Tuesday, April 24th, 2012
Nashville, Vol. 1: Tear the Woodpile Down
The casual listener may remember Marty Stuart for the string of country radio hits he enjoyed in the late eighties and early nineties. However, Stuart’s legacy was cemented by groundbreaking projects released after his commercial heyday had drawn to a close, particularly 1999's landmark The Pilgrim as well as 2010's career-best effort Ghost Train: The Studio B Sessions. Through such critically lauded work Stuart has built up a reputation as an elder statesman of country music, acting to preserve country music's heritage and traditions, while simultaneously working to move the genre forward.
One important reason why Stuart has been such a fine advocate of traditional country music is that he does not treat it as a musical museum piece, but rather treats it as it is – as real and relevant now as it has ever been. This is continually evident on Stuart’s new Sugar Hill release Nashville, Vol. 1: Tear the Woodpile Down. The project finds Stuart graciously and sincerely paying tribute to country music’s storied past, at times through well-chosen cover songs. He offers his own rendition of the Jerry Chestnutt composition “Holding On to Nothin,” which was a Top 10 hit for Porter Wagoner and Dolly Parton in 1968. The song’s brilliantly constructed lyric finds a couple’s desire to rekindle their romance colliding with the sad realization that there is little left to save. “I feel guilty when they envy me and you” is arguably one of the best lines a country song has ever come up with.
But while the album respectfully nods to the past, the loose infectious energy of up-tempo tracks like “Tear the Woodpile Down” and “Truck Driver Blues” is hardly derivative, adding to the project’s contemporary edge. The latter finds Stuart both shredding the mandolin, and name-dropping wife Connie Smith. The album also offers a more restrained reinterpretation of one song that previously appeared on Stuart’s 2003 effort Country Music, and “Sundown In Nashville” is a song that is most definitely worthy of a repeat release. The lyric highlights the sad truth that for every performer who achieves the dream of becoming a country music star, countless others see their dreams “shattered and swept to the outskirts of town” – a sentiment that has remained of continued relevance on down through country music history.
On Tear the Woodpile Down, Stuart continues to indulge his penchant for collaborating with his like-minded friends. Sadly, the list of collaborators does not include Connie Smith this time around, but the harmony vocals of The Carter Family descendant Lorrie Carter Bennett add a bittersweet touch to the beautiful steel weeper “A Song of Sadness,” while veteran guitarist and Jerry Lee Lewis-collaborator Kenny Lovelace appears on “A Matter of Time.” The album closes on a high note with the Hank Williams III duet “Picture from Life’s Other Side” – a song originally written and recorded by Hank Williams, Sr., and one that Stuart and Hank III have performed together live. Stuart’s smooth vocal delivery contrasts nicely with Hank III’s gritty drawl. The two are backed by a bare-boned acoustic arrangement, allowing the song itself to pull the full weight with its brilliantly dark take on human mortality. While backed by his seasoned cohorts The Fabulous Superlatives – who get to twang it out on the rousing instrumental track “Hollywood Boogie” – the project also includes appearances by veteran steel player Robbie Turner, as well as multi-instrumentalist Buck Trent, who lends his banjo work to the comedic title track and to “Holding On to Nothin’.” Such contributions aid in making Tear the Woodpile Down an endlessly cool-sounding record.
In classic Marty Stuart fashion, Nashville, Vol. 1: Tear the Woodpile Down shines with stellar, classic-worthy songwriting, bolstered by top-notch musicianship and restlessly creative arrangements. It ranks as one of 2012’s best album’s yet – a thoughtful homage to country music's past that remains fully connected to the present, and one that will thoroughly satisfy any passionate devotee of pure, simple, non-hyphenated country music.
Thursday, December 29th, 2011
The country music umbrella stretched wider than ever this year, regardless of the fact that radio playlists seem shorter than ever.
Of course, it’s not just the Americana acts that can’t get radio play these days. Even top-selling albums by Scotty McCreery and Alison Krauss & Union Station weren’t embraced.
Country Universe editors and contributors each submitted a list of their ten favorite albums of 2011. 31 different albums were included on our lists, and over the next two days, we’ll share with you our collective top twenty.
Top Twenty Albums of 2011, Part One: #20-#11
Beat the Devil and Carry a Rail
His tenure with the Punch Brothers and his winning of the first annual “Steve Martin Prize for Excellence in Banjo and Bluegrass” in 2010 both earned Noam Pikelny the clout to release Beat the Devil and Carry a Rail, his second solo album and first since 2004. Joined by an all-star roster of fellow pickers, Pikelny’s mostly instrumental set is a showcase both for its lead artist’s extraordinary technical skills and for the banjo’s wide-ranging potential. – Jonathan Keefe
Individual Rankings: Jonathan – #4
Recommended Tracks: “Fish and Bird” featuring Aoife O’Donovan, “Boathouse on the Lullwater,” “My Mother Thinks I’m a Lawyer”
The King is Dead
The indie favorites take their hyper-literate brand of folk-rock for a rustic spin, achieving new concision in the process. Colin Meloy’s wild narratives and wilder lexical choices sound right at home in these short-and-sweet song designs, and the Americana field is richer for having them. – Dan Milliken
Individual Rankings: Dan – #4
Recommended Tracks: “Don’t Carry It All,” “June Hymn”
That solo women disappeared from country radio was one of 2011′s major talking points within the genre, but Sunny Sweeney’s Concrete provided some of the most compelling evidence that it wasn’t a lack of strong material that kept female artists off radio playlists. Balancing a keen traditionalist bent with a thoroughly modern point-of-view, Sweeney’s fully-drawn characters and clever spins on familiar country tropes proved that an album that sounds “radio friendly” doesn’t have to be light on actual substance or craft. – Jonathan Keefe
Individual Rankings: Ben – #3
Recommended Tracks: “Amy,” “From a Table Away,” “Fall for Me”
It’s Already Tomorrow
Foster and Lloyd
Their first time around, Foster and Lloyd were one of the coolest country acts going, blending in a love of traditional country music with some ’60s post-British Invasion rock vibes. It’s Already Tomorrow, their first album in 20 years, shows an impressive return to form. Radney Foster and Bill Lloyd have released some terrific solo albums, but there is a definite magic that happens when they record as a duo. – Sam Gazdziak
Individual Rankings: Sam – #2
Recommended Tracks: “Picasso’s Mandolin,” “That’s What She Said,” “Can’t Make Love Make Sense”
This is My Blood
The Dirt Drifters
As mainstream country music becomes increasingly slick and polished, it’s a refreshing change to hear something gritty and rough around the edges. The Dirt Drifters’ debut on Warner Bros. certainly qualifies. If you’re looking for country-rock that takes its cue from run-down country roadhouses instead of ’80s arena rock, this album is for you. – Sam Gazdziak
Individual Rankings: Sam – #3; Dan – #10
Recommended Tracks: “Always a Reason,” “Married Men and Motel Rooms,” “Hurt Somebody”
Ghost to a Ghost/Gutter Town
Hank III’s entire artistic persona is built on indulging in every type of excess he can think of, so it was hardly a shock when, for his first recordings after a less-than-amicable departure from Curb Records, he dropped four full-length albums of new material on the same day. While not all of his ideas are good ones– the less said about Cattle Callin’, the better– the double-album Ghost to a Ghost / Gutter Town proves that Hank III is driven to his spectacular highs not just by the various recreational drugs circulating through his bloodstream but also by a real fearlessness and creativity and a sense of respect for his bloodline. – Jonathan Keefe
Individual Rankings: Jonathan – #1
Recommended Tracks: “Don’t Ya Wanna,” “Musha’s,” “Dyin’ Day”
Ghost on the Canvas
A late-in-life swan song by an icon acutely aware of their own mortality. That’s a fitting description of so many of the best country albums in recent years. This is the best of that subgenre since Porter Wagoner’s Wagonmaster. – Kevin John Coyne
Individual Rankings: Kevin – #5; Dan – #6
Recommended Tracks: “There’s No Me…Without You”, “Ghost on the Canvas”
On the heels of an album that was largely a hit or miss affair, Church delivers a surprisingly electric third album, marked by its edgy sonic splash. But while its spin on country rock is undeniably enticing –a funky mix of swampy, trippy and punchy—the album’s soul is Church himself, a more believable artist this time around than most of his contemporaries. Because for all its hard ass sentiment, Chief actually walks the walk, as authentic as it is audacious. Outlaw in the making? Probably, but don’t tell Church I said so. – Tara Seetharam
Individual Rankings: Tara – #4; Sam – #6; Leeann – #10; Jonathan – #10
Recommended Tracks: “Hungover & Hard Up,” “Keep On,” “Creepin’”
Long Line of Heartaches
What more can you ask for? Purely straightforward and unadulterated country songs delivered by the finest vocalist the genre has ever been privileged to call its own. Smith’s own co-writes with husband and producer Marty Stuart (The title track, “I’m Not Blue,” “Pain of a Broken Heart”) sit comfortably alongside top-notch cover material penned by Harlan Howard, Johnny Russell, and Dallas Frazier, all backed by the sweet sounds of fiddle and steel aplenty. Long Line of Heartaches is a beautiful reminder of what country music once was, and could be again. – Ben Foster
Individual Rankings: Ben – #2; Jonathan – #5
Recommended Tracks: “Long Line of Heartaches,” “I’m Not Blue,” “Ain’t You Even Gonna Cry”
Your Money and My Good Looks
Gene Watson and Rhonda Vincent
There was no chance that this collaboration of straight up country songs between Gene Watson and Rhonda Vincent was going to garner any attention from mainstream country music outlets. However, thanks to memorable songs, pure country production and Watson and Vincent reverently following the spirit of classic country duet albums of the past, this project was surely one of the stand out albums of the year. – Leeann Ward
Individual Rankings: Leeann – #2; Ben – #5
Recommended Tracks: “You Could Know as Much from a Stranger,” “My Sweet Love Ain’t Around”
Category Best of 2011
Tags: Alison Krauss & Union Station, Connie Smith, Dallas Frazier, Eric Church, Foster and Lloyd, Gene Watson, Glen Campbell, Hank III, Harlan Howard, Johnny Russell, Marty Stuart, Noam Pikelny, Porter Wagoner, Punch Brothers, Rhonda Vincent, Scotty McCreery, Sunny Sweeney, The Decemberists, The Dirt Drifters