#Melissa Carper

[americanahighways]

Music & Book Reviews: Wonder Women of Country, plus Thee Sinseers, Matt Blake, Pete Ham, and Eddie Hinton

Music & Book Reviews: Wonder Women of Country, plus Thee Sinseers, Matt Blake, Pete Ham, and Eddie Hinton @wonderwomenofcountry @kelllywilliskw @melissacarpermusic @brennenleigh #jeffburger @americanahighways #americanamusic @theesinseers @tourmatt @deviousplanet #peteham #eddiehinton

Music & Book Reviews: Wonder Women of Country, plus Thee Sinseers, Matt Blake, Pete Ham, and Eddie Hinton This column rarely covers EPs—the unending flood of full-length CDs is more than enough to keep a critic busy—but a six-song set called Wonder Women of Country: Willis, Carper, Leigh is too good to ignore. The Texas-based trio consists of longtime alt-country artist Kelly Willis; Melissa…

[musiconspotify]

Willis, Carper, Leigh - Wonder Women Of Country (2024) … joined forces …

[krispyweiss]

Hardly Strictly Bluegrass Day Three, Golden Gate Park, San Francisco, Calif., Oct. 6, 2024

The good folks who put on Hardly Strictly Bluegrass created an epic conundrum of good musical fortune by booking the Wood Brothers, the Infamous Stringdusters and Emmylou Harris in simultaneous, festival-closing slots. This, of course, created high anxiety as all three acts are high on any music lover’s gotta-hear list.

But more on that later. Because first, Miko Marks began the day at the Rooster stage with some Sunday soul music before 93-year-old Ramblin’ Jack Elliott, accompanied by mandolin and bass, came out yodeling on Jimmie Rodgers’ “Waiting for a Rain.” He then dug into Woody Guthrie’s “The 1913 Massacre,” got a bit uptempo on “The Cuckoo” and nodded to the Hardly Strictly atmosphere of a super-heated Golden Gate Park (on Oct. 6!) with Jesse Fuller’s “San Francisco Bay Blues.” Between numbers, Elliott regaled the squeezed-into-shady-areas fans with tales from 70 years of music making. Steve Earle then emerged to tell an overly long story over soft picking leaving Elliott to try, unsuccessfully, to get a word in as time ran down on his 40-minute allotment.

So … off to the Banjo stage where Tony Trischka’s Earl Jam was finishing “Brown’s Ferry Blues” and launching into “Lady Madonna” - strictly bluegrass style. Brittany Haas, who would appear later with Aoife O’Donovan and Hawktail, then entered the fray for double fiddling with Shad Cobb on “You Got to Die,” and putting the blues in the grass.

Peter Case, Teddy Thompson, Melissa Carper and Carsie Blanton hit the Rooster next for a Songwriter’s Circle/guitar pull with truth as the refreshing theme. A delightful exercise in the power of folk music.

But there was also blues at Hardly Strictly Bluegrass because: “If you don’t like the blues, you probably don’t like your mama.”

So said Bobby Rush on the Banjo, where the 91-year-old - “If I’m not the oldest, I’m the ugliest,” he cracked - and his big band got down and dirty in flashy sequins as they spanned 70 years of Rush originals and covers like “Hoochie Coochie Man.” Rush blew harp with the lungs of a young man, danced around the stage with the body of a young man and rapped like the OG he is, proving yet again the magic of music - even when you’re singing of your woman leaving you “for the damn garbage man.”

After a public soundcheck that signaled sublimity to come, O’Donovan, Hawktail and the San Francisco Girls Chorus - who joined one-third of the way through the 60-minute set - spanned O’Donovan’s solo discography rearranged to fit Hawktail’s musical tapestry woven of classical, jazz and bluegrass. The Chorus voices soared across Golden Gate as O’Donovan led them through songs about the battle to pass the 19th Amendment from All My Friends.

It was a stirring performance that provided some hope in an era that sometimes feels hopeless and earned a standing ovation from the Banjo stage listeners.

Down the road at Towers of Gold, Patti Smith played to a crowd so humongous people were turned away to listen to her cover Bob Dylan’s “Man in the Long Black Coat” and Nirvana’s “Smells Like Teen Spirit,” read poetry and and play such songs as “Cash” and “People Have the Power” at the adjacent Swan stage, which was also rammed with festivalgoers, where the Wood Brothers were to play next and Smith’s set benefitted from stellar sound piped in from next door.

Even from behind the Towers, Smith’s performance was deeply affecting - a penetrating mix of soft-edged emotion and hard-edged aggression.

“Use your voice,” she said after using hers for 65 minutes and fans on both sides of the stage exploded in applause when she finished her gig.

Now to address the daylong conundrum, splitting up three must-see acts.

And so it transpired that Mr. and Mrs. Sound Bites caught the Woods (Hardly) playing “Little Bit Broken,” “Tried and Tempted,” “Pilgram” and “A Little Bit Sweet;” the ’Dusters (Strictly) on “Gravity” and “Rise Sun” at the Rooster; and Harris’ (country, not Bluegrass) homestretch at the Banjo, which included a rambunctious “Luxury Liner” and a mournful “Together Again.”

And then it was over …

Read Sound Bites’ coverage of Day One and Day Two at the hyperlinks.

10/7/24

[leonardcohendaughter]

Melissa Carper

[sonicziggy]

"Evil Eva" by Melissa Carper https://ift.tt/p0oZdr3

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Hanging on to You by Melissa Carper

[lyrics724]

Texas, Texas, Texas

[Intro] One, two One, two, three [Verse 1] I’m headin’ for Texas, burnin’ a hole in my shoe Got my foot down on that gas, Lord, I’m blazin’ through Tennessee, Arkansas, I’m leaving you Texas, Texas, Texas and them big skies of blue[Chorus] Texas, Texas, Texas Texas, Texas, Texas Texas, Texas, Texas [Verse 2] It’s been a long, weary road, but now I’m makin time Got one more day of travelin’, I’m…

[americanahighways]

Film & Music Reviews: A Documentary about Pink Floyd’s Syd Barrett, plus Melissa Carper, Gene Clark, and AJ Lee & Blue Summit

Film & Music Reviews: A Documentary about Pink Floyd’s Syd Barrett, plus Melissa Carper, Gene Clark, and AJ Lee & Blue Summit @syd_barrettofficial @ajleebluesummit #jeffburger @americanahighways @melissacarpermusic @pinkfloyd #pinkfloyd @neon_brambles #geneclark #writtenbyahuman #musicreviews

Film Eyes Pink Floyd Co-founder Syd Barrett Creativity and stardom often trigger or exacerbate mental illness and self-destruction. In the rock world, the list of casualties includes such names as the Rolling Stones’ Brian Jones, 13th Floor Elevators’ Roky Erickson, folk singer Nick Drake, Derek & the Dominos drummer Jim Gordon, producers Phil Spector and Joe Meek, Moby Grape’s Skip Spence, and…

[musiconspotify]

Melissa Carper - Borned In Ya (2024) … a little of everything …

[vulcandyke]

attention new country artists online: you cannot say you're bringing back "that good old country sound" if you're exclusively posting blake shelton and toby keith covers. good lord

[honeysucklebuttons]

An article interview with Melissa Carper about her music, songs, inspirations, and life as a queer musician!

TRACK BY TRACK BREAKDOWN: Daddy’s Country Gold LP by Melissa Carper

Singer-songwriter and upright bassist Melissa Carper has released her new album Daddy’s Country Gold today.

Carper’s refreshingly unique style calls to mind greats like Kitty Wells, Billie Holiday, and Loretta Lynn, beautifully conveyed in the grooves of the album’s 12 sparkling gems. Carper enlisted fellow bassist Dennis Crouch (The Time Jumpers) and producer/engineer Andrija Tokic (Alabama Shakes, Margo Price) to co-produce the album and bring her dream to life. Recorded live to tape at Tokic’s analog studio wonderland The Bomb Shelter in Nashville, the album features Crouch (bass), Chris Scruggs (guitar, steel guitar), Jeff Taylor (piano, organ, accordion), Matty Meyer (drums, percussion), Billy Contreras (fiddle), with guest appearances from Brennen Leigh, Sierra Ferrell, and legendary pedal steel maestro Lloyd Green.

Daddy’s Country Gold is a collection of glittering Carper originals of the country, western swing, and jazz variety. From the first notes of album opener ‘Makin’Memories,’ to the whimsical 'Would You Like To Get Some Goats,’ and the heart-wrenching tenderness of album closer 'The Stars Are Aligned,’ this lifetime of work, experience, and wanderlust culminates in a beautiful portrait of heartfelt music, written by a road-lovin’ gal who has lived these songs and spent her life playing music for folks that still love the real thing.

We asked Melissa to breakdown Daddy’s Country Gold track-by-track to give us more insight into what the songs on the LP are about. Read it below.

Makin’ Memories

Most of my songs’ inspirations will come just from a beginning phrase or idea and then they will take off from that.  With 'Makin’ Memories,’ the inspiration came from a conversation I was having with a friend, they were joking about 'Makin’ memories and keepin’ your memories.’  I thought it was funny and a good song idea. The first line came to me, 'I’m makin’ memories I’d like to remember.’  I always have a hard time remembering people’s names, especially getting introduced to so many folks at shows and traveling all around, so thus 'Larry and Steve.’  Then, of course, there is the whole idea of not remembering what happened when you have had too much to drink, something I may have done a time or two. This is just a fun, lighthearted song that hopefully makes people chuckle.  I love Frank Sinatra and this song happened to take on a bit of that Sinatra flair.  

I Almost Forgot About You

The idea for 'I Almost Forgot About You’ came from a weekend in which I had a very good time and had managed to forget about a love interest that I had been obsessing about. When I got back home that phrase came to me, 'I Almost Forgot About You,’ and I realized I had a song there.  I just kind of tied in the various lost loves of my life to come up with the rest. The bridge for this song came later and sort of magically. I primarily write without an instrument in hand and develop the words and melody first and then I sit down and figure out the chords after.  This bridge I am particularly happy with the spaces and the way the phrasing waits. It came to me that way, and in fact, this entire song had a nice easy flow with the way it all came. I like it when that happens, feels like you are getting help from the universe.  

Back When

A lot of my songs are based on my real-life experiences, and with 'Back When,’ every single word of that was lived and true. I started writing it a bit after a break up while longing for the relationship I once had with someone, that is–the beginning of the relationship when we were in love and everything was wonderful. It was written with a hopeful desire that things could be as they once were, and though that never happened, I feel like this song does have that hopeful air that maybe 'back when’ could happen again, for any relationship that has lost that spark.  

Old Fashioned Gal

'Old Fashioned Gal’ was inspired by spending some time in the beautiful country of West Virginia.  I did receive help from a West Virginian on the names of flowers and such.  Before writing it, I had been listening on Sirius radio to a station with old jazz tunes–if I remember correctly–while driving back from a long tour with the Carper Family.   Usually, if I listen to a certain style over and over, the next thing I write will have that influence.  Like I do with most of my songs, I developed the melody and lyrics first in my head and then sat down to find the chords on guitar.  It ended up having a surprising amount of chord changes in the chorus and changing in odd spots rhythmically, but that’s what the melody dictated and I like the way it twists and turns and throws you a bit off-balance there in the chorus.  

You’re Still My Love

'You’re Still My Love’ is just a sad love song and written from real-life experience. I had been listening to Jolie Holland before I wrote this one and I think it affected the embellishments in the melody.  Also, I think Patsy Cline came out, probably from listening so much to Patsy in my childhood.  This one wrote itself real quick and I remember camping and sleeping in the back of my van while writing it. 

Would You Like to Get Some Goats?

When I wrote 'Would You Like to Get Some Goats’ I had a girlfriend at the time whose dream was to have a goat farm. I had fun with double-entendre and metaphors in this one.  And it kind of likens the commitment of getting goats with the commitment of marriage. I have heard goats are quite a commitment but they sure are cute when they are little babies.  

My Old Chevy Van

'My Old Chevy Van’ is an emotional song for me.  I inherited my family’s 1991 Chevy Van and had been driving it for six years or so when I moved from Arkansas to Austin, Texas in 2009.  I drove it around Texas for a year or two and then felt like it was time to sell it as maintenance was getting expensive and it got terrible gas mileage. I had lived in the van at various times, having a traveling lifestyle, and then there were all the memories it held from childhood. At the time of writing the song, both my mom and dad had already passed on. I had no idea when I sold this van how sad I would be because it had such a connection to them. I still wish I had not sold it and just kept it around as a guest house. The seats in back folded out to be a bed and it was quite comfortable to ride in with the luxury bucket seats. I named her 'Barbie’ because the pink and purple paint job reminded me of my Barbie van I had growing up. I had been listening to Hazel Dickens a bunch when I wrote 'My Old Chevy Van’ and I feel that was influential. This song needed a bridge and my old bandmate, Jan Bell (who knew Barbie), helped me find some lyrical ideas that fit just perfectly for the bridge.  

Arkansas Hills

I wrote 'Arkansas Hills’ when I was driving back from a Christmas trip to Wisconsin. I started writing it around St. Louis and I did not have a smartphone to give me directions. I had probably scribbled some directions down or was looking at a map and I remember telling myself out loud a few times, so I would remember the highways, '44 West out of St. Louis to 65 South,’ and then I thought to myself well that’s a nice start to a traveling song. So I started writing it while I was driving down the road, and had it pretty much finished by the time I was pulling into 'my little log cabin’ in Arkansas–except I didn’t really live in a log cabin, but it sounds good in the song.  Donna Farar of Mountain View, Arkansas helped me write a fourth verse, which I felt the song needed.  Donna wrote all the lyrics to Willie’s big hit 'The Last Thing I Needed the First Thing This Morning’ and she actually lives in the middle of the woods in Arkansas in a cabin, so I felt that enlisting her help was a perfect choice.  

It’s Better if You Never Know

'It’s Better if You Never Know’ is one of my more recent songs and it was inspired simply by a conversation with songwriters in Nashville at a table in a bar. Once I had moved to Nashville and began co-writing with some folks, I realized you can get a song idea at almost anytime if you are paying attention, just listening to a good phrase someone might say. In this instance, someone said 'It’s Better if You Never Know’ and someone else said that sounds like a good song. I started trying to write it the next day. I’m getting better at writing songs that don’t necessarily have a link to me personally, however, I do believe when a song has that personal link it can have an extra emotional feeling that is conveyed to the listener.  

I’m Musing You

'I’m Musing You’ came about while I was driving down the road on a road trip. I hadn’t written a song in a while and was thinking about how I have often used the same muse or muses to create a song, by thinking back on old times. I thought to myself 'I need a new muse, I need to stop delving back into these old times.’ And there was the song.  

Many Moons Ago

With 'Many Moons Ago,’ a musician friend of mine used that phrase, many moons ago, and I thought wow I like that, people don’t use that phrase much anymore, so I decided to write a song with the phrase. I had been listening to a Delmore Brothers tape over and over in my truck and, though I don’t even remember the specific song, I know that something from that tape inspired the melody to 'Many Moons Ago.’ Often times I will not know what I am copying or if I am copying something, but there is just something present in my consciousness that brings about a certain style or melody. This song doesn’t have many lyrics, but I like the simple message it conveys that time does heal and growth occurs and you move on even when you feel you are dealing with something you can never get over.

The Stars Are Aligned

'The Stars Are Aligned’ just came from the romantic feeling of a new relationship with a soulmate you have been waiting for. It flowed out just naturally from that first phrase, the 'Stars Are Aligned.’ I love the way this one lends itself to a string section in the background, almost Disney princess-like, and I am so pleased with the lovely string parts on this recording. The string parts were written by my girlfriend and first-class fiddler, Rebecca Patek.

Photo credit: Aisha Golliher

[krispyweiss]

Hardly Strictly Bluegrass Day One, Golden Gate Park, San Francisco, Calif., Oct. 4, 2024

Lucinda Williams was not at Day One of Hardly Strictly Bluegrass. But Chuck Prophet, Ismay, Steve Earle and Kelly Willis - joined by Willis’ Wonder Women of Country bandmates Melissa Carper and Brennen Leigh - brought Williams’ spirit to the Banjo stage as the Songs from a Gravel Road Band.

They opened the festival guitar-pull style, trading such numbers as “I Just Wanted to See You So Bad” (Wonder Women), “2 Kool 2 Be 4-Gotten” (Earle) and “Crescent City” (Prophet) before ending with an all-hands-on-deck rendering of “All the Way to Jackson” a little shy of their scheduled 45 minutes of stage time.

Lindsay Lou followed on the Arrow stage sporting white shades and yellow flowers on her mic stand, into which she sang hilarious band introductions and turned them into a magnificent song of their own.

Lou and the all-woman, voices-of-goddesses Queen of Time Band - featuring Isa Burke on electric guitar and violin plus a rhythm section - used their 45 minutes to play a mix of Huffamoose-styled jazz, folk, rock and weepy country music as they offered up songs from the LP for which the band is named (“Nothing Else Matters”) and from across Lou’s discography (“Roll with Me”). And then they were off to catch a flight to the next festival.

So the Sound Biteses flew off to the Swan stage as the harmony-rich strains of the aforementioned Wonder Women wafted from the Banjo …

“… We’re going to slow it down a little bit,” the self-deprecating Milk Carton Kids said from the Swan, where they played their not-quite-ready-for-a-free-festival folk music for a large audience mixed with listeners and talkers. Those who shut their mouths and opened their ears were treated to the sonic heirs of Simon & Garfunkel - except funnier.

“It’s very hard to write a song on banjo without killing a person in the song,” Kenneth Pattengale said as he played a set heavy on selections from I Only See the Moon - and going all the back to “Michigan” - with fellow Kid Joey Ryan.

Surrounded by Golden Highway on the Banjo stage, Molly Tuttle recalled seeing her heroes as a child from the Hardly Strictly grass with her dad. And getting offered a pot brownie while at the festival with her mom.

“Your mom brought you all the way here just to offer you a pot brownie?,” banjoist Kyle Tuttle (no relation) asked incredulously and jokingly.

Playing high-energy, traditional-yet-modern bluegrass, the quintet offered a highly-apropos “White Rabbit” for the San Francisco audience; “San Francisco Blues,” meanwhile, was Tuttle’s waltzing paean to the hometown she left for Tennessee. “Down Home Dispensary” and “Dooley’s Farm” were Tuttle’s amped-up homages to ganja.

She doffed her wig for “Crooked Tree,” a song about what makes Tuttle, who has alopecia, and San Francisco, different - and so very special. Golden Highway received a rousing standing ovation at the end of their 55-minute set.

Sleater-Kinney provided the pre-show soundtrack to Cat Power Sings Dylan ’66 as their kinetic Swan-stage set flooded the field in front of Towers of Gold.

Immediately following their set, Power was barely audible as she sung “She Belongs to Me.” Power was like a whispering specter, guitar and harmonica nearly inaudible, causing Mr. and Mrs. Sound Bites to give up after a few songs only to find excellent sound at the Swan, where “It’s All over Now, Baby Blue” and “Mr. Tambourine Man” were as clear as bells behind where the music was being played.

A half-hour later, the strains of the full-band “Ballad of a Thin Man” could be heard a mile away on the JFK Promenade as Power wrapped her set.

10/5/24