QUARTERS FOR THE JUKEBOX

Wil Cope “What Can’t Be Found”

I stumbled upon Wil Cope (way) late this past May. If memory serves me right, he opened with a trippy rendition of Arlo Guthrie’s “Coming Into Los Angeles,” and every song that followed fell in line with the same, infectious vibe. 

After finding his Bandcamp page the next day, I listened to every song he had uploaded. I love his slow, shoegaze kind of folk. Cope forgoes any flash for very moody but authentic songs. Truth be told, he’s often been my soundtrack to days spent working. The song above is found on his 2014 record, Mañana.

Brennen Leigh Sings Lefty Frizzell by Brennen Leigh

Brennen Leigh “Mama”

Wow. Brennen Leigh Sings Lefty Frizzell is perfection. I mean it. Not only is Brennen one of the best songwriters, her voice is overwhelmingly beautiful on this record. Every little bit of emotion, inflection and shift in her voice is precise and thoughtful. This might be the best I’ve ever heard from the insanely talented and humble songbird. 

I love her version of “Mama” (written by Jesse Ashlock). Besides being a fun, swingin’ tune, there’s so much personality here! I simply enjoy every note of it.

It should also be mentioned that Brennen hand-picked a stellar backing band for this project. It features many familiar names of other wickedly talented singers, artists, and musicians around Austin. 

(via https://soundcloud.com/christopherck/06-take-it-down?utm_source=soundcloud&utm_campaign=share&utm_medium=tumblr)

Chris King “Take It Down”

Oh boy, here comes one of my most anticipated releases of 2015. I’ve heard Chris King talk about making this record for a long time. Each time I got more curious and excited to hear his new creation. He’s already premiered two songs from his new album, Animal, and now with the addition of “Take It Down,” I’ll be damned if he hasn’t come out swinging.

With the introduction and exploration of new sounds, like synth, this song still feels very rooted in Chris’ own authentic style. Plus, the tone on that electric guitar is beautiful! I can hear he “80s sound” that Chris has mentioned before, but it makes for a very fitting vibe. 

Mariachi Cobre featuring Linda Ronstadt “El Silencia da la Noche”

Welcome to my current obsession. 

I stumbled across this album while shuffling through other Linda Ronstadt songs on Spotify (thanks to the “Appears On” section). Mariachi Cobre is originally from Tucson, AZ and formed by Randy Carrillo (veteran of the first US mariachi group, Mariachi Juvenil Los Chanquitos Feos De Tucson). Linda (also from Tucson) recorded two Mariachi albums, 1987′s Canciones de Mi Padre and 1991′s Mas Canciones. Her voice is so powerful, she naturally brings out the complex beauty of these songs. I highly recommend listening through the two aforementioned albums; especially songs like, “Los Laureles,” “Tú Sólo Tú,” “Y Ándale,” “La Charreada,” “Mi Ranchito,” and “El Sueño.”

Mike and the Moonpies “Smoke ‘Em If You Got ‘Em”

There’s no one like Mike and the Moonpies (or, at least I haven’t run into them). Seriously though, find me another band that’s playing true, Texas honky-tonk. And I’m not talking about packing Nutty Brown with a bunch of belligerent Greek-lifers. I mean the old dancehall down some desolate county road that lets you bring your own liquor and still puts sawdust on the wooden dance floor. Sonically, The Moonpies epitomize the best parts of Urban Cowboy (which is busy reviving), with some vintage George Strait, Red Steagall, and Johnny Bush mixed in there.

The Moonpies’ newest release, Mockingbird leads off with the single, “Smoke ‘Em If You Got ‘Em.” It’s a pedal steel-heavy song that drives like the road (I imagine) on which it was inspired. A strong start, without question. The whole album, in fact, is not just one to be listened to, as much as it is to be danced to. That’s what I love most about a band like The Moonpies. The prideful part of me wants to say this is only found in Texas.  ;)

While I encourage you to spin the entire record for maximum enjoyment, you can’t pass up tracks like “I Don’t Love You,” featuring guest vocals by hometown songstress, Carson McHone. The title track, “Mockingbird” is a bouncing tale of Mike’s real-life experiences that brought him to the stage. “Never Leaving Texas” finds it’s home on this album, which you might have first heard on their vinyl split with George Strait through Daytrotter. The album rounds out with “Delilah,” “Song In Here,” and “Miserable Man.” All songs are different in their own right, and mustn’t be skipped. 

Patty Griffin “Gunpowder”

If you have not yet listened to Patty Griffin’s new record, Servant of Love (released ), I beseech you to do so now! Between open tunings, intensely expressive lyrics, gospel-sounding tones, and a largely Austin-based backing band, Griffin bears her soul on her latest release.

Sitting at track position number two, “Gunpowder” (sounding drastically different  than the opening, title track) rips into Griffin’s edgier side, complete with local jazz, trumpeter, Ephraim Owens.

Other stand-out songs for me include, the lyrically awesome, “Hurt A Little While,” and the tribal-sounding “250,000 Miles” that addresses ‘the plight of displaced immigrants.’ Follow that with the beautifully composed, “Made Of Sun.” “There Isn’t One Way” (which premiered in early August) ropes in that edgy and severely catchy sound in again. “Snake Charmer” is another lyrically-charged song with a riff that reminds me of Led Zeppelin’s “Bron-Yr-Aur Stomp” (coincidence or inspiration?). “You Never Asked Me To” is a tear-jerking, gentle, piano song, overflowing with emotion. The albums ends on “Shine A Different Way” in (what feels like) familiar Patty fashion, featuring excellent mandolin and accordion. 

David Ramirez “That Ain’t Love”

With sounds that range in likeness from Whiskeytown/Ryan Adams to Bob Dylan, local singer/songwriter David Ramirez released an excellent body of work by the name of Fables in late August. 

One of the more upbeat tracks on the record, “That Ain’t Love,” has some Austin-specific mentions and very relatable observations. “I see you in town from time to time on Comal between 5th and 6th...” is almost certainly talking about The White Horse. If you’re there enough, you start to notice different “types” walk through the door, and Ramirez’s song nails a one of those personalities on the head. Just another reason why honky-tonks can often be a gold mine for song inspiration.

Dust And Wind: Flatland Murder Ballads and High Plains Hymns by Charlie Stout

Charlie Stout “The Years That Go By”

Charlie Stout follows the footsteps of no man, and we should all be thankful for it. Almost unannounced, he released Flatland Murder Ballads and High Plains Hymns: Part I of the Dust And Wind Trilogy earlier this month, full of dark stories turned song and a definite body count.  

According to his Bandcamp page, he recorded the album on a whim: “Shortly after returning from a visit with my family in West Virginia, I drove from Lubbock, Texas to the abandoned First Presbyterian Church in Taiban, New Mexico carrying a guitar, a gallon of water, an 8-track recorder, and a suitcase full of microphones and cables... On the evening of July 15, 2015 I played and sang seventeen songs of life and death on the new American frontier in the hollow sacristy of a long vacant hundred-year old place of worship. Here are eight of those songs, arranged in the order in which they were performed.”

On the record, you can literally hear night fall, with the sound of crickets, wind, whistles and distant cars on the highway. Charlie even gets some of the coolest audio of a passing train. If it were possible to capture the mysticism of the high plains, he does it. It doesn’t get more real than that, folks.

Ali Holder “Feel Alive”

Today Ali Holder released her new EP, From My Veins Will Fall. In six songs, she packs in more fearless emotion than most are ever able to access. I’ve managed to stay musically surrounded by powerful and inspiring singers and songwriters who so happen to be women – and Ali is no exception. Her lyrics feel like streams of thought pulled from my own head (hence the strong connection to these songs) and the subtle gravel in her voice is just the cherry on top for me. 

Patty Griffin “Flaming Red”

I’m going to be honest with you, Internet. I’m just annoyed with the world today (don’t ask me why). This song seems to embody everything I feel, from the singer and songwriter, the tone and lyrical content, to the sheer spirit of it.

And while we’re on the topic, let’s talk about how awesome (and kind of ballsy) it was for Patty to open her 1998 album with this as the title track. Immediately followed by “One Big Love” (another great track), this album goes from rock, to folk, to pop, to country, and everywhere in-between. Other personal highlights are “Change,” “Blue Sky,” “Tony,” and “Goodbye.”

Jonathan Terrell “When I Woke Up”

Austin can be such a weird, wild, wonderful place. Your favorite bartender can turn out to be one of your favorite musicians (I think this happens often). Jonathan Terrell is no stranger to the singer-songwriter crowd, and has undoubtedly made a name for himself. He began a notable solo career, penned songs for Mike and the Moonpies, and has multiple credits on Bart Crow’s upcoming album. 

If you’re a fan of Ryan Adams, you might find this sonically familiar, but Terrell offers so much more than a generalization like that conveys. Between cleverly placed lines, the earned raspiness in his voice, to his unmistakable authenticity, this song is a perfect introduction to his new album, Past The Lights of Town. The record set to release later this year (not sure on the actual date), with “When I Woke Up” appropriately claiming the opening track. 

Mike Flanigin’s The Drifter “Stop The World (feat. Gary Clark Jr.)”

After moving to Austin, one of the first musicians I saw play – and I mean, really play – was Mike Flanigin. He sat behind his B3 organ throne, tapping pedals and preparing sounds, when Jimmie Vaughan walked right past me (carrying his own amp, mind you), and began setting up as well. It was at the Continental Club Gallery, a dark, intimate room with a capacity of about 50 people. The trio (the Mike Flanigin Trio, to be exact) started up, playing as silhouettes in front of glitter paintings and red neon. The music was captivating, in a word. I couldn’t believe I was this close to some of the greatest musicians that I ever had the pleasure of experiencing. You can’t listen to his music and not feel something, not be transported somewhere. It was a sickness I was happy to give in to. Since that day, I’ve followed Flanigin’s musical career in awesome fascination.  I contributed to his Kickstarter sometime last year in anticipation of this record, The Drifter. Last week I received the vinyl, put the needle down, and it floored me. 

The opening track, “The Devil Beats His Wife,” oozes with funky goodness, (reminds me a lot of The Budos Band), and fondly brings me back to that first night I heard his music. Old friend, Jimmie Vaughan makes another appearance, this time on the track, “All Nite Long.” Most guitar nerds would recognize that tone in a heartbeat. However, upon flipping to side B, I found my favorite groove on the record. Another Austin legend-in-the-making, Gary Clark Jr. (and his beeeeeautiful falsettos) had me hook, line and sinker with the track, “Stop The World” (featured above). Everything about that song is pure, emotive, catchy, and where I think the album truly peaks. If this don’t make you move, there must be something wrong. The musical break is drool-inducing, combining Clark’s smooth guitar licks over that lovable B3 organ. Y’all, it’s just too good.

Jason James “Buppa-Bup-Bow-Bow”

As neat as his whiskey, on down to his starched suit, Jason James serves it all up in his debut, self-titled album (released August 21st). If you aren’t paying close enough attention, you might pleasantly confuse it with classics like Johnny Cash, George Jones, Hank Williams, and even Dwight Yoakam. I don’t often throw names out like that, especially with current artists, but James has earned it. I love the song above, specifically, because it’s like one you haven’t heard in a long while (what do you call that lyrical style, onomatopoeia?). It feels very Roger Miller to me, and thank goodness!

Carson McHone “GTDB (Good Time Daddy Blues)”

After a break from posting, it sure feels good get back with this album. I’ve been looking forward to it for a while, and good Lord, it did not disappoint. 

In general, Carson is a poet with a beautiful voice and a raw, real perspective. In fact, she does really impressive things with her vocals on this record. There’s plenty of barroom twang woven between pensive and provoking lyrics. I believe Carson’s songwriting style is not one that’s learned, but rather, experienced (for the writer and the listener). With the same kind of natural cool that Lucinda Williams seems to have, Carson’s debut album, Goodluck Man (released August 1st), is brimming with excellence. And she’s only getting started...

Jason Isbell “If It Takes A Lifetime”

It would be pretty hard to top Southeastern. But Jason Isbell went and did it with Something More Than Free. In fact, I love this so much more than Southeastern, and it’s quickly becoming one of my favorite releases in a long, long while. Overall, there’s such impressive writing, steeped in an very 70s, folky vibe. I want to know what Jason was listening to when he wrote these songs. I hear Neil Young weave in and out, and it really suits him - or maybe the songs - well.

Let’s start with that utterly perfect opening track. “If It Takes A Lifetime” gripped me within its first few notes. What a wonderfully written, fresh, uplifting song. It’s a bright and perfect introduction to the sound and songs that follow. 

“Flagship” is a beautiful and sweet song, and it carries a subtle Beatles undertone. Then there’s, “Children of Children.” Holy shit. It’s an epic, and might very well be my favorite track on the album. This is where the Neil Young sound comes in. It’s so good, it makes me want to drool. 

The title track is a great example of Jason’s impressive writing. Up and down, it’s a solid song, bearing what sounds like a vulnerable and honest side of the songwriter. Next, is “Speed Trap Town,” another song vying for my favorite track. Just listen to the guitar in the beginning. No matter where you are, it sounds as if you’re in the same room. Then add that touch of electric guitar, and this song is a damn winner. This fully captures the “Jason Isbell sound.” 

“Hudson Commodore” follows right after as another gem. It has a desert sound, maybe more reminiscent of Jackson Browne or a bit of the Eagles. Those harmonies are on point. As expected, another great tune follows, with “Palmetto Rose” - an anthemic, cool groove with excellent guitar tone. 

So, if you couldn’t tell by now, I’m pretty enamored with this album. I have no doubt that it will be in heavy rotation for quite some time. 

Ashley Monroe “The Blade”

Today, NPR is streaming Ashley Monroe’s new album, The Blade, releasing July 24. After an initial pass, I like it. I feel like the record ends a lot better than it begins. To be honest, I don’t understand the opening track, and feel like it’d be better off on a completely different record. The title track, however, cuts in the best way (as you might gather from the title). Ashley’s voice is incredible (reminds me a lot of Lee Ann Womack), and I love her writing and overall collaboration with legends like Vince Gill. In my humble opinion, she’s the strongest of the Pistol Annies. She has an authenticity that I can’t seem to find in the others girls’ solo projects. Other songs on her upcoming album that really struck me include, “Bombshell,” “From Time To Time,” “If The Devil Don’t Want Me,” and that appropriately killer ending, “I’m Good At Leavin’.” 

Linda Ronstadt “Mental Revenge”