Tag: Alabama Shakes

BGS Class of 2015: Albums

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From Jason Isbell debuting at the top of three Billboard charts to Chris Stapleton sweeping the CMA Awards to Alabama Shakes nabbing five Grammy nominations, this year has proven that roots music is alive and very, very well. But, because our coverage area is so dang wide and deep, we decided that making a ranked list wasn't fair to anyone. After all, Sam Lee is baking apples while Dawes is juicing oranges. So, here are 21 of our favorite graduates from the BGS Class of 2015: Albums. For a whole bunch of others, check out BGS Class of 2015: Songs.

Valedictorian/Prom King/Class President: Jason Isbell, Something More Than Free

It's no wonder this album topped the rock, folk, and country charts when it dropped. Jason Isbell made another masterpiece of an album that absolutely defies the lines of genre and the limits of genius. Meandering through throwback country-rock and contemporary folk, Something More Than Free is a cornucopia of sonic goodness and solid songwriting. — Kelly McCartney

Best Avoidance of the Sophomore Slump: Alabama Shakes, Sound & Color

If you've only ever heard Boys & Girls, forget what you know — or think you know — about Alabama Shakes. Brittany Howard had a vision and, on Sound & Color, she let it rip, roar, rock, and roll. This album blasts soulful Southern rock into a whole new dimension. Indeed, the last third gets pretty trippy, but it's a ride worth taking. — KMc

Best Ameripolitan Hat Tip to '70s FM Radio: Andrew Combs, All These Dreams

Andrew Combs has been in and around the Nashville music scene for years now, but it's with All These Dreams that he truly came into his own as an artist to be reckoned with. From the gentle melancholy of "Rainy Day Song" to the heartful vulnerability of "In the Name of You," Combs proves that all those years listening to Guy Clark and Mickey Newbury have paid off in spades. — Brittney McKenna

Most Likely to Give You Hope for Contemporary Country Music: Ashley Monroe, The Blade

Since she couldn't make a better record than 2013's Like a Rose, Ashley Monroe made a different record with The Blade — one that is equally exquisite. Much like Lee Ann Womack, Monroe turns heartache into an almost enviable position. This is what country music is supposed to sound like. — KMc

Most Likely to Make You Shoot Some Whiskey: Chris Stapleton, Traveller

Bearded, burly, and bounding with heart and soul, the rise of country music's "new savior" is no surprise when you speak of Chris Stapleton. The Kentucky-born, Nashville-based songwriter (and former bluegrasser) has been penning tunes for big stars for years. Now it's his time to shine. Traveller isn't your typical country album: Influenced by R&B and Southern rock, it'll throttle you with different shades and colors of the genre — in a good way. — Cameron Matthews

Most Likely to Be Played in Parked Cars: Dawes, All Your Favorite Bands

The title song says it all: "May all your favorite bands stay together." Please Dawes, never never never break up … if only so we can always have albums as wonderful as this. — Amy Reitnouer

Most Likely to Make You Want to Be a Sea Captain: The Decemberists, What a Terrible World, What a Beautiful World

It would be easy to take the Decemberists' joy and jauntiness for granted, if not for the humility and humanity that they temper it with. As evidenced by the title, this one balances out those scales pretty gloriously and very gracefully. — KMc

Most Likely to Make You Give Up the American Dream: Father John Misty, I Love You, Honeybear

Who knew that the twilight of the American Dream could be a time of celebration? Singer/songwriter Josh Tillman's sophomore release as the dirty reverend, Father John Misty, encapsulates all of our fears of earning less, dying younger, living harder, and feeling nothing. But Misty wants you to be in on the joke. He's not laughing at how you bought into it all. He's laughing with you, man. I Love You, Honeybear is a brilliant satire, an absurdist love story, and, above all, one of the most important albums of the decade. — CM

Most Likely to Get You into Bluegrass (Least Likey to Start a Blood Feud): The Gibson Brothers, Brotherhood

The hermanos Gibson are a powerhouse of emotion and vocal talent in the world of bluegrass and folk music. On Brotherhood, the pair cover myriad brother bands — like the Everlys and Louvins — with grace and crystalline vocal arrangements. Put this one on the ole speakers and, after you're finished sobbing, realize that you've been a bad brother and call up Missouri asking for forgiveness. — CM

Best Soundtrack to a Love Affair: Glen Hansard, Didn't He Ramble

The man who gave us one of the most heart-wrenching love stories ever on film (He won an Oscar for Once.) is back with an equally emotional second solo record. The songs on Didn't He Ramble are all about asking for grace, forgiveness, and mercy, and by the end of the record it's the listener — like the jilted lover in one of his songs — who comes crawling back for more. — AR

Most Likely to Help You Through Some Dark, Dark Times: Gretchen Peters, Blackbirds

On Blackbirds, Gretchen Peters stretches out her glorious wings and soars into some deep valleys. This album offers not so much a light at the end of the tunnel as a candle along the way. — KMc

Most Likely to Make You Wish You Were a Better Songwriter: John Moreland, High on Tulsa Heat

With his sophomore album, In the Throes, John Moreland proved himself one of the best songwriters making music, and he somehow managed to out-do himself on this most recent collection — one that is a truly jaw-dropping listening experience from start to finish. — BMc

Most Likely to Bring About a Soul Revival: Leon Bridges, Coming Home

Soul music had a good year this year. Much of it, though, came in the blue-eyed form, from guys like Anderson East and Nathaniel Rateliff putting a modern spin on an old sound. What sets Leon Bridges and Coming Home apart is his attention to detail, as evidenced by the album's art. He's not remaking the music in his own image; he's doing exactly the opposite. And it flat out suits him. — KMc

Best Aural Equivalent of Red Wine: The Milk Carton Kids, Monterey

The Milk Carton Kids have long been known for their intricate guitar arrangements and gentle harmonies, becoming outliers in a genre that often favors banjos and bombast. On Monterey, they double-down on what sets them apart, crafting a gorgeous, cinematic album that proves sometimes it's the quiet guys who have the most to say. — BMc

Best New Kids on the Block: Mipso, Old Time Reverie

The guys and gal of this North Carolina quartet are an exciting distillation of modern bluegrass. They dress in the fashions of today, sing about issues new and old, and incorporate the athletic musicianship necessary to be a top-notch string band. Mipso's sophomore release can best be described as deliberate and care-filled. Each song is executed with a steady hand, beginning with the palindromic "Marianne." But it's the addition of Libby Rodenbough on fiddle that makes Old Time Reverie required listening. Prepare yourself a tall bourbon and enjoy this one on your city balcony. — CM

Most Likely to Make You Cry and/or Burn a Box of Photos of Your Ex: Natalie Prass, Natalie Prass

Break-ups suck and if, like Natalie Prass, you need to turn love lost into found art, you might as well do it with a kick-ass horn section. Lyrics like "our love is a long goodbye" may have you in tears, but the '70s-inspired brass will have you dancing on your way to grab those Kleenex. — BMc

Best Dystopian Opera by a String Band: Punch Brothers, The Phosphorescent Blues

Punch Brothers' latest album is the band's most mature offering to date — it's also their most difficult to handle. Lyrically, The Phosphorescent Blues is heavy, even burdensome, but it saves itself from being a droll appraisal of modernity through boundary-pushing string music. Fiddle player Gabe Witcher introduced drums into the Brothers' world, while the rest of the band acheives a synergy they have not seen before. If we're talking simply, it's like Yes made a strings album with the lyrics of Louis Carroll. — CM

Most Likely to Make You Love a Kanye West Song: Ruby Amanfu, Standing Still

Not every singer knows how to make a song their own. Ruby Amanfu does and, with Standing Still, she offers a master class in the art of interpretation. Here, she takes tunes by Bob Dylan, Jimmie Dale Gilmore, and, yes, Kanye West and turns them on their ears. The results are stunning to behold. — KMc

Best Gypsy Revival Not Starring Patti Lupone: Sam Lee & Friends, The Fade in Time

Every artist in the "heritage" movement could learn a thing or two from UK artist and song collector Sam Lee. The Fade in Time is a mystical mix of traditional folk songs and gypsy tunes — often incorporating the original recordings that Lee himself has captured — with innovative, modern, and at times tribal sounds. Highly recommend turning this up during late-night trips driving through the desert (as we did en route to Telluride Bluegrass this June). Pure magic. — AR

Most Likely to Make You Re-Think the Blues: Son Little, Son Little

Blues is one of those genres that people love to debate: Is it still alive? And, if so, is it well? Son Little is here to tell you that, yes, the blues is indeed alive and, in capable hands like his, it will be well for many years to come. — BMc

Best Multi-Generational Supergroup: Watkins Family Hour, Watkins Family Hour

When WFH announced their record early in 2015, we had serious doubts as to whether anything could encapsulate the special experience that is Sara and Sean Watkins' monthly variety hour at Largo in Los Angeles. But lo and behold, this self-titled record not only captures the warmth and camaraderie that makes the live show so special (featuring the likes of Benmont Tench, Fiona Apple, Greg Leisz, and others), but it stands up as one of the best roots albums of the year. — AR

 

For more musical goodness, check out the full Class of 2015. Follow the playlist on Spotify and add your own favorite songs to it:

Son Little and the Truth of Absolutes

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Son Little (aka Aaron Earl Livingston) is one of those artists who transcend time, place, and genre. That makes his music hard to define, though not hard to appreciate … much like the artist who makes it. Livingston was born in Los Angeles, but grew up on the East Coast — somewhere between New York, New Jersey, and Pennsylvania – eventually calling Philadelphia home. In Philly, he found artistic camaraderie with RJD2 and the Roots, eventually taking up the Son Little moniker for his own work.

After his breakthrough EP, Things I Forgot, dropped last year, the soul-blues innovator was tapped to produce Mavis Staples' four-song Your Good Fortune EP that came out earlier this year. Now, he's back with a full-length, self-titled effort that continues to muddy the waters that flow between the roots of American music.

Are you a guy who feels like it all goes back to the blues?

It probably goes back beyond the blues, but I think our music here in America informs the whole world. If it's the family tree, the blues is definitely in the roots.

And do you feel like contemporary R&B has strayed from those origins, for the most part?

I think that's true, to a certain extent. I don't know if it's mincing words to start talking about pop music, but that line is maybe blurred a little bit — between R&B and pop. I think sometimes genres have become a sort of wallpaper. The blues is something that indicates rural living, country. And, when you want to portray modernity or you want to convey a metropolitanism, you would avoid the blues. So I think maybe, in that sense, contemporary R&B is affiliated with a feeling of sophistication or urban-ness that you can't signify by using the blues.

Nu-soul, neo-blues, modern blues, “soulful new Americana,” “soul music for the hip-hop generation" … How do YOU describe your music? Or how would you like it described? And have there been tags applied that are uncomfortable?

You can't really control what people call it, so I don't worry about that too much. But there have been some descriptions that I really like. There's a guy here in Philly I was talking to a few weeks ago. He told me that he had listened to the record and it was like Sam Cooke in outer space. [Laughs] I really like that.

We did a show in Woodstock, NY, and this guy came up after and said something like Howlin' Wolf meets Fugazi, or something like that. I like that. I think there are a lot of ways to describe it. There are a lot of ways to describe anything. And they can all be right … or all be equally wrong.

While there's nothing retro about what you're doing, it is still more authentic and informed by the past, but it's completely of the here and now. I feel like Alabama Shakes are doing something comparable. And Fink is in the neighborhood, too, but not as complex in the craftsmanship.

I love the Alabama Shakes record. You can hear the development from the last one. They are becoming more unique, in a way — their voice, collectively. And Brittany, of course individually, is becoming more specific.

I do feel like there's a similar approach. They probably get lumped into being retro but, especially with this record, it's clear that's not what it is. For some people, maybe it is retro for people to write songs with a guitar and go play their shows with guitar and bass and drums. That's maybe a retro idea and maybe we're at a point where, just doing that alone, is seemingly retro. But despite the fact that there's nothing new under the sun, I think everyone's different and we can all find our own way of doing that very thing that's so familiar. Despite everything, a singer is who they are and sounds how they sound. If you're willing to be your own thing, you can find that.

What Leon Bridges is doing, that's retro. Or Nathaniel Rateliff's new record.

People are definitely doing that.

… but this ain't that.

Right. At the same time, it's 2015. It's not 1960 no matter what you do, no matter how hard you try to make something sound like a time that's passed. The time has passed. You're still making something new or unique. With a lot of that stuff — Iike with the Alabama Shakes — I'm interested to see what develops from the point that Leon Bridges is starting at. I'm excited to see what he does next. Where do you go with that?


So that's style. Now let's get into substance. When Ferguson was the topic of the day, there was some criticism that artists weren't doing their part, weren't showing solidarity. You address your experience of that and Eric Garner in “Oh Mother.” Do you feel any sort of imperative to take that stuff on … Black Lives Matter or whatever speaks to you?

No. I don't actually. I understand people's criticism of artists, in that respect, because I think people have come to depend on artists to make statements and speak for us as a whole. But, like anything else, I think it's a little lazy to just expect that someone else is going to do something. For people who make that criticism, if what you want said isn't being said, then say it yourself. If it really means that much … if it's imperative that it be said and it's not being said, then you need to say it.

But, that said, no matter how I feel about an issue, I also have rules about the way I make music and express myself. The main rule is that I don't force myself to do anything. If I'm compelled to speak about something, then I will speak. I'm not going to speak because other people think I should.

You are just Aaron, when it comes down to it.

Yeah, that's the thing … I wrote those things because I felt compelled, as a person, to express myself about them. And it's great if those things resonate with people, but I wouldn't have done it if I didn't feel the need, internally, to do that.

In an interview I read, you talked about being able to see more than one side to things. Absolutes and firm truths don't really exist, do they? It's all subjective perception.

If you're realistic about it, it's pretty hard to come to any other conclusion. [Laughs] If I have an absolute belief in something and there's no proof, so to speak — it's my conviction and faith that I'm holding on to — you may have the exact opposite feeling and who am I to tell you you're wrong? And who are you to tell me I'm wrong? I think, in a lot of cases, that's how we end up killing each other and confusing ourselves and forgetting what's important.

I'm curious about something … As you travel around the country, hitting truck stops and diners on highways in the Heartland, do you feel eyes on you?

Yeah, sometimes, because I don't look like them. I try to be an easy person to talk to and I'm interested in people who are different than me. So I think, sometimes, maybe part of it is people who grow up, say in the Northeast, we're the most neurotic part of the country. [Laughs] We're all in our heads and we care and wonder and try to predict what other people think of us probably too much. So, sometimes, with things like that, I wonder how much is just all in my head. If someone's looking at you, they're curious — maybe more than anything else.

For a long time, I was never south of Virginia, so I had a made up version of what the South is or what the Midwest is. We think of everyone in a sort of monochromatic way: “People in the South are this. People in the Midwest are this.” But we're not allowing people in those places to be all the different things that people in those places are. That's actually been one of my favorite aspects of my career. I've now been to a lot of those places, not just big cities. I've been to Milwaukee. And I've been to Iowa. And I've been to North Carolina and places like that and really got to experience what it's really like there.

All photos by the supremely talented Laura E. Partain. You can find her on Instagram and Tumblr.

Banjo Legend Bill Keith Passes

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Bill Keith, known for revolutionizing the field of banjo playing, passed away last week at the age of 75. For a full obituary, head over to the New York Times.

Other Roots Music News:

• ICYMI: Punch Brothers will release a new EP, out November 20. 

• Read Steve Martin's 5-10-15-20 at Pitchfork. 

• Alabama Shakes performed "Joe" on Colbert.

• The results for the Grand Masters Fiddler Championship are in. 

• Lucinda Williams announced a new album, Ghosts of Highway 20. 

Listen to Brittany Howard’s Debut as Thunderbitch

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In case you missed it, Alabama Shakes frontwoman Brittany Howard surprised us all when she dropped the debut album from her new project Thunderbitch. Featuring members of Clear Plastic Masks and Fly Golden Eagle, Thunderbitch is, as the band's bio describes, "Rock and Roll. The end." 

Stream their album at the awesomely named thundabetch.com (you can also purchase your very own copy, should you feel so inclined). You're welcome!

Other Roots Music News:

• Be part of Bela and Abby's banjo mosaic. 

• Kelly Clarkson performed a pretty stellar cover of "Jolene."

• Rolling Stone looks back at Marty Stuart's Badlands. 

• Jim Lauderdale announced the double album Soul Searching, Vol. 1 (Memphis) and Vol. 2 (Nashville). 

The Rise of the Front Woman

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BY RACHEL WEBER

Okay, I know what you’re thinking – a powerhouse woman behind the microphone is nothing new.
Aretha? Whitney? Mariah? Been happening for ages.

Of course there are plenty of ladies out there whose voices come blasting through your speakers, but all these artists tend to be solo acts singing under their own name. What I’m talking about is the rise of the woman standing in front of a band, rocking the hell out of a show with the energy and attitude of any good front man, and insane vocals to boot.

Personally, I’ve always loved a good female anthem, but in the past that seemed to relegate me to “chick rock” or pop music. But recently I’ve noticed a dramatic uptick in the number of bands making headlines that have been fronted by a woman. Even acts that have been around for a while — like Grace Potter and the Nocturnals, suddenly seem to be on everyone’s radar. Anyone who has seen them live knows that Grace fully rocks out, exhibiting a powerful combination of sexy and strong. Simply put, the chick is badass. No one’s watching that performance and walking away thinking they’ve seen anything less than a down and dirty rock show.

Take a look at the recent success of Alabama Shakes. The four-piece ensemble features three men and one front woman – the immensely talented Brittany Howard. The girl sings with soul, grit, and pure skill. The band isn’t a showcase for Brittany to sing about her boyfriend, or a night out with the girls – instead it’s true southern rock. With their 2012 release Boys and Girls, the band’s notoriety seemed to skyrocket overnight. Their shows started selling out instantly, always receiving rave reviews from fans across the board. At last year’s AMA Awards in Nashville, the girl went on stage — alongside the likes of legends like Emmylou Harris and Bonnie Raitt — to pay tribute the incomparable Levon Helm and KILLED IT.

The success of acts like Grace Potter and Alabama Shakes seem to be setting the stage (no pun intended) for similar acts to make their moves. This past week I was lucky enough to see Lake Street Dive open up for Josh Ritter in Los Angeles. For those who don’t already know – Lake Street Dive is a group of four insanely (and diversely) talented musicians fronted by Rachael Price. It has been a good long while since I have seen a venue as full as this was for an opener, and seen a crowd as into it as they were while watching Lake Street Dive. Rachael has a seriously monstrous voice that fills the room and gets under your toes to make you stand up and dance (honorable mention also goes out to Bridget Kearney, formerly of Joy Kills Sorrow, who doesn’t let her gender or stature keep her from rocking the hell out of the upright bass). Watching Rachael and company slay their set was inspiring – and I couldn’t help but hope it whet the appetite of the crowd for more powerful female performances.

Whether you chalk it up to women finally breaking the glass ceiling of blues and rock, or just to plain old fashion talent – it’s clear that the female front woman is making her move and doesn’t plan on going anywhere. So to the girls out there turning it up to 11 – keep doing what you do, the world is clearly ready to listen.