This is one of the most extraordinary times in our nation’s history. Following the events of 9/11 and our (over)reaction, two never-ending wars, Katrina and its legacy, Gitmo, the evisceration of the Department of Justice and so many other departments entrusted to look out for the best interests of the American people, and now, with four months remaining on their clock, this amazing plea for another super-sized bailout following closely on the heels of aid to investment banks, brokerage houses and mortgage insurers the President gives yet another speech advising us to be very afraid. In it, he actually cites the historic legislation created by F.D.R. in response to another crisis brought on by unfettered, unregulated greed. Irony so thick you can cut it with a knife. Through it all I’ve been wondering if someone in Congress feels as I do. Well, here she is. Meet Marcy Kaptur:
In many ways, the Americana Honors & Awards ceremony last week served as Robert Plant’s final induction into the world of American roots music, completing a long journey that began in the West Midlands, assumed the title of rock God, hitched a ride with early blues, and arrived last year at the foot of the Appalachians.
Following a #2 debut on the Billboard Album Chart, and a Grammy for Best Pop Collaboration, the former Led Zepplin frontman and Alison Krauss completed their seemingly effortless marriage of bluegrass and rock by scooping up the Best Album award for Raising Sandat the Nashville ceremony. They were also award Best Duo.
Plant displayed his newfound ease with American roots when he joined Levon Helm on stage at the Ryman Auditorium. Helm left with Artist of the Year honors, capping off a year that saw his triumphant return from cancer of the vocal chords with the Grammy-winning release Dirt Farmer.
The charm of Plant continued as his Raising Sand touring bandmate Buddy Miller earned the Instrumentalist of the Year nod, before performing “Whatcha Gonna Do, Leroy?” a brand new collaboration with Plant that will be featured on Miller’s 2009 album.
Complete List of Winners from the 2008 Americana Honors & Awards:
Album of the Year: Alison Krauss & Robert Plant / Raising Sand
Artist of the Year: Levon Helm
Duo/Group of the Year: Alison Krauss & Robert Plant
Instrumentalist of the Year: Buddy Miller
New Emerging Artist of the Year: Mike Farris
Song of the Year: “She Left Me for Jesus” by Hayes Carll and Brian Keane
“Spirit of Americana” Free Speech in Music - Joan Baez
Lifetime Achievement / Songwriting - John Hiatt
Jack Emerson Lifetime Achievement / Executive - Terry Lickona (Austin City Limits)
Lifetime Achievement / Performance - Jason & The Scorchers
Presidents Award - Jerry Garcia
Lifetime Achievement / Instrumentalist - Larry Campbell
Trailblazer - Nanci Griffith
Lifetime Achievement / Producer / Engineer - Tony Brown
Thursday September 25th 2008, 8:30 am
Filed under: Podcasts
Posted by: Melanie
Sonya Kitchell launched her debut record, Words Came Back to Me, when she was only 16. That release sparkled with more than a few glimmers of promise, but few could’ve predicted the heights she’d soar to just three years on with the launch of her sophomore effort, This Storm. It’s got more edge, and is marked by an uncommon maturity. Sample some tracks in this Songlines podcast.
Shocking details have emerged about the seedy underbelly of the Florida orange blossom industry. We turn now to Senior State Flower Conspiracy Analysts JJ Grey & Mofro, who have more on this story…
Wednesday September 10th 2008, 9:31 am
Filed under: Podcasts
Posted by: Melanie
Michael Franti has spent the last two decades touring the globe, and has sold over a million albums along the way. All the while, he’s retained his spirit and identity as an independent artist. His latest offering is a rump-shaking romp recorded in Kingston, Jamaica, with Sly and Robbie behind the boards. Franti describes All Rebel Rockers as an album “intended to wage war on cynicism. It’s an invitation for people to dance in a world that is filled with chaos.” In this edition of the Songlines podcast, you’ll hear parts of tracks like “Say Hey (I Love You)” and “A Little Bit of Riddim.”
As part of an anti-poverty protest in 2000, Michael Franti decided not to wear shoes for three days. He never went back. Except for occasionally needing to wear shoes for air travel or to be admitted to a restaurant, he’s been barefoot ever since.
Tuesday September 09th 2008, 9:01 am
Filed under: Livewire
Posted by: Julia
Mikel Jollet, lead singer of The Airborne Toxic Event, is drenched in sweat, his shirt and hair stuck to him as he clings desperately to the microphone. Bassist Noah Harmon appears to be in a trance, his head tipped back revealing a glistening face. His sodden shirt is half unbuttoned, while behind him Daren Taylor beats the drums with a bare and gleaming chest on display.
The L.A. band’s feverish appearance has less to do with their vigorous performance than with the fact that the air conditioning at the Roseland Ballroom is malfunctioning, and they’re sharing the packed space with 3000 New Yorkers. But nobody seems to mind too much; in fact, the steamy conditions only enhance their agonized, self-questioning lyrics delivered in the form of energetic, post-punk indie rock. Gasping for breath, Jollet’s face forms a tortured howl as he screams:
“the walls spin and you’re paper thin from the haze of the smoke and the mescaline / the sweat of your brow under unmade sheets in your ear with the noise from the darkened streets where you ran far and wide/you screamed / you cried / you thought suicide was an alibi”
“Wishing Well” is the opening track to the band’s self-titled debut, released a month ago on Majordomo Records. The album is laden with heartbreak and regret in songs like “Happiness Is Overrated” and “Does This Mean You’re Moving On?”. If Jollet comes across as a tortured wordsmith, he has good reason; in one week in 2006, the writer was diagnosed with auto-immune disease, learned his mother had cancer, and experienced a breakup. Promptly, the novel he had been writing turned into song lines, and the result is a record of highly literate lyrics channeled through Jollet’s dynamic baritone that diminishes to a sigh only to swell into an anguished wail.
Violinist Anna Bulbrook leads the way on the first single “Sometime Around Midnight.” Though the intro sounds like a full string section on the record, in fact it’s all Bulbrook joined tonight by Harmon, who plays his electric bass with a bow. After several dramatic minutes of strings, Jollet chimes in, in a shaky whisper describing a girl he sees across the room in a bar. When the drums kick in, we realize she’s no stranger, but a gone and clearly not forgotten lover. The song intensifies as they drift towards each other and talk, and by the time she leaves with someone else, Jollet is screaming the words in pain.
The strings return to the forefront again as the song ends, reducing to a lament, leaving Jollet, and the rest of us, emotionally drained, and soaking wet. Then he kicks his microphone stand over and reminds that they are, after all, a rock band.
Friday September 05th 2008, 9:03 am
Filed under: Podcasts
Posted by: Melanie
A hardworking band that’s built up a great fanbase through strong releases and extensive touring, Jacksonville, Florida’s JJ Grey & Mofro are back with a terrific new set of songs inspired in part by the beauty and complexity of their state flower, the orange blossom. Treat yourself to a sampling of the album’s tracks, from the deep groove of “On Fire” to the sweet nostalgia of the title song, “Orange Blossoms,” with this Songlines podcast.
JJ Grey & Mofro do some of their best work out on the road — but not just on stage. They’ve got a wonderful tour journal on their web site. Keep up with their travels here.
Sarah Dugas, The Duhks’ new bilingual frontwoman, was thrilled by the process of making the band’s new record, Fast Paced World. “We traveled from Winnipeg, locked ourselves in a Nashville basement, pooled our ideas together and invented a new sound,” she says. Check out the revamped sonics in this Songlines podcast.
