John Anderson is far more than an old chunk of coal at Boston’s City Winery

John Anderson may have opened his show Monday night at Boston’s City Winery with his 1981 #4 “I’m Just an Old Chunk Of Coal,” but judging from his brisk 90-minute set, the choice wasn’t self-referential. Armed with an acoustic guitar and his longtime accompanist Glenn Rieuf, he ran through hit-after-hit with merely a break to catch his breath.

Anderson traversed his whole career, jumping around so as not to put emphasis on any particular song or time period. He wasted no time getting to fan favorites like “Money In The Bank” and “Straight Tequila Night,” two of his signature tunes from his big comeback in the early 1990s. He dedicated the latter to the ladies in the crowd, which was at about half-capacity for the 300-seat venue, a respectable turnout considering the scorching heatwave and proximity to July 4th.

He didn’t talk much during the show, opting instead to give his fans their money’s worth of music. He introduced Rieuf as someone he’s known for more than 40 years and played with for more than 30. The two were perfectly in sync, with Anderson often turning to Rieuf between songs to figure out what would be sung next. Rieuf switched from acoustic guitar to dobro early on, giving the bulk of the songs some added texture Anderson couldn’t achieve with just his guitar alone.

When he did speak, Anderson made it count. He told a story about a day on his farm when he was trying to write a song. The ideas weren’t coming, and he was about to give up when his phone rang. Waylon Jennings was on the other end, requesting Anderson join him at the Ryman Auditorium to lend his talents to a live album he was making. The sessions, which took place in January 2000, would cumulate as the final album Jennings would release during his lifetime. Anderson then played “Waymore’s Blues,”  the track they collaborated on together.

Like the majority of male country singers from his era, Anderson wears his patriotism on his sleeve. He turned in a poignant rendition of “1959,” the fifth single from his debut album, his first top ten, released in 1980. The song, about a solider’s heartbreak at learning his high school sweetheart, Betty, had broken her promise never to leave him while he was deployed, is as powerful today as it must’ve been 38 years ago. He followed with “An Occasional Eagle,” an ode to American Pride and a deep cut from 1983’s All The People Are Talkin’.

He stayed in the 1980s to bring the audience some real country music, “I Just Came Home to Count The Memories,” the title cut from his third album, released back in 1981. He also mined “Would You Catch A Falling Star” from the same album. Although it’s not my favorite of his songs, “Swingin’” has retained all the swagger he originally brought to his chart-topping recording in 1983.

To this day, I still become affected when I hear “I Wish I Could’ve Been There,” which he delivered beautifully Monday night. He said it was written about his life on the road, while the next song was composed about life “back home” in Apopka, Florida. “Seminole Wind,” which I’ve always adored, is probably the most unlikely song ever to hit the country airwaves and explode into a #2 hit. Released in August 1992, when Garth Brooks was decimating everything in his path, a lyric about conservation efforts in the Everglades was just a crazy enough concept to work.

“When I Get Down” was Anderson’s sole nod to his 2011 gospel album Praise For You and was accompanied by him recounting the hearing loss that kept him off the road, missing “seven months of work” in 2017. He’s thankfully recovered, which for a time, was in jeopardy. He and Rieuff left the stage for a brief moment, and when they returned, Anderson referenced his friend Merle Haggard, who he called one of the greatest country singers who ever lived. Anderson brilliantly sang the standard “Long Black Veil,” which he associates with the beginnings of his friendship with Haggard. He closed with his outlaw classic “Black Sheep,” which became his third #1 in late 1983.

Throughout his set, Anderson was ever the southern gentleman, pausing multiple times with “thank y’all so much” as the audience cheered between songs. He also felt his sound mixing was off, stopping at the top of the show a few times to tune his guitar and ask the sound people to adjust his guitar in the monitors. The sound was fine by my ears, but when he got it just right, we could enjoy the show without further tweaking.

The acoustic format, which Anderson said will be the sonic backdrop of his next album, worked well although I could’ve used a bit more instrumentation, especially on “Straight Tequila Night,” which seemed to be needing some extra ingredients, likely just a fiddle, to bring it even further to life.

At 63, Anderson still sounds fantastic, with his signature gravely rasp firmly intact. It was an unexpected treat to see someone perform whom I never even gave a second thought to seeing live. He made a point of saying he doesn’t come around “these parts that often,” meaning Boston, and he would like to come back again real soon. I for one, wouldn’t mind in the least if he did.

Predictions for the 49th Annual CMA Awards

The leaves are changing colors, the days are shorter and the weather is getting progressively colder by the day. When autumn rolls around, so do the annual Country Music Association Awards. The telecast, airing next Wednesday (November 4) on ABC, is the 49th in the show’s history.

The blending of ‘country’ with outside influences continues with scheduled duets between John Mellencamp & Keith Urban as well as Thomas Rhett & Fall Out Boy. Sam Hunt, Kelsea Ballerini and Maddie & Tae will take the stage for the first time. In an exciting twist, Hank Williams Jr will open the show with his brand new single “Are You Ready For The Country.” His cover of the Waylon Jennings tune will be presented as a duet with Eric Church.

Carrie Underwood and Brad Paisley will return to host. You can check out the nominees, here.

Entertainer of the Year

Garth Brooks has had more embarrassing gaffs in the last year than any artist should have in their whole career. His tour has been massive, but he’s more than botched his comeback. By falling short, he’s made a win here feel a bit disingenuous.

Should Win: Eric Church – In his first headlining tour he struck out on his own and invited a slew of Americana based acts to open for him. He doesn’t give a damn about the establishment and refuses to be anyone other than himself. 

Will Win: Luke Bryan – There isn’t a single artist in mainstream country who’s bigger than him right now. He’s got his second consecutive win in the bag.

Male Vocalist of the Year

The endless debate rages on. How many times does one person have to win a single award? Blake Shelton hasn’t done anything in 2015 extraordinarily special. He’s been on tour, had a few chart toppers, and continued as a coach on The Voice. Yawn. This is a battle between Dierks Bentley and Eric Church. Both equally deserve it, but sonority should win in the end.

Should Win: Dierks Bentley – He’s been topping the charts and going to battle for authentic country music going on thirteen years now. It’s time the CMA take his career to the next level.

Will Win: Eric Church  – Bentley is on his second consecutive nomination for the first time, but Church has more nominations overall in a year he didn’t even release an album. That kind of recognition should mean he’s the favorite to win his first trophy in this category.

Female Vocalist of the Year

Miranda Lambert’s reception at country radio has significantly cooled since this time last year and Kelsea Ballerini  is so new her debut album hasn’t even been released. This is Carrie Underwood’s award to loose, with two massive hits under her belt all the while laying low after giving birth.

Should Win: Lee Ann Womack – no other nominee has shown as much nuance in his or her vocal delivery over the past year than Womack. Her gifts are astonishing and shockingly undervalued. She should win on principle, collecting her second trophy in fifteen years.

Will Win: Kacey Musgraves – Underwood’s overall lack of nominations is a strong indicator that Musgraves will finally be the one to dethrone Lambert.

Vocal Group of the Year

 Both The Band Perry and Zac Brown Band spent 2015 selling their souls to the devil. Rascal Flatts and Lady Antebellum are just more category filler.

Should Win: Little Big Town – None of the other nominees combined had a song as impactful as “Girl Crush” this year. They deserve this.

Will Win: Little Big Town – Songs like “Girl Crush” only happens once in a career. They won on the strength of far weaker material in the past few years. They’ll win in a landslide.

Vocal Duo of the Year

Competition in the CMA’s dullest category doesn’t happen very often. Florida Georgia Line find themselves in the commercial verses artistic battle once again, a contest they lost to Musgraves in round one two years ago.

Should Win: Maddie & Tae – They’re a fresh force on the scene, calling out clichés and stereotypes with gusto. They could be ballsier still, but they’re on the right track.

Will Win: Florida Georgia Line – Maddie & Tae are very new, which could hurt them. That’ll leave the category open for the establishment to swoop in for a third consecutive win. (Since M&T and FGL are both on Scott Borchetta’s label group, it’ll be interesting to see whom he puts his influence behind).

New Artist of the Year

Thomas Rhett’s appeal has only grown since his first nomination last year. He isn’t quite a superstar yet, but he’s well on his hip-hop, Bruno Mars influenced way. Also on his way is Drake influenced Sam Hunt, who has risen twice as fast as Rhett. Then there’s Maddie & Tae, the duo who openly admires Dixie Chicks and has taken down Bro-Country.

Should Win: Chris Stapleton – I’m not jumping up and down, but I do recognize quality when I hear it. He’s easily the most articulate artist of this bunch.

Will Win: Sam Hunt  – There’s talk Montavello could score an Album of the Year Grammy Nomination. The industry has been bending over backwards to give him one of the flashiest launches in country music history. A win here is likely part of that plan.

Album of the Year

Jason Aldean is the most overrated artist in commercial country right now, with one empty single after another. Broken Bow deserves a lot of credit for manipulating the CMA to give him a nomination. Pain Killer is Little Big Town’s weakest album to date. Traveller is the strongest overall album, by a wide margin.

Should Win: Pageant Material – Musgraves’ uneven sophomore set isn’t a tour-de-force, but it is the most interesting album of this bunch. 

Will Win: Pageant Material – Consider it an apology trophy for being the only organization that didn’t give this honor to Same Trailer Different Park. The CMA rarely acknowledges debut albums, but they see fit to celebrate their follow-up sets.

Single of the Year and Song of the Year

The battle here is between “Girl Crush” and “Take Your Time,” the two biggest singles of the past year. The only distinction between the two is that “Girl Crush” made waves for its content. Is it about lesbians? Are Little Big Town pushing a gay agenda? In that context, I see a very real and significant split.

(As an aside: overlooking “Something In The Water” is a major snub. Had Underwood’s single been nominated, I doubt we’d even be discussing even a remote chance of Hunt walking away a winner).

Will Win (Single): “Take Your Time” – The CMA have a history of awarding one-off singles such as “Cruise,” “Hurt,” “Man of Constant Sorrow,” “Achy Breaky Heart” and “Elvira,” which are flavors of the moment. The flavor right now is Hunt.

Will Win (Song): “Girl Crush”  – Ten years after Faith Hill brought her national attention, Lori McKenna will walk away with her first CMA Award for co-writing a song she thought no one would ever record.

Musical Event of the Year

A full-length album goes up against four typical mainstream duets. It’s the second straight year the CMA has opted to nominate an LP, and like Bakersfieldlast year, the project deserves to compete in the Album of the Year category instead.

Should Win: Django and Jimmie – It’s been thirty-two years since Willie Nelson and Merle Haggard have come together for a collaborative effort. I wish Emmylou Harris and Rodney Crowell had been nominated instead, but it’s Nelson and Haggard.

Will Win: “Lonely Tonight” – Blake Shelton will win as a consolation prize when he hopefully looses his sixth straight Male Vocalist of the Year trophy. Then again, this is a duet with Ashley Monroe. Much like the country music community as a whole, the CMA have been criminally cool towards her. Hopefully Shelton can pull the pair over the top.

Music Video of the Year

It should be a celebration that all five nominees are videos by female artists. But the CMA has regulated this as an off camera award, which dampens the progressiveness of the category this year. It’s always interesting to see who wins since this is often used as a consolation prize when the CMA overlooks artists in other categories.

Should Win: Something In The Water – Underwood is often overlooked, especially since her Female Vocalist run ended in 2009. She deserves this.

Will Win: “Something In The Water” was criminally overlooked for both Single and Song of the Year. It’s exclusion in those races only helps Underwood here. This is a consolation prize if there ever was one.

Musician Event of the Year

Mac McAnally has been nominated in this category for the past eight years. He’s won for the past seven years straight. He’s all but a lock to take it again.

Should Win: Dann Huff – It won’t count until next year, but he did a bang up job producing Maddie & Tae’s Start Here. I’d like to see him take this home.

Will Win: Mac McAnally – Betting against the status quo? Not this year.

Concert Review: Willie Nelson & Family and Alison Krauss and Union Station along with Kacey Musgraves at The Blue Hills Bank Pavilion, Boston, MA

“That is the most random pairing of acts I’ve ever seen in one show together in my life”

If not my exact words, that’s at least what I was thinking when I logged into Engine 145 Feb 10 to Ken Morton Jr’s headline – “Willie Nelson, AKUS announce co-headlining tour.” Why in the world would two seemingly completely different acts share a stage unless for a one off benefit show somewhere in Texas or Nashville? Well I didn’t get my answer June 17 at The Blue Hills Bank Pavilion on the Boston Waterfront, but I was treated to four hours worth of music across the span of three acts.

I was most excited about tour opener Kacey Musgraves, the only act on the bill I hadn’t previously seen live. Her thirty-minute set was short, and we came in while she was performing a perfect rendition of her live-your-life mid-tempo ballad “Silver Lining.”

She plucked away on the banjo during “Merry Go ‘Round” and tried to get the crowd going during the chorus of “Follow Your Arrow,” which worked surprisingly well. Both were good, but Musgraves stunned with “It Is What It Is,” wrapping her voice around the lyric brilliantly. She gave her underrated steel player a gorgeous solo – and an “I love Pedal Steel” shout out – that easily trumps the recorded version.

The main concern people have with Musgraves is her burgeoning friendship with Katy Perry, a move that could transition her away from country. But the set showcased her country bonafides wonderfully, from her naturally twangy voice to her love of western themes (trademark neon cacti). As proof, Musgraves and her band closed their set with a glorious a Capella rendition of the Roy Rogers classic “Happy Trails To You” featuring the refrain “Till We Meet Again.” I know I’ll be meeting her again, hopefully as a headliner, real soon.

Alison Krauss and Union Station were next, bringing their comforting bluegrass picking to the hungry audience. From the first notes of opener “Let Me Touch You For A While,” I was home. Their 90-minute set was spectacular, with Krauss wrapping her otherworldly voice around their signature songs – “The Lucky One,” “Every Time You Say Goodbye,” “Baby, Now That I’ve Found You,” to “You Will Be My Ain True Love,” “Sawing On The Strings,” “Ghost In This House,” and “Paper Airplane.”

While their set was familiar, it was heavy on uptempo material, which I found surprising, given Krauss is known for her ballads. It worked though, as a whole night of ballads would’ve been too much. Even more startling was Dan Tyminski’s heavier-than-usual role acting like a second lead singer more than just a band member. He ripped through many of songs he fronts including “Dust Bowl Children” and got a charge out of some venue workers with “Boy Who Wouldn’t Hoe Corn.” Krauss showcased her trademark wit when talking about “Hey Brother,” his collaboration with EDM mastermind Avicii and the mainstream exposure it’s afford him, including a prime spot over the speakers at Kohl’s stores. Tyminski played that, too, along with his classic rendition of “Man of Constant Sorrow.” He’s a great singer but his prominence was likely do to Krauss’ vocal troubles over the past year.

Her master Dobro player Jerry Douglas also got a solo, plucking away on covers including one by Paul Simon. He’s incredible and the obvious master of his craft. They closed their set with an encore highlight, gathering around in a semi-circle to gift the audience short snippets of “When You Say Nothing At All,” “Down At The River To Prey,” the chorus of “Whiskey Lullaby” and a fabulous take on “The Long Journey,” which Krauss recorded with Robert Plant. The inventive encore was the highlight, a surprise moment of magic. At this point, especially since they haven’t released new music in three years, Krauss and Union Station is a well-oiled machine, albeit an exquisite one.

It’s hard to believe Willie Nelson is a man of 81, when he sings and has the energy of men thirty years his junior. After the show a friend asked me if he still had the goods and with a resounding yes, he does. But really, does he sing well? No, he doesn’t. But much like Kris Kristofferson, that’s to be expected, as Willie will always be Willie.

Like most every other show he’s played, Nelson began his set just as expected, with “Whiskey River.” He has to be the oddest entertainer I’ve ever seen as he doesn’t take breaks between songs, instead he lets song after song bleed into one another so you don’t know where one ends or the next begins. It works for him as he bled “Crazy” into “Night Life” and “Funny How Time Slips Away” into “Always On My Mind.”

He also turned in fantastic renditions of “On The Road Again” and “Good Hearted Woman,” which he dedicated to Waylon Jennings. When he launched into “Beer For My Horses,” I didn’t recognize the song at first given how he’d changed it up, but the lyric caught up to me when he got to the “Pappy told my pappy” line in the second verse. I always love hearing him sing “Me and Paul,” and especially liked the all-too-appropriate line about him singing on a package show with Charley Pride.

Nelson had his family band with him, which included his two sons and sister Bobbie, who gave a nice piano showcase. His guitarist was introduced as simply as Johnny, and revealed late last week to be the actor Johnny Depp, who’s in town playing Mobster Whitey Bulger in the biopic Black Mass.

His son Lukas had a showcase of his own, ripping through the blues on “Texas Flood,” a nine minute set highlight showcasing his masterful guitar playing and powerfully aching booming voice. He later went more restrained and joined his dad for their recent duet “Just Breathe.”

As much as for his own material, Nelson’s set was a showcase for country music. He gifted us with three Hank Williams covers – “Jambalaya,” “Hey Good Lookin,” and “I Saw The Light,” all of which were outstanding. He turned “Mama’s Don’t Let Your Babies Grow Up To Be Cowboys” into a chant, converting the word ‘mama’ into a deep-throated wail, which worked for a sing-along but became grating.

Nelson, who transported the crowd to a 1970s Texas honky-tonk with his unique outlaw sound, closed the show (and evening) with a sing-along that brought out Krauss, Union Station, Musgraves, and her band. With everyone on stage they went through the gospel favorite “I’ll Fly Away” and country standard “Will The Circle Be Unbroken” among others. It was fabulous he included everyone in this and it was a hoot to see Musgraves’ band in their flashy suits that light up like a Christmas tree.

All and all it was a fantastic evening of live music that left this Musgraves, Krauss, and Nelson fan extremely satisfied. Given that Rounder Records began in Massachusetts, it’s wonderful that Krauss gave a shot out to the people who signed her in 1985 – who also happened to be in attendance.

Now, could Nelson have sung “Poncho and Lefty” or “City of New Orleans?” Of course. Should Musgraves have been allowed to play longer? Hell, yeah. Did I want to hear Krauss sing a bit more? Without a doubt. But that’s just nitpicking a near perfect evening of exceptional music from three of the brightest talents country music has to offer. Just a terrific show, and wonderful evening, all around.

Album Review: The Music Inside: A Collaboration Dedicated to Waylon Jennings Volume 1

Various Artists

The Music Inside: A Collaboration Dedicated to Waylon Jennings 

* * *  

In the liner notes for the album, and in form of a letter to her late husband, Jessi Colter writes: “I think you’d say, “you done good hoss!” and to the artists “It’s supposed to be this way.” And rightfully so because Jennings would be more than proud with the execution of volume one in this three part celebration of his music and legacy, coming nine years after his death. It gathers the best of the new (Jamey Johnson, Randy Houser, Sunny Sweeney, James Otto) and old (Kris Kristofferson, Alabama, John Hiatt, Patty Griffin) to pay tribute to one of country music’s original outlaws.

It’s fitting that the record would begin with a cut by Johnson – the best voyeur into Jennings’s legacy in modern country. On That Lonesome Song he paid tribute by cutting “Dreaming My Dreams” and “The Door Is Always Open” and perfectly captured Jennings’s energy and charm on the album’s title song. Here, he wraps his distinctive baritone around “This Time,” Jennings’s first number one hit from 1974. While it lacks the punch of his other tributes to the outlaw, it’s well sung and smartly executed. There is little doubt that Johnson has found his lane, if anyone was meant to sing classic country music it’s him.

As much as Johnson is celebrated for his associations with Jennings’s music, The Music Inside gained attention for another track – “Are You Sure Hank Done It That Way” which preceded the project as the first single. The track reunites the members of Alabama and marks the first time they’ve recorded together in nine years. Radio largely ignored the tune, which is a shame because it’s message, that Hank Williams Sr wouldn’t make country music the way it’s made in modern times, is as relevant today as it was when the song first charted in 1975. While they do a competent job with the song, it lacks the punch of their esteemed recordings. It’s softer and doesn’t hit as hard as their classic songs from the 80s and 90s, which could be do to their advancing age. Randy, Teddy, and Jeff are looking very worn these days. But in any event, it’s great to hear them again, if only on one song on a tribute album.

But the whole album isn’t artists that could’ve punched harder. When women come to play, they add the spunk needed to elevate the mostly even tempo set. Proving she’s quickly becoming one of my favorite female singers on the charts today, Sweeney adds a fire to her duet of “Good Hearted Woman” with Colter. I had reservations about two women taking on the Willie and Waylon classic, but they pulled it off brilliantly. If you’re going to purchase the album for only one track let it be this one – it’s well worth it. With her solo hits “From a Table Away” and “Staying’s Worse Than Leaving,” and this duet, Sweeney is establishing herself as a force in modern country to be reckoned with. She’s more than a fine vocalist who’s pioneering a new neo traditionalist meets modernism sound.

Griffin is the other welcomed female singer on this album. She has the catch-22 of being paired with Kristofferson, country’s legendarily poor vocalist. She shines next to him, which isn’t exactly hard, but also has to hold up the song on her own since he fails to do so himself. But she’s also the record’s biggest surprise. I know her more for her songwriting contributions to Dixie Chicks’ Fly and Home albums and have never listened to her sing before. Griffin is a fine vocalist in her own right and more than commands the spotlight.

Another artist with the vocal ability to bridge the gap between tradition and modernism is Houser. His stripped down country/blues rendering of “I’m A Ramblin’ Man” is far and away the best vocal on the whole album. I’m wondering if Houser knows the excellence he implements here. His is a voice suited for these kinds of songs and not the southern rock he often releases to country radio. When he gets the vocal and production right, it can be so powerful that it takes me aback. He may be the finest male vocalist in the genre today and this is another step in his acceleration to greatness.

Overall The Music Inside is a fine surprise. I wasn’t expecting it to be nearly good as I found it to be. Every cut is a stellar tribute to one of the most influential men in country music history. Colter has done a great job at honoring her late husband’s legacy while giving fans a worthwhile and enjoyable listen filled with a few gems. Volumes 2 and 3 are coming later in the year, and if they hold up to this initial offering, than this could be an essential listen and a look inside a man worth remembering, and celebrating for decades to come.