So we can all breathe a sigh of relief with the release of A Friend of A Friend.  It’s credited as a Dave Rawlings Machine record, but Gillian co-wrote half the tracks and appears on 8 of the 9.  The Machine got its start as a way for the duo to play some club dates a little under the radar and test out new material.  The shows were not that much different from the Gillian Welch shows, simply reversing the usual vocal order and giving longtime sideman Dave Rawlings a chance to take over lead vocals with Welch offering up gorgeous harmonies.  The set lists ranged from Gillian Welch songs to numerous covers (Dylan, Young, TVZ) to other Dave Rawlings co-writes (Ryan Adams, Old Crow Medicine Show).  The duo seemed to be enjoying these looser, more free form shows, so it’s not that surprising that they decided to record under the moniker.

The record itself is both different and exactly what you would expect.  The trademark Gillian Welch-Dave Rawlings guitar interlock and merging vocals are there, but Rawlings has also invited some other friends into the mix including compatriots from Old Crow Medicine Show along with Benmont Tench (the Heartbreakers), Karl Himmel (Neil Young), and Nate Walcott (Bright Eyes).  These collaborations shine through on Rawlings on his co-write with Ryan Adams “To Be Young (Is to Be Sad, Is to be High)” and the Jesse Fuller cover “Monkey and the Engineer”.  The opposite tack is taken with the Old Crow Medicine Show classic and Rawlings co-write “I Hear Them All,” which is stripped down from the OCMS’s already somber version.  Rawlings sings as if a young Bob Dylan or Woody Guthrie– with stark conviction. The closing track “Bells of Harlem”, on the other hand, features a gorgeous string section arranged by the legendary Jimmie Haskell.  The song evokes the unrestrained beauty of soul classics like Louis Armstrong’s “Wonderful World” and Sam Cooke’s “A Change Is Gonna Come”.

Though the collaborations are strong, my favorite tracks are the new Welch-Rawlings compositions.  Opening track “Ruby” is a great song that showcases the duo’s ability to write new songs that sound like 1930’s field recordings.  “How’s About You” finds them in an almost topical mood as they address the current economic times.  “Sweet Tooth” and “It’s Too Easy” have been recent live staples at both Gillian Welch and Dave Rawlings Machine shows.  The former is an ebullient duet that is a joy to watch them perform and has translated well onto record.  The latter is sped up a little here, but sounds like a great lost track from the Time (the Revelator) recordings.  I wouldn’t be surprised to hear this song on the next (soon?) Gillian Welch record as well.

In summation, this is one of my favorite records of the year.  My only complaint is that I could use a couple more new songs.  The record clocks in at about 40 minutes with 10 songs (9 tracks), including two previously released co-writes and three covers.  Everything that’s here is great and the record is a great single sitting listen, but I’m greedy.

Well, its time to make up for the missing playlists and share the musical love with a special, multi-part Fall edition.

ALBUMS OF THE SEASON:

1372 Overton Park, by Lucero
Several years ago Lucero was the subject of a documentary, Dreaming in America, which chronicled the band’s unbridled ambition to become successful recording artists. Although these tales often end in disappointment, this time the story is marching towards success. Three years on, Lucero has just released the album of their career and is touring the country with the aptly named “Ramblin’ Roadshow and Memphis Review.” 1372 Overton Park is a spark-plug of a release that serves up a healthy dose of southern soul while still staying true to the group’s bar-band roots.

“The Devil and Maggie Chascarillo” is unbridled fun, a feel-good melody punctuated by jubilant horns. “Sixes and Sevens” keeps the party moving as the electric guitars take the forefront. “Drinkin’ women, chasin’ whisky like there’s nothing left to lose, now if she’d only kiss me I’d be a little less confused,” declares singer-songwriter Ben Nichols as pianist Rick Steff lets loose with a roadhouse honky-tonk riff.

When the band does slow things down, as they do on the ballad “Hey Darlin’ Do You Gamble,” one can appreciate the sincerity of Nichol’s songwriting. “If I shed this skin of iron and this breath of kerosene,” he asks a reluctant lover, “Darling, would you take a chance on me?”

“So what if all my heroes are the losing kind?” asks Nichols on the stellar “What Are You Willing to Lose.” “We ended up with nothin’, but we put up a fight, and most of it was choices we never asked to choose, the rest of it was luck and now we’ve run out of that too.” Me thinks otherwise, Mr. Nichols. You and the boys have paid your dues and earned every bit of success you see. 1372 Overton Park is the knock-out album that we’ve all been waiting to hear.

See Eli’s track-by-track review here.

The Williamsburg Affair, by Greg Trooper
Greg Trooper is a songwriter’s songwriter. But don’t take my word for it; just ask fans ranging from Steve Earle to Joe Ely. The origins of this album date back to 1995 when Trooper and his band visited Eric “Roscoe” Ambel’s studio in Brooklyn. Alas, the recordings sat unfinished until Trooper dusted them off for release. They are well worth the wait.

While his more recent outings have tended more towards acoustic and country-influenced affairs, this is a gloriously ragged – and electric – collection of songs. “Paradise (Anywhere At All)” bristles with a feisty slide guitar as Trooper declares “If I can’t live in Paradise, I can’t live anywhere at all.” The moody ballad “Quite Like You” has a similar edge. The track features a smoldering pair of guitars that slowly build towards an intense closing duel. Trooper and Ambel even scuff up Neil Young’s “Wrecking Ball,” and I mean that as a compliment.

Never to be considered a one-trick pony, Trooper shows off his countrified blue-eyed soul on “Stronger All the Time.” The peppy “Catherine Don’t Slip” channels Dion in his later years and, with a bit more edge more, could easily be transformed into a sloppy garage rocker.

Among the many gems to be found in Williamsburg, one song stands out among the rest. “These Sunday Nights” is classic Trooper, as evocative as it is perceptive. Trooper’s lyrics perfectly capture the melancholy of Sunday nights: “Station is dark and its empty, train stops here once every century, Got to lose these Sunday night blues.”

Although several of these tracks made their way onto subsequent Trooper albums, albeit in different arrangements, it doesn’t diminish their power here. To the contrary, it serves as a reminder of Trooper’s songwriting talent.

Audio Download: Greg Trooper, “These Sunday Nights”

Purchase The Williamsburg Affair here.

THE PLAYLIST:
I’ll Take It All In Stride, The Everyday Visuals (from the self-released The Everyday Visuals)
Four talented multi-instrumentalists from New Hampshire channel Brian Wilson. Simply sublime.

Audio Download: The Everyday Visuals, “I’ll Take It All in Stride”

Unfold, Julie Peel (from the American Laundromat release Near the Sun)
Self-taught musician Peel dreams up pop songs that are simultaneously tart and sweet. This is but one of several enthralling tracks from her debut release.

Audio Download: Julie Peel, “Unfold”

Yours for the Taking, the Disciplines (from the Second Motion release Smoking Kills)
The Disciplines are really two bands in one. Saw them several weeks back and they tore up the club, channeling Iggy Pop in his glory days. On record they still rock, but with a few more glossy edges. Singer Ken Stringfellow will be familiar to many as long-time co-leader of the Posies as well as part-time gigs with REM and Big Star. His bandmates are all from Norway and were in a band of their own. The combination is quite potent, as it is on this track that opens with the memorable line: “Under different circumstances we’d probably be friends.”

Born Again, Cory Chisel & the Wandering Sons (from the Black Seal/Sony BMG release Death Won’t Send a Letter)
The first thing you’ll notice about Chisel is his rich voice, reminiscent of Marc Cohn and countless old soul men. That’s only the beginning, however, as he churns out songs that owe as much to Woody Guthrie as they do to the Staples Singers.

Audio Download: Cory Chisel & the Wandering Sons, “Born Again”

Follow That Sound, Sharon Little (from the CBS Records release Perfect Time for a Breakdown)
The chugging beat may draw you in, but it is Little’s powerhouse voice that forces you to stay. This bluesy rock song will hit you squarely between eyes. Little is one to watch.

Poetry of the Deed, Frank Turner (from the Epitath release Poetry of the Deed)
“Life is too short to live without poetry. If you’ve got soul, darling now come on and show it me.”

FROM THE ARCHIVES:
Satisfaction, Otis Redding (from the Shout Factory! release The Best: See and Hear, Otis Redding)
The late, great Otis Redding had one of the most authentic and expressive voices in R&B. That, coupled with his explosive live performances, made him a legend. Shout Factory! celebrates his legacy with this combination cd/dvd release. While the cd is a hits collection best suited as an introduction to those without any Otis in their collection, it’s the dvd of live performances that is the real star here. Watching Otis bring down the house with the Rolling Stones’ “Satisfaction” or his own “Respect” is a treat for all.

Earlier this month devoted Twangville readers read Chip’s review of the new Wrinkle Neck Mules album, ‘Let the Lead Fly’. Rather than double the love with a review I’ll just say that it’s another consistently great album from one of Richmond’s finest. Instead, I’m offering up a custom designed desktop wallpaper for download by yours truly inspired by “Catfish and Color TV” one of my favorite tracks on the new record.

But wait, that’s not all! Twangville is also giving away 4 unordinary copies of ‘Let the Lead Fly’. Following the theme of the album, these puppies are filled with lead shot (no joke!). To be eligible, simply leave a nice comment below for the band or at the very least let me know if you want to see more custom desktop wallpapers from Twangville and I’ll pick 4 random winners after the contest closes next Tuesday, November 24, 2009 at midnight EST.

Download the “Catfish & Color TV” desktop wallpaper:

• 1280×800
• 1280×1024
• 1440 x 900
• 1600 x 1024
• 1680 x 1050
• 1920 x 1200

“Catfish & Color TV” Lyrics:

Catfish and color TV’s, kindly company
Saltwater dreams and nicotine keep me living right
Shadows are growing longer now and they’re
bringing on the night
Keeps my brain from thinking about the things
that passed me by

It’s 75 degrees out on the water
And its 3’ to 5’ with a steady southern breeze
But I sure could use a storm or two to help these
wounds to heal
Get back on the right side of the reel
Scraping off the paraffin, climbing up my stringer
That 5’10” taught me when to chase them or
to run
Crickets sing the chorus of the way things used to be
Back when the reds were biting and you were still
right here with me
Coming with the leaving, bringing on the feeling
That the current and the winds may be too strong
Every time you go something deep inside me knows
it won’t be long

Giveaway courtesy of the Wrinkle Neck Mules and Lower 40 Records. Desktop wallpaper courtesy of Tom Osborne and Twangville. Twangville will request addresses of the winners for fulfillment and that is all.

With several great albums that draw heavily on southern-rock swagger having been released by bands such as Drive By Truckers and Lucero recently, I figured I was fried for a while when it came to these types of sounds. With that said, I was pleasantly surprised when I found myself enjoying the new record by North Carolina’s Possum Jenkins (Official / Myspace).

Collection of Bad Habits, their 3rd album, ably displays what the band calls their “Carolinacana” sound. From what I gather, especially from “Reidsville” and “Don’t Tell Me”, that sound leans more heavily on the blues than the aforementioned bands that also crank the amps to 11. As a result, a comparison to the genre-bending Band of Heathens is likely more appropriate in this case. My favorite tracks are the ones that feature a healthy dose of harmonica, organ and banjo within the same track, like “Ramble Still” and “Burn these Leaves”. When trying to succeed at too many things at once, it’s easy for a band to not succeed at anything. Possum Jenkins maintains their focus and delivers to us a hearty gem.

If a fight breaks out and you’re the cause of it
In some redneck bar where you’ve been talking shit.
I would not forsake you later in that parking lot
’cause that’s the kind of friend that you’ve got.

Travis guitarist Andy Dunlop joined Healy on stage for most songs. The show had an acoustic feel balanced out by Dunlop’s riffs and the occasional solo.

A notable story, Fran related a background for the Invisible Band single “Sing.” He described how he had it initially named “Swing” until bassist Dougie Payne informed him that he didn’t want the song to encourage seventies-style key parties. He then searched for the right word until he sang the word “Sing” mistakenly on one demo and had the epiphany.

Healy peppered the show with anecdotes about each song. He described the events that led to the song “Writing to Reach You” from the album The Man Who. Healy spoke of an extremely cold winter in Scotland and a gas heater (with wafting fumes trapped in his flat). He then explained the rather obvious connection (see lyrics) to Oasis’ pervasive anthem “Wonderwall” and a Connells tune that was rolling around in his head as well.

Healy was both comfortable and humorous throughout. It was so intimate that it seemed as though the famed songwriter was speaking directly to each member of the audience (and he did at times direct comments to individual audience members). His dry Scottish wit was fully intact.

The shows intimacy served the hooky numbers well; Healy even included personal photos of his young son. He seemed to revel in the opportunity to play for a small crowd of admirers. And the admirers enjoyed every minute.

Photos-Suzanne Davis

Not Afraid of Nothing is not what I wanted/expected from young wunderkind Anthony da Costa.  After the double whammy of last year’s Typical American Tragedy and the instant classic Bad Nights and Better Days (a duo record with Red Molly’s Abbie Gardner), I wanted a folk rock classic.  I wanted a record that would draw from and yet compete with Bring It All Back Home or After the Gold Rush.  I wanted him to go into the studio and record some of his new songs, folk anthems like “The Rest of My Life” and humorous asides like “Poor, Poor Pluto” (both of which were staples of da Costa’s live sets if youtube can act as a witness).  I wanted a record that I could hold up and say “here it is, the new young hope” (the new Dylan, blah, blah, i.e. see Springsteen, Mellencamp, Oberst, etc.).  Turns out, I was misguided and Anthony da Costa is going to hoe his own road.

Not Afraid of Nothing is not a perfect record and thank god for that.  The record is a slab of life, real, idealized, and otherwise.  Da Costa explores new lyrical territory both in style and content.  Scarcely a year has passed since Typical American Tragedy, yet da Costa seems less sure of himself in both life and in love, a sign of maturity if I’ve ever heard one.  Not Afraid of Nothing seems more personal, an insight into da Costa’s soul, rather than the insight to his talent that past records have been.

Not that the talent isn’t present here.  From a lesser artist, this kind of deviation may have seemed indulgent and fail to come across.  The instrumentation isn’t as different as my initial reaction would leave you to believe though.  There’s plenty of acoustic guitar and folk songs, but da Costa also uses violin, piano, and lap steel in manners previously unheard on his records.  This isn’t change for change’s sake though.  The atmospheric production, possibly encouraged by co-producer John Eliot, acts as a counter point for some of da Costa’s more adventurous lyrical and vocal explorations.

Listening to the introspective “If You Want It”, the grand statement of “I Am Way Too Much”, and the unabashed emotion of “Crazy”, one can’t help but wonder just how good is this kid?  While I was hoping for a better version of Ryan Adams, da Costa was reaching beyond that.  This isn’t an emo record, but it reaches for the kind of emotional gravity of Ben Nichols or Conor Oberst.  It isn’t a classic folk record, but it has the lyrical quality of a John Prine or Paul Westerberg.  This isn’t the next Dylan, but I’d keep my eyes open anyway.

RIYL:  Cory Branan, Elliott Smith, epiphanies

While many of us blogger-types are trying to figure out what our favorite releases of 2009 are, I have been enjoying what would’ve been one of my favorite records from 2008. Mac Leaphart’s (Official / Myspace) 2008 release, Line, Rope, Etc… is an excellent album, consisting of some country-flavored folk that mixes in dashes of southern rock seamlessly. Literate and thoughtful, many of the tracks possess an irreverence that can easily be spotted throughout much of Todd Snider’s catalog.

The subject matter of the album shines some light on some of the darker themes in life. He is able to do that in some cases while being rather humorous, like with “White Line Mercy”, where he sympathizes with a man who’s “woman loves cocaine”. Death, adultery and heartbreak takes center-stage in the album’s standout track (in my opinion, at least), “Confederate Roses”. It’s an achingly beautiful song, one in which I must have hit “repeat” 4-5 times before moving on to the rest of the record. It actually took me a couple of spins to get past the pristine melody and to grasp the tragedy that is the tale’s core. Many people can craft sad and morose tales that draw the listener in, but few can do that and make them sound so good, the way Leaphart does here.

Go to Mac Leaphart’s Website to download the entire album for free!

Similar to Night One, the legendary Jerry Lee Lewis (HoF inaugural class of 1986) opened up the show with a hearty “Great Balls of Fire.” As if to remind the crowd of his bad boy reputation, the 74 year-old kicked over his piano stool then picked it up and threw it down again. The only thing betraying his bad boy persona was his ear-to-ear grin as he walked off the stage.

Rock & Roll Hall of Fame 25th Anniversary Concerts, Night Two
30 October 2009 @ Madison Square Garden, New York City

Headliners: Aretha Franklin, Jeff Beck, Metallica and U2
Guests: Jerry Lee Lewis, Annie Lennox, Lenny Kravitz, Sting, Buddy Guy, Billy Gibbons (ZZ Top), Lou Reed, Ozzy Osbourne, Ray Davies, Bruce Springsteen, Patti Smith, Black Eyed Peas, Mick Jagger.

Aretha Franklin
I wasn’t quite sure what to make of Franklin’s (HoF class of 1987) set. She hit the stage in a formal red gown, fronting a 20-piece band that included a 10-piece horn section. In addition to a couple of hits (“Chain of Fools” with Annie Lennox and “Think” with guest Lenny Kravitz), she played songs ranging from “Make Them Hear You” from the musical “Ragtime” to the New York City “New York, New York.” The latter song was introduced as the New York City “national anthem.”

Jeff Beck
Jeff Beck (classes of 1992, 2009) can play a mean guitar. After opening with a tasteful version of Ray Charles’ “Drown in my Own Tears,” Beck was joined by Sting (class of 2003) on the Curtis Mayfield/Impressions classic “People Get Ready.” Beck later introduced legendary bluesman Buddy Guy (class of 2005) as “the guy who inspired me” before the duo dueled to the delight of the crowd. ZZ Top’s Billy Gibbons (class of 2004) was Beck’s final guest, leading Beck and band through his own “Rough Boy” before trading guitar licks on a fiery version of the Jimi Hendrix classic “Foxy Lady.” Beck and company closed their set with a powerful read of the Beatles’ “A Day in the Life.”

Metallica
“We are Metallica and this is what we do,” declared singer-guitarist James Hetfield (class of 2009). It would have been hard to argue the point as the band opened with a ferocious “For Whom the Bell Tolls” followed by the intense “One.” A knock-out version of Bob Seger’s “Turn the Page” was introduced as “this is one of the songs we wish we wrote.”

Before introducing their first special guest, Hetfield commented “Lots of names were suggested but we’re not the most jamming kind of band.” Au contraire, Mr. Hetfield. Contrary to a comment made later in the evening (see below), Metallica was the night’s best house band. Just ask Lou Reed (class of 1996), whose “Sweet Jane” hasn’t sounded so visceral in years. Reed appeared to have developed a special bond with drummer Lars Ulrich as the two frequently locked eyes while burning through Reed’s “White Light/White Heat.” As the crowd caught its collective breath, Hetfield remarked, “That was fun. Well, we’ll clean up Lou’s mess here.”

Next up, Ozzy Osbourne (class of 2006). The “Prince of Darkness” stalked around the stage for Black Sabbath’s “Paranoid” and “Iron Man.” Both singer and band appeared to be reveling in the moment.

“We got schooled on early, early riff-rock,” said Hetfield by way of introducing the Kink’s Ray Davies (class of 1990). The band then breathed new life into the Kink’s classics “You Really Got Me” and “All Day and All of the Night.” Similar to the earlier performance with Reed, the band was a mighty force.

U2
Closing out two days of phenomenal performances and extraordinary performances has to rank among the toughest spots is the history of rock. Who better to fill the slot than U2 (class of 2005)? Despite a disappointingly short set, the band more than rose to the challenge with help from a few special guests.

The set begin with a bang as the band tore through “Vertigo” and “Magnificent.” Then things got interesting.

“This is a song we wish we’d written,” declared Bono, “It’s a Bruce Springsteen (class of 1999) song, so we’d like to ask him to come out here. It’s also a Patti Smith (class of 2007) song, we’d like to ask her to come out here.” The performance got off to a dramatic start as E Street Band pianist Roy Bittan played the brooding piano intro to “Because the Night.” Alas, the wheels came off when Smith and the rest of the band misplayed their entrances. No one said that rock was easy. Given that the show was being recorded for broadcast on HBO, they gamely tried it again to the delight of the crowd.

Smith departed but Springsteen stuck around for a spiritual take on U2’s “I Still Haven’t Found What I’m Looking For.”

“Here’s a little Irish dance music,” said Bono by way of introduction to “Mysterious Ways.” The band got through most of the song before the members of the Black Eyed Peas joined them on the stage and the song segued into the Peas’ “Where Is the Love.” Bono, enjoying the moment, stepped back to let the Peas enjoy the limelight before stepping forward as the song morphed into U2’s “One.”

As the band broke into a haunting and familiar guitar intro, Mick Jagger (class of 1989) stepped onto the stage to join in a rousing version of the Rolling Stone’s “Gimme Shelter.” With all due respect to the boys in the band (including the Black Eyed Peas’ Will.i.am), the song belonged to Fergie that night. Her vocals pierced the room as she wailed, “It’s just a shot away.” Brilliant.

Before he left, Jagger swapped vocals with Bono on U2’s “Stuck in a Moment You Can’t Get Out Of” before the band, sans guests, finished up with “Beautiful Day.” And it was.

Set List for Oct. 30

Jerry Lee Lewis
“Great Balls of Fire”

Aretha Franklin
“Baby, I Love You”
“Don’t Play That Song”
“Make Them Hear You”
“Chain of Fools” (with Annie Lennox)
“New York, New York”
“Think” (with Lenny Kravitz)
“Respect”

Jeff Beck
“Drown in My Own Tears”
“People Get Ready” (with Sting)
“Freeway Boogie”
“Cause We’ve Ended as Lovers”
“Let Me Love You” (with Buddy Guy)
“Big Block”
“Rice Pudding”
“Rough Boy” (with Billy Gibbons of ZZ Top)
“Foxy Lady” (with Billy Gibbons of ZZ Top)
“A Day in the Life”

Metallica
“For Whom the Bell Tolls”
“One”
“Turn the Page”
“Sweet Jane” (with Lou Reed)
“White Light/ White Heat” (with Lou Reed)
“Iron Man” (with Ozzy Osbourne)
“Paranoid” (with Ozzy Osbourne)
“You Really Got Me” (with Ray Davies)
“All Day and All of the Night” (with Ray Davies)
“Stone Cold Crazy”
“Enter Sandman”

U2
“Vertigo”
“Magnificent”
“Because the Night” (with Bruce Springsteen and Patti Smith)
“I Still Haven’t Found What I’m Looking For” (with Bruce Springsteen)
“Mysterious Ways”/”Where Is the Love”/”One” (with the Black Eyed Peas)
“Gimme Shelter” (with Mick Jagger, Fergie and Will.i.am)
“Stuck in a Moment You Can’t Get Out Of” (with Mick Jagger)
“Beautiful Day”

For a report on Night One of the Rock Hall of Fame 25th Anniversary awards, check out part 1 (Crosby, Stills and Nash; Paul Simon; Simon and Garfunkel) and part 2 (Stevie Wonder and Bruce Springsteen).