OK…time for a little history lesson. Have any idea what took place exactly 150 years ago…on April 12, 1861? Well, at the early hour of 4:30am, the first shots were fired at Fort Sumter, beginning the Civil War. In what was to become the bloodiest war in American history, our society was forever impacted by what took place.  Throughout the turmoil of this war, many soldiers and families found solace or togetherness through music. Many songs were heard at campfires as the soldiers rested at night, or as they marched long hours trying to keep their minds occupied with anything else.  With the 150^th anniversary, Smithsonian Folkways is releasing a look at the music which became popular at this time. This 2 CD release includes “A Treasury of Civil War Songs” by Tom Glazer, along with “Civil War Naval Songs” by Dan Milner. Smithsonian Folkways always does it right, and this historical release is no exception. The best part of this expansive release is the extensive liner notes detailing the history behind each song. Each CD includes 38 pages of notes documenting the importance of the period, a story behind each song, along with some amazing images from the period as well.  Tom Glazer was a popular folk singer in the 1940’s through the end of his life in 2003. He had been invited to sing at the White house several times, and is perhaps best known for writing songs recorded by Bob Dylan, Pete Seeger, and Frank Sinatra. His vocals lend a solid foundation to these period songs.  Dan Milner is an established singer of mostly traditional Irish ballads/folk songs. This influence can certainly be heard in the songs performed here, which is fine since several songs from this period are mere adaptations of foreign country songs with the lyrics changed to fit our lives during the Civil War.  What is most interesting to me is to hear even the more popular songs that have endured over time, as they were originally written during this period. “The Battle Hymn of  The Republic” along with “Dixie” are of course familiar to everyone, but not often you hear all the lyrics as they were originally written with the song.  Also, there are several very poignant songs which one may wonder why they were more or less lost over time. Perhaps it is due to their controversial material at times, but they represent the time period very well.  These songs also tell a story in song, with historical reference and facts that many may have forgotten over time. The importance of John Brown for example is portrayed in the song “John Brown’s Body”. The naval songs in particular do a very good job of portraying the more significant ships during the period, including The Alabama, The Monitor, and The Merrimac.  The only issue I have with this offering is I kept thinking how much more could have been added if these songs were recorded by different artists. I believe this was done before in the 1960’s, and Pete Seeger was used to record several of these same songs. I think the hope here was by utilizing the same artist, the focus is on the music itself instead of how well the artist performed the music. "When Johnny Comes Marching Home " http://soundcloud.com/smithsonian-folkways/20-track-20-1 "The Monitor and The Merrimac" http://soundcloud.com/smithsonian-folkways/the-monitor-merrimac  It is hard to comprehend what life was like during this period. The angst and turmoil of war right at your front door is difficult to visualize, and something we hope never happens again. These songs deliver a glimpse back through time that should never be forgotten.

How do you like your music? There are so many variations available today; to be honest I find it difficult to define some as even being musical. In Americana, we enjoy many different styles as well. Some artists are stellar on ballads…some stand tall on lyrical depth…while others can hit you from a variety of angles at one time. The Band Of Heathens are one of those rare talents which can do it all well, and leave you wanting more at the end.  With a new record out on March 29^th called “Top Hat Crown & The Clapmaster’s Son”, you immediately think this is going to be a wild ride…and it does not disappoint. From beginning to end, BOH takes us on an energetic journey of pure funk and soul.  With a majority of writing done by band members Ed Jurdi, Gordy Quist, and Colin Brooks, and supported by fellow band members John Chipman and Seth Whitney, BOH is a multi-headed force which demands your attention and gets you moving with their music, soul, and passion.  It is rare a band has the ability to combine quality harmonies behind this much power, but BOH does it very well. From the first song  a swamp rocker titled “Medicine Man”, the listener is hit with an energetic vibe that continues from song to song. BOH simply lets it all hang out here better than anyone…allowing the music to flow freely and unabashed.  The highlights are numerous…and all pure music lovers will find something to enjoy here. From the powerful soul driven “Should Have Known”, to the roots groove of “Enough”, to the gospel feel of “The Other Broadway” which takes you to the top of the mountain and allows you to enjoy the view with the rest of the record.  Simply put, this musical journey is non-stop and powerful. If you want reserved and mellow…this may not be for you…but then again perhaps it is time to indulge in something different...let yourself go and enjoy. In that case, go buy “Top Hat Crown & The Clapmaster’s Son”.

First of all, let me freely admit that I am a long standing huge fan of Hayes Carll. I was out pushing him on everyone just after his initial Flowers & Liquor way back in June 2002. Thinking about that being so long ago astounds me that it has taken so long for everyone else to catch up. Voted Americana Music’s Best New Emerging Artist in 2010 was a true head scratcher. Don’t get me wrong, he deserves the praise, but the guy has stood atop the charts for the past 2-3 years!!!  So, with that said, I decided to take a novel approach at reviewing his new release, KMAG YOYO, which hit the streets February 15^th. I wanted to take a step back, and see what others may have written about his release, since I already knew what my thoughts would be.  So, I selected the first four reviews which came up under Google search, printed them out, and analyzed each one. The first was written by Blake Boldt for the9513.com. Blake uses the terms “smart-aleck nature” along with “tender sarcasm” to illustrate a picture of Hayes’ writing prowess. While these terms are certainly earned, I feel they only scratch the surface of what Hayes accomplishes. He learned his trade from the best of Texas, and honed his own methods into an uncanny ability to relate with the listener. His ability to draw the listener into his music is what truly sets him apart. Beginning with his original release in 2002, and certainly the new songs on KMAG, Hayes can paint a familiar picture or feeling for the listener, taking them on a musical journey along with him.  Next, Dustin Ogdin contributes a review posted at No Depression. Dustin enjoys using words many fans, including myself, have trouble defining. His statement “While Carll may not be the Godfather of country soul, his fourth album certainly solidifies that he’s a made man in the honky-tonk cabal.” Not sure when I last seen the word cabal used. He also compares Carll to Charles Bukowski by saying “Carll is a sort of Charles Bukowski in the age of anti-depressants”. Bukowski is a poet, which certainly describes Carll as well, although as Hayes freely admits in Hard Out Here on the new release, he is not a poet but just a drunk with a pen. Ogdin writes a positive review boasting of Carll’s consistent ability to create good music, but many of Hayes’ fans may have skimmed over the review after hitting the dictionary wall.  Moving on, the next review was posted to thehurstreview by Josh Hurst. This is a another positive review, using the terms sensational and stellar to support his claim. Josh actually does a very good job, taking us through each song and reflecting on the stories behind them.  Finally, we have the review posted by Tim Basham for Paste Magazine. Tim opens by making a strong declaration, stating this is Hayes’ best album yet. While I admit it is certainly outstanding record, saying it is his “best” is like saying that Halle Barry is better looking than Kate Beckinsale. They are each amazing, why pick between the two? Where Basham loses me, however, is when he states “With alt-country lyrics that are more Tom Waits than Guy Clark, Hayes Carll continues to impress, giving us more to think about than just honky tonks and heartaches”. Huh? Again, why should we attempt to make a comparison at all? To me, it has always been obvious Hayes has learned from many outstanding artists before him, and still continues to hone his own talents today. He is a melding of many, which is what sets him apart from many others. Hayes has created his own unique style.  So, what have I learned by looking through these other reviews? First of all, everyone is impressed with KMAG YOYO, one even going so far as to state it is his best to date. Bold statement indeed. It seems that much like the general public, some are only just beginning to scratch the surface on his talents. With so much music out there today, one would think a unique talent such as Hayes would stand out. As one reviewer did mention, however, Hayes is not blessed with a pitch perfect vocal prowess, nor can he be pigeon-holed into a particular genre.  He overcomes the vocals with a passion which is missing from 90% of other music today. Passion is what drives music, not a pitch perfect mic or machine. The genre issue is nonsense. If we only allow the music to speak for itself, someone may actually listen and enjoy it.  KMAG YOYO stands on its own as a great record. There truly are no misses on this one, with each compelling song well worth listening to again and again. I think that Hayes may secretly snicker at some of the comparisons thrown his way. I am sure a few are so far off base, he can only shake his head. What I have never understood is the necessity to compare, as if that is the only way we can judge if it is good music or not. Well, every once in a while, an artist steps up and stands alone with his own artistic ability. That is Hayes Carll.  So, go buy KMAG YOYO, open your mind and ears and allow the music to flow. With guest artists such as Curb Lund, Todd Snider, and a duet with Cary Ann Hearst, this one is so entertaining, you may find yourself getting excited. KMAG YOYO = Kiss My Ass Guys, You’re On Your Own. TITLE CUT: 05 KMAG YOYO

For Gurf Morlix, paying tribute to Blaze Foley has been a life long passion. Gurf was introduced to Blaze as he was first sprouting his own musical roots in Texas, and was able to see the good and bad that followed Blaze as he went through his short life. In Blaze Foley’s 113^th Wet Dream, to be released February 1, 2011, Gurf covers 15 songs originally composed by Blaze. The songs chosen here represent the different facets of Blaze’s short life. Perhaps best known musically for songs covered by John Prine (Clay Pigeons) and Merle Haggard (If I Could Only Fly), Blaze was a character with many talents and unfortunate personal demons. While these demons prevented him from achieving great musical success during his lifetime, they also shaped a person who could write the most heart wrenching poignant music you could imagine. There were times within his music that Blaze would also display his wry humor. These peaks and valleys are all presented here by Gurf with this short synopsis of a music legend.  I say “legend” because to me he is exactly that. While defining the word legend, you see similar words such as myth, fairy tale, and marvel. These words fit Blaze Foley and his talents all too well. Blaze was a character known as The Duct Tape Messiah, due to his love for using duct tape on everything. As written by Blaze’s own love, girlfriend Sybil Rosen, in a book titled Living In The Woods In A Tree, Blaze was also known to live with little or no conveniences we all take for granted, including the joy of living in a tree house. This was a man who needed nothing to see and enjoy happiness, but had no idea how to grab it and hold onto it. He was a man who was killed in 1989 at the age of 39, and the killer walked away without punishment through a chain of odd circumstances. Just like the life he lived, a sad but all true tale indeed.  Blaze’s musical talents are often compared with his personal friend Townes Van Zandt. Each being gifted talents with their own demons, their music was at times foreign to those of us without similar issues. However, when you take the time to peel the layers back, you find they each had a unique ability to drive a feeling home to the listener.  Gurf has succeeded here by capturing the essence of Blaze’s music in 15 songs. While including the fun (Big Cheeseburgers and Good French Fries), the desperate (Cold Cold World) and the poignant (If I Could Only Fly…helped here by Kimmie Rhodes exceptional harmonies), Gurf allows the music to speak for itself, without embellishing it by making it his own.  The highlights here are numerous. While I must admit it is difficult to listen to someone cover a song you feel is untouchable, as I do Blaze’s own versions of his songs, Gurf has maintained the same passion throughout that allows this CD to be successful. Performed by Gurf, along with Rick Richards on drums, these songs vibrate warmly and show the timeless artistic virtues not only of the original writer, but the performer as well. Gurf is certainly one of few who could pull this off, and he did exceptionally well.  02 Big Cheeseburgers and Good French Fries This CD is being released in conjunction with the documentary Blaze Foley:Duct Tape Messiah. 12 long years in the making, Kevin Triplett has spent many long hours putting together this video documenting the life of Blaze. It is something that truly needed to be done, allowing others to see the man, the music, and the legend.  Song list: 1. Baby Can I Crawl Back To You 2:26 2. Big Cheeseburgers and Good French Fries 3. Clay Pigeons 4. If I Could Only Fly 5. No Goodwill Stores In Waikiki 6. For Anything Less 7. Oh Darlin' 8. Picture Cards 9. Down Here Where I Am 10. Oooh Love 11. Small Town Hero 12. Rainbows and Ridges 13. Blaze Foley's 113th Wet Dream 14. In the Misty Garden/I Shoulda Been Home With You 15. Cold Cold World Link for the documentary web site where you can watch the trailer: http://www.blazefoleymovie.com/ Link for Gurf's web site:  http://www.gurfmorlix.com/index.html

DIRECT FROM CMT SITE - Charlie Louvin, a Country Music Hall of Fame member as one-half of the Louvin Brothers, died early Wednesday morning (Jan. 26) after a battle with pancreatic cancer. He was 83. He received the cancer diagnosis in July. Louvin got his start as the younger half of the sweet-singing Louvin Brothers, a duo influenced by such earlier sibling acts as the Monroe Brothers, the Delmore Brothers and the Blue Sky Boys. In turn, the Louvins helped pave the way for the Everly Brothers and influenced a wide variety of artists, including Emmylou Harris and the late Gram Parsons. Charlie Elzer Loudermilk was born on July 7, 1927 in Section, Ala. three years after the birth of his brother and eventual singing partner, Ira Lonnie Loudermilk. (They changed their last name to Louvin in 1947.) With Ira on mandolin and Charlie on guitar, the brothers were singing together as the Radio Twins as early as 1942. Their musical trajectory was twice interrupted by Charlie's military service, first in the declining months of World War II and then in the thick of the Korean War. Between and after these career detours, the Louvins sang at radio stations in Chattanooga, Knoxville and Memphis, Tenn., and Birmingham, Ala. Early on, most of their repertoire was gospel songs, and they performed regularly at churches. But finding it impossible to support themselves on church offerings, they turned increasingly to secular music. Prior to striking it big on Capitol Records in the mid 1950s, the Louvins recorded briefly for Apollo, Decca and MGM but charted on none of these labels. Even so, they had achieved enough prominence by 1955 that they were invited to join the Grand Ole Opry. Later that same year, they had their first Billboard chart record with their self-penned "When I Stop Dreaming." The song peaked at No. 8. The next year, the Louvin Brothers scored their only No. 1, "I Don't Believe You've Met My Baby." At the height of their fame, just before the wave of rock 'n' roll inundated country music, the Louvins counted Elvis Presley and Johnny Cash among their opening acts. Between 1956 and 1963 -- when the Louvins split up over Ira's drinking and disruptive behavior -- the brothers charted 10 more singles, including the Top 10s "Hoping That You're Hoping," "You're Running Wild," "Cash on the Barrel Head" and "My Baby's Gone." Following their breakup, each brother pursued a solo career. However, Ira charted only one single -- "Yodel, Sweet Molly" -- before he and his wife were killed in a car wreck in 1965. Charlie Louvin continued to appear on the Grand Ole Opry and charted singles at least once a year from 1964 through 1974 (and intermittently thereafter). His biggest hits were "I Don't Love You Anymore" (No. 4, 1964) and "See the Big Man Cry" (No. 7, 1965). The rock world took notice of the Louvin Brothers in 1968 when the Byrds, urged on by new member Gram Parsons, recorded "The Christian Life" on their Sweetheart of the Rodeo album. Parsons and Emmylou Harris covered the Louvins' "Cash on the Barrel Head" in Parson's posthumously released 1974 collection, Grievous Angel. Fellow Alabamian Harris also turned to the Louvins for "If I Could Only Win Your Love," her first Top 5 country single, in 1975. Indeed, Harris became one of the Louvins' most passionate advocates. She and Louvin had a minor chart record in 1979 with the duet "Love Don't Care." Louvin's final chart singles came in 1982 and 1989 in recordings with Jim & Jesse ("North Wind") and Roy Acuff ("The Precious Jewel"), respectively. In 1992, Louvin paired with Charles Whitstein for the Louvin Brothers Music Celebration tour. (The Whitstein Brothers -- Robert and Charles -- were greatly influenced by the Louvins and, in 1969, recorded a tribute album, The Whitstein Brothers Sing Gospel Songs of the Louvin Brothers.) In 1996, Louvin emerged again with the album The Longest Train, which featured guest vocals by Jim Lauderdale, Katy Moffatt, Rosie Flores, Barry and Holly Tashian and others. For the 2003 album of Disney favorites interpreted by country stars, O Mickey, Where Art Thou, Louvin recorded "I Will Go Sailing No More" from Toy Story. That same year saw the release of the Grammy-winning tribute album, Livin', Lovin', Losin': Songs of the Louvin Brothers, featuring Dierks Bentley, Ronnie Dunn, Joe Nichols, Vince Gill, Merle Haggard, Dolly Parton and James Taylor, among others. Also in 2003, Louvin expanded his presence in the contemporary rock world as an opening act for Cake's Unlimited Sunshine tour. During the past decade, Louvin recorded a series of albums for the independent Tompkins Square label, including a self-titled project that featured guest appearances by Elvis Costello, Jeff Tweedy, Tom T. Hall, George Jones, Bobby Bare, Tift Merritt, Marty Stuart and others. His most recent release, The Battle Rages On, was released in November. A video documentary, Still Rattlin' the Devil's Cage, was shot in December at a Nashville nightclub to commemorate the 50th anniversary of the Louvin Brothers' classic album, Satan Is Real. It is expected to be released this spring on DVD. The Louvin Brothers were inducted into the Nashville Songwriters Hall of Fame in 1979 and the Country Music Hall of Fame in 2001.

I know that my listeners share the same love for David Lowery that I have. It's very obvious considering that two of my highest downloaded episodes are the David Lowery Live Archive episodes that I posted a little while back (found HERE and HERE). So, you can imagine my excitement when I received news that his solo album, The Palace Guards, is coming out on February 1st. You can download the first single, the title track - "The Palace Guards",  for free from his website at DavidLoweryMusic.com . This video is from the second single from the album called "Deep Oblivion". Enjoy. [youtube]http://www.youtube.com/watch?v=5tu4Etsd1cI[/youtube]

This is the official music video for "Salad Days" from the most recent effort from Have Gun, Will Travel called "Postcards From The Friendly City". A bare bones version of this song was featured on the most recent Americana Rock Mix: Lo-Fi Video (found HERE), which featured The Burke Brothers (of HGWT).  This is a personal favorite for me and this song evokes an unusual emotion response from me. So, it holds a special place in this fanboy's heart. Enjoy. [youtube]http://www.youtube.com/watch?v=X56ld7oePGs[/youtube] For more info, go to www.Myspace.com/HGWT

Many of us have had to endure the loss of a friend or loved one far too prematurely due to cancer. It is a horrible travesty that we must unfortunately face from time to time. We all deal with this loss in different ways. For some of us, the pain is just too much so we try to focus on something else. For others, we try to live out the rest of our lives hoping we would have made them proud. This was the road chosen by Marshall Chapman. Tim Krekel was an artist known for his songwriting and guitar playing. With a personal style all his own, Krekel had developed a cult like following of fans known as “Krekkies”. He had developed many friendships in the musical community throughout his life. One of these was with Marshall Chapman. In fact, they had worked on several projects in the past, including a most recent duet “Big Lonesome”. Tim was diagnosed with cancer in March of 2009, and died June 24, 2009. Marshall picked up the pieces, and pushed through with the help of many, including Krekel’s own son Jason and wife Debbie, to finish her CD entitled appropriately enough “Big Lonesome”. Big Lonesome  “I’ve never been so focused”, said Chapman. Getting this record out was something that had to be done. “Tim and I talked about doing a duet album back in January 2008. (Tim suggested we call it Sweet Talkin' .) We started making a list of songs to record or include, and "Big Lonesome" was on the list. But then my attention turned to writing a book, and, before any of us knew it, a year had gone by. Then Tim was diagnosed with cancer.”  The record is dedicated to the memory of Tim Krekel, and to Krekkies everywhere. It is a moving testament to the relationship which had developed between these two friends and fellow musicians. It is not a depressing memorial at all, but more a celebration. There are of course poignant songs and moments within these songs, and Chapman delivers each with warmth and passion.  Marshall Chapman may not be a household name, but she has rubbed shoulders with the greatest, and has had a successful long music career. She has also written two books as well. She has personally opened for John Prine, Jerry Lee Lewis, and the Ramones.  “Well, Prine would have me come out and sing “Paradise” with him every night, so that was special. As for Jerry Lee, I opened for him one New Years Eve in Atlanta in 1978, and something funny happened which I wrote about in the prologue of my first book. As for the Ramones, I just remember standing on a chair in the back of the Exit/In—(I’d gone out front to hear their set after we played ours), and when they came on and started playing, it was like standing in the backwash of a big jet engine,” joked Chapman. “In fact, John Cougar Mellencamp (as he was called back then) opened for me one night in Detroit.”  Included here are 11 songs, 9 written by Chapman, 3 of which were co-written by Krekel. The lone 2 covers are outstanding additions to the record. “Going Away Party”, which was written by Cindy Walker, was a song well known by Chapman. “I've been singing that song for thirty -five years. I always figured I would record it one day. Over the years, I've received some flack from fans for not recording it, but I'm glad I waited. It just fit with this project very well.”  The other cover concerned me when I seen it on the list of songs. Tackling “I’m So Lonesome I Could Cry” by the immortal Hank Williams is an enormous feat. Much like Steve Earle taking on Townes’ music, it is sometimes best to let them stand on their own. That said, as I listened to it the first time, I was stunned. Chapman had taken this well known song … one I have loved for many years … and made it her own by the passion within her voice. I felt her pain as she sang it. It was not just a song that fit the record itself, it became a song that needed to be sung by Chapman for this record.    “When I was in Mexico in July 2009, I spent a magical evening at a rancho outside San Miguel, where an American expatriate from Mississippi lived, cultivating cacti from all over the world” stated Chapman. “He and the owner of the property prepared a feast for us – doves which had been wrapped in bacon then cooked over hot mesquite coals, grilled cactus, fresh salsa, and so on. The clear night sky was filled with a million stars and the moon was full. After the meal, I leaned back to see the moon disappear behind a single purple cloud and thought of Hank Williams. Later that night, I played songs for my host and his teenaged son, Mark, until the wee hours—songs long forgotten (i.e., ones I used to sing before I started writing songs) like “Me and Bobby McGee,” “Everyday” (Buddy Holly), “From Four ’til Late” (Robert Johnson), and "I'm So Lonesome I Could Cry." When I drew a blank on a line in “I’m So Lonesome …,” Mark printed the lyrics out for me from his computer. Over the next few days, I’d sing “I’m So Lonesome I Could Cry” every chance I got in the empty courtyard of the house where I was staying, high up on a hill above San Miguel. I believe that courtyard’s lonesome sound was captured in the recording we did.  I also wrote "Mississippi Man in Mexico" while flying back to the states (July 8, 2009) -- about the magical evening and knew, as I was writing it, that I was going to record it. In my mind, "Mississippi Man in Mexico" and  "I'm So Lonesome I Could Cry" go together like they are on the album.  It was like these songs chose me, rather than me choosing them.”  “Falling Through The Trees” is a poignant song that certainly touches your soul. It is one of my favorite songs here, with such vivid imagery and brilliant lyrics. I enjoy songs that speak to me, that you can close your eyes and imagine what the writer was feeling or thinking at the time. This song has that and much more. “I wrote "Falling Through the Trees" when I realized my last album wasn’t going to happen, at least not as I had hoped. I like how “Trees” and “Going Away Party” deal with the same theme—the devastation that follows the death of a dream,” stated Chapman.  The tongue in cheek “Sick of Myself”, which was co-written by Krekel, has much meaning to Chapman and is very enjoyable as well. "Sick of Myself" was the last song Tim and I wrote together. It started as an email from me to him at a time when I really was sick of myself and thought, If I could be anybody else (for a day, maybe two) who would it be? So it was sort of a love poem from me to him. Within hours, Tim emailed me back with the last two verses. Shortly thereafter, he fell ill. We all hoped for the best as he sought treatment, but as things quickly deteriorated I couldn’t help but think, Damn, I’d better get up there and record him singing his part, because he’s the only one who can sing it!  I never got that chance. Nor did we ever get to put our words to music. In the back of my mind, I knew the song was a shuffle. I finally put it to music just before tracking in December 2009. Later that month, Tim’s son Jason (Mad Tea Party), dropped by the studio and sang his dad’s part. The similarity in the timbres of their voices gives me goose bumps, and makes me smile."  The record ends appropriately with a great live version of the song “I Love Everybody”. This rocker climaxes this touching record perfectly. Krekel was known as a dedicated rocker, and there is no better way to end it than to put this song here. “I decided to end the album with a live track (like Waylon did on Dreaming My Dreams) of “I Love Everybody,” said Chapman. “I had a DAT of a live performance from the 2003 Belgium Rhythm & Blues Festival, on which Tim played lead guitar, harmonica,  and sang harmony. It sounded pretty damn good, so we decided to go with it, even though we didn't have a multi-track. (Our performance had been directly mixed in Belgium Radio 1’s mobile recording unit.) After the album was mixed, I called Debbie (Tim’s widow) because I wanted her to hear what we’d done. As it turned out, she and her sister were about ten miles outside Nashville (driving north from Florida to Louisville), so we met for lunch at a favorite meat and three. During the course of conversation, Debbie casually said, “You know there’s a multi-track of the last time you sang with Tim at the Vernon.” You could have knocked me over with a feather. That night, a multi-track of “I Love Everybody” was overnighted to our engineer. The Belgium track got scratched, and what you hear here is the actual last time I played with Tim Krekel.”   We all live our lives in hopes that we have touched someone or somebody. Chapman keenly shows here that Tim Krekel not only accomplished that, but still lives on within her. Chapman does a brilliant job, one I am not sure anyone else could have achieved so well. Marshall's web site: http://www.tallgirl.com/content/

One look at 23 year old Andrew Combs’ musical influences will certainly open many eyes. He lists Guy Clark, Hank Williams, Willie Nelson, Harlan Howard, Hank Cochran, and Townes Van Zandt as among those who have shaped his roots. To be honest, that is exactly what first attracted me to his initial 6 song debut release titled “Tennessee Time.” Anyone with that background and taste in music is worth my time to check out. I was extremely glad I did. From the opening song titled “Hummingbird,” I was immediately reminded of the first time I heard Hayes Carll years ago on his initial “Flowers & Liquor” release. His Dallas, Texas roots truly shine in his lyrics and vocals. The phrasing and vocal inflections are outstanding. As I sat down and spoke with Andrew, he was just going on break from his full time job in a Nashville, TN restaurant. You have got to love a guy who is not resting on his laurels and waiting for anything to be handed to him. “Got to pay the rent somehow,” stated Andrew. “I hope to get the EP out and pick up a few paying gigs to help out, but right now it is just me and my girlfriend Heidi, who also provides background vocals and co-writing talents on one song.” This EP has been in the works for just under 10 months, according to Combs. “We had to take what time we had between working to pay the bills and available studio time just to get everything together,” he said. “I am very proud of the final results, and happy we did it this way. It hopefully creates an initial buzz and gets to more people now as opposed to waiting for a full record. My goal is hoping it catches enough attention to either allow me to write songs for others initially to pay the bills, or tour a bit with a few paying gigs.” Combs started out at his Dallas, Texas home playing in a high school band. “Yea, like most I had my first band in high school. We were called “Science & Progress”, mostly influenced by Radiohead, Ryan Adams, and stuff like that. I actually first started out playing the piano before picking up a guitar when I was about 14-15 years old. I then poured myself into music like Guy Clark, who is a lyrical genius.” Out of the 6 songs which appear on the EP, 3 were written while on a 5 month trip to Ireland. “It was beautiful there, and allowed me to sit back and write “Hummingbird,” the title cut “Tennessee Time,” and “Won’t Catch Me.” My girlfriend Heidi Feek actually co-wrote “Wandering Heart” with me later. The song “Too Stoned To Cry” was actually about a couple friends of mine sort of molded into one. The 6^th song, which is sort of a bonus track right now titled “Dark End of the Street” I truly enjoy because I love the Muscle Shoals vibe.” The mixture of tempos in these 6 songs allows Combs to utilize his vocal inflections and acoustic guitar extremely well. It is easy to hear the musical influences he has mentioned throughout his music, while still creating a presence all his own, which is a very good thing. As for the future, Combs is hopeful something will come up, but he has no plans of changing anything to create it. “I love acoustic music. Always have and always will. I will never change my music or lose my integrity in order to make a dollar. That is just not me.” This CD is truly something every fan of Guy Clark or Townes Van Zandt should listen to. Combs has learned from these masters and created a great sound all his own. There are few artists today who know the rich Texas music history as well as this young 23 year old does. That in itself is a blessing, because he treasures the music, and the opportunities to follow in these footsteps. If this release is any indication, I have a feeling we will be hearing much more from him quite soon.

The Americana Music Award Nominees were released today, and read by none other than Emmy Lou Harris and Todd Snider this morning at the W.O. Smith School of Music. Leading the way in this talented group of nominees for 2010 are Dave Rawlings, who is nominated in 4 of the 6 named categories, along with Oscar winner Ryan Bingham in 3 categories. Hayes Carll and Ray Wylie Hubbard are also nominated in more than one category as well. When I first studied this list, several questions came to mind. First of all, since when is Hayes Carll, Ryan Bingham, and Corb Lund considered “New & Emerging Artists?” While each is well deserving of any award nomination they may achieve, their presence on the Americana music scene is anything but new and emerging. They are the virtual cream of the crop! Secondly, I find it interesting that the Hayes Carll/Ray Wylie Hubbard song “Drunken Poets Dream” is up for Song of the Year. After all, Hayes released this song on his own record, plus won Song of the Year in 2008 for “She Left Me For Jesus” from that same record. Guess that speaks volumes for Hayes and his “Trouble In Mind” record. The omission of a few great artists irritates me as well. Scott Miller, Jason Eady, and Malcomb Holcomb each released material deserving award recognition. If the New & Emerging Artist category is any reflection on where the selection process is now, perhaps we will see these three in the category in a few years. It seems the selection committee is playing a bit of catch up. The awards show takes place in the midst of the 11th annual Americana Festival and Conference, slated for Sept. 8–11 and based at the Sheraton Nashville Downtown hotel. The festival includes more than 100 music showcases at numerous Nashville venues. Given the choices below…here are my own selections: ALBUM OF THE YEAR – A. Enlightenment B. Endarkenment – Ray Wylie Hubbard ARTIST OF THE YEAR – Ryan Bingham DUO GROUP OF THE YEAR – Band of Heathens (this should be a definite IMO) INSTRUMENTALIST OF THE YEAR – Dave Rawlings NEW & EMERGING ARTIST – Hayes Carll SONG OF THE YEAR – The Weary Kind – Ryan Bingham and T Bone Burnett

The 2010 Americana Music Association Honors and Awards nominees

ALBUM OF THE YEAR The List, by Rosanne Cash A Friend of a Friend, by Dave Rawlings Machine Downtown Church, by Patty Griffin A. Enlightenment B. Endarkenment (Hint: There is no C), by Ray Wylie Hubbard ARTIST OF THE YEAR Ryan Bingham Patty Griffin Levon Helm — tie Steve Earle — tie Ray Wylie Hubbard DUO GROUP OF THE YEAR The Avett Brothers Carolina Chocolate Drops Band of Heathens Dave Rawlings Machine INSTRUMENTALIST OF THE YEAR Buddy Miller Dave Rawlings Will Kimbrough Sam Bush NEW & EMERGING ARTIST Sarah Jarosz Ryan Bingham Hayes Carll — tie Corb Lund Joe Pug SONG OF THE YEAR “The Weary Kind," written by Ryan Bingham and T Bone Burnett, performed by Ryan Bingham "Drunken Poets Dream," written by Hayes Carll and Ray Wylie Hubbard, performed by Ray Wylie Hubbard "Ruby," written by Dave Rawlings and Gillian Welch, performed by Dave Rawlings Machine "I and Love and You," written and performed by The Avett Brothers