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minniepearlx

Haven’t done one of these in a few weeks. Here’s some interesting articles, album reviews, and tidbits.

Country music humor is almost universally terrible as comedy, from “Uncle Josh” routines performed by any number of old-time and country bands through World War II to Minnie Pearl and Grandpa Jones to Ray Stevens. Some of the music related to it can be alright. Those old enough to remember Hee Haw have a sense of this. Anyway, there’s a new generation of country music comedy.

The only known film of Louis Armstrong recording has been discovered. Pretty cool.

This is a really interesting essay defending greatest hits albums and reissue discs, something that is rapidly being lost in the digital age. It’s a pretty convincing argument: collections and greatest hits help define eras, salvage lost musical genres, and make vast troves of music accessible to listeners in easily accessible collections.

This is the definitive obituary of Merle Haggard. Read it.

Some album reviews from things I have recently picked up:

Shamir, Ratchet

After Prince died, Janelle Monae said she could not be what she is (a gender-bending weirdo) if Prince had paved the way. It’s safe to say the same about Shamir, a gender-fluid, high-falsetto, dance-pop artist from Las Vegas, who previously played country music covers before figuring out the money was better in pop music. He’s a weird little hipster dude who makes some really fun music.

A

Ikue Mori and Zeena Parkins, Phantom Orchard

This 2004 collaboration between two titans of electronic and experimental jazz isn’t that easy to listen to. This is dense music of swooping sounds and effects from people used to composing and performing challenging music. But is largely a fascinating exploration of sound that I have enjoyed.

B

Sturgill Simpson, A Sailor’s Guide to Earth

That Sturgill Simpson has been able to do precisely what he wants to do on a country album, making no compromises toward slick Nashville sounds, bro country, country radio, etc. while using string sections, the Dap Kings, and other production elements not common in modern country music that he then releases directly to the top of the charts, is kind of amazing. Hopefully it spawns a new wave of interesting country musicians pushing boundaries.

It’s quite an artistic statement. However, I don’t love the album and don’t think it is as good as Metamodern Sounds in Country Music. Basically, I don’t think the songs are of the same quality as the last album. Simpson got a lot of buzz because he covered Nirvana’s “In Bloom” but it might be the album’s weakest song. There are real highlights–“Keep It Between the Lines,” “Sea Stories,” and “Call to Arms” in particular. But there’s nothing quite as rousing as “Long White Line” or “Life of Sin” off the last album. It’s a good record, but it’s not a great record.

B+

Chris Lightcap & Bigmouth, Deluxe

I saw this band in New Haven a couple of weeks ago. It was absolutely outstanding, as is this album. Lightcap is the bassist, the wonderful Craig Taborn is on piano and Fender Rhodes, Gerald Cleaver is the drummer, and the saxophonists are Tony Malaby and Chris Cheek. An outstanding band in any circumstance, but with great tunes and that Fender Rhodes, it plays almost as a rock band at times. This is accessible modern jazz for people who might want to explore a bit, but who might be intimidated by, say, the Mori/Parkins album I reviewed above. Outstanding show, outstanding album.

A

Robbie Fulks, Upland Stories

Although I liked several of the songs on Fulks’ last album, Gone Away Backwards, I have to admit I was a bit disappointed that he retreated from the country of his earlier albums (and specifically the rich 60s country sound of his brilliant Georgia Hard) for a folk/bluegrass sound, which is kind of a default for a lot of country songwriters these days when commercial success doesn’t match hopes. He continues with that instrumentation on Upland Stories, but this is a pretty brilliant set of songs. He mostly eschews the silly (or sometimes downright offensive) humor of some of his earlier albums and the exceptions (Aunt Peg’s New Old Man) are pretty effective and funny. Mostly though this is a great set of songs about both classic country themes and hard life in the present. Really rewarding piece of music, although perhaps there are a couple of weaker tunes toward the end.

A-

John Moreland, In The Throes

John Moreland’s latest album, High on Tulsa Heat, is a revelation. What a great songwriter. So I checked out his first album, In The Throes. It’s like a lot of first albums from very good artists, which is that it’s close to great, but not quite there yet. There are some outstanding songs, such as the one embedded below, and some not quite up to what appears on the next album. But this is a real talent and I look forward to his future work.

A-

And, as part of my lifelong quest to explore the history of country music, here’s few older country albums I recently acquired:

Merle Haggard, A Portrait of Merle Haggard

How good was Merle Haggard in 1969? In this year, he released 6 full albums. A Portrait of Merle Haggard included two #1 hits. One was “Working Man’s Blues.” The other was “Hungry Eyes.” He didn’t even bother releasing another popular song from the album as a single. It goes by the name of “Silver Wings.” The country music strategy of flooding the market with albums during these years usually did not work out well, but when someone was working at this level, it could lead to an astounding number of outstanding albums.

A

Glen Campbell, Country Boy

This 1975 compilation (I think it’s a compilation anyway) is pure cheese. At its best, the big production of 70s country could work great to accentuate excellent songwriting and singing, such as Billy Sherrill’s productions of George Jones and Tammy Wynette. But with weaker material, it just adds to the weakness. Even with his big hits like “Country Boy” and “Rhinestone Cowboy” included, its primary value today is an exercise in nostalgia. Given that Campbell had more talent than the average singer of the era, the production quality of 70s country makes a lot of the period’s music unlistenable.

C

Jerry Reed, When You’re Hot, You’re Hot

Jerry Reed was a heck of a guitar player. And he certainly had a lot of energy. He could also sing some really dumb songs and some super cheesy songs too. This was his biggest hit. The album is, well, OK. Did he have the emotional range to cover “Don’t Think Twice, It’s Alright”? Not really. Kind of interesting cover of “Thank You Girl.” Not my favorite version of “Ruby, Don’t Take Your Love to Town.” The songs he wrote were of mixed quality. The production of the hit song in the video below is very 70s.

B-

Since I assume that you all, like me, listen to music for 12-14 hours of each and every day, this is your place for various and sundry musical conversations.

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