What I'm Listening To: Fall 2011

Looking for some new tunes on those road trips to nowhere this fall? Look no further. Here's my latest installment of Scampwalker-approved music.

The Damn Quails - Down The Hatch
I've been muttering this band's name longer than the band itself has existed, and I'll admit that it's their moniker that originally caught my eye. Fronted by the singer/songwriter duo of Gabriel Marshall and Byron White, The Damn Quails prove once again that Oklahoma is an epicenter of more than just earthquakes -- some of the genre's best music emanates from the Red Dirt State. Their debut album combines beautiful harmonies, rootsy melodies, and smart lyrics. In an era where record producers can either make or break a young band, it seems that Quails co-producer Mike McClure can do no wrong in turning out honest americana music, and help from Joe Hardy (ZZ Top, Steve Earle, and the Replacements) can't hurt either. Sadly, I have no idea if these cats are bird hunters.  Nevertheless, here's hoping The Damn Quails' covey rise continues.

Stoney LaRue - Velvet
If you're a longtime Stoney frat boy fan looking for songs that are a natural follow-up to "Oklahoma Breakdown," you're probably going to be disappointed. There aren't a lot of boot-stomping tunes on Velvet, LaRue's first studio album in six years, but that doesn't mean it isn't brilliant in its own right. Velvet is a compilation of warm, mystical, and gentle rhythms blended with what are easily LaRue's deepest, most thoughtful lyrics to date. I find myself queing up this album on a cool fall night with a fire in the hearth and a whiskey glass close by.

Jason Boland & The Stragglers - Rancho Alto
Yet another Oklahoman to make the list, Jason Boland is an unapologetic, hopelessly romantic country music purist. Since his Pearl Snaps debut in 2009, he's put out a string of reliable honky-tonk country, and Rancho Alto is no different. Adorned with wailing pedal steel and fiddle, it's chock full of songs about hard drinking, hard times, and hard luck. There's nothing particularly new or ground-breaking on the album, but maybe that's the point. In a world where "modern country" implies white country boy rappers and poseur cowboys that wear more eyeliner than my wife, a tall shot of Boland is just the ticket. And if you've never seen these boys live, drop everything and report to your nearest honky-tonk.

Reckless Kelly - Good Luck And True Love
Although it's probably coincidence, Good Luck and True Love is an apt name for RK's 9th album. For one, they've pretty much severed all ties with conventional record companies -- Good Luck! -- and they've doubled-down on their committment to producing and promoting their unique sound on their own -- and if that ain't True Love for their craft, then I don't know what is. The album is vintage RK, full of catchy hooks, solid harmonies, and skilled playing. While mostly mid-tempo tunes that are more country than rock, the crunchier RK makes an appearance on "She Likes Money, He Likes Love." And once again, Willy Braun proves that no one can write a road song like him, with "Hit The Ground Runnin'" closing out the album. It's a collection of songs that will easily work its way into your head.

Robert Earl Keen - Ready For Confetti
I want to love this album, I really do. And while it contains some enjoyable tracks, Ready for Confetti is not ready for prime time. The title track is as corny as it sounds, with a calypso-infused beat that comes across as inanely ersatz, as does the Buffett-like aping of "Waves on the Ocean." "The Road Goes On and On," a purported response to Toby Keith's ripping off of a Keen classic, feels petty and juvenile. And in "Top Down," Robert Earl sounds like a woozy, bleating, injured goat. Admittedly, Mr. Keen has never had a soothing voice, but his stories normally more than make up for his sonic deficiencies. Don't get me wrong, there are some great tracks on this album. "I Gotta Go" ranks among one of the finer tunes of his deep catalog, and his cover of Todd Snider's "Play a Train Song" sounds like it was written for him. Even so, I find myself skipping through the majority of tracks on this one. Here's hoping Robert Earl just hit a pothole in the road that hopefully extends long into the future.

Summer Reading: Steve Earle's I'll Never Get Out of This World Alive

I don't read a lot of books in my spare time.  Whereas my wife can devour a full length novel in a matter of hours, it generally takes something pretty compelling to draw me in and hold my interest (perhaps that's a refined way of saying I have a short attention span).

Either way, that wasn't an issue with I'll Never Get Out of This World Alive, the first full-length novel by hardcore troubadour Steve Earle.  Clocking in at 256 pages, it's not an intimidating tome, but you'll find yourself wishing it was a lot longer as you delve into it.

It's a quirky story that takes place in 1963 on the seamy side of San Antonio.  The story's protagonist is Doc Ebersole, a morphine-addled doctor that supports his habit by performing flophouse abortions.  He's haunted by the ghost of Hank Williams, aided by a young illegal Mexican immigrant with strange powers, and pursued by a priest that may not always be doing the Lord's work.  Still with me?

It does require a certain suspension of disbelief by the reader, but it's pretty easy to get sucked in by Earle's writing and storytelling.  And it's almost physically painful to read his description of Doc's self-destructive addiction -- demons that Earle fought firsthand for a number of years.

The novel -- along with his new album of the same title -- mark a strong resurgence of this talented artist.  I had grown tired of his leftist screeds and these efforts are a welcome departure.  Both were composed during a time in which the 56-year-old Earle lost his father, and it shows.  Throughout the novel and the album, he thoughtfully grapples with death, yet both writing and recording are ultimately about redemption.

The book feels like it probably should have gone on a little longer -- the end seems a bit forced -- but it's a fun read nonetheless.  "Wrestling a novel to the ground was about 100 times harder than I expected," Earle told the L.A. Times. "In the middle of it, I swore I'd never do it again. But now that it's done, I've got another idea."

We're waiting, Mr. Earle.

What I'm Listening To: Spring 2011

It's been awhile since my last sonic update. Here are a few new (and new to me) tunes that are wearing out my MP3 player.

Jason Isbell - Here We Rest
The former Drive-By Trucker's third solo effort is being hailed from all corners, and for good reason. It's a damn fine album. To me, it feels distinctly more mellow than his last two, but that's not entirely a bad thing. His songwriting has become has become even sharper, and his smoky, bourbon-on-the-rocks voice is in top form. Styles range from the straight-ahead rocker "Go It Alone" to the almost folky "Codeine" to the Department of Tourism-ready "Alabama Pines." Most songs are about loss and longing, but unless you listen closely to the lyrics, the melodies are generally sunny. It's another album that was born in Muscle Shoals, Alabama -- a place that's deservedly enjoying a nice resurgence in attention these days.

Turnpike Troubadours - Diamonds & Gasoline

This one came out late last summer, and it sort of fell off my radar until just recently. My loss. These guys are going to be the Next Big Thing to come out of Oklahoma -- if they aren't already. Literate and geographically astute lyrics are decorated with really great melodies and can't-get-it-out-of-your-head hooks. This is country music for people who say they're too smart for country music, and rock and roll for for those who think they've outgrown it. It probably didn't hurt that the record was produced by Mike McClure, a veteran of the Red Dirt music scene.  I had the chance to see them recently, and they're every bit as good on stage as they are on Memorex.

North Mississippi Allstars - Keys to the Kingdom

I became a fan of the Allstars back during their Shake Hands With Shorty debut and 51 Phantom follow-up, but they kind of fell off my radar as they jumped on the jam-band bandwagon. Today, brothers Luther and Cody Dickinson and Chris Chew are back in a big way with Keys To the Kingdom. Last year, the Dickinson boys lost their father Jim, a legendary Memphis session man, and his departure deeply influenced their latest release. Tinged heavily with southern gospel, soul, and blues, Keys to the Kingdom veers between mourning their father's death and celebrating his life. "Hear the Hills" is a poigniant tearjerker, while the irreverent "Jumpercable Blues" contains the awesome refrain of, "hey hey, well well, all y'all can go straight to hell... you have seen the last of me, pissin' in your wishing well." They even do a brilliant and uniquely original cover of Dylan's "Stuck Inside of Mobile with the Memphis Blues Again."

Eleven Hundred Springs - Eight the Hard Way
The long haired, tattooed hippie freaks from Dallas turn out another solid record full of "Hardcore Honkytonk." The album track by the same name is a dig at present-day Nashville, and "We're From Texas" is their obligatory salute to the Lone Star State. Nothing here is terribly original, but I think that's maybe the point. Over 13 years and 11 albums, these guys simply turn out great, timeless country tunes.

Band of Heathens - Top Hat Crown and the Clapmaster's Son
About the only thing that sucks about this album is its unwieldy and weird title. BOH started as sort of an Austin "supergroup" of individual talent from the likes of Ed Jurdi, Gordy Quist, Colin Brooks, and Brian Keane. Their first couple discs sounded great, but you could definitely tell they hadn't entirely gelled as a band. Their newest one (whatever the hell it's called) is definitely more cohesive and tight, and they've expanded their sound by drawing elements from soul, gospel, funk, New Orleans style jazz, and good old rock and roll.

Black Joe Lewis And the Honeybears - Scandalous

What a fun album. I've worn out their debut full-length album, Tell 'Em What Your Name Is, thoroughly enjoying classic tunes like I'm Broke, Get Yo Shit, and Humpin'. They've followed it up with a blistering soul-funk-R&B opus that includes gems like "Booty City," "Black Snake," and "Mustang Ranch," in which Joe tells the story of visiting the renowned Texas whorehouse to get his "ham glazed." But beneath the outrageous, sweaty, slightly mysogenistic lyrics, there's some damn fine musicianship among the eight (or so) band members. This album is tighter and better crafted than the previous.  It's Otis Redding, James Brown, and Wilson Pickett sprinkled with a little Rick James. And it's a hell of a lot of fun.

What I'm Listening To: Winter 2011

Here's a list of the tunes getting heavy rotation on my MP3 player. If you don't already have them, I urge you to plunk down some coin and give them a listen -- and support live music while you're at it!

Doc Dailey & Magnolia Devil - Victims Enemies & Old Friends
You know how sometimes you hear a record and it just feels like the place where it was written? The sound, the feel, the people -- few artists ever achieve that, but Doc Dailey & Magnolia Devil have done just that on their debut album. And hell, I've never even been to Muscle Shoals, Alabama. Vitcims Enemies & Old Friends is terrific -- if I had to compare it to anything, it'd be Blue Mountain with a dash or two of classic Muscle Shoals soul. Whatever it is, you owe it to yourself to give this band a listen. I guarantee that you'll be back for more.

Old 97s - The Grand Theatre Volume One
The thing I appreciate most about the Old 97s is that even though every album they make is different from the last, each one is a gem. I can only imagine what a challenge it is to continually stay fresh and relevant, yet still remain true to your core sound -- particularly over the span of 18 years. Influences on their latest effort are all over the map -- channeling The Clash on the album's title track, mimicking Cash on "Born To Be In Battle," borrowing from The Kinks on "Every Night Is Friday Night (Without You)," and doing an obvious (yet unpredictable) rewrite of a Dylan classic on "Champaign Illinois." Rhett Miller's clever wordplay abounds throughout the album - like when he sings longingly about "living in a state of Texas" -- an almost-there sentiment that I can clearly understand. The only thing better than an Old 97s album is an Old 97s live show -- and I hope to experience another one of those in Lawrence tonight.

Javi Garcia & The Cold Cold Ground - A Southern Horror
This is a NSFW album. Heck, it's not safe to play around your wife, parents, kids, or really anyone else. It's full of pissed off, murderous songs, and thanks to profligate cussing, it'll probably never receive any airplay. But that doesn't mean A Southern Horror isn't worth a serious listen. Javi Garcia reminds me of Steve Earle before he got fat and overtly political -- or even Johnny Cash before he cleaned up his act. He writes desperate, ragged, rugged music about the reality of 2011 rural America. It's not always a pleasant trip, but Javi Garcia certainly makes it a profound one.

The Black Keys - Brothers
I am admittedly a latecomer to these guys.  I've given some of their previous efforts a listen or two, but they nevery really resonated with me.  Brothers is different.  It's got a swampy groove, not unlike Mofro -- perhaps because it was produced in Muscle Shoals (detecting a trend here?) by Tchad Blake.  The whole album is a fuzzy, bass-driven groove.  If I could dance, I'd choose this album to dance to (let's all be thankful I won't try).

Social Distortion - Hard Times and Nursery Rhymes
Ah, Social D. Good to have you back, fellas. If you like them, you'll like this. If you don't, you won't... no sense in me yammering on about it.

Road Music Roundup

It's been awhile since I've posted anything music-related, but here are some of my recommendations for those long road trips to your favorite fields and coverts.

Ryan Bingham & The Dead Horses - Junky Star

I was unsure of what to expect on Bingham's third album, this one produced by the legendary T-Bone Burnett. Bingham's first two efforts were gems -- raw, rootsy, and raspy. But since his anointment by Hollywood (for his Oscar-winning "Weary Kind" theme song from "Crazy Heart"), I feared he might be caught up in the glitzy trappings of the west coast.  Instead, it appears he used his relocation to the Golden State to his advantage. This disc is a reflective snapshot of our country at a time where it can't seem to figure out what (or where) it wants to be -- only that it doesn't want to be where it currently is. There are no rocking cuts like on previous CDs (think "Bread and Water" or "Hey Hey Hurray"), but it'll sound good on a cool evening sitting around a campfire with a glass of Ezra on ice.

Jamey Johnson - The Guitar Song

I can't quite figure out why this guy gets the modicum of mainstream country airplay that he does -- and that's intended as a compliment. He's definitely old school country, owing more to Waylon and Merle than Big and Rich. This album, like "That Lonesome Song" before it, has some funky instrumental noodling in between tracks that gives the voluminous album some continuity. There's not a lame track among them, but some standouts include "Can't Cash My Checks," "Mental Revenge," "I Remember You," and "That's How I Don't Love You." And he's confident enough in his own talents that he's not afraid to throw in a few classic covers by Vern Gosdin, Kris Kristofferson, and even MMM-Mel TTT-Tillis.

J.J. Grey and Mofro - Georgia Warhorse

This is swamp soul that begs to be played loud and sung along to. On "Warhorse," the Jacksonville, Florida-based Grey and his band show that they can channel some pretty classic Motown, too, with tracks like "The Sweetest Thing," "All," and "Beautiful World." And if you can't get laid to "Slow, Hot, and Sweaty," well then no amount of Levitra is going to help you either, pal.

Danny Barnes - Pizza Box

For me, a little banjo goes a long way. Don't get me wrong -- I don't mind it as an accompaniment, but it rarely does it for me as a main course. Maybe that's why I like this album so much. Danny Barnes is an accomplished banjo traditionalist, having played with the likes of Del McCoury and Bela Fleck, but also sits in with varied artists like Lyle Lovett, the Butthole Surfers, and Ministry. "Pizza Box" takes the banjo out of the nonconsensual sodomy arena of Deliverance and into completely new, modern territory. It's a really cool mix of rock, folk, bluegrass, country, hip-hop, and jazz. It's been out for nearly a year, but I'm just now discovering it.

Terry Allen - Lubbock (On Everything)
Ok, so this one's not even close to new, but this 1979 double album by Texas panhandle savant Terry Allen never ceases to amaze me. It's a (sort of) concept album that tells the story of cotton and guitar-picking farmers, tired waitresses, high school football players, art dilletantes, and Wolfman Jack. Ridiculous? You bet.  But somehow, Terry Allen pulls it off with aplomb.  This one's a "desert island album" for me, as it has been for nearly 20 years.

Alejandro Escovedo: Street Songs of Love

It would be hard to beat punk-rock survivor Alejandro Escovedo's 2008 effort, Real Animal.  And I'm not sure his new follow-up record, Street Songs of Love, quite does it.

But it's pretty damned close.  Whereas Real Animal was very autobiographical, Street Songs is, as the title suggests, a set of songs about love -- pure and not so pure -- that gets its beautiful depth and scruffy character from someone who's seen the best and worst of life.

This time around, Escovedo is bringing a couple of friends with him.  The Boss himself shows up on the rocker "Faith." That's something of a role reversal, since it was Escovedo playing "Always A Friend" onstage with Springsteen and the E Street Band a couple years back.

Ian Hunter also lends his inimitable voice on the sad but masterfully produced "Down In The Bowery."  That production work is again handled by Chuck Prophet, who uses a female chorus to sprinkle a liberal dose of fun, retro oohs and yeaahs throughout the album.

Other standout tracks include the rocker "Anchor," and "Street Songs," the cool rapping title track.  Whether you're a longtime Escovedo fan or just looking to get your feed wet, Street Songs is easy to love.

What I'm Listening To: Spring 2010

Here's a quick recap of some of the tunes in heavy rotation at Casa Scampwalker, in no particular order.  Please give them a listen, and support the artists if their songs move you.  And better yet, go out and get you some live music!

Jason Boland And The Stragglers - High In The Rockies.  Just a great, straightforward live country CD.  It's a bit suspect that they released aptly-named disc on 4/20 and got busted for herb possession just a couple days prior, but these (other) boys from Oklahoma know how to work a crowd through a damn fun live set.

Hold Steady - Heaven Is Whenever.  These guys are the 21st century reincarnation of Husker Du.  Minneapolis genes, brilliant and complicated lyrical storytelling, and the amalgamated snarl of Bob Mould and Grant Hart -- (sorta) grown up, (kinda) grasping spirituality, and (a little) less pissed off than they used to be.  Just like me!

Backyard Tire Fire - Good To Be.  These cats oughta be bigger than they are.  I discovered them a few years ago on emusic, during their (sorta) breakout album Bar Room Semantics.  On this effort, they rip it on the first couple of tracks -- it frankly sounds different than the rest of the disc.  The rest slips into a Chuck Prophet/Wilco on Zoloft springtime groove.  Which is just about perfect, because it's, um, spring.

Willie Nelson - Country Music.  It's a bit ironic that the Father, Son, and Holy Spirit of country music has to label his latest disc as he does, but with all the crazy shit that Willie's involved in, you can kind of sympathize.  They're old country standards, done in an old-timey manner.  Not brilliant, but classic, wholesome Willie.  I've been whistling Drinking Champagne for four days now.

Rolling Stones - Exile On Main Street.  I never said these had to be new offerings, did I?  The. Best. Stones. Album. Ever.  In fact, this effort by Mick & Co. is as good as rock and roll gets.  And it's being re-released, with an undoubted bunch of filler and fluff, on May 18.  This is a must-have for self-respecting music fan.

Jon Dee Graham: Beautifully Broken -- But Not A Muppet

I've finally come to the realization that Jon Dee Graham, one of the patron saints of the Austin, Texas music scene, is NOT a creation of Jim Henson.

Before just a few days ago, I must confess that while I wanted to like him, I never gave him much of a listen.  Jon Dee Graham's voice can best be compared to Tom Waits, an admittedly unoriginal and trite comparison.  But to me, I could never entirely banish the thought of Cookie Monster, clutching a macaroon, crooning his tunes.

That was my loss.  His January 2010 effort -- which I foolishly overlooked -- is filled with songs that make me say, "damn, I've been there."  And you have too.  The opening track -- the deceptively titled "Beautifully Broken," lays it on the line in a hurry:

struggle is just struggle

it's only struggle, nothing more

no pride no shame no dignity

in being sad and poor...

at least thats how I recall

not beautifully broken,

we're just broken that's all

From there, the album caroms through pretty much every thought that I have on any given day... even capturing some spot-on spirituality in two of the finest sorta-alt-country gospel songs I've heard in a long time ("Best" and "God's Gonna Give You What You Need").

It's no wonder that JDG was voted Musician of the Year at the annual SXSW back in '06 (which is happening now).  Goog the dude if you want to know his pedigree -- all I'm saying is it'd do your body and soul some good if you picked up a copy of his new effort.

As for his voice?  You'll get used to it. Trust me.

Reckless Kelly - Somewhere In Time

Be sure to take a listen to Reckless Kelly's new effort, Somewhere In Time, which hit the streets yesterday.  It's a "tribute album" to Pinto Bennett, one of RK's role models growing up.  It's definitely more straightforward country music than some of their more recent work, but definitely not in the Top Forty Shorty country way (and that is indeed a good thing).  They describe it as a collection of "hardcore cowboy songs," and that's about as accurate a description as I've heard.  So wherever your musical tastes fall -- either twang or crunch -- check these dudes out.

A few buddies and I, including Jon from Four Seasons of Bird Hunting, got a chance to check them out last Friday night in scenic Pittsburg, Kansas and they did not disappoint (though I was a bit surprised they didn't play more stuff from Somewhere).  I'll be excited to see how they adapt these tunes to their live set.  Once again, I was struck by the diverse audience these guys attract -- college fratboys, sorority chicks, cowboys, rednecks, rockers, and families.  It's good to know there are still a few people out there that know good music when they hear it.

Concert Odyssey Day Four: Reckless Kelly at the House of Blues

Well, I guess I'd better tie up loose ends before jumping into the new year...

Thanks to a massive New Year's Day hangover, subsequent head cold, holiday travel, work travel, and general winter malaise, you've probably noticed that I've been away for a bit. Rest assured, I'm back in business, and I need to close the book on 2009 and Day Four of our holiday festivities.

Mrs. Scampwalker and I had the treat of seeing the Reckless Kelly boys ring in the new year at Dallas' House of Blues. For those of you who haven't had the chance to see one of their live shows (or God forbid, even listen to one of their records) then you're really missing out.

I'll refrain from going into a long bio (if you want a decent one, go here), but suffice it to say these boys have been together (in one iteration or another) since the latter half of the 1990s and have turned out seven (soon to be eight) progressively better sounding albums. I've had the pleasure of knowing them for the last six or eight years, and I can honestly say they're not only great musicians and songwriters with a killer stage presence, but they're also princes among men (sorry if that hurts your image, boys). And no one works harder at their craft, either.

The New Year's Eve show was vintage RK. They played in a venue larger than I'm used to, and while hearing them on NYE was a great way to ring in the new decade, it was to be expected that certain elements in the audience treated them more as background music to their own private celebrations. No matter -- I was celebrating in Texas, next to my lovely wife, seeing the band I enjoy like none other. It was a fitting way to round out our four shows in four nights odyssey, and one hell of a way to say goodbye to 2009.

Look for Reckless Kelly's new album, Somewhere In Time, available on February 9th. It's a tribute to/interpretation of the career of Pinto Bennett and the Famous Motel Cowboys -- a hardcore honky-tonker if there ever was one. Willy and Cody Braun, RK frontmen, grew up around Bennett, and they often cite him as one of their first influences. You can hear some clips from the new album on the Reckless Kelly website, and after hearing a couple played live on 12-31, I'm giddy with excitement. (B&W photo credit goes to RK)

Concert Odyssey Day Three: Slobberbone at the Granada Theater

The first time I saw Slobberbone was on a lark.  On the way back from my quail lease outside Seymour, Texas, I stopped at Dan's Silverleaf in Denton.  It was on the way home (sorta) and I was thirsty, and had always heard stories about the place.  I figured no one would care that I was still wearing my brush britches and bird hunting shirt.

A beer or two later, Slobberbone hit the stage, and tore into a frantic version of Placemat Blues.  It whipped the crowd (including me) into a frenzy, so I moved up closer to the stage.  A couple songs later, they stopped for the obligatory banter with the audience.  Lead singer Brent Best looked me up and down, and asked, "what the hell are you wearing, assless chaps?"

I left that show early.

Last night, I had the chance to see the 'Bone again, reunited after an amicable breakup.  Word has it that they'll cut a new album in the coming months, and from what I heard, this alt-country darling is still relevant.  They blew through all of their standards, and they sounded every bit as good as they did back at Dan's, albeit a bit more grown up.

It was a fun show -- a damn fine throwback.  Even so, I was exhausted after three late nights, and wanted to save some juice for New Year's Eve.  So I left early -- and I wasn't even wearing assless chaps.

Concert Odyssey Day Two: Joe Ely at the Granada Theater

The lights dimmed, the curtain came up, and there he was, smiling from ear to ear.  "Hello, folks.  I'm Joe Ely.  We're really excited to be playing for you tonight."  It was a bit odd, I thought, since we were the ones who should be happy to see the man.

But then they started playing, and for the next two-plus hours, I understood why he was so excited.

Accompanying Ely on stage were guitar virtuoso David Grissom, rhythm section Davis McLarty and Jimmy Pettit, and legendary saxophonist Bobby Keys.  Don't know Bobby Keys?  Yes you do.  If you've ever listened to the Rolling Stones' Brown Sugar, then you know his stock and trade well.  Keys is a man who's sat in with virtually everyone in rock and roll, and on this night, we were fortunate to be along for the ride.

Keys and Grissom traded chops on classics like Cool Rockin' Loretta, Lord of the Highway, The Road Goes on Forever, All Just To Get To You, Oh Boy, Not Fade Away, and Dallas (of course).  But the show stealer was the band's gorgeous rendition of Letter to L.A., which was at once soothing and poignant.

Thankfully, the crowd of 50- and 60-somethings eventually got into the swing of it, politely swaying to the music, and even moving up to the front.  It seemed a bit of an older crowd to us, but then again, Joe Ely is no spring chicken, either (nor am I, alas).  But on this evening, this panhandle prince and his band played like testosterone-fueled 20-year-olds with nothing to prove.  They made it look easy -- effortless even.

That cheshire cat smile on Ely's face stayed there the entire night -- it was obvious the guy was enjoying himself.  And by the end of the evening, shit-eating grins had spread to everyone in the theater.  And I've still got mine today.

Concert Odyssey Day One: Old 97s at Sons of Hermann Hall

There are few things that I love more than live music, and there's no better place to see it than in Texas, where we're spending some time over the Christmas break.  As luck would have it, the stars really aligned, and I'm seeing four shows in as many days.

Last night brought the Old 97s at the storied Sons of Hermann Hall.  Dallas' native sons are in town for four nights, and we caught them on night two.  They were in classic form -- they still have the chops that they had when we last saw them, probably a dozen years ago.  We were a bit surprised that they didn't play more of their "hits," but I guess that when you play four nights, they're entitled to play whatever they damn well want to play.  The setlist wasn't without highlights -- including Murder or a Heart Attack, Nineteen, Time Bomb, and Big Brown Eyes.

It was a late but fun way to kick off the week.  Now I'm headed to Snuffer's for the hangover elixir that is a greasy cheeseburger and cheese fries.  More later.

The Obligatory Best Music of 2009 List

I grapple a lot with so-called "top ten lists."  For me, they're usually a self-indulgent snapshot of a moment in time, and I'm never entirely comfortable with judging artists of any stripe anyhow.  But what the hell -- everyone else is doing it, right?  Here's my top ten list of 2009 -- listed in no particular order.

Levon Helm - Electric Dirt

Plain and simple, Levon makes me happy.  You can't listen to this guy without wanting to shake it just a little bit.  Very few musicians have managed to remain as timely and as talented as this guy over the span of nearly half a century.  The guy's managed to score two Grammies, too (but don't hold that against him).

Band of Heathens - One Foot in the Ether
To me, these guys are the heir apparent to Levon Helm's old group, The Band.  They're an ensemble group of skilled musicians whose talented playing is matched only by their incisive songwriting.  I've yet to see these cats live, but they're at the top of my list.

Miranda Lambert - Revolution
Ok, let's get it out of the way upfront.  She's terribly hot and more than a little dangerous looking.  But if she's got the musical chops to back it up, then so much the better.  Despite getting her foot in the door through some insipid reality TV show, and in spite of living deep behind enemy lines in Na$hville, she puts out smart music.  And the girl isn't afraid to rock, either.  Her interpretation of John Prine's That's the Way that the World Goes 'Round stuns me every time I hear it.

Charlie Robison - Beautiful Day
This effort sticks with me, since writing about it some months back.  It feels deeply personal, yet almost anyone can relate to what he's communicating.  Beauty, forged through agony.

Patterson Hood - Murdering Oscar
The DBT frontman cut this album during the time that his daughter Ava was born, and to me, his songs showa lot of emotional maturity -- as well as frustration -- that fatherhood tends to invoke.  It's also the first album that he cuts a few tracks with his dad, including my personal favorite, I Understand Now, a nice admission that maybe dad's advice wasn't all bad.

The Bottle Rockets - Lean Forward
I've said it once and I'll say it again: the boys from Festus, Missouri don't get the credit that they're due.  You mean a consortium of 30 top alt-country/americana blogs doesn't even mention them on their best-of Bird List?  Shame on them!  To call them America's Best Bar Band is doing them a disservice.  These guys can do it all, and they show it once again on Lean Forward.

Ryan Bingham and the Dead Horses - Roadhouse Sun
Another disc that only gets better with time.  This kid has a bright, bright future.  Bingham's also really got me looking forward to watching "Crazy Heart" on the big screen -- for which he penned the theme song, The Weary Kind.  Could we be looking at a Kris Kristofferson starter kit here??

Uncle Lucius - Pick Your Head Up
I've only been listening to Uncle Lucius for a couple of weeks, but this Austin quartet feels like the heir apparent to the Black Crowes.  Straightforward rock, liberally seasoned with blues and soul.  Whiskey-stained vocals, a horns section, and moog organs... what's not to like?

Cross Canadian Ragweed - Happiness and All the Other Things
Seriously, am I the only one to put this on a list?  And what does that mean?  It either means it's not that great of an album, or that the alt-twang politburo has decided they're no longer a part of the club.  It's not their greatest effort by any stretch, but with songs like 51 Pieces, To Find My Love, and Pretty Lady, it's far from a clunker.

Todd Snider - The Excitement Plan
By his own admission, Snider sings that, "I'm broke as the Ten Commandments, and sometimes I'm harder to follow," and I'd have to agree.  The guy is brilliant, but sometimes, for some reason, I find him hard to listen to.  Maybe it's because there's complexity in nearly everything he writes.  This one is vintage Snider, with thoughtful, yet quirky lyrics.  Who else could pull off putting a song about uh, recycling ("Doll Face") on the same album as "America's Favorite Pastime," a song about the no-hitter pitched by Doc Ellis of the Pittsburgh Pirates in 1970 while he was on acid?

So that's my year in review.  And I'll be honest, it was a lot more difficult to put together a top ten list than I had anticipated. 

Artist to watch in 2010: Pinto Bennett.  That's because Reckless Kelly is working up a tribute to this famous Motel Cowboy.  It's not easy to find his stuff, but it's worth the effort.  I can't wait to see how RK interprets one of their godfathers.  It's going to be a great 2010, isn't it?