Live Review: William Clark Green - Hill Country BBQ - Washington D.C.

William Clark Green

By Matthew Martin

The first thing you notice when you go to a show at Hill Country BBQ here in DC is usually the smell of delicious Texas-style BBQ cooking on the main level.  Once you get downstairs, the second thing you notice is how un-DC it is.  The small venue which holds about 300 brings lots of smaller (at least in this region) country and roots acts from across the country to a small, intimate stage.  Usually you can be right up close and personal with artists who are on their way to never playing to as little as 300 people on a bad night in a different country.  I saw Sturgill Simpson play here 2 years ago and I believe there were around 50 people.  That singular experience has shaped my love for this little venue in the heart of DC.

So, with that in mind, after the recommendation of this great site's end of year list and word from my girlfriend's sister and her boyfriend, I ended up at Hill Country on Saturday night to watch William Clark Green.  

To be honest, I had listened to his latest album a time or two, but I just didn't put in much time with it for whatever reason.  Life, other albums, and work can sometimes get in my way, but that's neither here nor there.  As the show got closer to start time, the bar filled up with ex-Texans (you don't have to ask Texans if they are from Texas, they'll proudly tell you without provocation). 

The show kicked off with "Next Big Thing" off of Green's recent album Ringling Road.  By the end of the song, I knew it was going to be a hell of a show.  While the song on the album is a damn good song, the song live hit another level.  I mean, it had more bite than what is already a biting song- the sarcasm soaked chorus was a stellar singalong among the nearly 300 people there.  It did leave me wondering how many people in the crowd had labeled WCG as the next big thing themselves.  I mean, it's so easy to do these days where we WANT an artist as honest and as talented as WCG to be the next big thing.  We try to will them to be the next big thing.  But, as WCG asks, "what's that mean?"  But, that's a conversation for another day and beer...

As I mentioned earlier, I hadn't really heard much of WCG until the last few months, so I had no real idea what to expect out of the show.  And, let me tell you, that may have been the best way to see the show.  I mean, WCG and his backing band played with a cohesion many bands I've seen wish they played with.  On songs like "She Likes The Beatles" and "Ringling Road," the band truly shined.  WCG commands his bandmates to keep up with his never-ending energy, and they are more than capable of responding to the task.

By the end of the show, it's safe to say that WCG had gained a few new fans.  A few years ago I really couldn't get into the whole Red Dirt/Texas Country scene.  For some reason, it seemed somewhat bland.  It wasn't long after that that it hit me (I think it was when I saw Reckless Kelly and Randy Rogers Band).  Since first becoming truly enamored with the whole scene, I don't think any band has been more invigorating or more fun to watch live.  I saw Drive-By Truckers a couple of weeks ago at the esteemed 9:30 Club here in DC.  It was amazing.  I don't know how William Clark Green's career will go.  I know how it should go.  He SHOULD be the next big thing.  He SHOULD be selling out the 9:30 Club along with the likes of Drive-By Truckers.  It starts with us, the fans.  This guy is the real deal, y'all.  Go see him when he comes around.  Go buy his whole catalog. 

FTM's Best Albums of 2015: Individual Top 10 Lists

The votes were varied this year, but coagulated well enough to form a consensus. 

Here are our individual voters' ballots featuring such far flung choices as High on Fire, Courtney Barnett, and Titus Andronicus, so hopefully you can find even more cool music to spend your holiday gift cards on. I'm just including top tens since everyone sent in at least ten. Some voters had more than 10 selections and some of those votes outside the top ten were used for tiebreakers 

(ties were only broken inside the overall top 10).

Trailer

1. Father John Misty - I Love You, Honeybear

2. Chris Stapleton - Traveller

3. Whitey Morgan - Sonic Ranch

4. Turnpike Troubadours - s/t

5. Jason Isbell - Something More Than Free

6. The Honeycutters - Me Oh My

7. Randy Rogers & Wade Bowen - Hold My Beer, Vol. 1

8. Jonathan Tyler - Holy Smoke

9. James McMurtry - Complicated Game

10. Ray Wylie Hubbard - The Ruffian's Misfortune

Matthew Martin

1. James McMurtry - Complicated Game

2. John Moreland - High On Tulsa Heat

3. Turnpike Troubadours - Turnpike Troubadours

4. Lucero - All A Man Should Do

5. Great Peacock - Making Ghosts

6. American Aquarium - Wolves

7. Titus Andronicus - The Most Lamentable Tragedy

8. Thunderbitch - Thunderbitch

9. Craig Finn - Faith In The Future

10. Chris Stapleton - Traveller

Jeremy Harris

1. William Clark Green - Ringling Road

2. Whitey Morgan - Sonic Ranch

3. Chris Stapleton - Traveller

4. Benton Leachman - Bury the Hatchet

5. Whiskeydick - The Bastard Sons of Texas

6. Stoney Larue - Us Time

7. American Aquarium - Wolves

8. Eric Church - Mr. Misunderstood

9. Jason Isbell - Something More Than Free

10. Dallas Moore - Dark Horse Rider

Kevin Broughton

1. James McMurtry - Complicated Game

2. Jason Isbell - Something More Than Free

3. Jonathan Tyler - Holy Smoke

4. Turnpike Troubadours - s/t

5. The Yawpers - American Man

6. The Pollies - Not Here

7. Son Volt - Trace (20th Anniversary Reissue)

8. John Moreland - High on Tulsa Heat

9. Ray Wylie Hubbard - The Ruffian's Misfortune

10. Rhett Miller - The Traveler

Kelcy Salisbury

1. Jason Boland and the Straggers - Squelch

2. Ray Wylie Hubbard - The Ruffian's Misfortune

3. American Aquarium - Wolves

4. Turnpike Troubadours - s/t

5. The Yawpers - American Man

6. Lindi Ortega - Faded Gloryville

7. JEFF the Brotherhood - Wasted on the Dream

8. Courtney Patton - So This is Life

9. High on Fire - Luminiferous

10. The Deslondes - s/t

Chad Barnette (Tiebreaker votes)

1. Allison Moorer - Down to Believing

2. Jason Isbell - Something More Than Free

3. Turnpike Troubadours - s/t

4. Alan Jackson - Angels and Alcohol

5. Ashley Monroe - The Blade

6. The Yawpers - American Man

7. Chris Stapleton - Traveller

8. Cody Jinks - Adobe Sessions

9. Courtney Barnett - Sometimes I Sit and Think, And Sometimes I Just Sit

10. Dirty Streets - White Horse

Live Review: John Moreland with Caroline Spence - 7-29-15 - Vienna, VA

John Moreland with Caroline Spence

7-29-15 - Jammin' Java - Vienna, VA

by Matthew Martin 

There are shows that are raucous.  There are shows that are full of bros.  There are quiet shows full of very respectful and amazing music lovers.

Then, there are those at a John Moreland show.  I could say that those people going to a John Moreland show are just more respectful than most concertgoers, but that would be wrong.  By the time the first chord is struck and the first word is sung, the crowd is already in complete awe.  This is just a fact at a John Moreland show.  You shut up because there is honestly nothing more you can do.  You are transfixed on this amazing talent on stage.

But, let's not get ahead of ourselves.  Openers are very important and this particular night was no exception.

Caroline Spence

Opening for Moreland was Caroline Spence.  If you haven't heard of Caroline Spence, you should really give her a shot.  She had a wonderful voice and is really one hell of a song-writer.  Two songs that really stuck out to me were "Whiskey Watered Down" and "Bless Your Heart."  If you're on this site, reading this review, chances are you are going to like her.  You should buy her new album, Somehow, and go see her if she is around.  I had never heard of Caroline Spence and so as I was doing a little research on her after the show, I came across this Rolling Stone article listing her as one of the 10 New Country Artists You Need To Know: Spring 2015.  Don't pass her up, folks!

Maybe 15 minutes after Ms. Spence finished her set, John Moreland took the stage to a loud round of applause.  As he settled onto his stool, the crowd began quieting down, then, as mentioned above, Moreland begins and the crowd is stunningly quiet.  I can't recall who it was now, but someone on Twitter (I believe it was Todd Farrell, Jr.) had said before that their favorite thing to witness was a crowd realizing they were in the midst of something special when John Moreland began playing.  I agree.  100%.  It is unbelievable.  I put it up there with watching Tim Barry.

For an hour and a half, Moreland played songs from his first solo album, Earthbound Blues, through the excellent new album, High On Tulsa Heat.  There were a couple of songs in there that I believe were new as well.  During the show, Moreland doesn't speak much, but when he does, he is clever, wry, and self-deprecating.  Before breaking in to "You Don't Care For Me Enough To Cry," he states, "This is a song I recently discovered was too sad for Dallas-Ft. Worth morning television."

This was my second time seeing Moreland, and I was glad to see that the crowd for this show was at least triple the size it was last time.  I hope he continues trending upwards, and with the recent success of this little circle of music we listen to (whatever you want to call it), I believe he will.

I don't think I need to tell you to go see John Moreland if he's in your area.  You know him, you love him- why wouldn't you go see him?  There are few musicians that I can't imagine missing when they come to town and Moreland is absolutely at the very top of that list.  Yeah, you'll feel all of your feelings, but hey, that's what songs are for, right?

Old 280 Boogie Review (American Aquarium, Caleb Caudle, etc.)

American Aquarium

by Matthew Martin
When my friends called me a few months ago to persuade me to go to the Old 280 Boogie in Waverly, AL, I had no idea I'd be so easily swayed.  However, I ended up down in Alabama last weekend in what was one of the best times I've had in a very long while. 

For those of you that don't know, the Old 280 Boogie is a shin-dig put on in Waverly, AL and has a few bands and a few hundred folks.  If you've never been to Waverly, AL (don't worry, I hadn't been there and I went to school less than an hour away), it is just like every other small, Southern town you know- which I say lovingly, not degradingly.  It is everything I miss about the South after living here in the nation's capitol for many years.

We got to the Boogie around 1 that day and the first band was already going- I believe it was Serious Sam Barrett at that time.  I knew by the time we set up that this was going to be a good day.  The crowd was perfect, friendly, and revved up.

Next up was Caleb Caudle, who was damn near perfect.  My only complaint is that Caleb didn't play

Caleb Caudle

a bit later in the day.  Caleb's songs are great and a great complement to the beautiful weather we had for the day.  If you haven't listen to Caleb's recent album, you should do so now.

Alanna Royale and her band came on next and they had the crowd in the palm of their hands.  Alanna was a great performer.  It's easy to start making comparisons, because everything's been done, right?  But, Alanna was reminiscent of Brittany Howard in her complete control of the stage.  I'm guessing if you like Alabama Shakes, there is a great chance you'll like Alanna Royale.

Now the local crowd was getting a bit more lively and the Pine Hill Haints from Auburn, AL came on and worked the crowd into a frenzy.  With the frenetic energy of a rockabilly band and their undeniable bluegrass style, the Pine Hill Haints proved to be one of many highlights of the day.  Local products were the theme of the day and the Pine Hill Haints proved that local music is alive and well everywhere.  Go to your local music hall.  Listen to your local band.  They have something to say.  And, they are likely damn good musicians.

Alvin Youngblood Hart's Muscle Theory was next and, I will admit, I did not listen to them as much as I should have.  The day was beginning to take it's toll and I needed a break from the festivities.  I'll say that missing most of this set was one of the only regrets I had of the day.  But, all was soon to be forgiven.

Johnny Sansone

Johnny Sansone.  Know him?  Yeah, neither did I.  Jesus am I glad I didn't!  This dude was unbelievable and I think going in not knowing helped the experience tenfold!  Coming onto stage dressed in full Dia de la Muertos garb was schticky at first... so I thought.  But, when Johnny began playing the harmonica and singing in a rasp that rivaled Dr. John, I knew this was going to be something unforgettable.  And, it was.  I haven't had the heart to listen to Johnny's studio albums after the show but only because I was so blown away by the live show.  I don't mean any knock towards Mr. Sansone.  He was incredible!  But, I'm not ready to let go of that performance.  Of the unbridled showmanship and musicianship that emanated from the stage.  Johnny Sansone.  Go to his website.  See if he's coming near you.  Drive an hour or more.  Do whatever you have to.  Go see this man.

Now, as the day was beginning to get a bit, shall we say, loose, the final act was about to come on.  I love American Aquarium.  For many reasons, I love these dudes.  They are good people, and they are a great band.  If you've made it this far through my ramblings, you probably already love American Aquarium.  But, if you don't know them, do yourself a favor- listen in this order Dances for the Lonely, Burn. Flicker. Die., and Wolves.  To me, this is the best way to enjoy this band- to see where they have been and where they are going.  Stories can be hard to tell- they can be heartbreaking, they can be joyous, and they can be hard to convey.  But, American Aquarium does so deftly, and with an ability to cut to the quick.  The boys were firing on all cylinders this evening and were having a great time themselves.  BJ made more than a few comments about the venue and the crowd being somewhat of a high-water mark of being on tour.  The guys of American Aquarium have been playing together for a helluva long time and you can tell.  This is a band that has been through a lot on the road- good and bad- and they wear that badge with honor.  They have honed that knowledge of each other into a finely tuned musical machine.  One of my favorite things I have seen over my years of watching American Aquarium is seeing the closing song turn from "I Hope He Breaks Your Heart" to "Burn. Flicker. Die."  This is a transition that is amazing.  And, I think it shows the growth of this band.  These are two incredible songs, but if I'm honest with myself, "Burn. Flicker. Die." is the better song.  It is the show-stopper.  And, recently, that has been the literal case.  I hope these guys stick together and stick around for a much longer time.  I don't think we've heard enough from these guys.

I've written so much.  I can be long-winded, but I feel the story has to be told.  The Old 280 Boogie.  Waverly, AL.  Johnny Sansone.  American Aquarium.  The story is only half-told.  The best way to be a part of this story if to go to this incredible place.  Go see these bands.  Go support the bands around you.  Music is what keeps us all going.  Most of us.  Some people can write the songs of our lives.  Some can write about those songs.  But, we can all go and enjoy and support the music.  I want to leave this by saying thank you to the folks of Waverly, AL.  The folks of Standard Deluxe.  The folks of This Is American Music (Corey, I'm sorry we didn't get a chance to formally meet).  Everyone involved in putting the Old 280 Boogie on.  You've got a lot to be proud of and I can't wait to be back in the years to come.

Matthew Martin's Top 10 Albums of 2014

10. St. Paul & The Broken Bones - Half The City
This AL band generated quite the buzz before this album ever hit shelves - and with good reason.  This album is full of near-perfect throwback soul/funk gems that Alabama is getting good at reviving.

 

9. Gary Clark Jr. - Live
The first time I ever actually heard Gary Clark Jr was when I saw him live in Baltimore at a small venue called the 8x10. When I heard his debut album, I wasn't in love because of the slick production and added, unnecessary instruments.  That's why I think this album is so essential.  This is GCJr at his best.  Live, blistering, and unrelenting.

 

8. Natural Child - Dancin' With Wolves
I don't want to say Natural Child hit their stride on this album, but rather, they hit their comfort zone. Adding pedal steel and keys to the band, they have created, essentially, a modern day Harvest.

 

7. Mastodon - Once More Round The Sun
This happens to be my favorite Mastodon record to date. While that may not be a popular opinion among some Mastodon faithful,  I believe this is Mastodon doing what they do best.  Each song hits at break-neck speed and by the time you reach the last quarter of the album,  you equally beg for the onslaught to cease and to continue.

 

6. Lucero - Live From Atlanta
Another live album on this list because of how significant I think this one is.  Lucero is a great band.  They have transitioned from a cowpunk band to this band we have today at little-to-no detriment to their core sound.  This album is document of that complete transformation and more proof that if you have not seen Lucero live, you have to do so immediately.

 

5. Drive-by Truckers - English Oceans
Cooley. Really, the review could end there, but what fun would that be? With Cooley and Hood splitting the duties here, this album finds the Drive-By Truckers yet again reworking the band and creating something even stronger and tighter.  While I, unabashedly, really have enjoyed most of what DBT have put out, this album will arguably stand out as one of their greatest.

 

4. The Hold Steady - Teeth Dreams
I don't even know what to say about this album. It's great. There isn't a bad song on here. When I first listened, I'll admit, I was a little taken aback by the production quality (maybe too slick?), but as time has gone on and I've listened to the album numerous times, I have realized that there is not one thing wrong with this album.

 

3. Against Me! - Transgender Dysphoria Blues
On importance alone, this album deserves to be in the #1 spot.  But, this album happened to be released in a year that 2 other great albums were also released.  Musically and lyrically, this is a near perfect album.  Laura Jane Grace sings her heart out about a hell few of us know much about.  Give this album a listen, then listen again, then listen one more time.  It's absolutely stellar.

 

2. Sturgill Simpson - Metamodern Sounds in Country Music
Another important album- albeit for different reasons- Simpson's Metamodern Sounds in Country Music attempts to take everything we know about traditional country music and turn it on its head.  Simpson sings about LSD, reptile aliens, and love- all on the first track of the album.  As the album progresses, it's clear you're listening to something familiar and incredibly unique all at once.  Country music fans have been waiting for something like this, and I hope this album clears the path for other artists more inclined to sing about interesting topics- rather than trucks, beer, and backroads.

 

1. Lee Bains III & the Glory Fires - Dereconstructed
Speaking of important albums, I'm not sure there has been a more important Southern album.  This one came out and completely shattered my expectations.  Taking shots at the Southern ideology that still permeates some of Southern culture, the album is important because it shows that you can love something so much that you can recognize the attributes that sicken you and try to attack those head-on.  The South is a great place, but there are lots of things, past and present, that are nauseating.  LB3 attacks every angle with pinpoint accuracy.  And, let's not forget the incredible music on this album.  LB3 and band sound perfect on this album with, in my opinion, perfect production styles suited to the band's sound and style.  Oh, and if you haven't read Bitter Southerner's write-up on this band and album, please do so now!

____________

By Matthew Martin

Live Review: Alabama Shakes with Lee Bains III & The Glory Fires

Alabama Shakes w/Lee Bains III & The Glory Fires
Apr. 25, 2014 - 9:30 Club, Washington, DC

By Matthew Martin

It's been a while since I've written up any shows I've been to, and in the time that has past I've been to quite a few.  However, I just didn't think they were worth writing about.  Not because they weren't good enough.  Maybe I just hit a lull in writing, or maybe I felt like things got just a little bit blurry near the end of the show.  So, I put off writing anything.  Until, now.  I come back to you guns blazing with a review of one of the best shows I've been a part of in the past 2-3 years.

There are few things in this world better than a show on a Friday night.  The release of all emotions that comes with a great show.  The suspension of anything that is happening in your life.  And, of course, the pure joy of being with 1200+ (in the case of a 9:30 Club show) of your newest friends.

This was absolutely the case on Friday April 25th, 2014 at 9:30 Club when Alabama Shakes made their triumphant return to 9:30 Club and D.C.  I believe the last time they were in D.C. was in 2012 with the Drive-By Truckers.  And shortly after that, they headlined the Rams Head stage in Baltimore with a band opening for them I had never heard of- Lee Bains III & the Glory Fires.  I happened to be at that show, and both bands shook me, albeit in different ways.  So, when I found out that this same line-up would be coming back to D.C., I (im)patiently waited for the tickets to go on sale on the 9:30 Club website and got secured my spot to a show that sold-out in 5 minutes.

First up, Lee Bains III & the Glory Fires came out and ripped through a set that seemed like a cocaine-fueled punk version of Southern rock & roll.  I do not know how else to put it.  They are a stunning band and watching them on stage is incredible.  Guitars are up to 11, drums are relentlessly pounded, and the bass is forcefully plucked.  Songs from their first album, There Is A Bomb In Gilead, are amped up to a 100 mph speed.  Songs like "Red Red Dirt of Home" have the tempo increased and the songs are transformed.  It works.  I actually prefer the faster versions.  It seems this is the speed Bains and crew are more comfortable in.  When you hear the new album, Dereconstructed, it's clear that this is the new Glory Fires sound: loud, fast, and pissed off.  The set closed with the new song "Dirt Track" of the new album.  It was during this time that the guitarist, to the cheers of 1200+ people, got on Bains' shoulders and both proceeded to give killer solos.  The set lasted about 50 minutes and seemed far too short.  It's fair to say, the boys gained a hell of a lot of new fans that night.

Now the wait for Alabama Shakes began and the crowd was beginning to become electrified.  There was a buzz in the air unlike any show I've been to in a really long time.  Folks seemed not quite sure what to expect.  After all, Alabama Shakes have released exactly one album (Boys and Girls), and that was in 2011- three years ago!  

Needless to say, Brittany Howard and crew still had it.  They had the crowd in the palm of their collective hand from the opening note of the opening song.  By the time they reached "Hold On," I thought the place was going to come down.  I have seen many shows at 9:30 Club and I can honestly say that I have never heard the crowd roar as loud as I heard when they ended that song.

They ripped through the majority of their debut album along with a few others that were new, and some that were B-sides and singles; i.e., "Always Alright" and "Heavy Chevy."  Throughout the show, it was clear that Brittany had gained a new confidence that I didn't quite recall from the show in Baltimore a few years back.  This confidence went a long way that night.  She owned the stage.  She proved that being a frontwoman can be a hard and easy task all in one.  She roamed the stage, looking at everyone, singing to them.  I witnessed first hand, I suppose, what it means to gain that confidence and what a difference that made.

By the time the show ended, everyone was wearing the biggest smiles.  Something pretty awesome had just been seen, and no one was quite ready for that.  To be impressed by a band is one thing, but to be blown away by the complete package is another.  We were lucky that night to be in the latter group.  If it sounds like I'm gushing, I am.  We all knew Alabama Shakes had talent.  We knew that they made catchy-as-hell songs.  I'm just not quite sure we expected to be blown away.  

As I always say, go see these bands - both of them! - when they come anywhere near you.  I'm confident that you won't be disappointed.  Until then, go buy their music.  Support them.  Let's keep these folks around for as long as we can.  It's a short lifespan sometimes in rock and roll, but these folks deserve to be old-timers.  As Lee Bains III sang, "keep on rollin, keep it on the dirt track."

Best Albums of 2013: Matthew's Picks

10. Black Joe Lewis - Electric Slave

This album continued to grow on me throughout the year.  It's such a strong album full of driving guitar, funky, dirty rhythms, and Lewis's penchant for telling stories of partying as well as more serious themes.  This is Black Joe Lewis all grown up and pissed off.  This is Black Joe Lewis's best album.

 9.  Jonny Fritz - Dad Country

Speaking of growing up, 2013 saw Jonny Fritz change his name from Jonny Corndawg in an effort to not get pegged as a joke affair.  I think Dad Country is the epitome of that change.  There are serious-as-hell songs on here masked in seemingly funny material.  It's not terribly funny though when you think about the narrator of "Ain't It Your Birthday" showing up sometime later at his ex's house to wish her happy birthday.  Character studies are Fritz's forte, and on Dad Country, those lovable losers/weirdos are everywhere.

 8.  Deer Tick - Negativity

Deer Tick really did a 180 on this album.  From Divine Providence to Negativity, there is such a deep contrast, but the essence of what makes Deer Tick a great band serves as the glue; the songwriting.  McCauley and crew wrote some of Deer Tick's best songs for this album, an album darker and more somber than any of their previous.  When you listen from front-to-back, this album hits every note on the melancholy spectrum.  But, it doesn't necessarily make this album a downer.  It makes it an album perfect for reflection- whatever that reflection may be on.

 7. Sturgill Simpson - High Top Mountain

From the first note of this album, I was blown away.  His voice, his honky tonk band, and his stunning lyricism all seemed out of place for an album being released in the year 2013.  But, that's what makes Simpson's album so damn enjoyable.  It's a breath of fresh air to be able to find country music such as this still being made.  With a voice similar to Waylon, I think we'll see much more from Simpson.  Country music needs many more Sturgill Simpsons.  Maybe 2014 will bring more along.

 6. J Roddy Walston & the Business - Essential Tremors

I suppose 2013 was the year of growing up for bands, because on Walston's album, the band took a huge leap in terms of song material.  From dealing with his condition that causes him to shake (thus, Essential Tremors) to the father-to-son tale Boys Can Never Tell, there are songs that are more serious, yet keep the party going with The Business's rowdy backing.  My initial complaint with the album was that I hoped it would have more piano, but after multiple listens, there's not a damn thing I would add or take away from the album.  

 5. Futurebirds - Baba Yaga

Futurebirds continue to be one of the best bands out there with this album.  Taking their reverb-laden rock to new levels in sound, Futurebirds created their masterpiece.  Their numerous EPs and debut LP were great, no doubt, but this album takes that sound, adds years on the road, and finds the band at their peak.  As I have said before, this album is perfect for an afternoon on the back porch/patio/balcony during the summer.  It should also be stiflingly hot.  This is the kind of album we will be listening to for years to come.

 4. Diarrhea Planet - I'm Rich Beyond Your Wildest Dreams

Yeah yeah, the name... It's dumb.  Sure.  But, these boys from Nashville put out one damn fine rock and roll record.  If you can explain to me anything wrong with 4 guitars, I'd love to hear it.  An album rife with the perils of getting older and feeling isolated, the LP rocks harder and more accessibly than anything I can recall in the past few years.  It's also just a lot of fun.  It took me a while to get on board with this band, but once I got over the name, I have yet to be disappointed.  Great band, even better album. 

 3. Ha Ha Tonka - Lessons

I thought Ha Ha Tonka would not be able to top Death of a Decade, but I clearly thought wrong.  An album based on an NPR interview with Maurice Sendak sounded a bit over the top at first.  But, leave it to the guys in Ha Ha Tonka to tackle the subject and do so nearly perfect.  The album sifts through the taste of regret, forcing the listener to tackle regret in their own life, looking back through the days, months, or years.  As with other albums dealing with the subject on this list, it doesn't burden the listener.  It merely poses the question, and it's up to the listener to look back and take the past as it was, or dwell uncomfortably on those times we could have maybe done things differently.

 2. Jason Isbell - Southeastern

My god.  When I first heard that Jason Isbell was sober and had been hanging around Ryan Adams, I was a little worried.  Not because he was sober, mind you.  But, because Ryan Adams career had been somewhat frustrating to me once he reportedly got sober.  I don't blame it on the sobriety, one bit.  I doubt very strongly one writes better or worse on or off substance.  But, I still had doubt that the new, slower Isbell album would be something I would like.  I was wrong.  Dear god, I was so wrong.  This is the most stark and beautiful thing Jason Isbell has ever done.  The songs about sobriety (or, rather, grappling with sobriety) and his new love (the wonderful Amanda Shires) made for one of the best albums of the year.  I'm not sure how anyone can place this album lower than 2nd.  I had the hardest time saying whether this or my number 1 album were 1 or 2.  I changed the order many times.  This album is gorgeous.  It's intense.  And it's Jason Isbell's best damn album, which is saying a lot...

 1. John Moreland - In The Throes

I had never heard of John Moreland prior to this year and to be honest, I'm glad I hadn't. First hearing of this new-to-me artist and hearing his supposedly incredible album was one of the best things to have happened in 2013. The songs on this album are by and far the best songs I heard this year.  They are somber songs.  They are songs that are honest.  Sometimes painfully honest.  When you hear Moreland sing with his raspy, soothing voice, there is nothing but comfort in knowing that there is a person who knows your feeling.  Listening to these songs make one feel, immediately, comforted and slightly uncomfortable.  We are seeing into John Moreland's soul.  The very things he's frightened of, saddened by, and/or angered by.  And, we need that.  We need honesty in songs.  I'm glad I discovered John Moreland this year.  I'm glad he made this incredible album and put it out this year.  At the end of the day, this is, in my mind, the best album of the year.

Honorable Mentions:

Run The Jewels - Run The Jewels. Dawes - Stories Don't End. Earl Sweatshirt - Doris. Fifth on the Floor - Ashes & Angels. North Mississippi Allstars - World Boogie Is Coming.

----------------------------------

-Matthew Martin

Album Review: Black Joe Lewis - Electric Slave

By Matthew Martin

From the opening heavy, fuzzed-out riff of Electric Slave, we know that this is a new Black Joe Lewis.  Not only musically, but in name as well.  Black Joe Lewis has opted to drop the Honey Bears from the band name.  Not to worry, the horns are still there.  The funk is still prevalent.  But, this is something a bit heavier, a bit more Stooges than Stax.

One of the first things I noticed about this new outing by Black Joe Lewis is the more pissed off tone of the album versus his last two outings.  Not to say it hasn't been on other albums-Scandalous had the terrific "You Been Lyin."  It's just that this album takes that emotion and increases the tone to that proverbial 11 level.  The subject matter blends perfectly with the minor chords that dominate the album.  

"Skulldiggin" starts the album off with a bang and really never lets up.  By the time you get to the excellent "Come to My Party," it's clear that Black Joe Lewis wants to blend every style available to him.  I dare you to listen to that song and try to sit still.  I don't think it's possible.  

It's the next half of the album that really picks up and takes the album to another place.  The back-to-back songs "Vampire" and "Make Dat Money" are great band workouts.  Lewis's voice fits the songs so perfectly.  Rough and amplified, it's a vague reminder of The John Spencer Blues Explosion, albeit taking only rough notes from that playbook.  The next song, "The Hipster" is a song so perfectly angry and humorous- I can only imagine the Williamsburg crowd listening to the song very uncomfortably.

I don't know that I would say this is Black Joe Lewis's best album.  It's definitely not the worst.  This is a step in a direction that I think will suit Lewis in the long run.  The horns are still there.  The funky guitar rhythms are still there.  But, there is a new urgency.  There is a demeanor that the music has taken on....a more sinister demeanor?  I'm not sure if that's the best way to describe it.  I'm not sure I know how to put it in words.  I think you should listen to it.  You will like it.  That is something I am quite sure of.

If I had to complain about a couple things on the album, it would be the vocals mix and "Young Girls."  While I enjoy the sound most of the time, there are times where it gets a bit difficult to discern the vocals due to being lost amid the guitars, drums, and horns.  It's only a minor complaint, though.  Also, "Young Girls" starts off fairly weakly.  I nearly skipped it.  I didn't, and I was glad I didn't.  The song grows into it's own, but it's the weakest song on an otherwise incredibly strong album.

This album will grow on me.  I like it a lot so far.  I see it potentially being on my year-end list with more listens.  This is a blues album for the times.  No doubt about that.  It's been a frustrating year and some angry, fun, funky blues is just what we needed.

----

Pick the album up here, here, or here.

Live Review: Dawes and Shovels & Rope

Dawes and Shovels & Rope at 9:30 Club 6/19/2013

by Matthew Martin

Around the time I heard Dawes was coming to D.C. again, a pretty big and gut-wrenching change occurred in my life. Don’t worry, I won’t bore you with the details, but it was enough to throw me off track for quite some time. So, I forgot about the Dawes show and rode a couple months of less than great luck. Before I knew it, the Dawes show sold out. Needless to say, I was pretty bummed.  

But then, on a whim, I decided to enter the contest Dawes had listed on their website/twitter which was simple- enter your name and email address and you could win a meet & greet, a signed set list, and 2 tickets to the show of your choice. And, I won. My luck is changing!

As seems to be the case with a lot of shows I have written about here, Shovels & Rope opened the night with their increasingly popular and well-oiled brand of Americana. There isn't a whole lot more I can say about Shovels & Rope that I haven’t said before. Cary Ann Hearst and Michael Trent traded instruments, per usual. Hearst was her charismatic self and the crowd was eating out of the palm of their hands by the time they ended with the biographical “Birmingham.” Really, their live show is something to behold. As great as their albums are, they just can’t do Shovels & Rope justice.  

Dawes has recently released a stellar third album- Stories Don’t End- and I was very excited to hear many of the songs from the album that had already become among my favorite Dawes recordings.

The show started with the first single off of the new album, “From a Window Seat.” One of the first things you notice at a Dawes show is that the reserved nature of the band on their albums really gives way to intense performances by Taylor Goldsmith. It’s one of my favorite things about seeing Dawes. If someone says Dawes is a bit softer for their taste, I always encourage them to see Dawes live.  

The band ripped through songs from all 3 of the albums with songs like “Peace In the Valley,” “Million Dollar Bill,” “From the Right Angle,” and more. Where pure elation really occurs at a Dawes show is when they play, what is likely, their most famous song- “When My Time Comes.” There is truly something cathartic about screaming/singing along with 1200+ other concertgoers to the chorus.  

Taylor Goldsmith owns the crowd as a singing, guitar slinging frontman. He saunters from each side of the stage to the next.  He demands attention from everyone in the crowd. And on this sold out night at the 9:30 Club, attention was all his. That’s not to take away anything from the rest of the band.  It is extremely apparent that this is a band that has spent years on the road, fine-tuning every nook and cranny of every song. It’s simply that Taylor Goldsmith is the frontman, and he wears that badge proudly and confidently.  

The show ended, apparently, on “A Little Bit of Everything” which is a truly great song to end a show on. The song may have some of the best lines Goldsmith has written. I could have ended the night right then. But, as we all know now, the end is never really the end.  So Dawes came out for two more songs, inviting Shovels & Rope up to end the evening with Traveling Wilburys song “End of the Line.” It was a great night ending with two bands I really enjoy singing a song by a band everyone loves, or at least should love.

As I always say, what I say pales in comparison to seeing the band for yourself. If you aren’t a fan of the albums, that’s fine. Go see them. Discover what they are all about. I think you will be very impressed by the show you see.