoming a go to session musician and stellar songwriting. Eventually he was able to re-record the never released New York album thirteen years later. Theater of the Unheard garnered Album of the Year at the 2005 Independent Music Awards.

B H: I know Robert Plant spends a lot of time in Nashville. Did you know him before joining the Band of Joy project?

D S: No I didn’t. In fact he had never heard of me. Buddy Miller made the recommendation and Robert wanted to hear me play before making a decision. They flew out to San Francisco to see my set at the Hardly Strictly Bluegrass Festival (Oct 4, 2009 at 11AM on the Banjo Stage).

BH: On Band of Joy you’re kind of like Dave Lindsey “the utility guy” that can play anything with strings.

DS: I didn’t know what to bring, so I brought everything including my fretless Banjo and Accordion. I didn’t know how it was going to turn out. We just had a short time booked over at Woodland Studios (in East Nashville) to see what would happen.

BH: A couple of the tracks especially “House of Cards” and “Central Two-O-Nine” remind me of Led Zeppelin III.

DS: I wouldn’t know. I don’t know much about Led Zeppelin. When I play it’s my own interpretation. It is what I would do.

BH: That reminds me of when Jerry Lee Lewis was recording “Rock and Roll” for Last Man Standing, Jimmy Page tried to tell Jerry Lee he was playing the rhythm wrong and he said this is the way I play it. He had never heard the Lep Zeppelin song before.  The band is playing some Led Zeppelin on this tour; I always loved “Tangerine”

DS: Yes, we’re playing “Tangerine” and “Misty Mountain Hop”. But, we are playing a lot of different things live. We really are becoming a band out on the road. I mean the album experience was phenomenal, but, we are really becoming a great band.

BH: It reminds me of how Led Zeppelin really gelled on the road and you can tell the difference between the first two Led Zeppelin albums. Are there any plans for another album?

DS: No, no plans. It could happen but who knows. Robert is a moving target; he doesn’t like to look back. He is always thinking forward.

Darrell seemed excited to get back out on the road with Robert Plant/Band of Joy, having gone full circle he is back at the pedal steel with a Telecaster cradled in his lap just like playing with his Dad and his brothers back in California. The only difference is that he is touring the world with Robert Plant and the cream of the crop of current Songwriter/Musicians from Nashville, Tennessee.

BH: So when you’re done what’s next?

DS: I have been working on a couple of projects and it could go either way. I have wanted to do a classic country album pre-70’s style, but, I also have a songwriter album done.

BH: If you had to describe Band of Joy what would that be?

DS: Two words, Buddy Miller and organic. The thing was totally organic. If it had not come together it would not have happened. There was no strategy. We had such a short window and it was incredible.

Buddy Miller put together a band to support Robert Plant in his current musical path. Darrell is leaving this weekend for another six weeks of touring with a planned stateside return of Band of Joy next year. Darrell enjoys being a part of such an original sounding band, a master musician, songwriter and performer in his own right, the future is wide open and full of promise.

– Brad Hardisty, Nashville, TN     thenashvillebridge@hotmail.com

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Hayes Carll Americana Fest 2011 Mercy Lounge

After the Americana Music Association Carnival pulled out of Nashville, the big question is, what does Americana sound like? A friend of mine said that it would have at least one acoustic instrument in the mix, to give it that authentic roots thing. Jim Lauderdale as he hosted the Americana Awards did a spoof show tune, “That’s Americana!” It was hilarious and it was great because Americana is not a particular sound.

Americana is one of the strangest music references ever, at least when the word “grunge” came along, it meant one of the bands that came out of Seattle at a certain time. Americana is like a radio format for everything that doesn’t fit the current formats, yet, it is getting some of their artists like Mumford and Sons into the mainstream. Not to mention Will Hoge.

A mention was made by one of the show reviewers in Nashville Scene that they were glad that the “old farts in flannel shirts singing post Grateful Dead stuff” were gone and they could have the Exit/In back.

I get the feeling that a lot of people are stumbling onto Americana artists and not even knowing it, in Rolling Stone or when their friend says “listen to this” and pulls up something on their IPod by The Civil Wars or The Avett Brothers.

If you haven’t heard about these artists in the last year, then you live in a bubble. Americana is not only an award at the Grammys now, but, a launch pad, much like Indie format radio, where artists can get their “legs” as they mingle with legends like Gregg Allman and Robert Plant who are flying the banner.

One thing that Americana is not is electronic. Americana may have some roots in any American genre such as Blues, Soul, Gospel, Country, Folk and on and on, but it is definitely not about Kraftwerk or the modern Pop that is all made up on an Apple computer.

Blind Boys of Alabama Americana Fest 2011 Cannery Ballroom

Americana is as much about Red Dirt singer/songwriters like Hayes Carll as it is the roots gospel of The Blind Boys of Alabama.

Blind Boys of Alabama, Alabama Music Tribute at Cannery opening night

I guess if you are looking for a root to Americana you would probably have to go back twenty years in Nashville when about sixty California transplants started gathering to Nashville. Some of them became mainstream songwriters like Jeffrey Steele or Darrell Scott (most recently, Robert Plant & The Band of Joy). The one thing that did happen is they shook up the system.

Kenny Vaughan Americana Fest 2011 Mercy Lounge

Back in those days, Rosie Flores and Lucinda Williams would hang out all night, shutting down two or three bars only to meet up with Billy Block for breakfast.  A good chunk of these people bucked the Country music machine at the time or made some changes to it. They stayed true to themselves and this whole Americana thing has kind of caught up with them and now they are riding a jetstream of new found respect and popularity.

People like Jim Lauderdale who can go from playing straight up bluegrass to roots country to writing Robbie Robertson style music with a Grateful Dead lyricist represent the diversity of what is currently happening. It’s like the alternate universe of “the music business as usual” with a handmade vibe.

Most of what Bob Dylan does nowadays such as Modern Times could be classified Americana.  Many of the Americana Artists really jump from box to box, especially Mumford & Sons and Justin Townes Earle, who have as much Indie respect as they do Americana clout.

Kenny Vaughan packed it in then packed it back up at Mercy

The most interesting thing is that the genre has strong roots outside of the U.S. in places like Australia and Europe. Many of the artists make more money over there when they tour. This is nothing new, we as Americans many times pass on what is really cool about our culture and opt in for the corporate sell, “the spin.”

Americana is mainly artist and fan driven; it is really Indie at its core. If you like the Muscle Shoals era Dan Penn written songs alongside The Avett Brothers, more power to you. It really is the old saying, “Something old, something new, something borrowed, something blue.”

Robert Plant, Entertainer of the Year, The Ryman acceptance speach

You don’t have to buy into acoustic singer/songwriters or flannel shirts and old farts to find something there for yourself. Chances are you are listening to some Americana format music without realizing it. If you’re not sure where to start then it might as well be Buddy Miller, Robert Plant said he heard Buddy the first time when he toured with Emmylou Harris a few years ago and he seemed to embody everything American music, blues, gospel, rock, you name it. Robert said that Buddy will always be a part of whatever he does in the future. Emmylou Harris, at this year’s awards at The Ryman, said, they should call the Americana Award “The Buddy” because he has won so many of them.

By the way, a note to the Nashville Scene writer, when you refer to a group of music fans as old farts, just realize that you are probably being referred to as an old fart by somebody, it could be an 11 year old on a skateboard listening to some punk band out of California and thinking the same about you.

 – Brad Hardisty, Nashville, TN     thenashvillebridge@hotmail.com

Andy May and Kenny Malone - photo courtesy, Kevin Schlatt Photography

There were all sorts of events both musical and public ceremonies going on around Nashville last Sunday. It was a slow time getting up and I wasn’t really up for the pomp and circumstance, but, I was up for some good music.

The Country Music Hall of Fame has a schedule of free demonstrations, concerts and films. September 11th sounded interesting with Andy May and Kenny Malone doing a “Guitar and Drum Demonstration” set in the Gibson Room at 1Pm.

This was an opportunity not only to listen to an interesting set but to ask questions and get some interesting answers and advice by a couple of masters.

Andy May is a guitar and mandolin player as well as a singer, songwriter, and music educator. Andy has won the guitar grand championship at the Old Time Fiddler’s Convention (Union Grove, North Carolina) and he has appeared with Brownie McGee & Sonny Terry, Merle Haggard, Nickel Creek, Mike Seeger, Pete Seeger, and others. He is a regular at Merlefest .

Kenny Malone is a percussionist who has performed or recorded with Garth Brooks, Johnny Cash, Ray Charles, Waylon Jennings, George Jones, Alison Krauss, Willie Nelson, Dolly Parton, and others. 

Kenny Malone, not just a drummer, but, a master percussionist, brought world beat to Country Music years ago. One of the first records that he used Djembe drums and other percussion was with Don Williams. Kenny talked about how he likes to read the lyrics before he reads the music so that what he performs on the song doesn’t distract from the lyrics.

Kenny showed his newest set-up, five Djembe drums set up in a full pentatonic scale.  Kenny stated, “Several cultures independently found the pentatonic scale on their own. The pentatonic scale would be the black keys on the piano. When drums are tuned to a pentatonic scale, there is no discordance with the music being played and you can hit any drums together and they blend.”

Andy showcased his versatility not only by playing his own songs such as “Love is The Greatest Gift of All” off Blackberry Jam, on a Martin Acoustic through a Roland Cube which sounded 10 times bigger than it was, but, took requests from the audience to maximize what Andy and Kenny could do between Guitar and Percussionist, going everywhere from “Roll Over Beethoven” to “Star of the County Down” sung by Andy’s daughter.

Kenny showcased a new percussion piece for the first time which he decided to call “9/11,” in honor of the date.  Andy and Kenny both talked about deciding on doing the gig together on 9/11.   Rather than being about what happened on 9/11, it was a time to memorialize the 10th anniversary and remember that American Music is a blend of different cultures. Drums coming from big brass band European military music.

“The snare came from the battlefield. They needed something that would crack through everything. The snare was used to give directions on where to shoot or fight. It was code tapped out on the snare. The percussionist brought nothing into battle but a snare drum. It was dangerous work. Of course there is the Scottish drum and fife corp.”- Kenny Malone

Kenny- “When I was in the military, playing music was part of the job. When we passed a Russian ship in international waters we had the responsibility to play the national anthem.”

Andy commented about music being a mixture of roots in traditional folk melodies mainly known through older gospel music and religious traditions of different cultures.

Kenny made the remark that we are constantly blending musical forms noting that he was playing traditional African instruments as well as a snare from military tradition while Andy was playing an instrument that came out of Europe in various forms hundreds of years ago.

Kenny has been doing the acoustic guitar/drum duet thing for a while with Darrell Scott (songwriter, multi-instrumentalist) at Hippy Jack’s, the Americana Music Festival and the Folk Alliance in Memphis.

Kenny will be playing with Darrell Scott to celebrate Darrell’s new Country music release at the Station Inn on October 5th and 6th. This is a show not to be missed.

Before leaving The Country Music Hall of Fame, I stopped into the Ford Theater to see Bill Monroe’s appearance on Austin City Limits back in 1981 and 1986 and this was a tribute special aired in 1997. It was cool to see him and Ralph Stanley on the big screen. I guess 9/11 can be a day when we celebrate American culture and what we have given to the world. Music is the great communicator and no ideology or extremism can take away what we have been able to accomplish by blending this stew we call America.

Night Ranger, before lift off

My friend, Steve in Wichita, who may the biggest Night Ranger  fan in the world, insisted I go to their unplugged set at the Hard Rock Nashville at 7Pm. I was glad I went.  Not so much for the rare acoustic interpretations of their own songs but whatever came to mind.

Night Ranger w/Mark Volman - The Turtles

Kelly Keagy, drummer, is a Nashville resident and I have caught one of his unplugged sets he did with Mark Slaughter and Kip Winger (both Nashville residents) before but this featured six tequila shots each as well as a guest walk up of The Turtles – Mark Volman and a Night Ranger run through sing along with 200 of their closest Nashville friends of “Happy Together.”

It became a challenge to see what could be played on the guitar.  One of the biggest surprises was when Jack Blades asked Brad Gillis to tell the story about what happened when he took over the Ozzy Osbourne – Blizzard of Oz tour after Randy died. Randy was killed in a small plane crash mid-tour and Brad came in and filled the guitarist shoes after a short audition to finish out the “Diary of a Madman” tour.

A little Deep Purple "Highway Star"

There were banners like “Randy Forever” flying in the crowds and he was met with the challenge of matching one of the greatest guitarists of the day when Brad was a virtual unknown outside of the California Bay Area.

Sharon Osbourne, who managed Ozzy at the time decided to give Brad a bad time. She said, “Oakland is cancelled.” Brad- “Why??” “Lack of ticket sales.” Sharon said with a frown, then after a moment, she smiled and said, ”just kidding, it sold out in three hours.” Brad was asked to stay on but was anxious to get back to record Night Ranger’s first album. This lead to an outrageously good acoustic rendition of “Crazy Train” with Brad Gillis ripping the Randy lead part on a Taylor. He got a roomful of cheers for that one.

Kelly singing The Doors "Roadhouse Blues"

After a few Tequila shots, Kelly celebrating his Birthday, began to reveal his age when he talked about seeing The Doors in 1968. After guitars started churning “Roadhouse Blues”, the band went full swing, on a great tribute to The Doors with Kelly doing his best Jim Morrison.

It was over the top moments like these one of which featured a full on Ritchie Blackmore ripping – Deep Purple “Highway Star” mid-song bust out as well as the fact that this was a benefit for families dealing with children with drug problems, You’re Not Alone  Organization, that made the cozy room above the Hard Rock Café feel like a private party for Kelly Keagy and 200 of his best Nashville friends.

Music is one of the things that pulls us together as a country, it helps to identify those special moments in our lives, for Night Ranger it was like Déjà vu. “Ten years ago on 9/11 we were playing with Journey in Detroit. Now we are still on tour with them. A tour that started in 1982…ha-ha…”- Jack Blades

Night Ranger will be opening for Journey and Foreigner tonight at Bridgestone Arena.

Kelly Keagy's copy official set list

 – Brad Hardisty, Nashville, TN     thenashvillebridge@hotmail.com

 

Jimi Hendrix in Nashville

Word hit the street over the last two weeks like a brush fire in New Mexico: Rolling Stone wrote in print and on the net, Nashville has the best music scene in the country. I haven’t even read it yet because it is in the subscriber content on the web, but, I believe it to be true.

What was the turning point? The Kings of Leon? I don’t really think so.  The Kings of Leon had to go over to England to become big  in the U.S., kind of like Jimi Hendrix, in fact Jimi was gigging up on Jefferson Street with Billy Cox  and The King Kasuals for just a little scratch and room and board just a couple of years before he went to the U.K.

Paramore? Well, giving a little credit to a younger scene was a good thing when they were signed to Fueled by Ramen (sort of) yet there is no scene of bands trying to sound like Paramore around Nashville so it is its own thing.

Just a couple of years ago, Nashville was licking its wounds when Be Your Own Pet and The Pink Spiders, especially The Pink Spiders who went in with guns loaded and a Ric Okasek Produced album and an Artist Relations war chest were unable to break big.

Was it when Jack White moved Third Man Records down to Nashville, that is definitely a key piece to being Rolling Stone cool, with new 45’s by regionals being released almost on a Sam Phillip’s Sun Records schedule along with concert events that are showstoppers like the Record Store Day plus one Jerry Lee Lewis concert featuring Steve Cropper and Jim Keltner.

Okay, Jack White has given it the one two punch by introducing past icons to new generations  like Loretta Lynn’s Van Lear Rose Grammy award winning album with Loretta standing in front of the East Nashville house where it was recorded.  How about when Porter Wagoner opened for The White Stripes at Madison Square Garden?  Who would have known that Porter’s final call would be an outstanding album, The Wagonmaster and a gig opening for The White Stripes?

Maybe, that was key in making sure that real icons are represented like Wanda Jackson’s great new album on Third Man Records. Jack is definitely not just looking behind but is really tuned into the ether. I was excited to see Dan Sartain, a part of the same Birmingham scene I was in for a number of years cut some vinyl on Third Man Records. Dan opened up for The White Stripes on several dates a few years ago and my friend Emanuel Elinas who made some guitar pedals for me down at Highland Music in Birmingham talked about playing Bass with Dan Sartain and going bowling with Jack and his Mom. How cool is that?

In fact, when I saw the band on the flip side of the Dan Sartain 45 and Matt Patton was there, I was really happy about what was happening. Matt and a few others had put out some of the best Indie music in Birmingham that I have ever heard. Matt had this band called Model Citizen and their CD, The Inner Fool, produced by Tim Boykin (The Lolas, The Shame Idols, Carnival Season) on Bent Rail Foundation is one of my all time favorites. Matt is getting recognition with Tuscaloosa, Alabama’s The Dexateens now.

I tell you what; let’s get down to ground zero. When we talk about Todd Snider and the East Nashville scene we are getting close, but, let’s get down to one album and one artist.  Okay, I am going to say the transition came when Nashville got behind one of its own in 2008. When Justin Townes Earle got signed to Bloodshot Records and released The Good Life both weekly music papers got behind with big in depth articles about how Justin got to that point. The Good Life is a classic album out of left field but it really represented what Nashville was known for, good songwriting, a little rock and roll, a little country with a nod to the past and to the future of Americana.

At that time, you could hang with Justin over at The Basement, but with extensive touring and a prolific three years, Justin is well established and still with indie cred enough where I can still turn people onto his music as something new.

Justin was recognized at The Americana Music Awards in Nashville in 2009 the year before Rolling Stone called the Americana Music Festival the coolest festival in the U.S. In fact 2010 would be the no holds barred year when Warner Brothers would finally release American Bang’s CD. Robert Plant would record Band of Joy in East Nashville with an Americana  A-List including Buddy Miller and Darrell Scott and be the surprise guest at The Americana Music Awards.

The 2010 Americana Music Festival was a real eye opener when you had The Long Players, Bobby Keyes, Dan Baird and a laundry list doing Exile on Main Street at The Cannery Ballroom, Hayes Carll at The Basement, with people coming from Australia just to see him play and a festival closer with Todd Snider and an all-star band featuring Don Was on Bass, with a grin and looking somewhat like Slash’s older brother.

Don Was got in the game this year when he produced Lucinda Williams (a Nashville alumnus) new Cd, Blessed. Did it start at The Americana Music Festival with an exchange of phone numbers backstage at The Rhyman? Only they know for sure, but Nashville is becoming a ground zero magnet for much more than Popular Country Music Radio songs and Christian Music.

There had to be a change. The music business had changed and Nashville has changed along with that. Instead of twenty major labels in town, there are now five. The rest are Indie Country, Rock, whatever.

Coming to Nashville to be a hit songwriter may be a goal for a lot of people, but, getting a staff writing gig is becoming really difficult and less lucrative. Back in 2007-2008, we talked about how a songwriter with good songs getting signed to a publisher with maybe a 25-35k draw now going for 18-24k and the need for a day job for many.  Also, one of the larger publishers had in the past as many as 135 staff writers and was then down to Thirty five.

I know for a fact things are much worse for that dream with less staff writers, less money and less records being sold. The dream is still there, but, now you need to get lucky and find a new face with a great voice and the potential to get signed and start co-writing before some money starts flowing.

In early 2008, I could go to The Commodore Grill and see an endless supply of new songwriting talent for the Country Music Industry, but, with less staff gigs and the economy in the tank, less people are rolling into Nashville with an acoustic guitar and lyrics in the guitar case. In fact, it really is a trickle compared to just three years ago. Also, many of the writers that are coming into town have Dave Matthews, Jason Mraz or Jack Johnson chops and are not really what the Country Music Industry is looking for.

On the other hand, the Indie Rock and Americana scenes are ripe for development.  Vinyl is making a comeback with this crowd and United Record Pressing is right here where it always was. Colored vinyl, short runs, whatever you need with local labels like Third Man Records and Nashville’s Dead Records, United Pressing is back to increasing production and essentially back in the game.

The song publishing and royalty distribution infrastructure is realigning in Nashville with changes in staff announced publicly last year at ASCAP and I am sure accommodations are coming with a paradigm shift to handle multiple styles now in the pipeline.

Grimey’s New and Pre-Loved Music is probably the most famous record store in the country now, maybe second to Amoeba’s out on the West Coast. It’s not enough that Indie bands make in-store appearances. Metallica made a little short announced gig for fans at The Basement below Grimey’s in 2008 before their Bonnaroo appearance and released the whole experience as Live at Grimey’s worldwide in 2010. Now all the gloves are off.

If you are a music lover, archivist, etc. in a world with disappearing Record stores, Nashville not only has Grimey’s, but  also, Phonoluxe Records, The Great Escape, The Groove and plenty of other outlets for local as well as rare Cd’s and vinyl.

Look what is going on at Thirty Tigers Indie Distribution and their great success over the last couple of years.

Belmont University is turning out Music and Music Business degrees every year and a lot of students want to stay here and not necessarily go into the Country Music Machine. They have their own ideas from the scenes they came from whether it was in California or New York.

Bands like The Black Keys and The Deadstring Brothers are migrating here.  Even though Music Row still has a big chunk of the day to day business great records are being made in East Nashville, Blackbird Studio and Buddy Miller’s living room.

With the advent of a studio in a gig bag, Indie artists can make records anywhere and with cheap housing and a plethora of like minded musicians gathering in what really is now becoming truly Music City it only makes sense to live and work here, especially when gas is going for near $5 a gallon. Why not be close to all the blessings that come with a great music talent smorgasbord.

Speaking of food, you don’t want to leave Austin because of Texas Barbecue? Okay at least try Jack’s and Rooster’s Texas Style BBQ and Steak House on 12th. I promise you won’t be disappointed. You want California style Mexican Food? Go to Oscar’s Taco Shop on Nolensville and in Franklin. Thai? Thai Star. Vietnamese? Far East Nashville. Indian? Tamarind. New York Style Italian? Are you kidding? Maffiozas or the place at the Arcade. Okay, so you can’t get Hawaiian Plate BBQ here yet, but, there is plenty to explore. We could still use an In and Out Burger.

Okay, back to music.  Country is going through a lot of changes. The ripple of the Taylor Swift explosion that Big Machine Records put into motion are still being felt, being one of the only Platinum Recording Artists in the new digital era, as well as outside pressures from Texas Charts, the Red Dirt scene and T-Bone Burnett Produced masterpieces that can’t be denied.

Country even has its own street cred in Nashville with bands like Kort who are local but signed over in England as well as Indie Singer / Songwriter Caitlin Rose and Country spun  Those Darlins. Even Charlie Louvin, who as part of The Louvin Brothers can take some credit for inspiring The Everly Brothers and therefore The Beatles harmonies, got his Indie cred with The Battle Rages On that was released on Austin’s Chicken Ranch Records. I can say I got to see two Midnight Jamboree tapings and get his autograph on an early Louvin Brothers recording before he passed into immortality.

So what about Nashville’s own Indie scene? Heypenny, Jeff The Brotherhood, Cheer Up Charlie Daniels,  Uncle Skeleton, Pujol, Heavy Cream (kind of Karen-O fronting a better looking MC5), Todd Snider, John Carter Cash, The Coolin System, The Deep Fried 5 and a laundry list playing at places like The Basement, The End, Danzig’s House, Exit/In, The Rutledge, Mercy Lounge and a house party near you.

How could Rolling Stone not call Nashville the best Music Scene in the country? It is a multi pronged Country, Alt-Country, Americana, Bluegrass, Newgrass, Folk, roots, rock, funkified attack on your senses.

It’s one of those places you could actually plan a week of your life to check out bands as well as pick up a new Nudie or Katy K suit. A place where you might find Joe Maphis’ old Mosrite double neck or the Bass player from Cinderella’s vintage Precision Bass on sale on Craigslist.

You may never win over Nashville, but, it’s a good place to write, do your business and go to the Third Sunday at Third pot luck at Doak Turner’s house in Nashville. Maybe it doesn’t have a burgeoning Death Metal scene but it does have The Billy Block Show. When the sun is out you can’t deny how beautiful Nashville is. Where else can “Bless Your Little Heart” actually mean, I don’t give a ****.

Nashville is a great place to throw your guitar case in the corner and call home.

There are several trackbacks links for your viewing pleasure.

– Brad Hardisty, Nashville, TN    thenashvillebridge@hotmail.com

A year in Exile

If there was any kind of recurrent theme this year, The Rolling Stones kept popping up on the radar. It started when I bought the Deadstring Brothers album Sao Paulo an obvious well done Stones influenced work of art. It would be in my Top Ten if it had come out in 2010 but it actually was released in 2009. It is a great album and when I saw them live at The Basement it came across really well.

It didn’t stop there; Exile on Main Street had been remastered with bonus tracks where The Stones actually brought in Mick Taylor to play his parts on some unfinished tracks. The Rolling Stones released a new single “Plundered My Soul” from the found tracks and released several versions of the album.

Grimey’s did a midnight screening of the Documentary Stones in Exile that took photographs, film, new interviews with the band as well as Bobby Keyes and others about recording Exile on Main Street in the south of France way back when at The Belcourt Theatre. “Exile” is now considered a pivotal record but at the time “Tumbling Dice” was considered a difficult single on a rather un-commercial record.

During the Americana Conference the Long Players augmented with Stones Sax Player Bobby Keyes, Dan Baird and several singers like Mike Farris, Grace Potter and others did the entire album live at The Cannery Ballroom. 

The Theatre release Ladies and Gentlemen The Rolling Stones which was filmed during the Exile promotional tour in the States was remastered and released on DVD in the fall. The set featured many of the songs from Exile that are not played much by latter day Stones such as “Sweet Virginia”. The sound and film looked phenomenal and it was good to see Mick Taylor at his best, an integral part of The Stones during that period and in truth is really missed nowadays.

Finally, to finish off the year of The Stones, Keith Richard’s Autobiography Life was released in November along with a compilation of his X-Pensive Winos recordings from the late Eighties.  The Rolling Stones managed to keep in the music news almost as much as Taylor Swift.

Original cover for Straight Up

It also seemed to be the year for catalog re-releases as Apple Records remastered most of the Apple back catalog of non-Beatles recordings by Badfinger, Mary Hopkins, James Taylor and released all of them at the same time.

FnA Records continued to not only re-release 80’s metal catalog but also unearthed several recordings that were set to release but never were by labels such as A&M and Geffen when the Seattle scene took over.  There were several recordings by different artists from The Thirteenth Floor Elevators 45’s to Carnival Season vinyl that saw their material released on CD for the first time.

Janie Hendrix continues exquisite releases of all things Jimi Hendrix with the release of West Coast Seattle Boy that not only has yet another Bob Dylan song done by Hendrix but goes back to the background of what he was doing before going to England with expanded packages that include a disc full of Isley Brothers and other nuggets, pre-Experience as well as a DVD Voodoo Child that even talks about his Nashville days.

Country continues to sell big, but real, traditional or Texas Country has been swallowed up by the Americana scene. At least it has found a home. As far as innovation in current pop country the last leap forward was Miranda Lambert’s Revolution and that was released last year.

Here are few honorable no less worthy than the list:

Ratt – Infestation

Merle Haggard – I Am What I Am

Kort – Invariable Heartache

Charlie Louvin – The Battles Rage On

Marty Stuart – Ghost Train

Jim Lauderdale – Patchwork River

Crazy Heart – (Soundtrack) Various Artists

Okay, now for my Top Ten. In making my choices, I not only looked at material, but innovation and game changers, records that made things interesting.

10- Carnival Season / Misguided Promises / ARRCO

This represents not only a re-issue on CD for the first time of regional Birmingham band Carnival Season that features local legend Tim Boykin, but, painstakingly includes every recording the band made during their short time together as well as extensive liner notes that tell the whole story of the late 80’s rockers. It sits well on the shelf with bands like Redd Kross as well as The Replacements. The band has been doing occasional reunion gigs playing not only this set but some new stuff as well over the last couple of years. This was one of the first alternative rock bands out of Birmingham, Alabama.

Featured tracks: “Misguided Promises”, “Please Don’t Send me to Heaven”

9- Robert Plant / Band of Joy / Rounder –Esparanza

Robert was in the middle of recording the follow up to Raising Sand with Allison Krauss when he pulled the plug when he felt the magic wasn’t there. He retreated to Nashville and entrusted Buddy Miller to put together a band that features Darrell Scott, Byron House, Marco Giovino and Patty Griffin and secluded into Woodland Studio to see what they would come up with. The result is obscure covers as well as a Plant-Page piece from Walking into Clarksdale that shows some Zeppelin flavor with uncharted Americana territory which sonically could have only happened with Nashville session players in such a short time. The band gelled in the studio and continues to roll across Europe and Stateside. This is probably Buddy Miller’s best Production effort yet.

Featured tracks:  “Angel Dance”, “You Can’t Buy My Love”, “House of Cards”

8 – Ryan Bingham and The Dead Horses / Junky Star / Lost Highway

Ryan tends to write like a modern day Dylan but his voice is more like John Kay from Steppenwolf. Ryan who comes from the red dirt scene of West Texas and now lives in so-L.A. got national notice with the Grammy winning “The Weary Kind” from the Crazy Heart soundtrack defiantly writes about a drifter leaving behind a dead end life to go to California only to end up sleeping on the Santa Monica pier.

Featured tracks: “The Wandering”, “Junky Star”

7- Sweet Apple / Love & Desperation / Tee Pee

Put together by members of Dinosaur Jr. and Witch, this little known defiantly Hard Rock and other worldly idea collection of songs with its Roxy Music rip off style album cover is actually closer to something between an early Alice Cooper (when they were a band) and Ziggy Stardust era Bowie. The album kicks off like a Raspberries send off with Guidedbyvoices production and then the desperation begins with some morbid love lost desperation with a chugging Alice Cooper band style with lyrics like ”Looking out the window, watching people fall, how I wish I could fall to death”. It’s a rock and roll gem this year.

Featured tracks: “Do You Remember”, “I’ve Got a Feeling (That Won’t Change)”

6 – Preservation Hall Jazz Band / Preservation / Preservation Hall Recordings

What a fantastic album. A collection of well-known New Orleans Ragtime with this important Horn based band where the tuba still carries much of the bass part, mashes PHJB with an all-star cast of vocalists such as Andrew Bird, Pete Seeger, Ani DiFranco, Ritchie Havens, Steve Earle as well as the sultry vocals of Memphis’ Amy LaVere.  The band ended up on tour with Maroon 5 this year.

Featured tracks: “Blue Skies”, “Baby Won’t You Please Come Home”

5- John Mellencamp / No Better Than This / Rounder

Recorded for the most part at Sun Studios with one RCA 44 ribbon mic into vintage Ampex Analog gear, John not only sounds like the old Sun recordings, this sounds like old tape that had to be baked in a microwave to finally put it on digital media. It was not only a great idea with equal parts Cash country, Rockabilly and blues but probably his best album since Scarecrow. The T Bone Burnett produced masterpiece even got airtime on WSM.

Featured tracks: “No Better Than This”, “Coming Down the Road”

4- Justin Townes Earle / Harlem River Blues / Bloodshot

If you missed it, Justin just rolled a third strike in three years. Every album has been decidedly Justin with marked differences and excellent songwriting. This would be his “Ode to New York City” where he now calls his second home.  Jason Isbell (Drive by Truckers, The 400 Unit) puts in guitar duties and gives this more of an edgy guitar feel as well as some straight up Rockabilly. It really would be cool to see a pure Rockabilly album in the future.

Featured tracks: “Move Over Mama”, “Workin’ for the MTA”, “Christchurch Woman”

3- Black Mountain / Wilderness Heart / Jagjaguwar

This album sometimes feels like Led Zep III and Deep Purple Fireball at the same time. The duality vocals of Stephen and Amber still remind me of a haunting Jefferson Airplane with the production sounding very early 70’s analog, sometimes acoustic but when they rock it’s got Jon Lord style Hammond B3 all over the place. Although the first album by this Vancouver band may have been a defining moment this is the one that makes me wants to crank the stereo full blast on road trips.

Featured tracks:  “The Hair Song”, “Old Fangs”, “Let Spirits Ride”

2- Mike Farris and The Cumberland Saints / The Night The Cumberland Came Alive / Entertainment One

Recorded in just six hours just two weeks after the Nashville Flood in a downtown Nashville church just blocks from the flooding, Mike shows that his bluesy/gospel voice can sound fantastic over anywhere he wants to go. Mike has been everywhere from Indie Rock, Blues, Gospel, working with Double Trouble to now this pre-war Gospel Blues style gem working with The McCrary Sisters, Sam Bush, Byron House and members of The Old Crow Medicine Show, his originals mesh well with the rare covers. He showcased the album at Cannery Ballroom during the Americana Music Festival and it was electrifying.

Featured tracks: “Wrapped Up, Tangled Up”, “Down on Me”

1-She & Him /Volume Two / Merge

Zooey Deschannel & M. Ward are some kind of modern Indie Captain and Tennille and somehow it works. Zooey has a sunny California breeze running through her muse that translates into a digital era take on The Beach Boys versus Phil Spector. Even though the material is fresh it makes me daydream of being back on the beach in Santa Cruz when I was six with my Mom and little sister.

Featured tracks: “In The Sun”, “Don’t Look Back”,”Lingering Still”

– Brad Hardisty, Nashville, TN     thenashvillebridge@hotmail.com

Okay, after reading about the 180 degree turn taken by Robert Plant from the anticipated follow up of “Raising Sand”, I was a little anxious to listen and look at what was wrought in East Nashville these last few months by Mr. Plant at the venerable Woodland Studios.  The studio where Bob Dylan recorded “Nashville Skyline” is now privately owned by musical artists David Rawlings (The Dave Rawlings Machine) and Gillian Welch.

As I opened up the CD, it reminded me of Buddy and Julie Miller’s “Written in Chalk” that turned a CD booklet into a little hard back book with a good 30 minutes worth of reading and photos to help guide you into the world created in Miller’s living room.

The design in this case was by Robert Plant with a look of crinkled muted blue pages and an illustrated clown that looked like something out of Ringling Brother’s Circus circa 1900.  The booklet features easy to read lyrics of songs by Los Lobos, Richard Thompson, and Townes Van Zandt with a little Uncle Dave Macon to go.

Robert Plant & Buddy Miller

Buddy Miller brought the house band together from some of the finest in Nashville featuring vocalist Patty Griffin and multi instrumentalist Darrell Scott who played the role of David Lindley on this sublime outing. If anyone were looking for a mirror reflection to the past, it would be found in guest vocalist, Bekka Bramlett who is featured on tracks one and two. If pinged back almost 30 years, you would find her mother

Backstage with Bonnie, Alabama Theater, 2007

 Bonnie Bramlett recording as Delaney and Bonnie in Muscle Shoals, Alabama with guitarist Eric Clapton in the early Seventies. Eric Clapton, as you probably know, shared the same slot Jimmy Page eventually did in The Yardbirds.

So if you look at it this way, “Band of Joy” which was named in honor of the band Robert and future Led Zeppelin drummer John Bonham played in before the storm is in a way a Hebraic chiasm. The CD encompasses in the end what was in the beginning.  A Hebraic Chiasm reinforces the truth of a doctrine by repeating the doctrine at the end of the verse in reverse much like a mirror reflection. It can be found all over the Old Testament and it can be found in the song choices of this CD.

Darrell Scott

Robert starts the CD with the song “Angel Dance” written by Los Lobos’ David Hidalgo and Louis Perez which lovingly refers to children as angels among the daily chaos, “Tomorrow will bring us a brand new day, We can run and play”, while at the end of the CD comes “Satan Your Kingdom Must Come Down” a traditional black hymn where Robert sings with banjo to the front and Patty Griffin on Backing vocals “I’m gonna shout ‘til they tear your kingdom down, Shout ‘til they tear your kingdom down, I heard the voice of Jesus Christ say, Satan your kingdom must come down”, finally ending the album with a plaintive start of Robert’s voice and a John Bonham type groove snare drum on Theodore Tilton’s “Even This Shall Pass Away” with the final lines comes a hint of the eternal truth, “Life is done so what is death?, Then in answer to the king, Fell a sunbeam on his ring, Blinding light through fading grey: Even this shall pass away.”

Patty Griffin

As a setup to Act 3, Robert obviously brings out a little Tom Petty with a beautiful duet featuring Patty Griffin on Townes Van Zandt’s “Harm’s Swift Way” in the reflecting lines “Time will go it never stays, Memory locked in her passing, Try, oh try to cling to her, Until she becomes everlasting.”

In the middle of all this Robert spoke about wanting to not only bring about the jam sound of the original Band of Joy but also the mood of Led Zeppelin III that featured “Tangerine”.  You don’t have to go any further than tracks two and three. The Zeppelin groove is there on “House of Cards” and the Robert Plant and Buddy Miller penned obvious ode to Led Zep III, “Central Two-O-Nine”.

Don’t get too comfortable, the next song may be a compass that leads Bono and U2 to Nashville for the next release after the disconnect of their previous outing. “Silver Rider” while reminding me of Englishman Terry Reid starts out sonically something akin to The Edge playing through one of T Bone Burnett’s old amps with worn out tubes and capacitors and rust smoothing out the long delay follow. Robert’s hushed duet style with Patty Griffin is the closest track vocally to “Raising Sand” on the disc but sung over a “U2-American scenic highway” stretch. Robert has found more sweet spots in his vocal range and style the last couple of years.

Okay, next up is definitely a tribute to The Beatles with a fairly unknown song by Billy and Bobby Babineaux titled “You Can’t Buy My Love” written as a response to “Can’t Buy Me Love”. That type of response song was common in Blues and Country up till about the mid 60’s.

Rather than move forward time wise, Robert stays in the mid 60’s and brings it back to Tennessee with the absolutely crossed Memphis Soul and Nashville Pedal Steel with a Gospel Quartet on “Falling in Love Again” that would make Elvis and The Stamps proud. I don’t really know if there ever was a song quite done this way with such a perfect half way point on I-40 between Nashville and Memphis. I know that if Elvis could hear it, he would be proud. I would say this is the most unique blend since Otis Redding and Duane Allman’s all-nighter at Muscle Shoals Sound that ended up with a complete retake on “Hey Jude” that beget Southern Rock.

If Randy Travis sang “The Only Sound That Matters” it would be on Country radio coast to coast but Plant makes it his own realizing that “Americana Music” means be yourself and it doesn’t hurt to be different in a genre that is what San Francisco was in the Sixties with its mix of Folk, Blues and just throw in some Graham Parsons for Cosmic Cowboy sake.

Robert pulls back towards the trance rock he was doing before Allison Krauss with the”  Tomorrow Never Knows” bloom of “Monkey”. It can be said that Robert was doing an album in Nashville without trying to be controlled by Americana’s boundaries or worrying if every track would fit in a corporately controlled radio structure. This is a low decibel duet with Patty Griffin over the non machine groove of real musicians sharing a communal vibe.

Uncle Dave Macon

Before ending the song cycle, Robert digs way back to the origins of Americana and dusts off Uncle Dave Macon’s “Cindy, I’ll Marry You Someday”. There is an added twist with the line “Come all the way from England, to steal your pretty hand”, somehow Robert is now in the traditional Appalachian tune with its roots in Scottish pub music, an Englishman would definitely be an outsider. This is a sparser offering instead of the drive and clogging codas from those early 78’s.

There is enough Led Zeppelin, Trance, Cosmic Cowboy and Americana for anybody to dig in and find something tasty. Just like the restaurants in Nashville that range from good Southern Fried Chicken and corn bread, to regional “Hot Chicken” and the Indian and Egyptian Buffets that form the melting pot of not only Nashville in 2010 but also this fine album that will be a shot heard around the world. You can do anything in Nashville. If you have lost your Mojo, try the capital of not only Country Music but songwriting and publishing, Music City.  Nashville is a vast mine of gems and Robert Plant has brought forth a well worn diamond with his co-pilot Buddy Miller and the rest of the crew in East Nashville.

– Brad Hardisty, Nashville, TN      thenashvillebridge@hotmail.com