#morgan jahnig

[diceriadelluntore]

Storia Di Musica #312 - Kaki King, Legs To Make Us Longer, 2004

La scoperta di grandi chitarriste arriva oggi ad una delle grandi interpreti attuali. Kaki King era l'unica donna presente in una classifica stilata nel 2006 dalla rivista Rolling Stone, The New Guitar Gods, classifica dove peraltro King è l'artista più giovane in assoluto. Eppure il primo strumento che la giovanissima Kaki amava suonare fu la batteria, da adolescente invece la sua passione si trasferì sulle corde di una chitarra. Inizia a suonare in gruppo con un suo amico di scuola alle superiori,  Morgan Jahnig, che diventerà il basista degli Old Crow Medicine Show, un gruppo di Nashville che avrà un forte successo locale negli anni a seguire. Nel 1998 i due amici vanno a New York all'Università, dove Kaki King prende lezioni di chitarra. Per mantenersi, suona da busker nella metropolitana e fa la cameriera in un famoso locale dove si suona dal vivo, il Mercury Lounge.

Kaki riesce a personalizzare a suo modo la tecnica del fingerpicking, che ricordo consiste nel pizzicare le corde della chitarra direttamente con le dite, senza il plettro, che nella sua esecuzione classica prevede la posizione della mano sulle corde vicino al foro della cassa, toccando solo le corde interessate anche se a volte si appoggia il pollice sulle corde per dare più stabilità alla mano. Con piccoli risparmi riesce a registrare un demo di brani strumentali, che impressionano una piccola e giovane etichetta discografica, la Verlour, che nel 2002 le fa firmare il contratto per un disco. L'anno successivo, nel 2003, esce Everybody Loves You: prodotto in prima persona da King, il disco è il primo fulgido esempio della maestria con cui l'artista padroneggia lo strumento. Al fingerpicking che riprende la magia dei giganti americani dello stile, tra cui John Fahey (di cui ho già parlato in questa rubrica), il suo allievo Leo Kottke (dalla vita incredibile e dalla musica inebriante) e Preston Reed (altro campione, che vive in Scozia da venti anni) aggiunge tocchi di flamenco (come la proverbiale tecnica percussiva dello stile andaluso) e addirittura il suonare la chitarra con la tecnica slapping tipica dei bassisti (tecnica che consiste nell'alternare uno slap, cioè uno strappo, e una percussione con il pollice alle corde di uno strumento). Il risultato ammalia la critica, che considera il disco il migliore debutto chitarristi da decenni.

Forte di questo incoraggiamento, Kaki King si mette subito a riscrivere pezzi, e nel 2004 pubblica il disco che ho scelto oggi. La chitarrista passa ad una etichetta di una Major, la Red Ink che fa capo a Epic\Sony Music e in produzione arriva il chitarrista David Torn, uno che ha studiato con Leonard Bernstein, ha suonato con i più grandi artisti del rock, del pop, del jazz, vincendo numerosi Grammy e ha suonato per decine di colonne sonore di film famosi. Il disco, Legs To Make Us Longer, formato da 10 brani strumentali e dal primo esperimento di King al canto, è il tripudio della sua tecnica sorprendente ma piena di sentimento che King ha trasmesso in Everybody Loves You. Ma ci sono anche altre cose in questo lavoro, in primis tocchi di altri strumenti - un contrabbasso, una batteria, accenni di archi in vari punti - che aggiungono più dimensione e consistenza al caratteristico modo di scrivere canzoni di King per chitarra solista. L'impiego di batteria e contrabbasso in Ingots è sorprendente all'inizio, ed è il suo lato spiccatamente melodico che rapisce l'ascoltatore in gemme come Doing The Wrong Thing, dove con King in una danza veloce ma esile attraverso il movimento e lo spazio, si accodano prima il violoncellista Erik Friedlander e la violinista/violista Joyce Hammann entrino nel mix a quattro minuti per portare la melodia nell'etere. King suona per la prima volta su disco la chitarra elettrica in Can The Gwot Save Us?, in uno stile campagnolo e pastorale che, nonostante tutta la sua lentezza ed eleganza, è più misterioso di qualsiasi altra cosa qui. Neanderthal stupisce per la dolcezza, All The Landslides Birds Have Seen Since The Beginning Of The World è misteriosa e quasi gotica, fa impressione la sua capacità di creare emozioni con la tecnica e il suono. La traccia finale dell'album, My Insect Life, la mostra in compagnia di basso, violoncello e batteria, in questa traccia si cimenta per la prima volta al canto, con una voce piccola e "adolescenziale" che è quasi coperta dalla sua chitarra acustica ed elettrica sovraincisa. Due tracce, Frame e Doing The Wrong Thing verranno inserite nella colonna sonora del film Into The Wild di Sean Penn del 2007, con King che insieme a Michael Brook, grandioso musicista e produttore canadese, scrisse i temi principali, accompagnati dalle canzoni che scriverà per la stessa occasione Eddie Vedder (che vincerà il Golden Globe per la miglior canzone originale per Guaranteed). Anche in questo caso, critica entusiasta e un ottimo riscontro di vendite per un disco così particolare. E King aprirà concerti di artisti come David Byrne e collaborerà con i Foo Fighters nel disco Echoes, Silence, Patience & Grace (del 2007) dove suona la sua chitarra magica nel brano Ballad Of The Beaconsfield Miners.

Kaki King dopo questo disco cambierà molto nello stile musicale: paurosa di sentirsi descritta solo come un portento della chitarra acustica, inizierà un percorso più che decennale di studiom che continua ancora oggi, e di sperimentazione sulle potenzialità della chitarra, persino organizzando una sorta di spettacolo multimediale con l'aggiunta di video installazioni, giochi di luce, performace artistiche. Sebbene poco conosciuta, King è un talento eccezionale, una figura iconoclasta che è l'unica nuova voce di quest'epoca alla chitarra acustica, anche se esplora altre avvincenti strade sonore e musicali.

[krispyweiss]

Old Crow Medicine Show at KEMBA Live!, Columbus, Ohio, Jan. 25, 2024

Old Crow Medicine Show ain’t sellin’ no snake oil. No, Sir and Ma’am. Their music is a proven elixir for all that ails at the end of a long day.

And the septet has no problem transforming a bluegrass-country show in to an arena-rock extravaganza, making Ketch Secor’s greeting of: “Let’s get ready to rock ‘n’ roll” entirely plausible despite denim, cowboy hats and mostly acoustic instrumentation.

For just as the balmy, rainy Jan. 25 weather made the Columbus, Ohio winter feel like spring, the Medicine men proceeded to make the rural rock - hard - on the show-opening “Tell it to Me,” delivered as it was with the exuberance of a final encore as the band members danced around the stage like youngsters overdosing on caffeine. That the music inside KEMBA Live! was as tight as the players were loose is just another part of Old Crow’s irresistible appeal, even as cheesy faux-preacher asides and incessant references to Ohio and its Buckeyes college football team grew tiresome over the course of the two-hour gig in front of a respectable-for-a-Thursday-night-sized audience.

The engine-revving continued on the aptly titled “Alabama High-Test” and - despite the occasional balladic breather - across the set that chronicled OCMS’ sonic evolution from the 2004 Bob Dylan leftover-cum-huge-hit “Wagon Wheel” to the social commentary of 2023’s “Louder than Guns.”

And by the time the rambunctious, early-set “Carry Me Back” screeched to a dime-stop close, the audience was crackling with as much electricity as the band. The glorious transfer of energy from stage to floor and back continued all evening, whether the band members were arrayed at their individual mics singing two- to seven-part harmonies or lined up at the lip of the stage tossing harmonicas and guitar picks in to the audience.

This was one of the first Old Crow gigs of 2024. And while the band is looking forward to what’s about to unfold, the players spent a portion of the show arrayed around a single mic and looking back at the musicians lost in 2023 with a medley that included Sinead O’Connor’s “Nothing Compares 2 U,” CSN’s “Teach Your Children,” Gordon Lightfoot’s “Early Morning Rain” and Jimmy Buffett’s “Margaritaville.”

Performing in front of a circus-tent backdrop emblazoned with their name, Old Crow Medicine Show traded instruments and swapped lead-vocal duties, making themselves sound like a different band on various songs. Working as one, the seven Medicine men, Secor (fiddle, keys, harmonica, guitar, banjo, ukelele); Cory Younts (mandolin, melodica, banjo, keys, harmonica); acoustic and electric bassist Morgan Jahnig; PJ George (banjo, accordion, mandolin, fiddle, guitar, drums); Mike Harris (guitar, mandolin, banjo, Dobro); Dante’ Pope (drums, percussion, keys); and Mason Via on guitar, guitjo and mandolin - transformed CCR’s “Proud Mary” into a hybrid soul-grass revue with dueling fiddles; presented “Tequila” as a drunken barn dance with a guest spot from the sax player of Bird and Byron, whose homecoming opening set served to help the neo-soul group develop before a large audience; and unrolled C.C. Rider as a piano-driven blues as Pope took the keys and mic while George held steady at the kit.

Shades of the big-“B” Band. But this small-“b” band of brothers, is, despite lots of covers - including an angry rendition of “Ohio” and its celebratory antithesis “Hang on Sloopy” with Ohio- and Old Crow-specific lyrics added - its own singular thing. This is what makes an OCMS show one of the only places on Earth a concertgoer can find himself in the 1950s singing to “Great Balls of Fire;” straddling the distant and recent past while dancing down the middle of “Dixie Avenue” and lustily cheering Secor’s taunting of Ohio’s fearmongering Statehouse.

“Trans kids can dance here, too.” he declared.

No snake oil here. Just the healing and the facts, Ma’am and Sir.

Grade card: Old Crow Medicine Show at KEMBA Live! - 1/25/24 - A-

See more photos on Sound Bites’ Facebook page.

1/26/24

[odk-2]

Old Crow Medicine Show - Union Maid (2006) Woody Guthrie / Millard Lampell from: "Big Iron World" (CD)

Country | Bluegrass | Almanac Singers Cover

JukeHostUK (left click = play) (320kbps)

Personnel: Ketch Secor: Lead Vocals / Fiddle Willie Watson: Guitar / Backing Vocals Chris "Critter" Fuqua: Banjo / Backing Vocals Kevin Hayes - Guitjo Morgan Jahnig: Double Bass

Produced by David Rawlings

Recorded: @ The Woodland Studios in East Nashville, Tennessee USA 2006

Released: on August 29, 2006 Nettwerk Records

US Labor Day 2023

[sinceileftyoublog]

Dwight Yoakam & Old Crow Medicine Show Live Show Review: 7/2, Ravinia Festival, Highland Park

BY JORDAN MAINZER

There wasn’t much to celebrate about America during this July 4th weekend, especially in the home of Ravinia Festival, where six people were murdered and dozens of others injured by a mass shooter, with help from the GOP and the NRA. Finding something to celebrate amidst tragedy, on the surface, seems like a fool’s errand, but it’s ultimately important to compartmentalize, not just for the sake of our own mental health in the immediate aftermath, but to give us the strength to be able to do what we can, which is continue to speak out against the policy inaction that allows these types of murders to continue.

What gets me through tragic times is music. And though I was in Highland Park two days before July 4th, I find myself today looking back at the celebratory occasion: Saturday night at Ravinia, Dwight Yoakam and Old Crow Medicine Show made the case for reflecting on the music that has thrived across various regions of the country.

Attending a Yoakam show these days is almost like a mini history lesson, an exploration of the cultures and countercultures of country music. When he first surfaced, his urban cowboy-to-honky tonk transition made him a righteous successor to the thrones of Buck Owens and Merle Haggard. Despite Yoakam’s strong output in the 2010s, since he hasn’t released a full-length album in 6 years and isn’t really touring on anything specific, his set was heavy on covers and stories. Between groupings of songs with little banter, like his one-two-three punch intro of The Carter Family’s “Keep On The Sunny Side”, “Please, Please Baby”, and Elvis Presley’s “Little Sister”, Yoakam regaled the crowd with tales of his idols. Buck Owens’ “Streets of Bakersfield” (which Yoakam would later record as a duet with Owens on 1988′s Buenas Noches From a Lonely Room) was the first of many Bakersfield sound snippets, including Merle Haggard’s “Okie From Muskogee” and Ray Wylie Hubbard’s brilliant response, “Up Against The Wall Redneck Mother”. The covers interspersed a story of Yoakam talking to Willie Nelson on his tour bus and, in between the plumes of weed smoke emanating from Nelson’s aura, Yoakam shocked that Nelson’s favorite Haggard song was, in fact, the anti-hippie anthem “Muskogee”. Go figure.

Of course, playing in the greater Chicagoland area, both Yoakam and Old Crow Medicine show felt the need to honor John Prine. Yoakam ended the freewheeling covers portion of his set with “Spanish Pipedream” and a little of “Crazy as a Loon”, while Old Crow Medicine Show whipped out the melodica and portable drum kit for “Paradise”. For what it’s worth, both bands also peppered references to Chicago in general throughout their set, Old Crow’s a bit more humorous and self-aware. The openers approached their set with the perfect mix of fun and reverence, a spirit that pervades their seventh full-length album Paint This Town, released earlier this year on ATO. That album’s title track is a far cry from the North Shore of Chicago, inspired by teens growing up and making it out of a small town America of Waffle House jukeboxes and “all night truck stops, drive-ins, dives.” Ketch Secor and company know this; he repeatedly joked about the lawn crowd, the picnic-goers with their spreads of Beaujolais, gazpacho, and glazed duck atop Williams Sonoma tablecloths. It’s that same sense of place and authenticity, though, that give the best Old Crow Medicine Show songs their empathy. The crowd reacted appropriately, cheering for more after the band road-tested a verse and chorus of “Paint This Town”.

As thoughtful as Paint This Town is, you see Old Crow Medicine Show, for, well, the show. Plus, with an opening set, they were bound to prioritize the “Wagon Wheel”s of their discography over, say, environmentalist meditation “Used To Be A Mountain” or abolitionist tribute “John Brown’s Dream”. The most thrilling part for me was to see the new members shine and add some flair to the band’s back catalog. Paint This Town is the first Old Crow Medicine Show album to feature drummer Jerry Pentecost, who led lovelorn blues lament “CC Rider”, guitarist and vocalist Mason Via, who wailed his way through “Humdinger”, and multi-string instrumentalist Mike Harris, delivering a bonafide sermon on “Take ‘em Away”. 

I didn’t expect to be remembering that sermon, lines like, “My heart is broken ‘cause my spirit’s not free,” in the days to come. I didn’t expect to be looking for guidance from a Tennessee string band, but in dark times, that’s the power and truth of music.

[thebowerypresents]

Old Crow Medicine Show Return to NYC to Play the Town Hall Tomorrow

Deftly mixing folk, country, bluegrass and roots music with a punk-rock mentality, Old Crow Medicine Show have been putting on energetic, crowd-pleasing performances since they began busking on street corners two decades ago. Originally formed in western Virginia and now based in Nashville, Tenn., the six-piece string band put out their sixth studio album, the universally acclaimed Volunteer (stream it here), in spring last year. “Old Crow Medicine Show broaden their sonic palette without abandoning their devotion to old-timey string music,” says AllMusic. “It’s a credit to the band’s honesty and humility that even though they now find themselves on a higher plateau, they haven’t abandoned their rugged credo,” adds Paste. “One of their finest collective efforts so far—no small claim in itself—Volunteer clearly serves its purpose.” While the band’s recorded catalog is impressive, they’re best experienced live. “There’s enough revved-up, high intensity, chill-inducing energy pulsating out of each song to blow the roof off the hallowed Nashville establishment many times over, even with few plugged-in instruments,” says American Songwriter of the just-released Live at the Ryman (stream it here). So give it a listen and then go see Old Crow Medicine Show on Thursday night at the Town Hall. Band member Charlie Worsham opens the show.

[crank11news-blog]

Old Crow Medicine Show release Volunteer

Old Crow Medicine Show release Volunteer

20-Apr-2018: ‘Volunteer’, album by Old Crow Medicine Show Released on Label: Old Crow Medicine Show / Columbia Nashville.

Old Crow Medicine Show’s twelfth album was released on label Old Crow Medicine Show / Columbia Nashville and can now be streamed on Spotify. The album is not rated on Last.FM, indicating it’s not all that popular or needs some time to get played.

Even if you have never…

[peterhutchins]

Old Crow Medicine Show, 50 Years Of Blonde On Blonde Tour - Ketch Secor, Critter Fuqua, Kevin Hayes, Morgan Jahnig, Chance McCoy & Cory Younts @ Lincoln Theatre, Washington, DC on Monday, May 22, 2017.

50 Years Of Blonde On Blonde Tour Setlist:

Rainy Day Women #12 & 35 Pledging My Time Visions of Johanna One of Us Must Know (Sooner or Later) I Want You Stuck Inside of Mobile With the Memphis Blues Again Leopard-Skin Pill-Box Hat Just Like a Woman Most Likely You Go Your Way and I'll Go Mine Temporary Like Achilles Absolutely Sweet Marie 4th Time Around Obviously Five Believers Sad-Eyed Lady of the Lowlands

Encore: Knockin' on Heaven's Door Quinn the Eskimo (The Mighty Quinn) Wagon Wheel

[don-lichterman]

Live Rogue Valley music, wineries, growers markets & more: July 15 – Medford News, Weather, Sports, Breaking News

Live Rogue Valley music, wineries, growers markets & more: July 15 – Medford News, Weather, Sports, Breaking News

Old Crow Medicine Show — Morgan Jahnig, left, Mason Via, Ketch Secor, Jerry Pentecost, Cory Younts, Mke Harris — performs at Britt Saturday, July 16. Photo by Kit Wood Friday, July 15 Jackson County Fair: The annual Jackson County fair runs Wednesday through Sunday, July 13-17, at the Expo, 1 Peninger Road, Central Point. Fair hours are 11 a.m. to midnight Friday and Saturday, and 11 a.m. to 7…

[whileiamdying]

We've been filming Tiny Desk concerts for more than 10 years. While revisiting our archives, we discovered that some of our earliest concerts never made it to YouTube! Watch Dave Rawlings Machine and Gillian Welch’s Tiny Desk concert from 2010: https://www.npr.org/2010/02/01/123086467/david-rawlings-and-gillian-welch-tiny-desk-concert Robin Hilton | February 1, 2010 David Rawlings is a remarkably gifted producer, session guitarist and singer who's most widely known for his contributions to other musicians' work — particularly his longtime partnership with folk and traditional country artist Gillian Welch. But when he and Welch stopped by NPR for this Tiny Desk Concert, it was to promote Rawlings' own album — the first he's ever recorded under his name (actually, it's under the moniker Dave Rawlings Machine). For A Friend of a Friend, Rawlings took on lead vocals and songwriting duties, and got some of his old friends to help out. Welch appears throughout the album, of course, along with other artists such as Ketch Secor and Morgan Jahnig of Old Crow Medicine Show. Welch and Rawlings settled in to play together at Bob Boilen's desk as easily as if they were slipping on a pair of old boots. They've got the sort of magnetic chemistry that comes with writing and recording together for more than 15 years, but even with that history and their friendship, the two had to rethink the way they do things for Friend of a Friend. "A lot of the arrangements we'd worked out over the years — the way we put chords, the way we sing together — I was shocked at how little they worked for my voice or my record," Rawlings says. "We had learned to make records in a particular way because we were always framing [Welch's] voice, which is this large, takes-up-a-lot-of-space, very intimate, very good-sounding thing," he adds. "A beautiful tone. So you can frame it in a skeletal way. It almost seems to me that the less you put on her records, the more powerful they are. But when we started working that way with my voice, which is so different, it turned out that nothing from that approach was valid. So we had to find different sounds and treatments that we were happy with. I was really surprised when we started that we were in territory as uncharted as we were. We broke new ground from necessity." In this Tiny Desk Concert recording, Rawlings and Welch give a breathtaking performance to a packed office at NPR Music. Each was getting over a bad case of bronchitis, though you'd never know it. For a typical soundcheck, most artists will piddle through a few bars of something. But Rawlings and Welch took a full, and utterly thrilling, run through Bill Monroe's "I'm on My Way Back to the Old Home." It was almost as though they couldn't stop once they started. If they hadn't stopped, that would have been fine by us.

[quitblow5-blog]

Old Crow Medicine Show's Chance McCoy Blazes a Solo Path on 'Wander Wide': Premiere

After a recent run of successes--including a 2015 Grammy Award for best folk album--Chance McCoy is stepping away from Old Crow Medicine Show to Wander Wide a bit with his first solo album. The title track premieres below.

The self-released 11-song set, out Sept. 20, lets the West Virginia-born multi-instrumentalist expand his sonic palette, ranging from the modern rock feel of "Electric Crow" -- which McCoy wrote specifically for his weekly residency at The Basement in Nashville -- and "Nashville Ca$hville" to the atmospheric rural blues of "Sugar Babe" and the swampy Southern rock of "Jitterbug Bayou." "I'm just a creative person and wanted to make new music and needed a home for it," McCoy tells Billboard.

"I love everything we do in the band, but I think it's a very specific thing. I was creating all this music on my own, and it didn't really feel appropriate to be bringing different kinds of material in. When I moved home (to West Virginia) I built my own studio in the basement and wanted to learn how to produce and make my own record and experiment with new sounds and new styles and stuff, just for the fun of it.

"I ended up with all these (songs) I'd done and thought maybe somebody other than me might enjoy this music, so I felt it was time to share it."

Wander Wide's gently rolling title track dates by several years and is a rare co-write, penned with The Voice Season 5 contestant Chance Pena. "He sang 'Wagon Wheel' or something that kind of tied to Old Crow or Americana music and I got a call that, 'Hey, he wants to write a song with you,'" says McCoy, whose father was an electronic musician whose inventions included electronic sound chips for toys, including Battleship. "I said, 'Sure, send him over -- Chance and Chance can get together and write a song!' It was a watershed moment, the first track I felt proud of as a producer."

"Wander Wide" was originally written for Pena to record, but his team rejected it. “They basically just weren't into it," McCoy recalls. But McCoy liked the track, and when he began putting the album together in earnest he decided to give it his own shot.

"It wound up being a centerpiece for the record," McCoy notes. "The lyrics were written from my perspective of traveling out west, being in the wilderness, white water rafting, living out of my truck and driving around, being really in tune with nature and living this adventurous lifestyle. But the flipside is I had to leave behind everybody who was significant to me, all the people I felt connected to. So there's a two-edged thing, and I think that resonates with people. And the title fits well for what the record is, the adventurous nature of it."

McCoy has played Europe twice this year with his own band and is headed back in October. He's lining up some U.S. dates as well and considers himself on an amicable leave from Old Crow Medicine Show, which was original slated to take the year off from touring but wound up scheduling some dates. "I haven't officially quit the band," McCoy says. "I'm taking a year off to do this (album), but everything's fine between us. The bass player (Morgan Jahnig) engineered this record for me, even." 

McCoy has more new music coming, too, including a track for the film The Peanut Butter Falcon, due in August. And he has his eye on another solo album in the not too distant future. "I think we're talking about next year starting to put out music again because there's a lot of good songs I have that I want to put out. Why stop, right?"

Source: https://www.billboard.com/articles/columns/country/8517834/old-crow-medicine-show-chance-mccoy-wander-wide-exclusive

[princeashy]

Take it from Bob Dylan, Old Crow Medicine Show is 'killing it'

Take it from Bob Dylan, Old Crow Medicine Show is 'killing it'

[ad_1]

Old-time string band Old Crow Medicine Show kicks off the 2018-19 Henderson Area Arts Alliance season at 7:30 p.m. this Saturday. Upright bassist Morgan Jahnig, interviewed for this story, is second from right.(Photo: Photo by Danny Clinch)

  HENDERSON, Ky. – Morgan Jahnig was in his early 20s and new to Nashville in 2000 when he, his father and brother were on their way to an…

[dutchx11]

Old Crow Medicine Show / O.C.M.S.

(Bold and underlined denote link)

OCMS's music has been called old-time, folk, and alternative country. They are a throwback to the last of Country’s gritty earthiness, just as it began to crossover to the pop side of the charts (Just You and I and Islands In the Stream) transforming into what it is today.  OCMS plays original works, pre WW II blues and folk songs with their rebellious flair.  Formed in 1998 at the vanguard of a movement in American music that returned to roots music (Hem, Moreland & Arbuckle, a Junior Kimbrough influenced Black Keys and all those who followed).

With Old Crow’s first album, we get an ole timey, traditional wingding with subversive lyrics and themes. It’s a reminder of the human need to release, cut loose and raise some hell.

With great blending harmonies and dexterous fiddling, this CD is impressive.  The band went on to become highly regarded in many circles.

Tracks of note:

Tell It To Me – This is an original boot – scootin’ ditty!  I can smell the straw and whiskey. If it weren’t for the banjo, I wouldn’t believe it.  OCMS helped reintroduce us to an American spin on an African based instrument.

Big Time In the Jungle – Vietnam:  this could have easily been on the soundtrack for Full Metal Jacket.  Pour one out for Cowboy.

Tear It Down – Fiddle and banjo – fu giving that background while the kiddos try to catch that loose pig that got out of its pen.  Ketch Secor’s crackling vocals serve that high lonesome with a side of bacon.

CC Rider – Pass the moonshine while we spin yarns by the fireside after an honest day’s work.

Hard to Tell – We get that fat bass bump from Morgan Jahnig’s touch.  The harmonizing strings & lyrics sweep acrobatically like Texas swing. 

Take ‘Em Away – A soulful mountain version of what Social Distortion may have said a few years earlier.

Best time to listen:  Sunday evenings in the summer while grilling some ribs or fajitas, with that nice feeling you get from a couple of ice cold brews.  You can hear the cicada’s dusk serenade.

Audience:  Those who miss the twang of real country – when it wasn’t cool (Barbara Mandrell), before it changed direction.

Why selected:  I was immediately yanked in because it seemed unruly and wrestled up images of the Outlaw Country days (Waylon, Willie and the boys – Johnny Cash & Kris Kristofferson – the Highwaymen).  

The manic energy Old Crow Medicine Show put on display here left a mark those who appreciate it and made us believe again in how finger – licking good country can be.

[krispyweiss]

Song Review: Old Crow Medicine Show - “Methamphetamine” (Live)

Meth, the drug, is powerful - in a bad way.

But “Methamphetamine,” the song, is also powerful - in a good way.

And it carries a strong message about yet another hardship to pummel Appalachia, courtesy of Old Crow Medicine Show.

But, Mama, she ain't hungry no more/she's waiting for a knock on the trailer door, the band sings about the drug that will rock you like a hurricane - in a bad way, not in a Scorpions way.

As it prepares to release Live at the Ryman on Oct. 4, Old Crow’s dropped two live versions of the track.

One is the band gathered around a single mic playing to an empty Ryman Auditorium. The other is the fuller, album version - with drums, natch - performed before a full house.

Each is powerful - musically and message-wise - in its own way. And that’s how songwriter Ketch Secor envisioned it.

“I hoped that by writing a song about crank in East Tennessee that I could add a little bit of the healing and restorative nature of music to something that’s really, really screwed up,” he said in a video for the Grand Ole Opry’s “The Write Stuff.”

“You can sing about moonshine and you can sing about mountain-top removal. I tried to roll it all up into one and say that meth is symbolic of the pillaging of the region of Appalachia that’s been happening for 200 years with almost total disregard for the folks who call it home.”

Grade card: Old Crow Medicine Show - “Methamphetamine” (Live) - B+

9/5/19

[odk-2]

Old Crow Medicine Show - Wagon Wheel (2004) Ketch Secor / Bob Dylan from: "O.C.M.S" LP          "Wagon Wheel" / "All Night Long" (Live)           (2011 7" Single Release)

Country | Americana | Bluegrass | Acoustic

JukehostUK (left click = play) (320kbps)

Personnel: Ketch Secor: Lead Vocals / Fiddle Willie Watson: Guitar / Backing Vocals Critter Fuqua: Banjo / Backing Vocals Kevin Hayes: Guitjo Morgan Jahnig: Upright Bass

David Rawlings: Guitar

Produced by David Rawlings

Recorded: @ Woodland Sound Studios in Nashville, Tennessee USA during 2003 Released on February 10, 2004

Nettwerk Records

[davidandrako]

Old Crow Medicine Show (opening for Willie Nelson) - Celebrate Brooklyn! - Prospect Park Bandshell - 08/12/15

Photos by David Andrako for Celebrate Brooklyn!

[andreabehrends]

Old Crow Medicine Show: Portraits