Ray Wylie Hubbard - Tell the Devil I'm Gettin' There As Fast As I Can
by Trailer
Ray Wylie returns with another heavy dose of what he's damn good for. You know the deal: gritty Texas blues, God, the Devil, philosophy, the particulars of being a musician, and lots of stories. "God Looked Around" is a retelling of the Garden of Eden story through Hubbard's trademark filter of wit and candor. The lead single and title track is as close as you'll get to commercial-sounding in RWH's world - it brings together our fearless leader with Eric Church and Lucinda Williams providing support for this world-weary anthem about life, music, and pondering the long, strange trip. "Old Wolf" is a stomping snapshot of a dive bar and its regulars, with Ray giving us his best Warren Zevon howl. My only complaint here is that there's a sameness of sound in general, and across the first half of the album in particular. A little variance in tempo and melody could have brought the record up a notch or two in my book. Still, anything from Ray is hardly unwelcome and he's consistently consistent - a legend by any standard - and Tell the Devil I'm Gettin' There As Fast As I Can gives you exactly what you need, no more, no less.
The album is available everywhere you might imagine.
Tell The Devil I'm Gettin' There As Fast As I Can by Ray Wylie Hubbard from Ray Wylie Hubbard on Vimeo.
Showing posts with label Lucinda Williams. Show all posts
Showing posts with label Lucinda Williams. Show all posts
Aug 18, 2017
Apr 15, 2016
Mar 3, 2016
Lucinda Williams Performs on Colbert
Labels:
Late Show,
Live performances,
Lucinda Williams
Jan 21, 2016
Parody Album Covers: Dierks Bentley, Lucinda Williams, etc.
Dec 15, 2014
Aug 21, 2014
Song Premiere: Sara Rachele "Strong As My Hands (Delilah)"
FTM doesn't usually post this sort of thing (and we get quite a few requests), but I really like this tune and the sounds of the record
it's on. Sara Rachele (pronounced Ra-kelly) is a singer-songwriter in
the vein of Lydia Loveless, Lucinda Williams, and Neko Case. There's
also an atmospheric, indie quality to her approach a la Mazzy Star. You can read some
quotes and her bio below and check out the premiere of her song "Strong
As My Hands (Delilah)" right here. It's also available to download for free! I think you'll dig it.
Sara's forthcoming album, Diamond Street, is out September 2
“A must-have album that follows no road map but Rachele’s heart and soul.” - No Depression
Sara's forthcoming album, Diamond Street, is out September 2
“A must-have album that follows no road map but Rachele’s heart and soul.” - No Depression
"'Bristling with an incisive edge floating aside picturesque melodies courtesy of a
voice that has just enough twang to rope you in for an extended visit." - Glide Magazine
“From
the moment I heard Sara Rachele’s voice and words I knew I was in the
presence of truth. She is a fearless artist with a desire to lyrically
explore the nuances of her experiences in, around and against life.” – Melissa Ferrick
"When
sound hits tape you get something back that you know is true and
honest, listening to Diamond Street there is an undeniable realness and
truth in these songs" – Art Decade
SARA RACHELE / DIAMOND STREET
Release Date: Sept. 2, 2014
Label: Angrygal Records
Recorded
in her hometown of Atlanta, the NYC-based Sara Rachele's debut, Diamond
Street, rides out slow and dark as a jet-black 1960s Chrysler New
Yorker. The live-to-tape LP—produced by Kristofer Sampson (B-52s,
Balkans, Coathangers)—was recorded in just two days, and captures the
East Village nightlife of a young songwriter in a timeless, vibrant rock
’n’ roll statement. Diamond Street's sparkling lo-fi charms span the
decades, Rachele channeling everything from classic Fleetwood Mac and
Petty's Heartbreakers to Lucinda Williams and David Lynch muse Julee
Cruise.
On
recording with producer Sampson (who plays in New West Records band
Ponderosa), Rachele says, "Kris really challenged me on this album. Even
though we were working quickly, he had patience with the songs, and
he took the sound to a new place for me without it seeming
disingenuous."
The
daughter of a baby-boomer painter and Italian/Slovak immigrant, Rachele
(pronounced ra-kelly) grew up a studio rat and folk child. Working for
free cleaning out the cupboards at famed Atlanta acoustic hotspot
Eddie’s Attic, she met countless musicians and writers and fell into
bands as a side-player before she even knew how to write a song. While
still a teenager, she became backing vocalist and keyboard player for
The Love Willows, who promptly signed to Decca/Universal, writing and
recording with producer Mike Daly (Whiskeytown, Lana Del Ray, Grace
Potter).
Eventually,
though, Rachele decided to leave behind The Love Willows' bubblegum pop
sound, moved to Boston and enrolled for a time at Berklee College of
Music, before dropping out to live in her newly adopted home of New York
City. Inspired by its long history of seedy bohemian songwriters and
poets, and by the energy of the city itself, Rachele filled up journals
with her ramblings and penned ballad after ballad as she roamed the
coffeehouses & nightclubs of the East Village, trading innocence for
experience. Word spread quickly about her passionate delivery, her
honest, unadorned lyrics and her uniquely Southern sound. Along with
sidekick and fellow Atlanta expat Charlotte Kemp Muhl (with Sean Lennon,
half of Ghost of the Saber Tooth Tiger), Rachele found a home—musical
and otherwise—in New York.
"For
such a big city, New York can be a pretty small town," Rachele says. "I
saw an ex across Houston Street once—he was playing a show I think,
everyone always is, you lose track. But I remember running across four
lanes of traffic—just seeing him, turning, and running through the East
Village. No one ever leaves you in New York. You still have to learn how
to know them. It's the continuousness of it all—nothing every really
ends. And the cabbies just know to get out of the way… 'cause at any
moment some heartbroken woman might run out into the street."
While
in New York, she befriended veteran music photographer Perry Julien,
who was intrigued by Rachele and shot portraits of her at The Chelsea
Hotel, that sacred place of rock lore. Her session with Julien was one
of the haunt’s final photo shoots before it closed its doors to guests.
Rachele's images from The Chelsea Hotel—once home to Dylan Thomas, Bob
Dylan, Patti Smith & The Sex Pistols—have been featured in SXSE
photomag, Creative Loafing, and art galleries up and down the East
Coast. She and Julien’s collaborations were also published in Julien’s
book Secrets (2013), and forthcoming Chelsea Hotel photo book Guests.
Rachele is a photographer herself, her work having appeared in
Pitchfork, Brooklyn Vegan, Creative Loafing and Stereogum.
In
addition to producer Sampson, Rachele's new debut Diamond Street
features the musical contributions of budding folk hound J. Thomas Hall
(New West imprint Normaltown Records) as well as a cast of Atlanta-based
heavy hitters including Lightnin’ Ray Jackson (Washed Out, Gringo
Star), Spencer Pope (Ocha La Rocha), Spencer Garn (Ruby Velle & the
Soulphonics) and Snowden's Chandler Rentz. Diamond Street represents the
gorgeous clash of Rachele's folk-centric upbringing and her beat rock
& roll adventures in New York City. With five years of stories under
her belt, she has created a moody musical pulp, resounding with smoky
memories of ambling city nights.
Labels:
Lucinda Williams,
Lydia Loveless,
Neko Case,
Sara Rachele,
Song Premiere
Aug 14, 2013
If Dallas Davidson Had Written These Americana Classics
If Dallas Davidson Had Written________
Steve Earle - Copperhead Road
Well my name's Brantley Gallimore
Standin' in the line at the grocery store
The only fake ID we've got is mine
So I'm buying' five jars of Kroger Moonshine
Lyle Lovett - If I Had a Boat
If I had a boat
I'd fill it up with hotties
And if I had a jet ski
I'd ride around my boat
And we could party all night
Shake it for me, hotties
Me upon my jet ski round my boat
Ryan Adams - Come Pick Me Up
I wish I could
Come pick you up
In my truck
Buzz you up
Crank Nickelback
See all my friends
They're all full of beer
There's no lines in your tan
Let's skinny-dip
I wish you would
Lucinda Williams - Car Wheels on a Gravel Road
Chillin' in a pasture outside of Macon
Jay-Z is rappin' on the radio
Smell of bonfire, dip and Jager
Truck wheels on a gravel road
Gram Parsons - Return of the Grievous Angel
Won't you rock my world little country girl
And ride with me out of town
Check out these sweet deer tracks I got at the tattoo parlor
And then pull your cut-off jeans on down
Dec 30, 2011
Top 10 Albums of 2011 - Rev. Robert Earl Reed's Ten
FTM pal and Mixtape participant (you can still get it through Monday! and get his album Carlene as a free bonus!) Robert Earl Reed gives us his top 10 albums of the year.
Reverend Robert Earl Reed's Top 10 Albums of 2011
“Inner Planetary Honky Tonk” of the first degree.
REAL! Southern Rawk from the Ozarks
North Mississippi Hill Country Influenced Badassness
Awesome story telling about an awesome story teller
Pure Powerful XXX Music
We are watching the making of a true American Songwriting Legend with every note
A Classic Beauty of Voice
Just plain Ole Bad Ass Music
An under heard, under appreciated, Mississippi Story Teller of Monumental Proportion (think Mark Twain)
Real Songs, Real Artists
Here's a video from Powder Mill, the #2 finisher on the Rev's list:
Larry Lee would not be happy.
Oct 24, 2011
Jun 26, 2011
Top 10 Country Songs Most Soccer Moms Would Not Be Fond Of
Here's a countdown of 10 country songs that would not weigh easily on the sensibilities of most mainstream country radio listeners (now anyway - the Wagoner song made it to #2 in 1967). Feel free to add your own in the comments.
Can you imagine this playing on the radio after Taylor Swift's latest ditty? Me neither.
Hank and pals scream in honor of a "music artist" who frequently took a dump on stage and played in it (to put it nicely) and was also known for wallowing in self-drawn blood (to put it nicely again).
08. "Holding On So Tight" - Gary Floater (portion of the song at this link)
This ode to "punching the clown" might not rest easy on radio programmers' palates.
Lucinda has never been bashful about middle-aged sex. "Now I've got your sweetness all up in my hair"... TMI Lucy!
Unreasonable figures?
Pink champagne, candlelight, surprising the wife (and her lover ...with a knife!!)
Rodney's a born romantic, huh ladies?
03. "Delia's Gone" - Johnny Cash
This shockingly cold and violent song from the Man in Black is all the more disturbing because of who it's from.
I guess if you're as ugly as Coe, you've got to lay on the charm thick.
Hank returns to the countdown with this wordy-durd filled rant against Nashville, offering to put male and female sexual organs back into country music (were they ever there in the first place?) The D-word and the C-word get ample airtime.
May 5, 2011
Beale Street Music Festival: A Look Back
I enjoyed a full three days of music this past Friday through Sunday at Tom Lee Park on the banks of Old Man River. We started the weekend with nice temperatures and blue skies, an almost unheard of combination for the Beale Street Music Festival, whose name has become synonymous with rain, mud and rain. Still, the mighty Mississippi was swollen and forecast to spill over its banks within days so our watery backdrop was immense and threatening.
FRIDAY
CAGE THE ELEPHANT
The first show we went to was Cage the Elephant. They were loud, obnoxious, young and pretty ragged, sound-wise. Of course, that fits their punkish persona and it worked well. The lead singer told us he was spaced out on pain pills due to a tooth extraction a couple days previous, but it didn't show. He was nuts, all over the stage and screaming his lungs out. We listened to about 8 songs, including "In One Ear," "Around My Head" and "Aberdeen" before departing to catch the end of Everclear's set the next stage down.
B
EVERCLEAR
I'll never claim to be a huge fan of Art Alexakis and company, but I did enjoy several of their songs from the late 90's and early 00's. I can't say Everclear sounded especially enthused Friday night, but the band was tight and Art's voice sounded good. It was a greatest hits set-list, thankfully leaving out some of their dreadful cover songs. Curiously, their sound was a lot lower than other bands we heard and the mix was kind of flat. Still, they did a solid job with favorites like "Wonderful," "Everything to Everyone" and "Santa Monica," which Art said had bought him a couple of houses and a couple of divorces.
C
SLIGHTLY STOOPID
We took a beer break after Everclear, not caring to journey back down to see MGMT or B.o.B. and far from enthused by Slightly Stoopid. However, Stone Temple Pilots, the night's headliner was after the aforementioned stoner band, so we eventually pushed our way through beardy hippies and smoke-clouds to get a good spot for STP. While obviously a musically talented band, as evidenced by a couple of rocking songs, including a spot-on cover of Nirvana's "Territorial Pissings," Slightly Stoopid stuck to the Sublime-meets-jam band sound that they've obviously built their career on. I'm sure for tokers and diehards, the band is great, but I didn't care for their set at all.
D-
STONE TEMPLE PILOTS
I'm an unabashed fan of STP. They weren't exactly on my "must see bands" list, but still, I don't see them as the faux-grunge garbage band as many rock snobs do. I didn't know what to expect from the recently re-formed group, given Scott Weiland's sketchy history on and off-stage. I'm happy to say they rocked Tom Lee Park. Sprinkling three songs from their newest self-titled album in with a ton of hits like "Plush" and "Interstate Love Song," STP was tight as they could be and sounded great. Scott Weiland was pleasantly weird, dancing around like tribesman by a fire and interjecting odd statements and prayers at a moment's notice. And despite a couple of audience members trying to bait him into a meltdown, he maintained his composure and vocals throughout. I'd have to count them among the best live hard-rock bands I've seen.
A
SATURDAY
True to the rep of the Beale Street Music Festival, the rain came Saturday. Not much, but it continued a streak.
PAUL THORN
This was my first highly anticipated artist of the festival and Paul did not disappoint. He was funny, humble, soulful and a helluva entertainer. Peppering in self-deprecating jokes and homespun wisdom, Paul had the crowd engaged for the full set. Besides being a great singer and songwriter, he came across as a genuinely down-to-earth guy with an almost innocent appreciation for the attention he was being given and the artists he was sharing the stage with. His set included my favorite of his, "Love Scar," along with others like "A Lot of Good Reasons" and "I Have a Good Day." He and his band tore the place down with the rollicking closer "Mission Temple Fireworks Stand," leaving everybody wanting more than an hour and a half festival show could give us.
A
JERRY LEE LEWIS
Do I really need to write anything else besides his name? The man's a freaking legend. While frail of body, a bit weak of voice and fairly rambling between tunes, The Killer put on an awesome show, proving there's still plenty of fire in the tank. He did all the favorites, a few classic covers and, of course, he ended with "Great Balls of Fire" and "Whole Lotta Shakin'." He even summoned up the strength to do his trademark "playing while standing up" towards the end. Wonderful and unforgettable.
A
MUMFORD AND SONS
The band sounded great, performing nearly their entire debut album along with 2 or 3 new songs from the album they're about to record. They were tight as hell and very engaging with the crowd. Their performance is not so much the story here as their audience. It was by far the biggest crowd of the entire event, massive even. A friend of mine who'd seen Dave Matthews Band at Beale a few years ago said it was far larger than DMB's audience. Also, the crowd seemed to know every word and reacted to the songs like The Beatles themselves were on stage. I had no idea they were so popular. In a day and age of segmented tastes and fan-bases, this was the one act that seemed to bring everyone together. We'll see how that holds up in the fickle wind of pop culture.
B+
LUCINDA WILLIAMS
Lucinda was in great voice and her band was tight. Her song selection, however, mirrored my general impression of her most recent work… it was tepid for the most part. She did "Joy," "Can't Let Go" and "Buttercup," among others, which I enjoyed. The rest was fairly bland; certainly not providing much excitement. I wasn't thrilled with the set.
C-
JOHN MELLENCAMP
John sounded awesome and his band was even better. They were thoroughly impressive. The theme of his set seemed to be flipping songs on their heads. The songs from his recent stripped-down album were played with bombast and vigor by the full band, bringing life to tunes that to me were just okay on record. The hits were played either stripped down or with completely new arrangements. It was very cool. The crowd ate it up, and John was funny and conversational. A side-note: I saw the well-known liberal and environmentalist the next day climbing into a massive black SUV to leave his 5-star hotel :).
A-
SUNDAY
The rain came in sheets Sunday, and the river was up another foot or so, now lapping at the sidewalks just beyond the side retaining walls of the park. Despite the weather and the impending flooding, the festival thankfully went on mostly as scheduled.
LUCERO
Farce the Music's house band started without the benefit of a soundcheck due to a tornado warning earlier. I and my listening party had hunkered down in a trolley stop, but we made it safely, but muddily to the concert on time. Ben Nichols admitted the sound was a "clusterf*ck" but it really wasn't bad at all. They were as solid as ever despite the lack of preparation and the weather-diminished crowd. They ran through what Ben termed as "our greatest hits…. or at least uh, local favorites" including "My Tears Don't Matter Much" and "Sixes and Sevens." They also threw in one new tune that will be on their next record called "Women and Work." It was even more in the Memphis R&B direction than most of the songs on their last release. Good stuff. Horn section and everything. Lucero NEVER disappoints.
A
GREGG ALLMAN
Admittedly, I'm not a huge fan of Gregg nor the Allman Brothers, but this was a nice show. He performed solo tunes and legendary favorites alike, including "Just Another Rider," "Whipping Post" and an especially moving rendition of "Melissa."
B
Some girls started mud-sliding during the end of Allman's show. It was very entertaining and some people even started a tip cup for them.
THE AVETT BROTHERS
Another huge crowd for another hot band. The Avetts were loose, loud and awesome. The longest soundcheck I've ever endured yielded the best sounding set of the weekend. Seriously, I'm a fan, but The Avetts blew me away. They were energetic and lively and the crowd ate it up. Selections included "Shame," "Will You Return?," the Prine cover "Spanish Pipedream" and the lovely closer "I and Love and You." If you like bluegrass or newgrass or indie-folk, you owe it to yourself to catch the bros. Killer, killer show! (Another side-note: During the set, the crowd gasped as a river boat rolled by virtually right beside us - see photo.)
A+
WILCO
I'm assuredly on the Farrar side of the Jay or Jeff argument. However, Wilco this Sunday night made me stand up and realize the utter talent of the more commercially successful splinter of Uncle Tupelo. They were amazing. Forgive me for not knowing the guitarist's name, but he was stunningly good. I've seen some 80 live acts in my life and I'd count him as the best guitar player I've ever seen live (ahead of the likes of Kenny Wayne Shepherd and Kirk Hammett). Wilco, despite a nearly 7 month break from playing live, confidently crushed a set that included "Shot in the Arm," "Monday," "Jesus, etc." and probably the best tune I've ever seen played live, "Impossible Germany." I'm not a big fan of the band's recent releases, but I'm now a huge fan of Wilco. Tweedy was great, in excellent voice and in harmony with the crowd. His best between-song line of the night was regarding the scent of barbecue and sausage wafting through the air, "We may become the anti-Morrisey after this. We won't play a show unless we smell burning meat." All hail Wilco.
A+
Jeff Tweedy and crew
Feb 27, 2011
Country Doppelgangers 11: Alt-Country Day
Ryan Moore Adams has the whole Harry Potter thing going on.
Roger Clyne of Roger Clyne and the Peacemakers strongly resembles Encino Man era Pauly Shore.
Neko Case reminds me of actress Debra Messing.
I have a feeling Justin Townes Earle will look a lot like actor Harry Dean Stanton in about 40-50 years.
Ben Nichols, lead singer of FTM favorite Lucero, and Sabretooth aka Liev Schrieber.
Sorry, Lucinda...
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