Country – 7th Level Music

Review: Lord Huron – The Cosmic Selector Vol. 1

“What if you could choose your fate like choosing a song on a jukebox? What if your finger slipped and you got the B-side instead? What if you misunderstood the meaning of the dang song to begin with?”

According to frontman and songwriter Ben Schneider, that’s the premise of Lord Huron‘s new album – The Cosmic Selector Vol. 1. The album hosts a stunning array of musicians backing Schneider exploring the idea of choosing one’s fate or just letting it play out and seeing what happens.

On the opener, “Looking Back,” Schneider just wants “nothin’ but a lonesome, quiet place where I can think” or “a noisy, crowded place where I can drink” – depending on the circumstances. It’s a sorrowful tale about loss, either from a breakup or a death. Speaking as a widower, this one hit hard (“Something changed the day you left and I’ll never know just what. I’ll spend my whole life looking up and wondering who I am.”).

“Bag of Bones” is a sharp standout as Schneider sings about how his former lover is better off without him (“I believed you’d never get far without me. How wrong I was in the end.”). The rhythm of the track is undeniable and gets deep into you. “I got everything I want and I’ve got nothing that I need,” he sings on “Nothing I Need.” It’s a tale of an ego trap, of chasing the Alan Watts “golden goodie” that never can be caught and never brings true happiness. The country twang builds into a foot-stomping beat that barely hides the blues lyrics.

“Is There Anybody Out There?” isn’t a cover of the Pink Floyd song of the same name, but rather a song about Schneider and his bandmates Mark Barry, Miguel Briseño, and Tom Renaud seeking fellow humans who might need help along their journey (“We haven’t met, but I wrote this song for you.”). “Who Laughs Last” features actress Kristen Stewart telling a tale of traveling through the American southwest through a series of places that might not be real. “The Comedian” is a tale of a faded star who only wants “to see my name in the lights again,” but knows deep down that time and fame are ephemeral.

“Watch Me Go” is a story of someone walking away from a relationship, friendship, or some other bond that the protagonist no longer wants and won’t miss. It, like all the songs on the album, are mini-stories or characters who might be Schneider or his bandmates or might be fictional. After all, the band has built an entire universe of characters and stories based around their music.

“Fire Eternal” teams up the band with Kazu Makino from Blonde Redhead sharing the vocals on a sultry and quirky tale of fiery passion. “It All Comes Back,” with its simple yet powerful Radiohead-like piano chords, is a story of karma and might be the one that most encapsulates the “What if you could choose your fate?” theme of the album with lyrics like “I can’t be sure, but I’ve seen this before. When you walk through the door, which way will you go?”

“Used to Know” has Schneider begging a former lover to remember what they had together and to run away with it if they ever finds someone like that again. “Digging Up the Past” is a mournful story of someone who can’t (or won’t) move away from something long gone (another dominant theme on the album). The harmonica and slide guitar on it are outstanding. The closing track, “Life Is Strange,” seems perfect for the record. The album is full of weird stories, odd characters, and is about a jukebox in a mythical forest that you can use to determine your fate…but be careful what you wish for as it might not be what you expect.

The whole album isn’t what you expect, but then again it kind of is.

Keep your mind open.

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[Thanks to Patrick at Pitch Perfect PR.]

SUSS release a haunting cover of Woody Guthrie’s “This Land Is Your Land.”

SUSS has announced a slew of tour dates alongside Immersion, the electronic duo made up of Colin Newman from Wire and Malka Spigel from Minimal Compact. These dates include a major Across the Horizon themed curation effort as part of the legendary Big Ears festival. The band is also sharing a timely and intense cover of Woody Guthrie‘s classic, “This Land Is Your Land”.

The band speaks eloquently below about the concept and origin of their version of the piece, tied into the recent Presidential inauguration.

Jonathan Gregg: “Music more than almost anything else can evoke the emotions of a time and place. As we find ourselves again in a time of challenge and uncertainty, we reach for solace in the same places as those who came before. Whether it’s a hymn, a battle cry, or a simple folk song, music is at the ready to bring us together and remind us that we have been here before, we are still here, and always will be as long as we remember.”

“People has got to have more faith in one another, believe in each other. There’s a spirit of some kind we’ve all got. That’s got to draw us all together.” – Woody Guthrie

Great songs endure. The sentiments expressed by Woody Guthrie in his 1940 classic are no different today; the Dust Bowl and the social upheaval it caused may have faded from memory, but the truths of fairness and equality are timeless, like the songs they inhabit. Music exists to connect, and its lessons are deeply ingrained. You don’t need a lyric to feel it, you already know that truth will persist as long as there is someone to hear it.

It’s hard to know exactly where the idea for a song begins or how it progresses, but in the case of SUSS’s interpretation of Woody Guthrie’s “This Land is Your Land” the path was pretty clear. Bob recalls “I was playing my guitar and watching the news with the sound turned down. Before I knew it, I started strumming the patriotic standard. I slipped into a minor key which seemed to throw the whole song into a new direction, even though it didn’t change the melody that much. I pulled out my phone, and recorded the guitar, harmonica and whistling on the first take — right there in the living room.” The melody was haunting, the recording was raw, and it seemed to capture everything he was feeling at the time. He sent the track to Pat, who always has a way of pulling things a little left of center, which is just what it needed.

As Pat says, “We live in a big country. This land was made for all of us; it was made for you and me. SUSS music has always been about finding space and exploring the power of the unexpected. Woody Guthrie’s words resonate throughout the SUSS version of “This Land Is Your Land” so we don’t have to hear them literally.”

Once Pat had added keyboards to the track, Jonathan recorded his pedal steel, adding a strange mixture of hope and aching pain, taking the track to a whole new place. Jonathan goes on to say “Music more than almost anything else can evoke the emotions of a time and place. As we find ourselves again in a time of challenge and uncertainty, we reach for solace in the same places as those who came before. Whether it’s a hymn, a battle cry, or a simple folk song, music is at the ready to bring us together and remind us that we have been here before, we are still here, and always will be as long as we remember.”

Mastered by Chuck Johnson, SUSS’s adaptation of Woody Guthrie’s “This Land is Your Land” was released by Northern Spy Records on January 15th, 2025, just days before the Presidential Inauguration. SUSS is proud to release this music into a world that needs a timeless message of hope, resilience and community more than ever.

Keep your mind open.

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[Thanks to Gabriel at Clandestine Label Services.]

Review: Jake Xerxes Fussell – When I’m Called

I love that Jake Xerxes Fussell starts off his newest album, When I’m Called, with “Andy” – a tribute to Andy Warhol. Fussell’s simple guitar work and vocals (“You can tell Andy Warhol the ghost rider’s on his way.”) make the approach of a mysterious rider who probably brings death seem like the return of a welcome friend.

Fussell has long been a fan of traditional folk music, bluegrass, sea shanties, and field recordings of regional musicians across the country, putting his own spin on tracks that seem both new and ancient at the same time. I mean, “Cuckoo!” was originally written by the people who penned “Twinkle, Twinkle, Little Star,” and Fussell makes it sound like a modern-day folk track he just wrote.

“Leaving Here, Don’t Know Where I’m Going” is a song to which everyone can relate, which seems to be a special knack Fussell has with his singing and playing. “Feeling Day” could fit right into a mostly empty pub on a Sunday night (probably because it’s Fussell’s version of a field recording in Scotland from 1971). The title track is a wonderful track showcasing Fussell’s guitar work while Anna Jacobson‘s horns provide a soft, beautiful backdrop.

James Elkington‘s string arrangements on “One Morning in May” make the song feel like a happy bird drifting on a wind current. “Gone to Hilo” is a song of heartbreak with Robin Holcomb on backing vocals and continues a theme of travel (sometimes for pleasure, other times for necessity, and other times because it’s the only option left in an already bad situation) throughout the album.

“Who Killed Poor Robin?” is a tale of death in the animal kingdom, and an allegory of how we’re remembered after we’re gone. The album closes with its final traveling song – “Going to Georgia,” as Fussell sings about earning love and how difficult that can be when one is wounded.

The album’s cover features a young man riding on a horse while he looks back to what he’s leaving behind, so much so that his head is turned backwards. He’s leaving, but doesn’t want to leave. He doesn’t want to fully acknowledge that the only way is forward. We’re all traveling. Jake Xerxes Fussell reminds us that we’re all on the same road, really, moving toward “the stars in the sky,” as he sings in the final track. We just need to turn our heads around from a past long gone and that never truly existed. We need to go when we’re called. This doesn’t mean When I’m Called is a depressing album about death. It’s, like all of Fussell’s work, ultimately uplifting and listening to it is an opportunity to be present while you ride ahead.

Keep your mind open.

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[Thanks to Sam at Pitch Perfect PR.]

Rewind Review: Patsy Cline – The Complete Releases 1955 – 62 (2017)

Good heavens, this collection of Patsy Cline‘s releases from 1955 – 1962 is not only gorgeous, but it’s also massive. In case you missed it on the cover image, it encompasses 75 tracks on three discs. The only things it doesn’t include are live cuts and material released after her far-too-early death.

You can drop the needle (to use an old radio DJ saying) on any track of any disc in this collection and find something great. Don Helms‘ lap steel guitar on “Honky Tonk Merry-Go-Round” seems to be having as much fun as Cline as she lays down the vocals. “Turn the Cards Slowly” is a personal favorite, with Cline and her band happily bridging county and rockabilly. “Stop, Look and Listen” is much the same, with Farris Coursey knocking out a great, swinging beat. “I’ve Loved and Lost Again” is a classic combination of Cline’s voice and Don Helms‘ always soulful pedal steel guitar.

That guitar is instantly recognizable on Cline’s “Walkin’ After Midnight.” It’s baffling now to consider that Cline originally hated the song (“That ain’t country,” she said about it.) and only recorded it at the insistence of producer Bill McCall. “I Don’t Wanta” is a fun jaunt as Cline sings about being so happy in love that she can’t picture life any other way. “Never No More” is a sassy, slow song that has Cline writing off her ex because she’s found someone “who makes me happy when I’m blue.”

Other classics include “Cry Not for Me” (with Cline’s voice belting out by the end and yet sounding effortless), the rockabilly swinger “Let the Teardrops Fall” (with great guitar work from Hank Garland), and heartbreakers like “I Fall to Pieces,” the immortal “Crazy,” “She’s Got You,” “Why Can’t He Be You,” and “Leavin’ on Your Mind”…and those are all on just the second disc of this collection.

Ferris Coursey‘s beats on “Hungry for Love,” which opens the third disc in the collection, are so tight that you could barely fit a dime between them. “Too Many Secrets” is a fun romp in which Cline learns more and more about a new lover that makes her question her decision to be with him. The addition of a horn section on it is a great touch. “Ain’t No Wheels on This Ship” is as much fun as “Fingerprints” is heartbreaking. Just for kicks, “Foolin’ Around” is a bit of a calypso number.

Disc three also includes “new versions” of “Walkin’ After Midnight” and “A Poor Man’s Roses (or a Rich Man’s Gold)” and a soulful cover of Hank Williams‘ “Your Cheatin’ Heart” and “I Can’t Help It (if I’m Still in Love with You). By the end, on “Lonely Street,” Cline is practically singing gospel.

The whole collection is solid, and a reminder of someone gone too soon but who left a stunning impact on music.

Keep your mind open.

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Brent Amaker and the Rodeo return with a new single – “Take My Heart.”

Since forming his Seattle-based outfit Brent Amaker and the Rodeo in 2005, Amaker has reveled in an idiosyncratic style that doesn’t fit into preordained categories. He’s a country singer whose band is known for dressing in matching black cowboy outfits, yet Amaker is more inspired by art-rock icons like Devo and David Bowie than the usual country mainstays. A Seattleite since 1997, he’s a Southerner by birth, yet Southern crowds are frequently puzzled by his ambitious stage show.

“When we tour Texas, they’re like, ‘What are you?’” Amaker says. “We’re cowboys, living the spirit of the West. We’re not really playing country music, but we’re playing cowboy music. ‘Western performance art’ is what I like to say.”

Amaker’s Western performance art achieves its fullest form on Philaphobia, a sly, heartsick collection that serves as Brent Amaker and the Rodeo’s first proper album in 10 years. Today it’s announced for a January 26th release on Seattle imprint Killroom Records. Throughout it, Amaker wrestles his demons and subverts frontier masculinity in his trademark baritone drawl (think Johnny Cash meets Matt Berninger) on tracks that span from rollicking motivational romps (“Take It by the Horns”) to criminal confessions (“Wanted”) to unlikely covers (Devo’s “Gut Feeling,” reimagined as a woozy twang breakdown).

It’s a spirited and boozy record, but don’t let the yeehaws and hollerin’ scattered throughout “Take My Heart,” the album’s first single, fool you: Philaphobia is a divorce album, steeped in that eternal country tradition of channeling heartbreak into gallows humor and cowboy laments. The bulk of the album was recorded in 2019, when Amaker was reeling from the end of his second marriage. The songs are among the best of his career, wrought with the steely-eyed recognition that love doesn’t always last.

On “Take my Heart,” he’s downtrodden but not defeated as he confronts his ex and fights for his dignity: “I will not let you take my heart,” he vows as his bandmates hoot and holler around the edges of the tune. “It’s about my ex-wife,” Amaker explains. “She gave me a lot of things, but she also crushed me, and I’m gonna survive and you can’t have my heart. I’ve still got it.”

Just in time for the Halloween season, check out the sinister new video with a literal take on the subject matter, for “Take My Heart”via YouTube and pre-save the album here.

“I’ve been married twice, and about five or six years ago, I divorced my second wife,” Amaker says of the record’s inspiration. “Philaphobia — with the Greek root word of PHILA being the feminine version instead of PHILO — is the fear of love, a fear of feminine love. That’s the theme, because I was going through something that was really intense. It’s a really intense time in my life. I was feeling heartbreak. I was feeling freedom. I was feeling excitement. I was feeling sadness. And I think that comes through.”

Throughout Philaphobia, Amaker turns the lemons of late-life bachelorhood into whip-cracking lemonade. Resilience is the guiding force on “Take It By the Horns,” a blast of a tune that boasts a rousing call-and-response refrain between Amaker and his band. On “Los Angeles,” the singer bids adieu to a relationship turned sour and plans a new life in a land of promise: “I’m moving to Los Angeles and leaving all the bickering behind,” Amaker croons over careening rhythms and cowpunk-flavored guitars. He wrote the song while his marriage was failing, but before it ended.

At the center of it all is “Gut Feeling,” a bizarro tribute to Amaker’s biggest influence, the New Wave icons who first piqued his interest in conceptual rock: Devo.

“When I was a little kid, I saw Devo on SNL,” he recalls. “I remember seeing them and saying to myself, ‘Is this real or is a skit?’ They became one of my favorite bands. I’m really into performance art and trying to create something that is consistent, so that every time somebody sees or hears us—like the Ramones or Devo—they know what it is.”

In his late 30s, after spending much of his younger life playing in rock bands, Amaker had an epiphany and decided to start a cowboy band. While Amaker and the Rodeo may not echo Devo in genre, their conceptual unity and insistence on matching stage uniforms is an homage to the Ohio legends. The Rodeo’s lineup shifts over time, but Amaker clings to a unified look: Whenever he brings a new cowboy into the fold, he takes them out to buy their cowboy hat and uniform (Wrancher polyester pants; black shirt; no colors allowed on any clothes, just solid black). When the group is on tour, they wear their cowboy uniforms 24/7.

And when they’re onstage, “performance art is at the heart of our shows,” Amaker explains, describing his elaborate James Brown-esque stage entrance; at a typical show, he walks onstage as the band plays an instrumental overture and somebody drapes a cape over him, then the cape comes off. “Just creating tension is what we try to do with our live performance. It’s fun and people are entertained.”

Indeed, Brent Amaker and the Rodeo have toured far and wide, performing everywhere from Europe to the Capitol Hill Block Party to a maximum-security prison in Belgium, where a riot nearly broke out at the end of the gig. Listeners may also encounter their music in needle-drop form; the group’s music has been noted for its evocative, cinematic textures and has been featured in television shows such as Weeds, Big Little Lies, Californication, and others.

“I think our music is intentionally cinematic,” Amaker says. “I like to write with a theme, and I like to shape my songwriting with visions.”

“When the Rodeo started, we were putting on costumes, outfits,” Amaker says. “But after we went out time after time, I didn’t feel comfortable if I didn’t have some pieces of the Rodeo on me. It became me. It’s not a costume anymore.”

Keep your mind open.

[You’ll have my heart if you subscribe.]

[Thanks to George at Terrorbird Media.]

WSND set list: Deep Dive of Alison Krauss

Thanks to all who listened to my Deep Dive of Alison Krauss on WSND. She’s a living legend, and the show was dedicated to my late wife, Mandy, who introduced me to her.

Here’s the set list:

Alison Krauss – When You Say Nothing at All
Dolly Patron – You’re the Only One
J.D. Crowe and The New South – Old Home Place
Foreigner – Head Games
Electric Light Orchestra – Don’t Bring Me Down
Gary Numan – Cars
Richard Greene – The Tennessee Waltz
Alison Krauss – Grey Eagle and Nick’s Noodle
Dan Tyminski – Carry Me Across the Mountain
Alison Krauss – Too Late to Cry
Alison Krauss and Union Station – Midnight Rambler
Alison Krauss – I’ve Got That Old Feeling
Phish – If I Could
Alison Krauss and The Cox Family – Loves Me Like a Rock
Shenandoah – Somewhere in the Vicinity of the Heart
Alison Krauss – Oh, Atlanta
Alison Krauss – Forget About It
Alison Krauss and Union Station – The Lucky One
Alison Krauss and Gillian Welch – I’ll Fly Away
Alison Krauss and Union Station – Choctaw Hayride (live)
Alison Krauss and Union Station – Unionhouse Branch
Brad Paisley – Whiskey Lullaby
Alison Krauss and Robert Plant – Please Read the Letter (requested)
Alison Krauss, Mark O’Connor, Yo-Yo Ma, and Edgar Meyer – Slumber My Darling (live) (requested)
Heart – These Dreams (live)
Nickel Creek – Smoothie Song
Alison Krauss – Down to the River to Pray

Next week, I go in a completely opposite direction with a Deep Dive of The Damned. Don’t miss that one.

Keep your mind open.

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Teddy Thompson embraces classic country on his upcoming album.

Teddy Thompson has announced his eighth studio album, My Love Of Country, will be released August 18. True to its title, Thompson offers deeply personal and heartfelt readings of ten classic country songs by songwriters like Buck Owens, Hank Cochran, Eddy Arnold, Cindy Walker and even his own father, Richard Thompson. The collection’s first single “A Picture Of Me Without You” (listen/share here), a top ten hit for George Jones in 1972, and its accompanying video (watch/share here), directed by Ethan Covey, is out today

The simplicity and emotional intensity of classic country has been a big part of Thompson’s own sound as an artist, which The New York Times called “beautifully finessed” and NPR hailed as “the musical equivalent of an arrow to the heart.” Back in 2007, he explored his roots with Up Front and Down Low, an album of Nashville golden era favorites. And now he’s picked up the thread again.

“The goal was to do it in the way that country records I love – mostly from the ’60s – were made,” says Thompson. “Everything was mapped out, with charts and string parts in place. The musicians came in, and we cut the songs the way they did back then. We just blazed through them.”

The results are riveting. Thompson’s rich, honeyed voice responds beautifully to “A Picture Of Me Without You,” “Cryin’ Time,” and other songs of poetic despondence, throwing off both sparks and tears without ever seeming showy. You can hear how he’s listened deeply to the genre’s masters, absorbing the finer stylistic points of their influence. But rather than imitate, he does something more nuanced and profound. He makes the material his own, and makes the familiar sound new.

Helping Thompson realize his vision for My Love Of Country was multi-instrumentalist producer David Mansfield, whose resume includes touring with Bob Dylan’s Rolling Thunder Revue, scoring Oscar-nominated films like The Apostle and years of high-profile session work with the likes of Johnny Cash, Lucinda Williams and Dwight Yoakam. Mansfield and Thompson assembled a list of twenty titles, then whittled it down to ten. There are well-known standards, old and new, such as Hank Cochran & Harland Howard’s “I Fall To Pieces” (a signature hit for Patsy Cline in 1961), Randy Travis’s 1989 western swing-flavored chart-topper “Is It Still Over?” and Cindy Walker’s portrait of unrequited love, “You Don’t Know Me” (a hit for both Eddy Arnold and Ray Charles). Adding balance are lesser-known gems such as Dolly Parton’s 1968 album track “Love and Learn,” Don Everly’s “Oh, What A Feeling” and a finely-etched drinking song, “I’ll Regret It All In The Morning,” penned by Thompson’s father Richard Thompson. Recorded at Mansfield’s studio Hobo Sound in Hoboken, NJ, the album balances elegant, wrap-around arrangements with one-take energy. A star-studded group of harmony vocalists, including Vince Gill, Rodney Crowell, Logan Ledger and Aoife O’Donovan, added final touches.

“These are all songs that I’ve known and loved for years. That’s the real key, having them in your body for a long time, decades really. I didn’t really have to think at all about how to sing them. I just honored the originals,” explains Thompson. “In my favorite eras of music, it was all about the song. Most of the classics that I know and love were recorded by dozens and dozens of people. And it was all in the service of the song. I grew up with that being the most important thing. For this record, that was a huge part of it. I just want people to hear these songs.”

Keep your mind open.

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[Thanks to Kevin at Calabro Music Media.]

Rewind Review: Buck Owens – Live from Austin TX (2017)

Recorded live at the famous Austin City Limits on October 23, 1988, this half-hour session from the legendary Buck Owens is like stomping the gas pedal of a moonshiner’s truck to the floor while crying over lost love.

Opening, of course, with his mega-hit “Act Naturally,” Owens gets everyone dancing right away. Terry Christofferson‘s steel guitar on “Together Again” is the song of weeping after a missing lover has returned after a long absence. “Love’s Gonna Live Here” is a toe-tapping, booty-shaking swinger.

Owens’ “Crying Time” is another classic and one that everyone can relate to at some time in their life. He knows the loneliness we’ve all known. Just when you’re feeling blue, he unleashes “Tiger By the Tail” to shake you out of it (and Jim Shaw‘s lively piano helps, too). “A-11” is a clever track that has Owens pleading with a stranger not to play a song on the jukebox that will remind him of the woman who left him.

“Hot Dog” epitomizes country swing. “Put a Quarter in the Jukebox” is both fun and sad at the same time, as many classic country songs are. “Memphis” is the first Chuck Berry cover in the performance, and it’s a dandy. As if one country legend tearing up the ACL stage wasn’t enough, Owens brings out Dwight Yoakam to perform “Under Your Spell Again” with him, and their vocal styles pair up perfectly with each other. “Johnny B. Goode” is the second Chuck Berry cover that closes out the show to a raucous crowd.

It’s a great recording, and it’s clear that Owens was having a great time throughout it.

Keep your mind open.

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Jake Xerxes Fussell releases two singles from his new album due January 21st.

Singer, guitarist, and folk music interpreter Jake Xerxes Fussell shares two new songs, “Breast of Glass” and “Frolic,” from his forthcoming album, Good and Green Again, out January 21st on Paradise of Bachelors. Produced by James Elkington (Jeff Tweedy, Michael Chapman, Steve Gunn, etc.), Good and Green Again is Fussell’s most conceptually focused and breathtakingly rendered album to date, a transcendent place on a musical map of melancholy, quietude, and foot-stomping joy. Following previously released album opener “Love Farewell,” “Breast of Glass” features beautiful, sparse horn arrangements written by Fussell and Elkington and performed by Anna Jacobson. “Frolic,” one of the three airy instrumentals on Good and Green Again, punctuates the program, offering respite and light in the form of crisp, shuffling play-party tunes.

Listen to “Breast of Glass”

Listen to “Frolic”

Fussell has distinguished himself as one of his generation’s preeminent interpreters of traditional (and not so traditional) “folk” songs, a practice which he approaches with a refreshingly unfussy lack of nostalgia and preciousness. By recontextualizing ancient vernacular songs and sources of the American South, he allows them to breathe and speak for themselves and for himself; he alternately inhabits them and allows them to inhabit him. In all his work, Fussell humanizes his material with his own profound curatorial and interpretive gifts, unmooring stories and melodies from their specific eras and origins and setting them adrift in our own waterways. The robust burr of his voice, which periodically melts and catches at a particularly tender turn of phrase, and the swung rhythmic undertow of exquisite, seemingly effortless guitar-playing pull new valences of meaning from ostensibly antique songs and subjects.

For Good and Green Again, Elkington and Fussell enlisted engineer Jason Richmond and a group of formidable players hailing from Durham, North Carolina (where Fussell lives) and elsewhere, including regular band members Casey Toll (Mt. Moriah, Nathan Bowles) on upright bass, Libby Rodenbough (Mipso) on strings, and Nathan Golub on pedal steel. They were joined by welcome newcomers Joe Westerlund (Megafaun, Califone) on drums, Joseph Decosimo on fiddle, Anna Jacobson on brass, and Bonnie “Prince” Billy, who contributes additional vocals.

Listen to “Love Farewell”

Pre-order Good and Green Again

Jake Xerxes Fussell Tour Dates (new dates in bold):
Fri. Jan. 21 – Chapel Hill, NC @ The Nightlight
Sat. Jan. 22 – Richmond, VA @ The Camel
Sun. Jan. 23 – Washington, DC @ Pie Shop
Tue. Jan. 25 – Philadelphia, PA @ PhilaMOCA
Wed. Jan. 26 – Brooklyn, NY @ The Knitting Factory
Thu. Jan. 27 – Boston, MA @ Club Passim
Fri. Jan 28 – Keene, NH @ Nova Arts
Sat. Jan. 29 – Saratoga Springs, NY @ Caffe Lena
Thu. Feb. 17 – Los Angeles, CA @ Gold Diggers *
Sat. Feb 19 – Santa Monica, CA @ McCabe’s Guitar Shop *
Tue. Feb 22 – Portland, OR @ The Old Church *
Sun. May 1 – Kilkenny, IE @ Kilkenny Roots
Mon. May 2 – Kilkenny, IE @ Kilkenny Roots
Tue. May 3 – Dublin, IE @ Bello Bar
Wed. May 4 – Belfast, UK @ Cathedral Quarter Arts Festival
Fri. May 6 – Manchester, UK @ Gulliver’s
Sat. May 7 – London, UK @ Oslo
Sun. May 8 – Glasgow, UK @ Glad Cafe
Mon. May 9 – York, UK @ Fulford Arms
Wed. May 11 – Ultrecht, NL @ Tivoli (Club Nine)
Fri. May 13 – Nijmegen, NL @ Merleyn
Sat. May 14 – Cologne, DE @ King Georg
Mon. May 16 – Hamburg, DE @ Aalhaus
Tue. May 17 – Amsterdam, NL @ Paradiso

* w/ special guest Tom Brosseau

Keep your mind open.

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[Thanks to Sam at Pitch Perfect PR.]

Rewind Review: Wanda Jackson – First Lady of Rockabilly (2012)

Spanning several years in a little over two hours, the First Lady of Rockabilly collection of Wanda Jackson‘s material is a great compilation of her work and further cements her place in rock and music history as one of the premier voices to ever play the game.

Jackson’s influence on rock and country is massive, counting Jack White, The Cramps, and two Elvises – Presley and Costello – among her many devotees. Presley was also her paramour until he split to make movies in 1957.

The collection contains so many hits that I don’t envy whomever had to choose what to put in and what to leave out. “Let’s Have a Party,” her first big hit, was a no-brainer for inclusion, of course. “Fujiyama Mama” is a wild one about how much of a bad ass she is. “Funnel of Love” is another one of her biggest hits, and includes wild elements of exotica and monster surf rock. “Riot in Cell Block Number 9” is, if you ask me, a better tune than “Jailhouse Rock.”

“You Can’t Have My Love” is the first straight-up country track on the compilation (and her first single, which cracked the country charts Top 10 list in 1954), with Jackson strutting her stuff and shooting down a potential suitor who offers her silk and satin, but is soon frustrated by her ignoring him. “I Gotta Know” keeps up the country swing flair. “In the Middle of a Heartache,” a song she co-wrote, proves she had the vocal chops to compete with Patsy Cline when she wasn’t belting out risqué rockers.

“Right or Wrong (I’ll Be with You)” is another Jackson-penned country ballad. Jackson’s voice is so strong and fun that it’s sometimes easy to overlook how good of a songwriter she is. The compilation is loaded with songs she wrote or co-wrote, such as the not-so-subtly naughty “Savin’ My Love,” the sexy growler “Mean, Mean Man,” the swinging, floor-filler “Baby Loves Him,” the witty “Who Shot Sam?”, the solid hit “Rocky Your Baby,” and the slick as Bryl-Creem “Cool Love.”

“Hard-Headed Woman” includes a solo from legendary country performer / guitarist Roy Clark that will make your head spin. Her cover of Billy Crudup / Elvis Presley’s “My Baby Left Me” has extra bite to it considering Jackson’s relationship with the King of Rock and Roll. The drum beats on “Sticks and Stones” are hot as a griddle. Her covers of Neil Sedaka‘s “Fallin'” and “Stupid Cupid” are fun, hip-swaying rockers.

“There’s a Party Goin’ On” starts off the second half of the set with a great, rollicking floor stomper. “Hot Dog! That Made Him Mad” is a groovy story about Jackson having dalliances with other lovers to make her man appreciate him more – a story about FemDom when such a topic was taboo. Jackson’s vocals on “Cryin’ Thru the Night” would give Hank Williams a run for his money.

“It Doesn’t Matter Anymore” and “I’d Rather Have You” are lovely country ballads, and “Tears at the Grand Ole Opry” is a barely disguised tale of sexism at the iconic music venue. “Long Tall Sally” brings everyone to the dance floor and the collection closes with the appropriately titled “Man, We Had a Party.”

The whole collection is fun, and it works well as an introduction to Jackson’s work or as an addition to anyone’s collection of her records.

Keep your mind open.

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