Ten Country Singer- Songwriters Everyone Should Know

Ireland’s long love affair with country music goes much, deeper than Garth Brooks gigs at Croke Park. Here are 10 country artists that everyone should hear.

Ernest Tubb's iconic record shop, 417 Broadway, Nashville, TN.

Ernest Tubb’s iconic record shop, 417 Broadway, Nashville, TN.

 

Originally published in the print edition of The Irish Post, 6th August 2014. Please click here to read the feature on IrishPost.co.uk. 

10. Guy Clark

Although 72 year- old Texan songwriter Guy Clark started his career late (Clark released 1975 debut album, OId No. 1 when he was almost 35 years of age), his influence on Nashville song-writing and what later became known as “progressive country” has been considerable. Old masters and young guns alike, from Johnny Cash to Kenny Chesney, have recorded Clark’s songs, of which ‘L.A. Freeway’ and ‘Desperadoes Waiting for a Train’ are the best known.

Clark’s reputation is that of a master songwriter, though he has also worked as a mentor for many young writers. Steve Earle benefitted greatly from Clark’s mentorship, gaining his first writing job in Nashville through Clark’s recommendation. Similarly, Guy and Susanna Clark’s home in Nashville was an open house to songwriters and performers who came of age, among them Kris Kristofferson, Steve Earle and Clark’s best friend, Townes Van Zandt.

9. Gillian Welch

Berklee School of Music graduates Gillian Welch and David Rawlings had a rough start in Nashville. Initially dismissed as “blow- ins” by purists, Gillian Welch- effectively the moniker of duo singer / guitarist Gillian Welch and guitarist / backing vocalist David Rawlings- were two middle- class graduates from New York and Rhode Island, respectively, eschewing the rough and ready delivery of their forebears and projecting an image that was more clean-cut and professional. Early reviews of Gillian Welch records accused the duo of “manufacturing emotion” and “writing folk songs about writing folk songs”.

Gillian Welch’s response? Time (The Revelator), their 2001 album, which is a beautiful collection of songs of hope and longing, ending with the majestic, 14 minute closer ‘I Dream A Highway’. Gillian Welch would capitalise on the strenght of Time (The Revelator) with their contributions to the T- Bone Burnett produced 2002 soundtrack to the Coen Brothers’ O Brother, Where Art Thou?, which claimed the 2002 Grammy for Album of the Year, as well as selling 8 million copies in the US, alone. In 2011, the duo released The Harrow & The Harvest, their first studio album of new music in 8 years. It’s their best yet.

 

8. Emmylou Harris

A veteran no less than peers such as Willie Nelson, Merle Haggard and Guy and Susanna Clark, Emmylou Harris has dueted with almost every major name in country and rock music over the decades, often bridging the genres together as Gram Parsons, her one- time partner, did as a solo artist and with The Flying Burrito Brothers.
Harris’ seemingly endless dueting, with everyone from Neil Young to Mark Knopfler, Dolly Parton to Conor Oberst, often overshadows a stellar solo career. Records such as 1975’s Elite Hotel and 1995’s Wrecking Ball boast of repertoire of covers that take in a variety of songs, from Hank Williams to The Beatles; from Gram Parsons to Jimi Hendrix, all performed with Harris’ stunning voice.

Harris’ rebirth as a composer in the 2000’s revealed all the skill and wisdom a singer- songwriter who had spent much of the previous decades covering and studying the work of other songwriters. Released in 2000, Red Dirt Girl features eleven songs either written / co- written by Harris and just one cover.

7. Merle Haggard

Merle Haggard really was at Johnny Cash’s 1958 show at San Quentin Prison. The then 21 year- old Haggard was serving time for the attempted robbery of a roadhouse in Bakersfield, California.

Haggard’s songs are full of sympathy and empathy for the outlaws, the down and outs, the drifters who revert to a life of crime as they see no other alternative. Songs such as ‘I’m A Lonesome Fugitive’, ‘The Legend of Bonnie and Clyde’, ‘Branded Man’ and ‘Mama Tried’, all number one hits, cemented Haggard’s reputation as the one- time con done good.

Haggard’s gifts lay in his ability to walk a mile in someone else’s shoes and construct a convincing back-story to the characters who populate his songs . One of the most chilling songs ever recorded, ‘Sing Me Back Home’ is sung from the point of view of a guitar playing prison inmate (Haggard, perhaps?) who is called upon to sing a final song prior to the execution of a condemned prisoner, at the death row inmate’s request on his way to the chamber.

6. Patsy Cline

Willie Nelson once famously said that “Ninety-nine percent of the world’s lovers are not with their first choice. That’s what makes the jukebox play.” Patsy Cline, who died tragically at the age of 30 in a plane crash, was blessed with a contralto voice that sang the songs that cemented Nelson’s claim, not least Nelson’s ‘Crazy’, which remains the song with which Cline is best known.

Others songs drenched in the Nashville Sound of which Cline was a loyal and brilliant exponent include ‘Strange’, ‘Walkin’ After Midnight’ and Harlan Howard’s ‘I Fall to Pieces’, all of which feature Cline’s unique and booming voice. Both inside and outside the recording studio, Patsy Cline, without question, both raised the bar for female vocalists in country music and kicked down some doors. Such was her popularity, Cline became the first woman in country music to headline billing ahead of her male counterparts on tour. Furthermore, Cline became the first woman in country music to play New York’s Carnegie Hall. Country music, as we know it, wouldn’t be the same without Patsy Cline.

5. Loretta Lynn

In a genre of music brimming with rough and ready men, Loretta Lynn remains one of country music’s most remarkable women, singing songs from a uniquely female perspective. To listeners, Lynn has personified the angry, bored housewife (‘Don’t Come A- Drinkin’ (With Lovin’ On Your Mind)’), sung about birth control (‘The Pill’), the stigma often attached to divorced women (‘Rated X’), the jealousy of wives (‘You Ain’t Woman Enough (To Take My Man)’) and from the perspective of a widow of a Vietnam veteran (‘Dear Uncle Sam’). A friend and contemporary of Patsy Cline, she wrote and recorded I Remember Patsy, a tribute album dedicated to her late friend.

Lynn’s stock rose considerably in 2004 when Jack White, then of The White Stripes produced Lynn’s Van Lear Rose. At 72, the album was one of Lynn’s biggest hits of her 45 year career, coming in at number 2 on Rolling Stone’s list of the best albums of 2004.

4. John Prine

No less an authority than Bob Dylan once claimed that “Prine’s stuff is pure Proustian existentialism. Midwestern mindtrips to the nth degree. And he writes beautiful songs.” Not for the first time, Dylan is bang on the money. In 1971, Illinois native Prine wrote and recorded his brilliant, self- titled debut album, which everyone from Dylan and Springsteen to Ryan Adams and Lucinda Williamseveryone from Dylan and Springsteen to Ryan Adams and Lucinda Williams has referenced as one of the finest singer- songwriter records of the last 50 years.

Prine’s ability to zoom in on the lives of seemingly ordinary American’s is every bit as sharp as that of Merle Haggard and Loretta Lynn: ‘Sam Stone’ tells the story a returned Vietnam veteran whose life has been ravaged by heroin abuse (“There’s a hole in Daddy’s arm where all the money goes/Jesus Christ died for nothin’, I suppose”), ‘Hello In There’ and ‘Angel From Montgomery’ chart the lives of Americans of an advanced age who feel older than they are, while ‘Far From Me’ is a bitter-sweet love song. Prine is that rarest of things: an American songwriter who reminds you of the greats and, yet, is unique.

3. Lucinda Williams

Routinely referred to by Rolling Stone as “America’s Greatest Songwriter”, Lucinda Williams is what can only be described as maverick. After recording 1979’s Ramblin’  and 1980’s Happy Woman Blues for legendary American roots label Smithsonian Folkways, Williams would spend the next eight years touring the States relentlessly, playing every bar, venue and café that she could to ply her trade.

In 1988, Rough Trade issued Williams’ self- titled major label début, which would spawn hits such as ‘Passionate Kisses’, ‘I Just Wanted to See You So Bad’ and ‘Changed The Locks’.

Remarkably, Williams’ breakthrough record and her stone- cold classic album would not arrive until 1998. Williams’ magnum opus remains Car Wheels On A Gravel Road, a twelve track country album steeped in the influences that first established Williams as an artist of note: the influences of Robert Johnson, The Rolling Stones, The Byrds,  The Band, Tom Petty, Bob Dylan, Loretta Lynn can all be traced on Car Wheels On A Gravel Road.

Songs such as ‘Right in Time’, ‘Car Wheels on a Gravel Road’, ‘Drunken Angel’, ‘2 Kool 2 Be 4-gotten’ and ‘Greenville’ all chart the loneliness and desperation faced by characters who fight against struggle on a daily basis.

More recent efforts such as 2007’s West, 2008’s Little Honey and 2011’s Blessed haven’t quite hit the heights of Car Wheels on a Gravel Road, though Williams remains a major talent: someone whose work is drenched in the blues and folk that inspired Bob Dylan’s generation and, yet, someone who herself is hugely influenced by Dylan and The Band.

2. Townes Van Zandt

Steve Earle once boldly claimed that “Townes Van Zandt is the best songwriter in the whole world and I’ll stand on Bob Dylan‘s coffee table in my cowboy boots and say that.” Dylan, himself, seems to have found clout in the claim and went as far as covering Van Zandt’s ‘Pancho and Lefty’ on tour, which was a hit for many artists including Emmylou Harris, as well as Willie Nelson and Merle Haggard, who recorded a duet of the song in 1982.

Van Zandt wrote country songs that were directly influenced and focused by the folk and blues that he played as a kid. Two of the strongest influences on Van Zandt’s writing were The Times The Are A- Changin’ era Bob Dylan as well as country blues guitarist Lightnin’ Hopkins.

Van Zandt’s songs often reflected his troubled life, which was spent living with addictions to alcohol and heroin as well as having lived with the trauma of surviving electro convulsive shock therapy, which erased memories from his childhood. Songs such as ‘Nothin’’, ‘Waiting Around to Die’ and ‘Pancho and Lefty’ chronicled the lives of drifters who, like the characters in the songs of Merle Haggard, lived worn- out lives.

Though Van Zandt passed on New Year’s Day in 1997, his popularity has increased in recent years with many songwriters such as Norah Jones, Ryan Adams, Conor Oberst, Lucinda Williams and Ray LaMontagne all crediting Van Zandt’s influence. In 2009, Steve Earle, Van Zandt’s one- time protegee, friend and publicist, recorded Townes, a 15- track covers album of Van Zandt’s best known songs, in which he pays tribute to his former mentor. A master.

1. Hank Williams

The country singer dubbed The Hillbilly Shakespeare, Hank Williams remains the single most formidable presence in country music: an artist whose slim body of work is enough to ensure both his greatness as well as no small degree of myth and mystery.

Williams’ songs, ranging from spiritual discovery (‘I Saw The Light’) to vivid depictions of heartbreak (‘I Can’t Help It (If I’m Still in Love With You), ‘Your Cheatin’ Heart) struck a chord with those who tuned into WSFA radio and watched Williams’ televised performances on the Grand Ole Opry.

More so, however, Williams remains the single most namechecked influence on American songwriters: there is no songwriter in this list who, either directly or indirectly, hasn’t felt the influence of Hank WIlliams. As recently as 2011, Sony issued The Lost Notebooks of Hank Williams, a project overseen by Bob Dylan, in which Dylan, Lucinda William, Jack White, Gillian Welch, Norah Jones, Merle Haggard and Sheryl Crow all put music to unfinished lyrics that were found in the backseat of the Cadillac when Hank Williams died on New Year’s Day, 1953, while being driven to a show in Ohio.

Williams’ brilliance as a singer- songwriter, threatened at times by alcoholism, severe back pains and marriage problems, was effortless. One day, after having been fired from the Grand Ole Opry for being unreliable and intoxicated while on stage, Williams wrote ‘I Can’t Help It (If I’m Still in Love With You)’, at the Acuff- Rose building in Nashville, while Fred Rose walked out to get a cup of coffee. When Rose returned, Williams played the song to a stunned Rose. Williams, it seems, has had that effect on all of us.

Live Review: Jack White, live and in person, at Eventim Apollo, Hammersmith, London, Thursday 3rd July, 2014

One of only a handful of indoor dates on the current stretch of his tour in support of second solo LP proper Lazaretto, Jack White’s seamless blend of folk, blues, country, hip- hop and old- school rock n’ roll reveals an artist who combines a wealth of experience with youthful hunger and enthusiasm, writes Philip Cummins

Jack White attacking his Fender Telecaster. Photo: David Swanson. Source: Jackwhiteiii.com

Jack White attacking his Fender Telecaster. Photo: David Swanson. Source: Jackwhiteiii.com


Originally published by Entertainment Ireland. To read the original, please click here.

SPEAKING to BBC Radio One’s Zane Lowe during a live session prior to tonight’s sold out show in Hammersmith’s Eventim Apollo, Nashville based Detroit native Jack White vented his frustration of playing his sets at festivals and outdoor venues, particularly in light of his recent performance at Glastonbury’s Pyramid Stage, which received mixed reactions from critics and fans alike: “I guess I’m trying to put on a club show for 100 people in front of 100,000 people”,  conceded 39 year- old White.

Previously, White has described festivals as “a necessary evil”. In an interview with BBC news during September 2012, White claimed “I don’t get excited about festivals – they’re not my favourite place to play…everyone’s drinking and lazing in the sun and walking around and that’s a fun thing for them but it’s not interesting for me.”

Tonight’s show, then, finds White in his natural habitat; an indoor venue packed with a capacity crowd of 8,500 dedicated fans who snapped up tickets within minutes of the show going on general sale, the show selling out almost immediately.

Jack White jamming with his band of seasoned players. Image: Dan Swanson. Source:

Jack White jamming with his band of seasoned players. Image: Dan Swanson. Source: jackwhiteiii.com

Tearing into ‘Sixteen Saltines’ from 2012’s excellent Blunderbuss, White’s band of seasoned players perform comfortably at their own rhythm, mixing up the tempo of the song and improvising naturally and with little labour. White Stripes fan favorites ‘Astro’, ‘Dead Leaves and the Dirty Ground’ and ‘Hotel Yorba’ follow, the latter of which is given a “Nashville” treatment with added fiddle and pedal steel, gaining more character and depth with additional musical arrangements.

Similarly, tonight’s version of ‘Top Yourself’, a White tune from The Raconteurs’ Consolers of the Lonely, gains more intensity and more complexity. It’s the effortless blend of bluegrass arrangements with White’s ferocious guitar tones that make a fine example of White’s negotiation of the Americana roots music of Nashville and the garage rock of his native Detroit. The same is true of ‘You Don’t Know What Love Is (You Just Do As Your Told)’ from 2007 White Stripes record Icky Thump, the title track of which also blends beautifully with the title track of recent second solo album proper Lazaretto.

Throughout tonight’s set, it becomes more and more apparent that styles win out: the rap- rock of ‘Lazaretto’; the frenetic blues of ‘Ball and the Biscuit’ (recorded at London’s Toe Rag studios during sessions for 2002 classic Elephant); the Nirvana- inspired ‘Steady, As She Goes’; the Let it Bleed– era Rolling Stones- inspired ‘Just One Drink’; the funk- blues of Lazaretto opener ‘Three Women’, based on Blind Willie McTell’s ‘Three Women Blues’.

Jack White holding his beloved 1950′s Kay Hollowbody Archtop guitar during a break in set closer 'Seven Nation Army'

Jack White holding his beloved 1950′s Kay Hollowbody Archtop guitar during a break in set closer ‘Seven Nation Army’. Image: Dan Swanson. Source: jackwhiteiii.com

While ‘Seven Nation Army’, arguably White’s best known track, is becoming old hat as a set – closer, it’s the sheer breadth of White’s musical references and, most importantly, his interpretation of those references that marks him out as a true original.

Tonight, as with last night’s secret, medical- themed show in a basement just off London’s Strand,  after which White theatrically collapsed on stage and later wheeled off stage on a stretcher, it’s clear that White is occupying the same ground as Tom Waits did in the 1980s; an uncompromising artist and performer, gloriously and blissfully out of step with modern tastes and trends and a showman  who makes his peers look like wallflowers. We’re lucky to have him.

Jack White and his band bid the audience good night after a triumphant show at London's Hammersmith Apollo.

Jack White and his band bid the audience good night after a triumphant show at London’s Hammersmith Apollo.  Image: Dan Swanson. Source: jackwhiteiii.com


Set List

  1. Sixteen Saltines
  2. Astro (The White Stripes song)
  3. Dead Leaves and the Dirty Ground
  4. High Ball Stepper
  5. Lazaretto
  6. Hotel Yorba
  7. Temporary Ground
  8. Ramblin’ Man / Cannon / Ramblin’ Man / Cannon
  9. Icky Thump
  10. Missing Pieces
  11. Three Women
  12. Love Interruption
  13. Blunderbuss
  14. Top Yourself
  15. I’m Slowly Turning Into You
  16. Holiday in Cambodia (Dead Kennedys cover) (snippet)
  17. Ball and Biscuit

Encore:

  1. Just One Drink
  2. Alone in My Home
  3. You Don’t Know What Love Is (You Just Do As You’re Told)
  4. Hello Operator
  5. Would You Fight for My Love?
  6. Broken Boy Soldier
  7. Blue Blood Blues
  8. Steady, As She Goes
  9. Seven Nation Army


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