Archive for Jim Lauderdale

SXSW Day Two: America(na)’s Favorite Indie Record Label

Posted in SXSW with tags , , , , , , on March 15, 2013 by 30daysout
Richard Thompson 3

Richard Thompson played songs from his new album.

Gotta tell you – the weather’s great here in Austin, Texas. Thursday was a bright, sunny spring day that topped out at about 80 degrees. And it was too nice outside to stay cooped up at all the official events of South by Southwest (SXSW) so we played a little hooky.

We did our official bit by attending Dave Grohl’s keynote address but the sunshine streaming through the glass at the Austin Convention Center was just too alluring. So we split, and stumbled upon something really great.

It was an outdoor party by the New West Records label at Threadgills, a restaurant built on the site of the old Armadillo World Headquarters and run by some of the same people. New West showed off some old and new members of its artists’ roster.

Austin Lucas

Austin Lucas is the one with the guitar.

New West has been in business since 1997, when founder Cameron Strang signed Billy Joe Shaver, Delbert McClinton and the great Austin musician Stephen Bruton. In the years since its inception, New West has found a place in the hearts of lovers of roots music, as it has signed legends like Kris Kristofferson, Steve Earle, John Hiatt, the Old 97s, Ian Hunter, Dwight Yoakam and many more.

Strang has since left, and partner George Fontaine Sr. is now the label’s president. We didn’t catch up with Fontaine Sr., but we managed to corner George Fontaine Jr., who also works at New West and runs Normaltown Records, an affiliated label.

“We want to bring people quality music and quality artists,” said George Jr. “We had been known for signing more heritage artists, but in recent years we have signed some new artists and hopefully build them up to be the next generation of Steve Earles and John Hiatts.”

Some of those new names performed at the party. Austin Lucas showed off his folk/bluegrass lineage with some fine tales of sin and hellfire, and history and death. We got off to the steel guitar-and-twang of Daniel Romano, a Normaltown artist who has a Gram Parsons vibe and the straightest looking band this side of Merle Haggard’s Strangers.

John Hiatt greeted everyone with a short solo set, kicking off with “Thing Called Love,” which Bonnie Raitt turned into a thing called a hit back in 1989. He got around to a new tune from an album he’s working on, which he promised would be out around the beginning of next year.

New West has had great success with the “roots” artists but Fontaine Jr. said the label’s on the lookout for artists that will expand the range past a strictly Americana category. “We have really broad tastes. We have a number of different people that make up the A&R team and everyone likes different stuff,” he said. “What we’re doing now is seeking artists who write their own songs and have that unexplainable, intangible quality to them.”

John Hiatt

John Hiatt, relaxed and acoustic.

One of those artists is Ronnie Fauss, a Dallas-based singer. He was playing an in-store set at Houston’s Cactus Music that Fontaine Sr. attended. “I was doing a cover of a Slobberbone (a North Texas band who was on New West) song and (Fontaine) came up after the show and told me how much he liked it and how he signed them and worked as their A&R guy,” said Fauss. “We got to talking and hit it off immediately. A year later I signed and a year after that my record (I Am The Man You Know I’m Not) came out.”

Max Gomez is another new artist on New West. “Two years ago I went to SXSW on a whim and played a little dive called the Chuggin’ Monkey. I played my whole set to 20 people who were there and during my last song in walked a guy named Gary Briggs. About six months later we’re talking about making records and it’s a dream come true and I couldn’t be happier about how I got to make it,” said Gomez.

Steve Earle is the pattern, and his new album The Low Highway (out April 16) has Fontaine Jr. excited, as does the recent signing of Austin singer/songwriter Patty Griffin. Will New West also sign Griffin’s new husband and “driver” (guy named Robert Plant)? “Ah, that would be nice,” Fontaine said.

New West has a Plant associate – Buddy Miller, who co-produced and played on the ex-Zep’s last studio album Band of Joy. Miller, a great singer and songwriter and a shockingly good guitarist, is promoting the new album Buddy and Jim, a collaboration with veteran Nashville singer/songwriter Jim Lauderdale.

The Buddy and Jim band easily stole the show at the New West party, mixing some rousing originals with well-chosen covers including “Down South In New Orleans” (Johnnie and Jack) and the rockabilly stomper “The Wobble” (by Jimmy McCrackin). The originals rocked, too: “I Lost My Job of Loving You” and especially “Vampire Girl” featured some sizzling guitar from Miller.

Lauderdale Miller 1

Jim Lauderdale, left, and Buddy Miller.

More great guitar work came next, from one of the greatest guitarists ever. Richard Thompson, who many people feel could be second greatest British rock guitar player, played tunes from his new Electric. And electric they were – from the Celtic stomp of “Sally B” to the rocking “Good Things Happen To Bad People,” to the just great tunes “Salford Sunday” and “Stoney Ground.”

Austin is just the place for this all to happen for New West. The label has a very successful series, “Live in Austin TX,” which features performances from the venerable TV series “Austin City Limits.” Although the time for introducing new performances has run out, New West is reissuing some of the old performances on vinyl and as CD/DVD combo packs.

Easily the most successful release New West has issued is kind of odd: it’s only the second movie soundtrack offered by the label, and it doesn’t feature too many artists on New West. It’s the Crazy Heart soundtrack, issued in 2010 and sent into the stratosphere by the Oscar-winning song “The Weary Kind” by Ryan Bingham.

“When we agreed to put it out it had been shopped to every major label. No one even knew if the movie would see the light of day,” said George Fontaine Jr. “Then Fox Searchlight bought the movie and the offer came across Cameron Strang’s desk to do the soundtrack and he jumped on it.

“Buddy Miller was involved in some of the producing. The late Stephen Bruton, who was a friend of Cameron’s, was sort of the musical inspiration and wrote some songs himself and coached Jeff Bridges throughout the movie. So it sort of made sense that it came to us. An Oscar also helps.”

Check out our SXSW 2013 photos on our Flickr photo page

SXSW Interview: Jim Lauderdale

Posted in SXSW with tags , , , on March 11, 2013 by 30daysout
Jim Lauderdale and Buddy Miller. Photo by Michael Wilson.

Jim Lauderdale and Buddy Miller. (Photo by Michael Wilson)

Buddy Miller and Jim Lauderdale have known each other for more than 30 years, and they frequently hang out both on- and offstage. Separately and together, they create country music of the highest pedigree. So whenever they want to tear into a wailer or a weeper – which is fairly often – it’s always good for the listener.

You can find some of these on Buddy and Jim (New West Records), the album collaboration between these two wonderfully talented music pros, and even more when the Miller-Lauderdale show comes to a stage near you.

Miller is a killer guitarist who’s toured with Elvis Costello, Steve Earle and Linda Ronstadt, and a hot producer for artists like Emmylou Harris, Patty Griffin and Robert Plant. Lauderdale has written hit songs for George Strait, the Dixie Chicks, Vince Gill, Patty Loveless, George Jones and others.  Both together and separately, they have helped to lay the foundation for the Americana music movement and preserve everything that’s good about traditional country music.

Buddy and Jim are gearing up for a handful of shows at SXSW in Austin, both official showcases and unofficial side performances, the kind that tend to take place in parking lots and back yards.

“Those things (shows in parking lots) may be unassuming but often they’re the most memorable,” says Jim Lauderdale, who has played SXSW shows from the festival’s beginning. “I remember a few years ago I was there and kept hearing this great buzz about a new act – Norah Jones. And she was playing outside of a Starbucks!”

Lauderdale is stoked about his new collaboration with Buddy Miller and loves being out on the road with his 1353512832_21b8wghniih5longtime friend. “We’ve known each other for about 33 years and have been part of each others’ albums on and off for much of that time,” he says.

But when the time felt right for the two to do an official album collaboration, they charged full speed ahead. They wrote some songs and picked out some choice covers, then convened at Miller’s home studio to cut the entire endeavor in three days.

“Yeah, it’s kind of unheard-of to do it that way, but once we decided to do it and wrote some of the songs, everything else just kind of came together fairly seamlessly,” Lauderdale explains.

The album is rich in its variety: Johnnie and Jack’s “Down South In New Orleans” has a Cajun spice, the Mississippi Sheiks’ “Lonely One In This Town” is gutbucket country and Jimmy McCrackin’s “The Wobble” retains its rockabilly fireball scorch marks.

Even a reach like Joe Tex’s “I Want To Do Everything For You” works, with banjos replacing the soulful horns. Lauderdale reveals he and Miller didn’t have to bend that one too much, because it’s sort of in their DNA.

“Buddy and I have a certain thread in our tastes that includes soul, R&B, rock and other stuff – we love to sing and listen to all of that. Buddy has a rich background … as a young teenager he went to Woodstock and knew someone who worked at the Fillmore so he was able to record gigs by Led Zeppelin, the Grateful Dead … he’s totally unique with his background and abilities, which is probably why he turned out to be such a great producer.”

Lauderdale himself is no slouch in the crossover department – he has toured and recorded with Elvis Costello and Hot Tuna, as well as written songs with Robert Hunter, the Grateful Dead’s longtime lyricist. “I’ve been very fortunate to be able to work with Elvis, it was like a dream,” he says. “And Robert … when I was in high school I used to listen to (the Dead) so it’s hard to believe we got together. We have one album we’ve done (Carolina Moonrise, from 2012) and another one in the can, written with Robert and recorded with the North Mississippi All Stars, David Hood and Spooner Oldham.”

A few years ago Lauderdale met a young film student named Jeremy Dylan, who followed the singer around and filmed some shows and interviews. The result is a documentary, The King of Broken Hearts, which should be widely available soon.

“It’s been shown a few times, and I think he did a really good job,” Lauderdale says. “It’s hard for me to be objective because I’m watching myself but I think it came out really well.”

Review: “Burn Your Playhouse Down,” George Jones

Posted in Review with tags , , , , , on September 10, 2008 by 30daysout

Burn Your Playhouse Down is an album of duets with George Jones and a Rolodex of his musician buddies, some of whom are also country music singers.  For my money, George Jones is one of the greatest of all country singers even now, his 55th year in show business.  Burn Your Playhouse Down collects previously unreleased 12 collaborations with people like Mark Knopfler, Keith Richards, Leon Russell, Vince Gill and Shelby Lynne.  And it’s pretty good: at age 77, Jones favors the duet format because it takes some of the pressure off him carrying the song all by himself. 

The fact that they were unreleased is telling – these songs didn’t make it for reasons obvious upon listening.  Many were recorded in the late 1980s – early 90s and are either overproduced or just plain crappy.  Despite the lackluster material, Jones and his guest stars manage to wring vocal highlights out of a few tunes: both Richards and Jones could have been drunk when they cut the title song and it’s great fun and really the only one here that evokes Jones’ peak, boozing party days.  Revisiting “You’re Still On My Mind” (originally a 1960s Jones hit but most famously covered by the Byrds) with Marty Stuart is a good move; so is the uptempo “Tavern Choir” (although its tune is scarily similar to “The Gambler”) with Jim Lauderdale.  Mark Chestnutt and Shelby Lynne fare most poorly, maybe their dull duets should have remained unreleased.  The cuts of most interest are the closing track, “Lovin’ You Lovin’ Me,” a 1977 outtake with then-wife Tammy Wynette, and the 2007 “You And Me And Time,” sung with George and Tammy’s daughter Georgette Jones.  Take it or leave it – at its worst, Burn Your Playhouse Down still features the great George Jones.  In my book, that’s always a plus.

MP3: “You’re Still On My Mind” by George Jones and Marty Stuart

George Jones official website

UPDATE: On Friday, Sept. 12, George Jones will be 77 years old.  Check this out.