Archives for category: Kenny Vaughan

Kenny Vaughan at Mercy 2011

This would be the year that Indie makes more news in Nashville than Country; what Music City is known for. There seems to be much more going on with the ever developing spider web of Funk, Rock and strange magic underbelly from the Gulch to East Nashville.

Before, we get into this weird year, 2012 with its three Friday the 13ths exactly 13 weeks apart, the intrigue of political discord, 12/21/12, which lines up with Rush’s “Temples of Syrinx” released in 1976, prophecy being realized, “Our great computers, fill the hallowed halls, We are the priests of the temples of syrinx, All the gifts of life, Are held within our walls,” ha! Computers, what a blessing and a curse as all the creative occupations occupied by humans are eliminated by this gift we call knowledge at our fingertips. Remember, when Rush wrote “Temples of Syrinx,” a computer took up a whole room. Well, Steve Jobs, one of the great Priests of the digital age has passed onto the spiritual realm.

The Mayan calendar ends shortly after the election, maybe the world won’t come to an end, but, probably a lot of music will be written about end times and there will be an uptick of heavy dirge and Metal music. This may be the year to contemplate life listening to Dark Side of The Moon again or about sinister underlying forces in Queensryche’s Operation Mindcrime.

Before we move through this “L” shaped recovery, one of the most mentally difficult times I can remember in my life, let’s rewind.

 As far as music, 2011 was a “run for cover” year as the “360 deal” pop artists keep spinning their “larger-than-life-80’s-on-ecstacy” fluff with the bands that happen to still be signed to major labels sounding not too far off the Katy Perryesque mark. I think the bands were put on warning, “Rock radio is dying so you better have “Moves Like Jagger.”

Okay, before I get to something positive, there were some disappointments. Janes Addiction, while preparing to release their newest album, The Great Escape Artist, put down their last effort, Strays  as not being that good, when in fact Strays did have a couple of great guitar hooks, while this dark piece, weak on guitar, ended up being more reminiscent of Porno for Pyros.  There was not one solid hook on the entire album.

Red Hot Chili Peppers were able to put together a solid if not remarkable effort with new guitarist, Josh Klinghoffer, who may be capable of taking on some Frusciante and Slovak, but not as innovative. Frusciante was a trailblazer; this is like replacing Eddie Van Halen.

So, with FYE the last major chain in Nashville closing its doors at the old Tower Records site, you got your choice, you have major league fluff, really not much different than the cotton candy days before The Beatles and The Rolling Stones crashed the party or you can go outside the box, think for yourself, show up at a Grimey’s in-store or a showcase at The End.

Hello Kelly at The Rutledge, photo courtesy- Jeni George

As far as bands go, Jeff The Brotherhood, joins the two member band fray that goes nationwide, well deserved with great shows locally and at Bonnaroo and beyond. As far as other local rock acts, Hello Kelly always put on a solid show when I saw them this year as well as The Onethroughtens that played solid sets at both the Third Man Vault show and some fashion meets art consortium at Mercy Lounge.

Kenny Vaughan at Ernest Tubb Record Shop

As far as favorite shows, Kenny Vaughan’s record release at Ernest Tubb’s downtown location was the place to be this year with Marty Stuart, the Fabulous Superlatives as well as Chris Scruggs playing to a packed room with about half being friends and relatives.

Jeff Beck at Ryman 2011

Jeff Beck at The Ryman was another phenomenal show as well as the Americana Awards that saw not only The Avett Brothers and The Civil Wars, but, also Robert Plant and Greg Allman bookending appearances with Buddy Miller providing the musical proceedings.

Okay, now for my top ten of the year. Many recordings are sounding more analog in the Indie world, if not recorded analog, the attempt to match the style with the sound that would come out of the influential era a must.

10.  Jeff The Brotherhood  – We Are The Champions

Starting out with some punk rock Buck Rogers guitar laser blasts subsiding into gnarly Maestro phase shifter on “Hey Friend” clocking in with a long intro, the writing is strong, simple and effective. Jeff gets a major label deal off this one. It will be interesting to see how that goes. Their own label, Infinity Cat, being one of the major local indie labels to develop a short roster that has been hitting every club and festival that they can, Jeff the Brotherhood came up with a solid piece of work.

9. The August – Dear Chicago Love Nashville

Jacky Dustin has one strong Country voice, this Chicago band has been down here chasing their Country music dreams for a little while, not waiting to get signed, they put this great piece of Country rockin’ song cycle out themselves.  Big labels, in their search for solos and doubles, have so far overlooked this great band. What’s wrong with a great band that writes their own songs about cranking The Rolling Stones and talking about where they came from? This is not a one trick pony going from the double-time “We Write Our Songs” to the getting more than you bargained for sultry “Love Me Like A Stranger,” this is probably the best “unsigned” country band in Nashville.

8. Graveyard – Hisingen Blues

This was a find while traveling out to Utah to do interviews, stopping it at local indie record shop, Gray Whale and picking up a recommendation. The Swedish rockers are somewhere between first album Black Sabbath and Vincebus Eruptum, Blue Cheer. The recording sounds like it was done on an old well worn 4 track reel to reel with non-Marshalls, more like full blown, old Sound City amps or something. There doesn’t seem to be anything above 8k on this album. It plays like a record found at a garage sale from an old Vietnam era stoner. They are playing this month at Exit/In on January 20th.  The early Black Sabbath slow un-blues of “No Good, Mr. Holden” and stoner boogie, “Buying Truth (Tack & Forlat)” are stand outs.

7. Mastodon – The Hunter

It’s weird to think that a Metal band that was conceived at The Nick in Birmingham and worked its way out of Atlanta, would earn its wings being lauded not only by Metallica but attendees at such indie festivals as Coachella with 2008’s, Crack The Skye, busting out everywhere. It was hard to follow up Crack the Skye which would be their Dark Side of The Moon, but Mastodon do a great job on such cuts as the “Sweet Leaf” groove of “Curl of The Burl” and the Dream Theater flavored, “Octopus Has No Friends.”  

Dedicated6. Steve Cropper – Dedicated, A Salute to The 5 Royales

Steve has the opportunity to pay tribute to guitarist, Lowman Pauling, who was one of the biggest influences on Stax soul as the great era of the Sixties would kick in full effect. The King records office, run by “Duck” Dunn’s brother in Memphis, brought in some of the strongest soul artists of the day from around the country. Booker T. and The MG’s, Otis Redding and many other artists were influenced as the music changed from rhythm and blues to soul. This has an all—star vocal cast from Delbert McClinton on “Right Around the Corner” to Steve Winwood, B.B. (Beale Street Blues Boy) King, Steve Winwood, Lucinda Williams and an A-list that contribute to this project.

5. Gary Clark Jr.  – The Bright Lights E.P.

With some gritty Black Keys meets The Burnside Exploration bluesy soul of “Bright Lights,” kicking off this four song cycle, there is a little Paul “Wine” Jones thrown in here, this Texan, all things, including a little hill country blues, is more of a promise than a full album. It was good enough to make Rolling Stone’s list for the year and earns a place on my list as well. The fact that it is on Warner Brothers makes it really twisted.

4. Tony Bennett – Duets II

With many of the classic icons now “Dust in The Wind,” it really is amazing that Tony Bennett still sings like a prizefighter. Mr. Bennett could hold up everything by himself, but, the interesting match-ups with Mariah Carey, John Mayer (yes, John Mayer), Willie Nelson, as well as Lady Gaga’s best performance to date on “The Lady is a Tramp” makes for an instant standard. The most prized track is Amy Winehouse’ last recorded performance of “Body and Soul.” The Nelson Riddle style strings make this record sit on the top shelf with the best early Sixties era Frank.

3. Kenny Vaughan – V

Kenny shows up on a lot of Nashville records, known as Marty Stuart’s guitar slinger, Kenny takes center stage with The Fabulous Superlatives providing back up, the album rocks as much as it steeps in mystified netherworld Country, blasting off with “Country Music Got a Hold on Me,” stopping mid-point with the instrumental, “Wagon Ride” before ending up in a rockin’ Country church, “Don’t Leave Home Without Jesus.”  Sonically, this has the frequencies in the right place with no high-end ADD busy bee stuff going on. Well done!

2. Blitzen Trapper – American Goldwing

If I could be in a band right now, this would be it, with only a strong sense of songwriting being the guide this is all over the map with heavy 70’s influenced, “Might Find It Cheap” being probably the best structured song I have heard this year, to influences from accoustified Dylan to southern fried Tom Petty, I think there is a concept going on here, but, more than anything this is worth at least a dozen listens.

1. Amy Winehouse – Lioness: Hidden Treasures

We may never know how far Amy could have gone. She absorbed Dinah Washington, Donny Hathaway as well as The Ronnettes with equal grace. Amy not only did some great covers, but, was a songwriter on par with the best. This disc has some raw original versions showing Amy supporting herself on guitar. Amy had all three talents, great voice, great musician and great songwriter. She was a triple threat in a class of one. Amy is the best voice of the last twenty years. This collection takes us all the way from the very beginning on the demo, “The Girl From Ipanema” to mid career, Stevie Wonder influenced, Amy Winehouse penned, “Half Time” to the current torn heart on a sleeve, Leon Russell cover, “A Song For You.” This is a chronicle of a flame that burned hot and way too fast. She should be here now.

Okay, that’s it.  Watch out for Imelda May. She actually played at 3rd and Lindsley this year. Imelda would have been on the list with Mayhem except it is a 2010 release, but, watch out, there is More Mayhem coming out at a Grimey’s near you.

Kitty, Daisy and Lewis’ stripped down take on the Forties as well as some Ska and Hawaiian music on Smoking in Heaven continues where the last one left. They’re heading for the Big Day Out Festivals in Australia and while not making much of a dent in the States, the recording is a vintage gear monger’s dream. They accurately feel like recordings made in Chicago or Memphis way before Sun.  

 – 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

Kenny and Marty Stuart & His Fabulous Superlatives started ripping it up a little after 8PM at the back of Ernest Tubb Record Shop like it was a Midnight Jamboree with The Buckaroos back in 62 on September 13th.

You could have been up the street at Bridgestone, listening to Journey and Foreigner playing a best of set, but, if you weren’t at Ernest Tubb, you missed what is happening now. Manuel Nudie, in a black on black striped tailored suit, didn’t miss it.

Introduction:" Kenny, it's time you put out your own record"

Celebrating the release of his first solo effort, V, on Sugarhill Records, it was Kenny front and center after an introduction by his beautiful wife, saying “it was about time.” Kenny has been ripping it up for years with everybody in Nashville from Martina McBride & The Ride to Marty Stuart, Mindy Smith and Mike Farris.

Kenny, Marty & His Fabulous Superlatives

Marty was comfortable being the supportive guitarist, boss, co-conspirator, this seals the deal.  With a frontline of nothing but Fender Telecasters, Paul Martin and his Fender Precision Bass, Fender Amps and Harry Stinson on the skins, this was a new chapter in the foundation that Buck Owens, Don Rich and The Buckaroos laid down, this is Honky Tonk at its best.

Tearin' it up!

Kenny ripped through “Lillie Mae”, “Country Music Got a Hold on Me” and other already gone classics. The delivery with a Chuck Berry story style and vocal range was as much Rock and Roll as it was timeless twin guitar attack that could have been Jimmy Bryant and Speedy West or Thin Lizzy.  

Speaking of Speedy West; Chris Scruggs made a guest appearance on Steel Guitar, already considered a Master by those around Nashville; it was pure vintage riffing almost hearkening back to that era. Chris mentioned after, that he will have a new Nashville recorded album out in the spring.

Marty!

Before finishing the set, they took off on “Country Boy Rock and Roll” from Ghost Train which left David Letterman and Paul Shaffer’s jaws dropped to the floor when Marty and Kenny  guitar shredded through their David Letterman Show promotional appearance just a few moons ago.

Kenny announced the last song, co-written with Marty, a Country Honky Tonk Rockin’ Gospel number, “Don’t Leave Home Without Jesus”. I don’t know what Church they play that at, but, I want to be there.

This is the perfect bookend to Ghost Train, this is what Lower Broad should sound like, from the Red Dirt scene of Oklahoma and Texas to the oil fields of Coalinga outside Bakersfield to Hank Garland and all that have gone before, this is the Country that puts a smile on your face.

Chris Scruggs Y'all!

While Kenny was going to continue the party at Full Moon down the street at 10PM, Marty escaped in his sleek Black Cadillac XLR Batmobile. This was the Nashville party tonight.

One of my Faves, Kenny at Mike Farris in-store

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

Mike Farris and The Cumberland Saints at Grimey's

 Mike Farris played with one of the largest bands ever to do an in-store at Grimey’s the night of October 26th, sharing that honor with Dark Meat and Sharon Jones and The Dap-Kings playing a set list from The Night the Cumberland Came Alive which is already number twenty two on the Americana charts on its first day of release. 

The album was recorded live just weeks after the Nashville flood in just six hours.  Kenny Vaughan (Marty Stuart), Ketch and Gill (Old Crow Medicine Show) and The McCrary Sisters were a part of that session and were able to be a part of the CD release party.

Kenny Vaughan Breaks out at Grimey's

Sharing time with found Pre-War Gospel Blues gems were the originals “The Night the Cumberland Came Alive” written by Mike as well as “Dear Lazarus” that Mike co-wrote with Ketch Secor.

The all acoustic set lead to some great jamming between Ketch on Harmonica, Kenny leaning into the Guitar and some fiddle, Resonator and Upright Bass. It may have been Grimey’s but it might as well have been a church in rural Louisiana or an old juke joint in the Hill Country not long after the Memphis Jug Bands.

Mike even got an encore as he noted that only in Nashville can you walk in with a framework of songs that you would like to do and come up with such a great recorded list in only six hours. Mike will be at Music City Roots Wednesday night with special guest Jerry Douglas at The Loveless Barn which can be heard on WRLT-FM, The Lightning 100.

John Carter Cash

It was too early to head home so I stopped by The Rutledge for The Billy Block Show to listen to John Carter Cash play a more rocking set of songs off his latest release The Family Secret as well as Billy Block on drums with Mary Hartman and the Mistakes. Mary Hartman had garnered some interest with a few fans coming in from Kentucky and Chattanooga after seeing her set from last month on The Billy Block Show on YouTube.

Mary Hartman and The Mistakes

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