I've decided to move Common Folk Music to Wordpress since Blogger no longer meets my needs and is getting more difficult for me to work and post with constant error messages. I will continue to keep this site open for archival purposes, but for new posts you can find them at www.commonfolkmusic.wordpress.com. Thanks for you support while at this address and I look forward to having you at my new site.
Megafaun member, Phil Cook is standing out and alone on his new album, Hungry Mother Blues. A completely instrumental record, Cook pays homage and shows reverence to a musical heritage by playing country-blues style guitar, resonator, and banjo. His musical awareness and tasteful compositions shine as he plays a single instrument with a relaxed passion and a personal message all the while tapping out time with his Feat . Each track on Hungry Mother Blues is dedicated to someone in Cook's life, whether it be a friend, a bandmate, or his unborn child and acts as a soulful, countrified instrumental love letter to these special people.
Hungry Mother Blues was recorded in a single day in the back room of Cook's North Carolina home during a rare ice storm. Unlike his 2009 recording which was taped during a violent thunderstorm, this record bares no sign of the weather. Instead, Cook's love for music and loved ones emanates through the songs providing the album with a warm and friendly vibe.
Opening with the breezy and melodic "Frazee, Minnesota," the album moves into other brilliant and artful tunes, each possessing a character of its own, like the people they have been written for. The folk banjo in "Waiting 'Round the Oven Buns" is playful while the dobro work on "Lament and Lullabye" is graceful and gentle. There's added drama and purpose in the the bluesy resonator on "Ballad of a Hungry Mother" and a confidence can be found in "Last Steam Engine Train," a tribute to John Fahey. Ending on a melancholy note with "The Jensens," Hungry Mother Blues is a wonderful celebration of life and people through music. It's a great casual listen. Lasting a total of 20 minutes, the album is perfect for a summer afternoon spent on the porch sipping lemonade.
Today, on "For Your Sunday Viewing Pleasure," I've decided to go old-school folk with Phil Ochs performing his rendition of my favorite ballad, "The Highwayman," written by Alfred Noyes.
Set in 18th century England, the narrative tells the story of a highwayman (a thief), who in love with the innkeeper's daughter, Bess, is betrayed to the authorities by the jealous stableman and escapes the ambush when Bess gives her life to warn him. Then, upon learning of her death, the highwayman avenges Bess' death only to be shot. However, death couldn't keep the lovers apart and on the "still of a winter's night" the lovers meet again.
The ballad's vivid imagery and repetition, and Ochs' fast fingerpicking conveys a sense of both urgency and danger. And, though, this version has missing verses, Ochs still created an absolutely beautiful and haunting song. It brings a tear to my eye each time.
Sean Siegfried is folk guitarist from the United Kingdom who has been influenced by the work of Bert Jansch, Nick Drake, John Fahey and Dave Evans. After spending three years in the film industry, Siegfried has developed the skill of editing as well as the ability to create mood with just a six-string acoustic guitar. His debut album, Backwoods, is a very short collection of six, self-penned solo guitar instrumentals which were written and recorded during the early months of 2011 in rural Devon. Mixing classical and contemporary guitar styles, Backwoods is theatric and melodic in a deeply calming manner.
Frederick Squire Sings Shenandoah and Other Popular Hits is the second album from the elusive Canadian folk singer-songwriter. Released shortly after Squire's 2010 debut March 12, the album was simply recorded with Squire sitting in a chair with two microphones around as he played the guitar, pump organ and sang.
Frederick Squire Sings begins with the obscure and classic folk song, "Shenandoah," which dates back to the early 19th century, and continuing with the dusty sound up to the closing folk instrumental, "Theme From a Small Town." With deep vocals that slightly rise above a hush, Squire's voice has a way to make even the heaviest of subjects easier, and the album, a way to transport the listener to a quiet, sepia toned world where floorboards creak, the screen door squeaks, and wind gently blows through an open window.
Pickering Pick's newest album, Tiger Balm, was released via Yer Bird Records on June 21. A collection of beautiful ballads enhanced by Sam Pickering Pick's innate understanding of music and his way with words.
Originally from the United Kingdom, Sam has been living in the United States for eight years and now calls Sacramento, California home. And, it's his English roots that may have helped him perfect these modern day ballads. As his faint English accent drifts amidst the soft acoustic guitar, simple melodies, and poetic lyrics, you're drawn into his personal world of gentle emotions becoming intimately connected to Pickering Pick and the album.
Mark Jungers' new album, More Like a Good Dog Than a Bad Cat, is unadulterated Americana. A rootsy collection of tracks about a dead dog, coming of age, and love, Jungers went without digitally editing the record giving it a natural, free-flowing feel. Showcasing Jungers' songwriting talents, More Like a Good Dog has Jungers writing or co-writing all but one song on the disc, the vintage, bluesy rocker "Heel to Toe," which was written by Phil Stevens. He also receives help from superior songwriters Owen Temple on "Can't Take it With You" and Adam Carroll on "It's All You" and "Swinging in the Wind." Another well known Texan, Susan Gibson, who wrote the hit "Wide Open Spaces" lends her vocals on "Riverdown" and "Tired of Being Lonely," which Carroll also makes a vocal contribution. Opening with an infectious gospel inspired "Show Me a Sign," moving into the twangy "Riverdown," and ending with the witty "Swinging in the Wind," More Like a Good Dog Than a Bad Cat is a seamless album from front to back.
An indie-bluegrass-folk group hailing from Portland, Oregon, The Water Tower Bucket Boys add a modern twist and a harder edge to the old timey sound of the Blue Ridge. Their new album, Sole Kitchen, released in April is a catalog of progressive square-dancing tunes influenced by the band's trips to Europe and their time spent on street corners along the west coast as well as by bands like Velvet Underground, Chuck Ragan, Mumford & Sons, Wilco and others making it a mad musical experiment that went right.
Opener "Crooked Road" is a great introduction to Sole Kitchen and The Water Tower Bucket Boys' sound. This cautionary hillbilly tale about finding a 'Shiner making Moonshine ("the secret of the hills") varies in style and pace. Beginning with a Southern, New Orleans jazzy, bluesy vibe that accelerates in the chorus with a barn-burning bluegrass featuring fiddle, mandolin, banjo, and upright bass. In the next song, "Fromage," the nimble banjo and the old-timey influence does not get lost in the brisk instrumentals. Then, things slow down with an acoustic guitar and a quietly chiming mandolin in "Telegraph." Instead of drinking white whiskey in the hills of the South, the Boys are hanging out and songwriting about their strange experiences and encounters in Berkley, California. The fiddle-flooded "Bread" and "Blackbird Pickin' at a Squirrel" are a models of modern square dance tunes while "Since You've Been Gone" has a somewhat traditional country flavor. "I'm Not a Stranger" forgoes the blatant traditional bluegrass and country influences and turns to a modern folk with an unusual three-part harmony. Finally, Sole Kitchen closes with the catchy country-folk "Heaven" and is the only song on the album that uses drums.
So, with that being said, The Water Tower Bucket Boys are not your typical folk-bluegrass-roots band and Sole Kitchen exhibits their uncommon and distinctive style. An album with a contemporary rusticity that could be played at any barn-dance or bar from here -- West Virginia -- to the Pacific Northwest.
On "For Your Sunday Afternoon Viewing Pleasure" I have decided to post Jim White's Tiny Desk Concert performance at NPR Music. I wanted to hear good stories from a great and funny storyteller who writes compelling songs about himself and not "you." An honest man who doesn't take himself too seriously, he has to be one of more interesting musicians and people in the business. He has lived an ecclectic life and in a sense has become a jack of all trades.
Jim's songs are unique and his music has been deeply impacted by his history. Born in Flordia and raised with a Pentecostal upbringing, he was deeply influenced by the white gospel music of his childhood. From Flordia, Jim began an unusal journey before becoming a full-time storyteller and musician. He was a comedian, fashion model, a boxer, preacher, a professional surfer, and a New York City cab driver. Jim also attended New York University's film school.
His albums Wrong-Eyed Jesus (1997), No Such Place (2001), Drill a Hole in That Substrate and Tell Me What You See (2004) and Transnormal Skiperoo (2007) were acclaimed alt-country masterpieces and established Jim as an unconventional talent. Furthering his reputation, Jim also stared in the BBC film inspired by his song "The Mysterious Tale of How I Shouted Wrong-Eyed Jesus" entitled Searching for the Wrong-Eyed Jesus which explored Southern culture and religion through music and stories.
On September 13, Portland-based experimental roots rockers Blitzen Trapper is set to release American Goldwing, their follow-up to 2010's Destroyer of the Void and sixth full-length album. The band dropped the nostalgic, harmonica imbued title track which is available below in exchange for an email address.
The Scottish bluegrass quintet, The Dirty Beggars, maybe dirty or they may not, but they most certainly won't be begging after the release of thier upcoming debut album. But, while waiting to release their album, the band has been gathering a following and generating buzz on UK's Americana, country and bluegrass scenes and performing at the Edinburgh Fringe Festival as well as at the renowned Celtic Connection.
In July, the band will be begin a small tour around London which should be foot-stomping, hoedown-having good time that should not be missed. So, go, have fun and get dirty with The Dirty Beggars.
After writing a wealth of songs, Peter Katz has just announced that he is ready to head to the studio to record a new album. And, as with his last album, The First of the Last to Know, Peter is asking his fans to participate and assist with the record's funding through his Perks Campaign. For more information about helping Peter watch the video below and/or visit Peter's Perk-Filled Campaign.
On this 4th of July holiday weekend, I have had Bruce Springsteen's "Youngstown" playing around in my head. Now, I know this isn't a song that instantly comes to mind when one thinks of Independence Day since it's a workers' song lamenting the loss of jobs and a thriving steel and iron industry in Youngstown, Ohio. But, it's also a fitting tribute to those blue collar workers who worked to support the various war efforts that helped to maintain our freedoms.
Chamberlin is a great new band from Vermont. Recently picked up by Roll Call, the group released their excellent debut album, Bitter Blood, in March. Written in a cabin located in the woods of Vermont, the album has a down-to-earth, woodsy feel that is extremely accessible and familiar to everyone. Produced by Grace Potter and the Nocturnals' guitarist, Scott Tournet, the album is an expert blend of acoustic and electric textures that harbor some likeness to My Morning Jacket and Grace Potter thus instantly grabbing the listener's attention. If I had one major complaint about Bitter Blood it would be that it's not long enough and my brief encounter left me wanting more. And, if you're like me, left wanting more, you can catch them on tour this summer with Carbon Leaf. You can also read my interview with Chamberlin discussing their recent tour with Grace Potter and the Nocturnals and their current summer tour.
CFM: What was it like for the band to be picked up by Roll Call soon after recording the demos for Bitter Blood, then, soon after signing, working with Scott Tournet and recording the actual album?
Chamberlin: It all happened really quickly. We'd been working on demos all winter and spring and once we signed with Roll Call, the plans for our first record fell right into place. Scott heard a few acoustic tracks and set aside almost all of his rare free time in Vermont to work with us. He really helped us along every step of the process from choosing which songs to record to tweaking the settings on our amps. Between Roll Call and Scott, recording "Bitter Blood" was a great experience.
CFM: What was it like to go on a cross-country tour with Grace Potter and The Nocturnals?
Chamberlin: The tour with Grace and company was our first real experience being on the road and we loved it. When we were offered the dates we had to rush and find a van and a trailer to even do the tour. Once we actually got out on the road though it was amazing. Everyone in Grace Potter and the Nocs and on their crew were great to us and helped us figure out what the hell we were doing. We also got to play some of the coolest venues in the country (like the Fillmore in San Francisco). We really didn't have anything to complain about.
CFM: Describe the backstage and on-stage experience of your first show on the Grace Potter tour.
Chamberlin: Oh man. Our first show with GPN was in Lexington, Kentucky. The last time they had played there they opened for Gov't Mule so the crowd was of the harder-edged, rowdy sort (not at all an indictment of Gov't Mule fans as a whole). It was a huge room too so needless to say we were pretty intimidated. We'd never had a real dressing room with food and booze etc so we were in heaven. The show ended up going really well and no one threw beer bottles at us.
CFM: What excites you the most about the upcoming summer tour?
Chamberlin: We're pumped to go out west again. We love California and the Pacific Northwest. It’s also nice to be on the road during the summer when weather is less of a worry for our little van. We are opening for Carbon Leaf the whole tour and we've heard such great things about those guys. Should be really fun.
CFM: You have toured and will tour the western half of the country more than the east. What do you miss most about the east coast and Vermont?
Chamberlin: We have been out west a lot this year. Playing the east coast is great because we have so many friends. We did a 10-day tour earlier this summer and didn't need a hotel once. Plus some of these friends even cooked for us! Also all the cities are so conveniently close to each other. No 16-hour drives. No matter where we are though we miss Vermont. It’s our home and most of our families are there we just love the place (even in the dead of winter).
CFM: You've only ever done a handful of shows in Vermont, what will it be like to do a show there on this tour?
Chamberlin: Though rare (and perhaps because of that) our Vermont shows are always the best. Our friends and families always hear about what we’re doing out on the road so it’s nice to actually come back and play for them and show them how we’ve evolved and improved. Plus we'll be playing on the Burlington Waterfront with Grace Potter for her Grand Point North Festival, which is something we've always wanted to do.
CFM: What are Chamberlin's plans when the tour is finished?
Chamberlin: Hopefully we'll have a little time off to relax, write and record but we love being on the road. We get a little stir crazy when we have too much time off so hopefully we can get right back out there. It keeps us out of trouble when we're busy.
Tour Dates:
July 11 - Festival On The Green - Middlebury, VT
July 13 - Belly Up w/ Grace Potter and the Nocturnals - Aspen, CO
July 14 - Howelsen Hill Amphitheater w/ Grace Potter and the Nocturnals - Steamboat Springs, CO
July 15 - Grand Targhee w/ Grace Potter & Sharon Jones - Alta, WY
August 2 - Songs @ Mirror Lake - Lake Placid, NY
August 12 - Stanhope House - Stanhope, NJ
August 13 - Grace Potter's Grand Point North Fest w/ Taj Mahal & more! - Burlington, VT
August 20 - River Roots Live Festival - Davenport, Iowa
August 23 - Bottleneck w/ Carbon Leaf - Lawrence, KS
August 25 - Bluebird Theater w/ Carbon Leaf - Denver, CO
August 27 - The State Room w/ Carbon Leaf - Salt Lake, UT
August 29 - Sainte Rock w/ Carbon Leaf - Hermosa Beach, CA
August 30 - Soho w/ Carbon Leaf - Santa Barbara, CA
August 31 - The Independent w/ Carbon Leaf - San Francisco, CA
September 2 - Mississippi Studios w/ Carbon Leaf - Portland, OR
September 7 - Varsity Theatre w/ Carbon Leaf - Minneapolis, MN
September 8 - Majestic Theatre w/ Carbon Leaf - Madison, WI
September 11 - The Ark w/ Carbon Leaf - Ann Arbor, MI
September 13 - HOB Cambridge Room w/ Carbon Leaf - Cleveland, OH
September 14 - Tralf Music Hall w/ Carbon Leaf - Buffalo, NY
September 15 - Water Street Music Hall w/ Carbon Leaf - Rochester, NY
September 24 - Mid Point Music Festival - Cincinnati, OH
