I’d never heard of Lissie before receiving this EP in the mail, but then again, I never bought the soundtrack to The Simple Life or Wedding Daze either. But, something tells me I would have stumbled upon her soon since she’s working with the likes of Band of Horses and is currently touring with Ray LaMontagne. Cheers and good luck.

RIYL: latex pillows, warm flannel, hot maple syrup at the Waffle House at 2am
http://www.myspace.com/lissiemusic

The band has two members that contribute lead vocals and each gives the band a different feel. Andy Stepanian has a raw, edgy voice. Mason Brent Chase Heard has a smoother voice that gives a folksier feel. To put it in terms of bourbon it is like Old Grand Dad versus Basil Hayden. However, either one can result in a good time. This two singer, two style concept has a direct correlation to the Drive-by Truckers. The formula works pretty well for both the Truckers and the Mules. The comparison to the Truckers is not entirely fair given the depth of the Truckers catalogue. However, after four albums the Wrinkle Neck Mules have firmly established themselves. They seem to be here to stay and getting better. If you haven’t listened to them yet it is time for you to Let the Lead Fly.

Sample Title Cut

Belting it out from the great white north, Yesterday’s Ring (Myspace) is giving their Canadian friends a clinic in good ol’ American Cow-Punk. Their recent release, Diamonds In the Ditch (Suburban Home), is a solid collection of heartbreak, life on the road, abuse and love gone wrong. I wont suggest that there is anything terribly new being put on display here, but that doesn’t matter when it’s done so well.

Two geographically entitled tracks, “Moving Out (To Florida)” and “Moving Back (To Montreal) are the types of songs I think about when I hear others talk about “Cow-Punk”. The rest of the album employs various combinations of roots, rock and punk. For example, there is some Dixie-land punk (”Quebec City Blues”) and then there is a healthy dose of old-fashioned Rock with a serious twang to it (”Sad Songs”). “Scrabble Strip Club” is a heartbreaking duet that Dolly and Kenny only performed in my drunken dreams.

The strained and raspy vocals of Fred Jacques and Hugo Mudie aren’t exactly wide-ranging. What they lack in sheer strength and range, they make up for admirably in their ability to adapt to each song. While the album is a rock collection through and through, there are tracks, like “Scrabble Strip Club” and “What Happens On the Road Stays in the Van” that require a sensitivity that many rockers aren’t able to pull-off near as effectively as is done here. When it comes to this type of Country/Punk hybrid, it’s not likely that anyone is going to revolutionize it and turn the sound on its sonic-ear anytime soon. There are bands that pull it off and bands that don’t quite cut it. With Diamonds In the Ditch, Yesterday’s Ring pulls it off easily.

LISTEN: Full Album Stream - Yesterday’s Ring, Diamonds In the Ditch

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Rock & Roll Hall of Fame 25th Anniversary Concerts, Night One
29 October 2009 @ Madison Square Garden, New York City
Headliners: Crosby, Stills & Nash; Paul Simon; Simon & Garfunkel; Stevie Wonder; Bruce Springsteen

Guests: Jerry Lee Lewis, Bonnie Raitt, Jackson Browne, James Taylor, Dion DiMucci, Little Anthony & the Imperials, Smokey Robinson, John Legend, BB King, Sting, Jeff Beck, Sam Moore, Tom Morello, John Fogerty, Darlene Love and Billy Joel.

Stevie Wonder
“Are you ready to turn this mutha out?” asked Stevie Wonder (HoF class of 1989) as he got ready to tear into a Little Stevie Wonder classic. Alas, technical difficulties foiled his plan but the legend responded beautifully by changing up the set list. “We all know great writers when we hear them, right? This song here, we’re going to sing just to honor Bob Dylan,” before leading the crowd in the classic “Blowin’ in the Wind.”

With the problems subsequently resolved, Wonder launched into a jubilant celebration of his career. From the Little Stevie Wonder years (“Uptight (Everything’s Alright),” “I Was Made to Love You”) through his transition to “adulthood” (“For Once in My Life,” “Signed, Sealed, Delivered”) and his triumphant 1970’s period (“Boogie on Reggae Woman,” “Livin’ in the City”).

Wonder’s guests were equally impressive. Smokey Robinson (class of 1987) joined Wonder for the classic “Tracks of my Tears.” B.B. King (class of 1987) took the stage and delivered the blues on his “The Thrill Is Gone.” “You’re hot tonight,” King told Wonder as he left the stage. John Legend joined Wonder for a faithful version of Marvin Gaye’s “Mercy Mercy Me.”

When Legend started to leave the stage, Wonder called him back (“Yes sir,” responded Legend), directing Legend to the piano to jam on Michael Jackson’s “The Way You Make Me Feel.” In one of the evening’s most moving moments, Wonder broke down momentarily mid-song as the memory of his recently lost friend overwhelmed him.

Later Sting (class of 2003) quietly stepped to the stage playing the unforgettable bass line of Wonder’s “Higher Ground.” If that weren’t enough, the crowd roared when the two segued into “Roxanne” as Sting and Wonder swapped verses. With the room still pulsing, Wonder brought Jeff Beck (classes of 1992 and 2009) to the stage to play guitar on “Superstitious.” “Jeff, do your thing son,” exclaimed Wonder as Beck let his guitar howl.

At this point the time was approaching 11:30pm (the anticipated end-time for the show…) but the gauntlet had been thrown. Springsteen had a tough act to follow.

Bruce Springsteen
“Is there anybody alive out there? Then come on, let me hear you!” bellowed Springsteen (class of 1999) as the E Street Band with guest horn section tore into “Tenth Avenue Freeze-Out.” The crowd roared.

Next up was an a cappella chorus of Sam and Dave’s “Hold On, I’m Coming” as Springsteen gave a rousing introduction to his idol Sam Moore (class of 1992). The two tore through the song and then Moore shouted, “Come on, Stevie” as Van Zandt played the opening riff and led the band into “Soul Man.” It was electrifying. It was so good that they could have ended the show then and I would have been satisfied. Fortunately, they didn’t.

With a “give me that beat, Max,” Springsteen brought John Fogerty (class of 1993) to the stage for a double-dose of Creedence Clearwater Revival classics, “Fortunate Son” and “Proud Mary.” With four electric guitars and the E Street Band rhythm section a blazing, the group took no prisoners.

Before Fogerty could leave, Springsteen took to the mic to praise the late Roy Orbison. “I talked John into doing something that I wouldn’t try by myself,” said Springsteen, “we’re gonna take a ballpark swing at “Pretty Woman,” one of Roy’s brightest and most soulful songs.” They nailed it.

With a quiet “here’s a song by some other guy,” Springsteen returned to center stage for his own epic “Jungleland.” The quiet intro was a welcome respite before building to its intense finale. Any doubt as to Springsteen’s Hall of Fame credentials were clearly laid to rest.

The guests continued. Springsteen declared his support for Hall of Fame nominee Darlene Love and brought her out to sing “A Fine, Fine Boy” and “Da Doo Ron Ron.” Tom Morello (Rage Against the Machine) joined for Springsteen’s “The Ghost of Tom Joad” and “Badlands” plus an intense take on the Clash’s “London Calling.”

And the encore? “Are you ready for the summit at the Garden?” asked Springsteen, “’cause Long Island is about to meet New Jersey on the neutral ground of New York City.” Enter Billy Joel (class of 1999). The Garden erupted.

With a wave to the crowd, Joel declared “give me four bangs” and the band ripped into “You May Be Right.” The hits kept coming, now with Springsteen and Joel swapping vocals: “Only the Good Die Young” was a romp with Bruce declaring “we can’t end it like that” and driving the band into an encore version of the chorus; “New York State of Mind” (with Little Steven and Roy Bittan quietly watching while sitting on Bittan’s piano riser); and finally, “Born to Run.”

It was well past 1am, but the band wasn’t quite ready to call it a night. Moore, Fogerty, Love and Morello (plus Jackson Browne and Peter Wolf who both rushed the stage mid-song) joined Springsteen and Joel for an exhilarating finale of Jackie Wilson’s classic “(Your Love Keeps Lifting Me) Higher and Higher.”

Read Part One of the Night One review, featuring Crosby, Stills & Nash and Paul Simon (with and without Art Garfunkel) here.

And so began the two night celebration of the Rock and Roll Hall of Fame on the occasion of the Hall’s 25th anniversary. The shows proved quite the celebration, running nearly ten hours over two nights at New York’s Madison Square Garden. Headliners ranged from Bruce Springsteen to Metallica with many in-between, including a range of pre-announced and un-announced guests.

Read on for a report from the first portion of night one (which ran over 5 1/2 hours!); stay tuned for reports on the rest of night one and all of night two.

Rock & Roll Hall of Fame 25th Anniversary Concerts, Night One
29 October 2009 @ Madison Square Garden, New York City
Headliners: Crosby, Stills & Nash; Paul Simon; Simon & Garfunkel; Stevie Wonder; Bruce Springsteen

Guests: Jerry Lee Lewis, Bonnie Raitt, Jackson Browne, James Taylor, Dion DiMucci, Little Anthony & the Imperials, Smokey Robinson, John Legend, BB King, Sting, Jeff Beck, Sam Moore, Tom Morello, John Fogerty, Darlene Love and Billy Joel.

Crosby, Stills & Nash
As if to assert the social power of rock and roll, the legendary trio (HoF class of 1997) opened with a fiery version of “Woodstock.” As the energy pulsed through the room one couldn’t help but wonder what it must have been like to hear the song back in the 1960’s. Nash’s classic “Marrakesh Express” was a laid-back respite before Crosby let loose with a blistering version of “Cut Your Hair.” Three songs into their set and I was already floored by the combined power of Crosby’s voice and Still’s scorching guitar.

The organizers had promised special guests, and Crosby, Stills and Nash set a high bar by Bonnie Raitt (class of 2000), Jackson Browne (class of 2004) and James Taylor (class of 2000). Crosby’s comments illustrated the mutual respect among the six musicians. Apparently he would like to write songs like Taylor and sing like Raitt.

Raitt fulfilling a Crosby request for her lesser-known ballad “Love Has No Pride” and then trading guitar licks with Stills on the Allman Brother’s “Midnight Rider.” Magical. Taylor led the group in his own “Mexico” and stayed on to join the group for Still’s “Love the One You’re With.” Browne was equally impressive on “The Pretender.”

The six singers closed the set with a rousing sing-a-long version of “Teach Your Children.” We were off to a good start.

Paul Simon/Simon & Garfunkel
As the lights faded, an a cappella group of voices rang out, “She’s a rich girl, she don’t try to hide it, she got diamonds on the souls of her shoes.” The funky classic from Paul Simon’s (classes of 1990 and 2001)Graceland album was only the beginning a three song percussive dance party that also included “Me & Julio Down by the Schoolyard” and “You Can Call Me Al.” Alas there was no Chevy Chase cameo on “Al” but it was far from disappointing as the crowd danced around their seats.

Simon slowed things down with an acoustic take on George Harrison’s (classes of 1988 and 2004) “Here Comes the Sun” with help from David Crosby and Graham Nash. It was a moving moment made all the more special by the three singers’ gentle harmonies.

Simon’s clear appreciation for the early rock vocalists shone through in his special guests. Dion DiMucci (class of 1989) kept the party moving with a rousing “The Wanderer” with Simon on background vocals. Simon later recalled an early inspiration in his introduction of Little Anthony and the Imperials (class of 2009). It was hard not to be impressed with the group’s vocal prowess. At nearly 70 years old Little Anthony has a voice that would make the American Idol crowd envious.

And then the familiar and haunting introduction to “Sounds of Silence” echoed through the hall. Art Garfunkel (class of 1990) stepped to the stage in a, um, colorful blue and red floral shirt and the duo began to sing. The performance was mesmerizing. With nary a word between, the duo picked up the tempo with a fine take on “Mrs. Robinson” that included a brief interlude of Buddy Holly’s (class of 1986) “Not Fade Away.” The subsequent “The Boxer” became a sing-along as the audience joined in for the “Lie-la-lie” chorus.

It would have been hard to imagine a Simon and Garfunkel performance without hearing “Bridge Over Troubled Water.” Although I’ve seen some reviews that reference the duo’s aging voices, Garfunkel’s voice rose to the rafters and their harmonies lived up to my long-standing expectations.

Oh, the duo closed with an enthusiastic “Cecilia.” The icing on the cake.

The Complete Night One First Half Set List:

Jerry Lee Lewis

“Whole Lotta Shakin’ Going On”

Crosby, Stills and Nash
“Woodstock”
“Marrakech Express”
“Almost Cut My Hair”
“Love Has No Pride” (featuring Bonnie Raitt)
“Midnight Rider” (with Bonnie Raitt)
“The Pretender” (featuring Jackson Browne)
“Mexico” (featuring James Taylor)
“Love the One You’re With” (with James Taylor)
“Rock and Roll Woman”
“Teach Your Children” (with Bonnie Raitt, Jackson Browne and James Taylor)

Paul Simon:
“Diamonds on the Soles of Her Shoes”
“Me and Julio Down by the Schoolyard”
“You Can Call Me Al”

Dion DiMucci with Paul Simon:
“The Wanderer”

Paul Simon with David Crosby and Graham Nash:
“Here Comes the Sun”

Paul Simon:
“Late in the Evening”

Little Anthony and the Imperials:
“Two People in the World”

Simon and Garfunkel: “The Sounds of Silence”
“Mrs. Robinson”/”Not Fade Away”
“The Boxer”
“Bridge Over Troubled Water”
“Cecilia”

Many great artists produce music that is inspiring without being technically gifted vocalists. Kris Kristofferson and Ryan Bingham have produced two of the year’s best albums while displaying vocals that few would term “smooth”. The largely acoustic solo debut from Curtis Harvey (Myspace), Box of Stones (FatCat), successfully showcsaes the same ability to move the listener by creating a compelling package that doesn’t rely solely on glossy, operatic vocals.

Stones covers familiar lyrical territory of life and love with Harvey’s plain-spoken poetry and avoids sounding stale and tired in the process. There is plenty of roots-y pickin’ on this record. “Oldertoo” and “Borrowed Time” are basically roughly hewn bluegrass tunes, while the banjo in “Words” and “On Top” spring forward with a rawness and vibrancy that draws the listener in quickly. “Bag of Seeds” would’ve fit nicely onto Bingham’s Mescalito album, as it rocks just a tad with a plugged-in vibe that never separates the track from the album’s core sound. This album has Curtis Harvey’s grit to thank for it’s ability to shine.

In the meantime, the band has quietly released a new single “Put ‘em in the Graveyard.” The band’s Dave Bielanko explains it, as only he can:

“Put ‘em in the Graveyard” is not a “single” in the “Love is a Battlefield”, “Shock The Monkey” kinda way, but merely a new song we are quietly and independently “making available” now due to the timely Halloweenish connotation of its title.

Visit Marah’s web site here, mySpace here.

The first genre that jumps out, country, comes ripe with pedal steel lines and hooks to spare. “When you’re tired, when you’re scared, when you’re lyin’ cold and bare,” Francis sings on the refrain to “Climb a Mountain” before the beautiful harmony comes in.  Francis’ world-weary song plays like something from the early 70s. The bygone era of country-rock.

Keeping with that theme, Francis’ track “Playground” exploits the beauty of the pedal steel again. The beautiful descending “I got a long way to go” chorus that harmonizes with the steel lines bears an uncanny resemblance to Jackson Browne’s classic track “These Days.” Both songs have an unmistakable hook and country piano. Francis’ sticks to his theme of lost female love with an interesting extended metaphor.

Francis also does his best broken-hearted guy with a guitar impression on “Do What I Can.” His voice has a fragility in this song. At other times, he belts with pure vocal power. The first three tracks “Darkness,” “Junebug,” and “Nightfall” get the record off to a great start. They have an epic quality. Each one manages to build from an ambient intro to a crescendo at the chorus. They round out a diverse record with hints of singer/songwriter, indie rock, and epic rock and roll.

When I hear Francis’ song, “One by One” from his first record (there is an updated version here), I caught a glimpse at his potential. This artist has grown both laterally (exploring by genre) and vertically (through his confidence). At 22, the future is bright for this indie wunderkind.

Zach Seibert & the Red Wagon

An Americana dream of atmospheric folk and country inspired rock and roll, Learning to Drown is Zach Seibert’s first real solo project.  Seibert hails from Columbia, SC by way of New Orleans, LA.  And he sounds like it.  Featuring all originals save an excellent cover of Warren Zevon’s “Play It All Night Long” (which is actually better than the Drive-By Truckers’ recent interpretation), Learning to Drown showcases Seibert’s bourbon soaked vocals and evocative lyrics. For my money, Zach and his Red Wagon are the South Carolina music scene’s best kept secret.

RIYL:  Drag the River, Jeff Tweedy, Whiskeytown, bourbon and cigarettes

Here’s a couple of songs from the record, you can buy the rest from Seibert’s myspace here.

Zach Seibert & the Red Wagon \”Rode\”

Zach Seibert & the Red Wagon \”Play It All Night Long\”

Anthony da Costa

We last heard from on da Costa on his brilliant duo record with Red Molly’s Abbie Gardner, Bad Nights-Better Days, which was preceded by his 7^th solo record Typical American Tragedy.  Both of which found him recording in professional studios in a classic folk-Americana style (think Dylan, Prine, etc).  Not Afraid of Nothing is a deliberate step away from that sound.  Recorded in various houses and basements around da Costa’s hometown of Pleasantville, NY, the album finds da Costa experimenting with a variety of sounds and song structures.   John Elliott of the Sweet Hereafter co produces with da Costa, and reportedly encouraged him to go outside the box with this project.  It mostly works, though it may be a slight shock to some longtime fans.

RIYL: Ryan Adams, John Prine, Cory Branan, songs

Da Costa’s records are available on his website and on cdbaby.com.
Anthony da Costa \”I Am Way Too Much\”

Suburban Home Sampler

I’ve been a Drag the River fan for awhile now, but never really noted their record label.  That record label turns out to have been Suburban Home Records, home, to among others, my new favorite band Two Cow Garage.  During their 14 years of being badass, they’ve also put out records by punk rockers turned folkies like Tim Barry (Avail), Joey Cape (Lambwagon), and Mike Hale (In the Red).  Other bands/acts that call Suburban Home home include Austin Lucas, the Takers (recently reviewed by twangville here), Ninja Gun, and Look Mexico.  They also put out solo records by Drag the River front men Chad Price and Jon Snodgrass.  Most, if not all, of their catalog is worth checking out.  To prove it, they stream most of the records available on the label for free on their website.  And if that isn’t enough for you, they have a free 21 song sampler available for download right now (here).

Here is one from Chad Price’s new solo album, Smile Sweet Face.
Chad Price \”Cursed\”

Sons of Bill

These guys won our album of the week awhile back and for good reason.  Their brand of alt. country falls somewhere in the Chris Knight- Tom Petty neighborhood, packing hard lock stories with just the right amount of rock n roll.  One Town Away is the follow-up to their 2006 debut A Far Cry from Freedom.  It was produced by Jim Scott, whose pedigree is only slightly ridiculous (Wilco, Whiskeytown, the Jayhawks, Wilco, Tom Petty, Kathleen Edwards, Tift Merritt, etc, etc).

The whole album is great, but the lead off track “Joey’s Arm” is the one I continue to come back to time and time again.  The lyrics get me every time, “Joey’s arm has two tattoos/ stars and bars and born to lose” and a chorus of “the dirt underneath the methadone and concrete/ has got to be more than dust and bones/ ‘cause the South ain’t gonna rise again but we’re holdin’ out for Jesus/ or so they say on AM radio….and won’t someone turn on AM radio”.

Here is a link to a live show they recorded at the Windjammer in Isle of Palms, SC.

RIYL:  Chris Knight, Steve Earle, country music, rock music

Sons of Bill \”Joey\’s Arm\”

Those Darlins

This band brings a smile to my face every time, plus they rock.  Combining 60’s pop with punk and honky-tonk, these Darlins play rock and roll with ukulele and write their own songs about eating whole chickens, drinking, and snaggletooth mamas.  If that doesn’t have you hooked, well I just don’t know what to do with you.

RIYL:  The Shangri-La’s, The Ramones, Joan Jett, Patsy Cline, livestock and rocknroll

Those Darlins \”Wild One\”

On “Traces,” the expanded rootsier sound retains fewer of the piano pop flourishes with each release. The layers of strings and Adams plaintive vocals have taken center stage. “Trace of You” mixes an arpeggio of electric guitars over the strummed acoustic. Adams’ vocal seems newly confident, particularly in the verse falsetto. He sings each note with purpose. “I close my eyes . . . . to see the shape of you.” The short simple sentences and powerful vocal (especially in the break) show a new confidence.

Another theme of Bradley’s work is the idea of running away. As a musician, the constant travel must take its toll. Adams beautiful lyrics and shimmering melodies join together with each beat. A song that Adams has kicked around, the clunky title “I Cannot Settle Down” belies the organic melody. The lyrics communicate this longing: “If I travel til the day I die, I’ll make my home somewhere far beyond the sky.” The fleeting nature of life is again on display.

Now the record has its share of Adams’ style “downer” tracks without the signature country style shuffle (which first appears on this record). “I Tell Myself” and “I Won’t” both sound like they want to break out of the metronome’s downtempo grip. On the other hand, “From the Sky” signals a different kind of piano tune. Adams has added delicate guitar picking. The subtle bass and guitar’s effects are palpable. The layered sound and dreamy but not overwhelming background lend the song a subtlety. A growing power.

As Adams’ records tend to go, this one is a bit uneven (with standout tracks flanked but growers). But with his third record, more of the songs have that refined hook of a good songwriter. The one where you hear a song and you know it’s for real. Adams seems to be finding himself more and the last song “Walk Away,” which juxtaposes weepy fiddle notes with pop sensibilities, slams the point home: alt-country ain’t dead if this Adams has anything to say about it.

http://tinyurl.com/Traces-Amazon2