JOHN THE REVEALATOR FREEFORM AMERICAN ROOTS #142 ROOTS• ■ 4 BIRTHS. ■ . & DEATHS » REVIEWS ( o r n o t ) BETTYSOO & DOUG COX ELIZA GILKYSON • HAL HARRIS GAL HOLIDAY & THE HONKY TONK REVUE WAYNE WALKER THE STONE COYOTES ‘NONE OF THE HITS, ALL OF THE TIME’ CHURCHWOOD Churchwood is anything but the same old blues from Austin Texas. On their debut album for Saustex, they recall the glory days of Captain Beefheart & Tne Magic Band and bring whiffs of CHURCHWOOD Jon Spencer to the mix - blues music that's adventurous innovative, wild, wooly and stirring that comes down from deep within the musical delta of that hipster realm known as Bohemia via the garage. The band reunites guitarist Bill Anderson (known for his six-string mastery and versatility with such diverse bands as Poison 13, The Horsies and The Meat Purveyors) and singer/lyricist Joe Doerr (with roots music cred from his 1980s stint in the leaenaary LeRoi Brothers), who led Ballad Shambles and Hand of Glory for three now prized albums on the Skydad label during their late '80s/early '90s run. Anderson and guitarist Billy Steve Korpi (Crack Pipes) raise an electrified fury behind Doerr's impassioned yelps and howls to create a rhythmically musical acid trip that takes the blues far into this new 21 st Century ife without leaving the style's raw Southern origins behind. SAUSTEXMEDIA.COM distribution via BURNSIDE and SONIC RENDEZVOUS S I FREEFORM AMERICAN ROOTS #141 ELIZA GILKYSON • R oses A t T he E nd REAL MUSIC PLAYED FOR REAL PEOPLE BY REAL DJS (Red House irthdays can be a minor promotional tool for recording artists (as can the dates DURING MAY 2011 Bof death, though, of course, by that time they’re past caring). Many DJs, at least many FAR DJs, use my monthly B&D calendar as an excuse to highlight favorite i q #1 ROD PICOTT: Weldinq Burns artists, but one person who never gets a shout out is Eliza Gilkyson. Though every (Welding Rod) *BR/*CF/*DA/*JH/*KC/*KMw /*M * DT/*RC Internet source agrees that she was born in Hollywood and, possibly, in 1950 (some 2 Elizaza Gilkyson: Roses At The End Of Time (Red House) *GN/*KD/*RMT of them hedge their bets on that, while my go-to source, Donald Clarke, says ‘C1951’), Gal Holiday A The Honky Tonk Revue: Set Two (HTRP) nobody gives you a DOB. Assuming either year is actually correct, Gilkyson started *ATC/^LMG/*RT/*TJ recording when she was teenager (Eliza ’69),and has, by my count, made 17 solo 4 Amanda Shires: Carrying Lightning (self) *BW/*DG/*HH albums, bouncing from label to label (one of which, much to her chagrin, promoted 5 : A Doug Cox: Across The Borderline; Lie To MeBettySoo her as New Age), including her own, for the first 30 years and taking breaks of up (Borderline Talent) *JT/*PP to ten years between records. I make no claim to familiarity with her oeuvre prior Tokyo Rosenthal Who Was That Mi\an ( Rock A Socks to 2000, and, for all I know, it may be very iffy, but ever since she signed to Red *MP/*RF/*TPR House, she’s joined an elite group of singer-songwriters, LaFave, Kurtz, Fracasso and 6 TheI ne sweeTDacKSweetback sisTers:Sisters: LooKingLooking rorFor Aa rightFight Olney, come to mind, who haven’t just made a couple three outstanding albums, but (Signature Sounds) *JM a whole slew of them, with nary a dud. This is not to say that Gilkyson’s albums are 7 Mark Jungers: More Like A Good Dog Tnan A Bad Cat (American Rural) *MM perfect, there’s usually one song, Wildewood Spring for instance, that I just can’t be 8 Steve Earle: I’l Never Get Out Of This World Alive doing with, and this time round it’s Slouching Towards Bethlehem. I have no quarrel (New West) *GV/*SB whatsoever with her radical rereading of WB Yeats’ poem The Second Coming, indeed 9= Michael Fracasso: Saint Monday (Little Fugi) *DJ/*DW B I take “the worst are filled with passionate intensity” as a prophecy of the Tea Party, Owen Temple: Mountain Home (El Paisano) *BP though Yeats’ “rough beast” was Bolshevism rather than corporatism, but even for 10 The Border Blasters: The Sun Session (Boquillas) *C P/*JF a singer as talented and experienced as Gilkyson, “slouching” is simply not a word 11= Greg Brown: Freak Flag (Yep Roc) *L/*RS that lends itself to melody, and, unfortunately, it’s part of the refrain. That said, Levon Helm: Ramble At The Ryman (Vanguard) *HA/*NA Roses, coproduced with her son Cisco Ryder and featuring some of Austin’s finest 12 Zoe Muth A The Lost High Rollers: Starlight Hotel musicians, including the always exceptional Mike Hardwick, is yet another triumph (Signature Sounds) *MB for Gilkyson. Red House are touting this as “the album of her career,” but they could 13=Cornell Hurd Band: Big State, Long Road (Behemoth) *LB/*TR Matt The Electrician: Accidental Thief (self) *TF say the same thing about any of the previous six they’ve put out. JC Oh Susanna: Soon The Birds (Outside) *GC/*JR 14= Blackie A The Rodeo Kings: Kings And Queens THE STONE COYOTES (Dramatico) *JMB C ouldn’t F ind Y ou Romi Mayes: Lucky Tonight (self) *JB/*FS I 15 Emmylou Harris: Hard Bargain (Nonesuch) *BK (Red Cat & & ) 16 Matraca Berg: The Dreaming Field (Dualtone) *AB/*TA ig hit of last month’s issue was the para in my column about Barbara Keith, 17=Tim Grimm: Thank You Tom Paxton (Vault) *RH Bwriter and original recorder of Detroit Or Buffalo, which brought me a slew of Jason Isbell A The 400 Unit: Here We Rest thanks from people who checked her out on YouTube. Fortuitously, or part of the (Lighting Rod) *TW great scheme of things, depending how you look at it, I forwarded a copy to Keith just Robyn Ludwick: Out- Of These Blues (L a te ShowT) * E E /* H T as the trio in which she sings and plays ëlectric guitar, backed by her husband Doug Lauren Sheehan: Rose City Ramble (WilsonWilson River) Tibbies on drums and stepson John Tibbies on bass, were releasing their eleventh VA: I LOVE: Tom T Hall's Songs Of Fox Hollow (Red Beet) album. Keith’s first outing was in 1968, with pop-psychedelic mop tops Kangaroo on GS MGM. She then cut two folk country albums, for Verve in 1969 and Reprisé in 1972, 18 Sarah Jarosz: Follow Me Down (Sugar Hill) *AG both, rather confusingly, self-titled, but, as I mentioned last month, she returned 19 Gurf Morlix: Blaze Foley's 113tn Wet Dream (Rootball) *AH 20= Laura Cantrell:Kitty Wells Dresses (Shoeshine) Reprise’s advance, married Tibbies, whom she’d met in the studio, and quit the Howe Gelb A A Band Of Gypsies: Alegrias *BB music business. However, the music business didn’t quit her, songs from the 1972 Hot Tuna: Steady As She Goes (Red House) album, now a high dollar collectible with a cult following, were covered by Delaney Chip Taylor: Rock And Roll Joes (Train Wreck) & Bonnie, Barbra Streisand, Olivia Newton-John, Melanie Safka and others. These 21 Heather Myles: In The Wind (Ah-Ha) *CTS are not names you’d free-associate with her current incarnation, of which Elmore 22= Blaze Foley: Duct Tape Messiah (Lost A rt) Leonard said “Think AC/DC meets Patsy Cline. The beauty of the straightahead rock Arty Hill: Another Lost Highway (self) *00 & roll of The Stone Coyotes (a reference to Navajo mythology?), is the purity of the 23= David Olney: Film Noir (Deadbeet) *TG aesthetic. Keith and the Tibbies have zero interest in attracting label interest—been Chris Thile A Michael Daves: Sleep With One Eye Open there, done that. The Tibbies are a great rhythm section, John’s bass lines are killer, (Nonesuch) Lucinda Williams: Blessed (Lost Highway) *GG and as a guitarist, Keith rocks harder than kids a third her age, but what makes the group truly exception is Keith’s songwriting. Her mastery of her craft makes most 24=The Grascals: The Grascals A Friends (BluGrascal) *RW people who set themselves up as songwriters sound like fumbling amateurs. JC Greezy Wheels: Gone Greezy (MaHatMa) *TTF Tara Nevins: Wood And Stone (Sugar Hill) F UOTEABLE QUOTES FROM N otSXSW Hadden Sayers: Hard Dollar (Blue Corn) *DS Paul Barker (ArtZ) “I had a badge-wearing woman who books a festival in Utah come up to me and say, ‘I didn’t know these unofficial showcases were going on. The Silos: Florizona (s elf) *RV They feature so much more of what I’m looking for for our festival.’ Wish I’d gotten her name.” Jesse Dayton: “It’s gonna be hard to beat seeing anything better than Gurf doin’ those Blaze songs.” Compact Ronny Elliott: “Hearing Cindy Cashdollar playing Elmore James was worth the trip to Texas.” Records * V i d e o Doug Cox, BettySoo’s new Canadian musical partner: “As far as Americans are WATERLOO concerned, Canadians are just Mexicans in sweaters.” t o - l l Met««- » « t 1 a -1 1 * v n Jason Beek, after Eilen Jewell’s official No Depression showcase on 6th Street: »0©-* Htarth L w h im A.«i«thn, T X T*T0t3 www .w«l*rtoor*corift ,c cur* “Never again.” Lisa Morales: “I think G&S’s inside room has got Brad’s good Mojo!” WHERE MUSIC STILL MATTERS Rick Broussard: “Aside from the bleed through (which didn’t really bother me cuz I’m deaf) I thought it was great.” Grant Peeples: “Ask G&S to put one girl in skimpy clothes outside with a beer *XX = DJ’sA lbum o f the Month barrel.” Freeform American Roots is compiled from reports provided by 140 freeform DJs.