AG_258.pdf

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JUNE 2014 | 25TH ANNIVERSARY YEAR | ACOUSTICGUITAR.COM

TOMMY EMMANUEL |

ROSANNE CASH

| VALERIE JUNE |

PETER VON POEHL

HOW TO PLAY

RED-HOT

BLUES LICKS

WESTERN

SWING

WEEKLY

WORKOUT

THE ROLLING STONES

As Tears Go By

ELVIS PRESLEY

That’s All Right

KEB’ MO’

Every Morning

GEAR THAT

RONIN

GLORY JUMBO

OVATION

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MIC SYSTEM

MARTIN

OM-ECHF

NAVY BLUES

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2014

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TO LEARN

SONGS TO PLAY

SHOPTALK

NOTES

FROM THE

FOLK ALLIANCE

INT’L CONFAB

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TAYL0232 “2014 Taylor Campaign Spread- JAKE”

ACOUSTIC GUITAR

ID:

JUNE 2014

T: 16.5" x 10.875", L: 16.125" x 10.5", B: 16.875" x 11.25" Gutter: .25 each side, Bind: SS, 300%md CMYK mt

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TM

Jake was a guitar player. But the day a chemical explosion took his right arm, people

stopped seeing Jake, the guitar player, and started seeing Jake, the guy who lost his arm.

the proBlem was, that wasn’t the Jake he wanted to Be. so, he made the decision to

fight for his identity — a Battle against stereotypes, preJudice and worst of all, pity.

it was an impossiBle task, But somehow, he learned to play all over again in a way that

could only Be done with a special prosthesis — and he didn’t stop there. eventually he

got enough courage to get Back on stage, where audiences saw something Jake wasn’t

sure they’d ever see again. Jake, the guitar player. it’s a story that inspires us, and

serves as a reminder that the world needs more people like Jake. for more aBout Jake

and other stories of people with the courage to step forward,

visit taylorguitars.com

the man who went to hell

,

and came out singing.

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TAYL0232 “2014 Taylor Campaign Spread- JAKE”

ACOUSTIC GUITAR

ID:

JUNE 2014

T: 16.5" x 10.875", L: 16.125" x 10.5", B: 16.875" x 11.25" Gutter: .25 each side, Bind: SS, 300%md CMYK mt

©2

01 4 t

ay

lo

r g

u

it

a

rs

TM

Jake was a guitar player. But the day a chemical explosion took his right arm, people

stopped seeing Jake, the guitar player, and started seeing Jake, the guy who lost his arm.

the proBlem was, that wasn’t the Jake he wanted to Be. so, he made the decision to

fight for his identity — a Battle against stereotypes, preJudice and worst of all, pity.

it was an impossiBle task, But somehow, he learned to play all over again in a way that

could only Be done with a special prosthesis — and he didn’t stop there. eventually he

got enough courage to get Back on stage, where audiences saw something Jake wasn’t

sure they’d ever see again. Jake, the guitar player. it’s a story that inspires us, and

serves as a reminder that the world needs more people like Jake. for more aBout Jake

and other stories of people with the courage to step forward,

visit taylorguitars.com

the man who went to hell

,

and came out singing.

(4)

- Bolder, stronger high end

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- Balanced voice across

all strings

- Ideal for narrow bodied guitars

- Comfortable, balanced hand feel

- .013, .017, .025, .032, .042, .053

HD Light

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_{HD Light 80/20 Bronze with NANOWEB Coating}

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Learn more:

www.elixirstrings.com/hdlight

US_Master_8.25x10.875"_HDLight_A.indd 1 17/02/2014 17:47

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AcousticGuitar.com 5 The Mouse that Roared

Sweden’s Peter von Poehl goes all in on Big Issues Printed Small By Jason Glasser

Like a Hurricane

Tommy Emmanuel blows through

Acoustic Guitar’s offices

By David Knowles

Southern Exposure

How Rosanne Cash & John Leventhal created

The River and the Thread

By Jeffrey Pepper Rodgers

SPECIAL FOCUS

New Gear 2014

A roundup of the year’s coolest new guitars and gear

By Greg Cahill, Mark Segal Kemp, & David Knowles

Summer Gear Guide Directory

MISCELLANY

FROM THE HOME OFFICE OPENING ACT EVENTS MARKETPLACE AD INDEX GREAT ACOUSTICS JUNE 2014

VOLUME 24, NO. 12, ISSUE 258

ON THE COVER

RONIN GLORY JUMBO

PHOTOGRAPHER HUGH O’CONNOR

Our L1 Model 1S offers the

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same time, it’s small enough to fit in your car and light enough to carry yourself.

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set up in

minutes. You’ll focus less on your equipment and more on your performance.

To learn more about Bose L1 systems,

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M ay 1 – J_un e 3 0, 2 014 ©2014 Bose Corporation. Discount not to be combined with other offers or applied to previous purchases, and subject to change without notice. Offers are limited to purchases made from Bose and participating authorized dealers. CC014363

BOS79355A_107419.indd 1 3/21/14 12:04 PM

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Our L1 Model 1S offers the

portability and flexibility of the L1 family — with a

new level of performance. With the Bose proprietary 12-speaker articulated line

array, it’s big enough to fill the room with

180 degrees of clear, even sound. At the

same time, it’s small enough to fit in your car and light enough to carry yourself.

Plus, with no speaker stands and fewer connections, it’s easy enough to

set up in

minutes. You’ll focus less on your equipment and more on your performance.

To learn more about Bose L1 systems,

L1 Model 1S with B1 bass visit

Bose.com/L1systems1b

or call

800-905-0382.

FOCUS LESS ON YOUR GEAR,

MORE ON YOUR MUSIC.

BOSE

®

_L1

®

_{MODEL 1S SYSTEM}

M ay 1 – J_un e 3 0, 2 014 ©2014 Bose Corporation. Discount not to be combined with other offers or applied to previous purchases, and subject to change without notice. Offers are limited to purchases made from Bose and participating authorized dealers. CC014363

BOS79355A_107419.indd 1 3/21/14 12:04 PM

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8 June 2014

ACOUSTIC GUITAR

SHOWS YOU HOW

Learn a song or a new guitar technique. Get advice on caring for your guitar or watch a demo of a new instrument. Sample a new musical style or dive deeper into your favorite genre. Learn more at AcousticGuitar.com/How-To.

THANKS FOR VOTING

IN THE 2014 PLAYER’S

CHOICE AWARDS

We are now hard at work tallying your responses and are so excited to see who and what wins! The results will be announced in next month’s Player’s Choice Awards special issue.

If you love Acoustic Guitar magazine, you’ll go head over heels at AcousticGuitar.com—where you can view exclusive videos, listen to song premiers and screen interviews with some of the finest pickers on the guitar scene today. This past month, we premiered the video for Cahalen Morrison & Eli West’s “Voices of Evening”—and new videos are being posted regularly.

WATCH US ONLINE!

Cahalen Morrison & Eli West

For over

100 years, three generations of

Rodríguez master luthiers have brought their

storied family history and instrument-making

expertise into every guitar they build.

For rich, multi-layered tone and stunning looks,

hand selected premium woods are used throughout

each instrument and topped with hand-inlaid,

multi-wood rosettes and binding. Gorgeous accents

and exquisite marquetry are matched with premium

hardware and traditional, hand-built Spanish Heel

construction, creating instruments that capture the

sound only old-world craftsmanship can produce.

Rodríguez classical guitars are available at these select

preferred retailers.

Hand-Inlaid Binding

Traditional Construction

Premium Tonewoods

All Wood Rosette

Premium Hardware

AG ONLINE

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For over

100 years, three generations of

Rodríguez master luthiers have brought their

storied family history and instrument-making

expertise into every guitar they build.

For rich, multi-layered tone and stunning looks,

hand selected premium woods are used throughout

each instrument and topped with hand-inlaid,

multi-wood rosettes and binding. Gorgeous accents

and exquisite marquetry are matched with premium

hardware and traditional, hand-built Spanish Heel

construction, creating instruments that capture the

sound only old-world craftsmanship can produce.

Rodríguez classical guitars are available at these select

preferred retailers.

Hand-Inlaid Binding

Traditional Construction

Premium Tonewoods

All Wood Rosette

Premium Hardware

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10 June 2014

AcousticGuitar.com • AcousticGuitarU.com CONTENT DEVELOPMENT Editorial Director & Interim Editor

Greg Cahill

Editor at Large Jeffrey Pepper Rodgers Managing Editor Jason Walsh Senior Editor Mark Segal Kemp Senior Editor David Knowles Production Designer Brad Amorosino Production Manager Hugh O’Connor Contributing Editors Kenny Berkowitz,

Andrew DuBrock, Teja Gerken, David Hamburger, Steve James, Orville Johnson, Richard Johnston, Sean McGowan, Jane Miller, Greg Olwell, Adam Perlmutter, Rick Turner, Doug Young INTERACTIVE SERVICES

Interactive Services Director Lyzy Lusterman Creative Content Manager Joey Lusterman Digital Developer Breeze Kinsey Community Relations Coordinator

Courtnee Rhone

Single Copy Sales Consultant Tom Ferruggia MARKETING SERVICES

Marketing Services Director Desiree Forsyth Marketing Services Managers

Cindi Kazarian, Claudia Campazzo Marketing Services Associate

Tanya Gonzalez

Stringletter.com

Publisher David A. Lusterman FINANCE & OPERATIONS Director of Accounting & Operations

Anita Evans Bookkeeper Geneva Thompson Accounting Associate Raymund Baldoza Office Assistant Michael Srouji

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GOT A QUESTION or comment for Acoustic Guitar’s editors? Please send e-mail to [email protected] or snail-mail to Acoustic Guitar Editorial, 501 Canal Blvd., Suite J, Richmond, CA 94804.

TO SUBSCRIBE to Acoustic Guitar magazine, call (800) 827 6837 or visit us online at AcousticGuitar.com. As a subscriber, you enjoy the convenience of home delivery and you never miss an issue. You can take care of all your subscription needs at our online Subscriber Services page (AcousticGuitar.com/ Subscriber-Services): pay your bill, renew, give a gift, change your address, and get answers to any questions you may have about your subscription. A single issue costs $6.99; an individual subscription is $39.95 per year; institutional subscriptions are also available. International subscribers must order airmail delivery.

Add $15 per year for Canada/Pan Am, $30 elsewhere, payable in US funds on US bank, or by Visa, MasterCard, or American Express.

TO ADVERTISE in Acoustic Guitar, the only publication of its kind read by 150,000 guitar players and makers every month, call Cindi Kazarian at (510) 215-0025, or e-mail her at [email protected]. RETAILERS To find out how you can carry Acoustic Guitar magazine in your store, contact Alfred Publishing at (800) 292-6122.

T

his month, AG debuts an online perfor-mance series, Acoustic Guitar Sessions, a video-only feature that brings acoustic artists to your web browser. In recent weeks, the

A G v i d e o s t u d i o h a s w e l c o m e d To m m y

Emmanuel, Badi Assad, Ani DiFranco, Diego Figueiredo, Sarah Lee Guthrie and Johnny Irion, and other gifted performers. All generously have shared a song or two (and sometimes more), as well as player and gear tips, while discussing their careers, life on the road, and their latest projects with senior editors David Knowles and Mark Segal Kemp.

The result is an intimate showcase of some of the world’s best acoustic guitarists and singer- songwriters.

The series kicks off on acousticguitar.com with a performance by Scott Law, the talented Port-land, Oregon, flatpicker who shared the story behind his Santa Cruz D -Law signature dread-nought. If you haven’t had a chance to catch Scott in concert, or if you haven’t heard his excellent new Black Mountain CD, you’re in for a real treat.

View Acoustic Guitar Sessions Presents Scott

Law and other related performance videos on our

website. Enjoy outtakes on our digital tablet edition. And look for a feature profile of Scott in next month’s Acoustic Guitar magazine.

Also, I’d like to welcome our new managing editor, Jason Walsh, who’s already proved himself to be a valuable addition to the AG staff. Jason is a former editor of the Pacific Sun newsweekly and a longtime San Francisco Bay Area reporter and arts writer, who somehow finds the time to play his guitar when his nose isn’t buried in a pile of

page proofs. —GREG CAHILL

Corrections & Clarifications In our May issue’s tran-scription of Eric Clapton’s Unplugged version of the 1923 Jimmy Cox blues classic “Nobody Knows You When You’re Down and Out,” we featured an image of Clapton seated with his navy blue OM-ECHF Martin. What we failed to mention was that the photo was taken by Kevin Mazur—who certainly isn’t “down and out” and definitely deserves to be “known” for the shot.

FROM THE HOME OFFICE

Scott Law

THE DEFINITIVE

GUITAR SONGBOOK

88 songs, including: Allegretto • Baby Love • Blackbird • Chariots of Fire • Cheek to Cheek • Don’t Be Cruel • Easy Living • Fire and Rain • Gavotte • Gigue • Imagine • Jessica • Maggie May • Malagueña • Prelude • Ramblin’ Man • Rebel, Rebel • Stand by Me • Young Americans • and more.

00699267 … $19.95

THE FANTASTIC

GUITAR SONGBOOK

85 songs, including: ABC • Always on My Mind • Bohemian Rhapsody • Canon in D • Hey Jude • Jack and Diane • Mama, I’m Coming Home • More Than Words • Refugee • Smells like Teen Spirit • Summer of ‘69 • So Nice (Summer Samba) • Yellow Submarine • and more.

00699561 … $19.95

THE GREATEST

GUITAR SONGBOOK

100 songs, including: Alman • Amazing Grace • Angie • Blue on Black • Boot Scootin’ Boogie • Bourrée • Brown Eyed Girl • Day Tripper • Für Elise • Here Comes the Sun • I Shot the Sheriff • Layla • Misty • My Girl • Sweet Child O’ Mine • Unchained Melody • Wild Thing • and more.

00699142 … $21.99

THE INCREDIBLE

GUITAR SONGBOOK

111 songs, including: Adelita • All Blues • All of You • Beast of Burden • Blue • Crying • Dream On • Free Ride • Gloria • Hey Joe • Iris • Lady Madonna • My Romance • Old Devil Moon • Push • Route 66 • Satin Doll • Smooth • Something • Walk This Way • White Room • Wonderwall • You Shook Me • and more.

00699245 … $19.95

THE PHENOMENAL

GUITAR SONGBOOK

85 songs, including: Ain’t Too Proud to Beg • American Pie • Blue Skies • California Dreamin’ • Fly like an Eagle • Fur Elise • Good Vibrations • In My Life • Malaguena • Moon River • My Way • Proud Mary • Under the Bridge • What’s Going On • You Are My Sunshine • and more!

00699759 … $19.99

THE SENSATIONAL

GUITAR SONGBOOK

86 songs, including: Angel of the Morning • Back in Black • Barracuda • Been Caught Stealing • Breaking the Law • Breathe • Just like Heaven • Killing Floor • La Grange • A Night in Tunisia • Panama • Peggy Sue • Sex on Fire • Thriller • Wonderful Tonight • and more!

00701602 … $19.99

THE ULTIMATE

GUITAR SONGBOOK –

SECOND EDITION

110 songs, including: All Right Now • Change the World • Come Sail Away • Crazy • Deuce • Evil Ways • Give It Away • Iron Man • Jump • My Funny Valentine • Photograph • Roxanne • Start Me Up • Stella by Starlight • Yesterdays • and more!

00699909 … $21.99

THE ULTRA GUITAR

SONGBOOK

87 songs including: Bad Moon Rising • Beautiful Girls • Bennie and the Jets • Capricho Arabe • Dancing with Myself • Dani California • Free Fallin’ • Hot for Teacher • How to Save a Life • I Can See for Miles • Luck Be a Lady • Minuet in G • Ring of Fire • Tainted Love • Witchcraft • You’ll Never Walk Alone • and many more!

00700130 … $19.95

THE WORLD’S BEST

GUITAR SONGBOOK

74 songs, including: All Along the Watchtower • Comfortably Numb • Do You Want to Know a Secret? • Friend of the Devil • Heartbreaker • Hey There Delilah • Life in the Fast Lane • Love Song • My Best Friend’s Girl • Over the Rainbow • Stardust • Tell Her No • Welcome to the Jungle • Wild Night • and more.

00322152 … $24.95

THE ABSOLUTE BEST

GUITAR SONGBOOK

76 songs, including: After Midnight • At Last • Bewitched • Hotel California • If You Could Read My Mind • Layla • Moondance • Night and Day • Peter Gunn • Sister Golden Hair • Spanish Fly • Stairway to Heaven • Time Is on My Side • Werewolves of London • and more.

00322153 … $24.95

These versatile guitar songbooks include tunes in a wide variety of notation formats (easy guitar with

and without tablature, chord melody guitar, classical, fingerstyle, riffs and note-for-note tab transcriptions),

and in a range of musical styles – from pop/rock hits to jazz standards, movie songs to Motown, country,

classical and everything in between. Create your own indispensable library!

F R E E

S H I P P I N G

on orders of $25 or more!

1-800 -637-2852

musicdispatch.com

Please mention ad code MACAG.

Least expensive shipping method applies. U.S. only.

(11)

THE DEFINITIVE

GUITAR SONGBOOK

88 songs, including: Allegretto • Baby Love • Blackbird • Chariots of Fire • Cheek to Cheek • Don’t Be Cruel • Easy Living • Fire and Rain • Gavotte • Gigue • Imagine • Jessica • Maggie May • Malagueña • Prelude • Ramblin’ Man • Rebel, Rebel • Stand by Me • Young Americans • and more.

00699267 … $19.95

THE FANTASTIC

GUITAR SONGBOOK

85 songs, including: ABC • Always on My Mind • Bohemian Rhapsody • Canon in D • Hey Jude • Jack and Diane • Mama, I’m Coming Home • More Than Words • Refugee • Smells like Teen Spirit • Summer of ‘69 • So Nice (Summer Samba) • Yellow Submarine • and more.

00699561 … $19.95

THE GREATEST

GUITAR SONGBOOK

100 songs, including: Alman • Amazing Grace • Angie • Blue on Black • Boot Scootin’ Boogie • Bourrée • Brown Eyed Girl • Day Tripper • Für Elise • Here Comes the Sun • I Shot the Sheriff • Layla • Misty • My Girl • Sweet Child O’ Mine • Unchained Melody • Wild Thing • and more.

00699142 … $21.99

THE INCREDIBLE

GUITAR SONGBOOK

111 songs, including: Adelita • All Blues • All of You • Beast of Burden • Blue • Crying • Dream On • Free Ride • Gloria • Hey Joe • Iris • Lady Madonna • My Romance • Old Devil Moon • Push • Route 66 • Satin Doll • Smooth • Something • Walk This Way • White Room • Wonderwall • You Shook Me • and more.

00699245 … $19.95

THE PHENOMENAL

GUITAR SONGBOOK

85 songs, including: Ain’t Too Proud to Beg • American Pie • Blue Skies • California Dreamin’ • Fly like an Eagle • Fur Elise • Good Vibrations • In My Life • Malaguena • Moon River • My Way • Proud Mary • Under the Bridge • What’s Going On • You Are My Sunshine • and more!

00699759 … $19.99

THE SENSATIONAL

GUITAR SONGBOOK

86 songs, including: Angel of the Morning • Back in Black • Barracuda • Been Caught Stealing • Breaking the Law • Breathe • Just like Heaven • Killing Floor • La Grange • A Night in Tunisia • Panama • Peggy Sue • Sex on Fire • Thriller • Wonderful Tonight • and more!

00701602 … $19.99

THE ULTIMATE

GUITAR SONGBOOK –

SECOND EDITION

110 songs, including: All Right Now • Change the World • Come Sail Away • Crazy • Deuce • Evil Ways • Give It Away • Iron Man • Jump • My Funny Valentine • Photograph • Roxanne • Start Me Up • Stella by Starlight • Yesterdays • and more!

00699909 … $21.99

THE ULTRA GUITAR

SONGBOOK

87 songs including: Bad Moon Rising • Beautiful Girls • Bennie and the Jets • Capricho Arabe • Dancing with Myself • Dani California • Free Fallin’ • Hot for Teacher • How to Save a Life • I Can See for Miles • Luck Be a Lady • Minuet in G • Ring of Fire • Tainted Love • Witchcraft • You’ll Never Walk Alone • and many more!

00700130 … $19.95

THE WORLD’S BEST

GUITAR SONGBOOK

74 songs, including: All Along the Watchtower • Comfortably Numb • Do You Want to Know a Secret? • Friend of the Devil • Heartbreaker • Hey There Delilah • Life in the Fast Lane • Love Song • My Best Friend’s Girl • Over the Rainbow • Stardust • Tell Her No • Welcome to the Jungle • Wild Night • and more.

00322152 … $24.95

THE ABSOLUTE BEST

GUITAR SONGBOOK

76 songs, including: After Midnight • At Last • Bewitched • Hotel California • If You Could Read My Mind • Layla • Moondance • Night and Day • Peter Gunn • Sister Golden Hair • Spanish Fly • Stairway to Heaven • Time Is on My Side • Werewolves of London • and more.

00322153 … $24.95

These versatile guitar songbooks include tunes in a wide variety of notation formats (easy guitar with

and without tablature, chord melody guitar, classical, fingerstyle, riffs and note-for-note tab transcriptions),

and in a range of musical styles – from pop/rock hits to jazz standards, movie songs to Motown, country,

classical and everything in between. Create your own indispensable library!

F R E E

S H I P P I N G

on orders of $25 or more!

1-800 -637-2852

musicdispatch.com

Please mention ad code MACAG.

Least expensive shipping method applies. U.S. only.

(12)

12 June 2014

SHOVELS

AND ROPE

PERFORM AT WILLIE

NELSON’S RANCH

AS PART OF SXSW 2014

LUCK, TEXAS MARCH 13, 2014

OPENING ACT

PHOTO BY JAY BLAKESBERG

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PHOTO BY JAY BLAKESBERG

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AcousticGuitar.com 15

NEWS

A

s American musical dynasties

go, it’s hard to top the legacy left by the Carter Family. In

her new documentary, The Winding

S t r e a m , d i r e c t o r B e t h H a r r i n g t o n

r i g h t l y p o s i t s t h e C a r t e r s a s t h e musical source from which a thousand tributaries have subsequently flowed, despite a lack of popular recognition. “A lot of Americans don’t know the Carters’ name,” Harrington says, “but they do know their music.”

The film, which premiered last month at the SXSW music festival, chronicles the Carter Family’s begin-nings in Maces Spring, Virginia—from the moment that A.P. Carter happened

to hear Sara Dougherty singing while

on a walk, to the group’s first record-ing session in Bristol, Tennessee, in 1927—as well the various ways their d e s c e n d a n t s h a v e s u s t a i n e d t h a t musical heritage to the present day.

Some of the more moving passages

come courtesy of Johnny Cash, who

Harrington interviewed before his death in 2003. Cash, of course, joined forces with the famous family after marrying June Carter in 1968. “We interviewed him about three weeks before he passed away, and he spoke about June with great affection,” Har-rington says. “That part didn’t surprise me, but what did was how much he revered Mother Maybelle. He talked

about her in such glowing terms. He says at one point in the film, ‘She was the most VIP of the VIPs, and I’ve seen them all.’”

Cash and several other musicians interviewed in the film gush over May-belle’s signature fingerstyle innovation, in which melody and bass lines are played simultaneously. “Everyone pointed to the Carter scratch as being the foundational thing they learned when they were becoming guitarists,” Harrington says. “It’s something most people don’t even know where it came from. Rosanne Cash says in the film

that, out of necessity, Maybelle learned to play that way to fill in the sound of the group.”

Harrington got the idea to focus on the Carters while making her previous documentary, Welcome to the Club: The

Women of Rockabilly. “When I made

that documentary I interviewed people

like Wanda Jackson and Brenda Lee

and Janis Martin and they all talked

about the importance of the Carters,” she explains.

The final push that Harrington needed, however, came from Welcome

to the Club’s narrator, Rosanne Cash.

“After the film had wrapped, she wrote to me and said, ‘I was down in Virginia recently and I kept thinking that you should be down here documenting the Carter family.’ I laughed and said, ‘Well, I was thinking of having you introduce me,’” Harrington recalls.

Learn more about the documentary at thewindingstream.com

Muriel Anderson

16 Willie Watson

16

WATSON PHOTO BY MONKEYBIRD

THE BEAT

Mother Maybelle & the Carter Sisters, left; June Carter and Johnny Cash

The Source

‘The Winding Stream’ Carter Family documentary debuts at SXSW

BY DAVID KNOWLES

Ray LaMontagne

18

The Winding Stream

Directed by Beth Harrington

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16 June 2014

O

n her gorgeous new concept

album, Nightlight Daylight, guitarist Muriel Anderson offers

the perfect bookends for a night’s sleep. “It came about very organi-cally,” Anderson says. “My best friend and his wife had their first baby, and I thought, ‘Well, she needs her own lullabies,’ so I went about composing and recording an album as a surprise, only ever intending to press two copies. Then, he had a second baby a year later. So I thought, ‘Well, I have to do a second album of music to wake up to.’”

Joining Anderson on the home-spun project are some impressive names. “I had the opportunity to work with some wonderful musi-cians,” she says. “Victor Wooten, To m m y E m m a n u e l , S t a n l e y Jordan, Earl Klugh, Danny Gott-lieb, Beth GottGott-lieb, and members

o f t h e N a s h v i l l e S y m p h o n y

Orchestra. I really went all out. I

wanted to give every song just what would make it come to life.”

Aimed as much at an adult audience as at infants, the project a l s o f e a t u r e s g r o u n d b r e a k i n g cover-art design that utilizes fiber optics to generate stars, fireflies, a shooting star, and a lantern, all of which illuminate when the moon on the cover is pressed. “I found t h i s g r e a t v i s u a l a r t i s t , B r y a n

A l l e n , w h o d i d t h e a r t w o r k , ” Anderson says, “and I worked with a designer in Silicon Valley to make the first CD cover that uses fiber optics.”

T h e r e a l h i g h l i g h t h e r e , however, remains the rich musical expression of Anderson’s harp- and nylon-string classical guitar playing. “It’s optimistic music to wake up to,” she says of her 16th release, “and pretty music to go to sleep to.” —DK

WILLIE WATSON

RELEASES SOLO DEBUT

On Folk Singer Vol. 1 (Acony), former Old Crow Medicine Show member Willie Watson shows he’s ready to step out on his own. The debut solo record, produced by Dave Rawlings, turned out to be a rather organic creation. “When we got in the studio, I just played everything a couple times,” Watson says. “It reminded me of making OCMS, where a lot of times we’d just play songs and let Dave sort it out.”

NEW CARRIE ELKIN & DANNY SCHMIDT CD

Solo recording artists Carrie Elkin and Danny Schmidt chronicle their romantic relationship on For Keeps (Red House), their fi rst full-length collaborative effort. The album’s ten tracks were written by the Texas-based couple in 2012, when the two headed out on the road together. That courtship not only resulted in a solid record, but culminated with Schmidt proposing marriage to Elkin at 2013’s SXSW music fest.

PHOTO BY CHUCK WINANS

THE BEAT| NEWS

Muriel Anderson

Goodnight, Good Morning

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(17)

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18 June 2014

F

or most recording artists, when your

latest album picks up two Grammy nomi-nations, it’s a sign you’re on the right track and shouldn’t change the formula of your success.

But then, Ray LaMontagne is not most

artists.

In fact, LaMontagne has decidedly mixed feel-ings about his critically acclaimed fourth record

God Willin’ & the Creek Don’t Rise. “The last

record was tough for me, it was sort of bitter-sweet, because I was proud of it, but I felt like I was making a record that I’d been trying to make before,” LaMontagne says from his home in the Berkshire Mountains of Western Massachusetts.

As he began working out the material for his forthcoming album, Supernova, the 40-year-old songwriter’s obsession with not repeating himself became so marked that he began shelv-ing dozens of songs and questionshelv-ing whether he could ever truly find creative acceptance. “When you’re first starting out you have so much to prove,” he says. “You get up on stage and there’s maybe 50 people in the audience, and 49 of them hate you, just hate you, and want you to get off of the stage, but there’s this one person who gets it. Every year the shows were getting bigger, but I’m still going out there as if I’m in the club where 49 of the 50 people in the audience hate me. That mindset was ingrained in me.”

Battling the urge to ditch his music career altogether, he composed a long and rambling email to one of his heroes, Elvis Costello,

asking for advice.

“I need to talk to someone who has been through this,” LaMontagne says. “And I wrote this long exhausting email to Elvis saying, ‘I don’t know what I’m doing, I don’t know who I am in the music world, I don’t know if I’m

relevant.’ And he wrote back this beautiful email that was so thoughtful and gave me a lot of advice and was so supportive and things turned around for me creatively.”

After reading Costello’s words, LaMontagne turned to one of his favorite Costello albums for more inspiration. “I went and listened to This

Year’s Model start to finish and thought, OK,

let’s get to that place,” LaMontagne says. “I used it as a template. It’s fun, it’s super creative and playful, and Elvis never makes any apolo-gies for what he’s doing—he just does it, as all my heroes do, like Neil Young.”

When the songs started clicking, LaMon-tagne contacted producer and Black Keys gui-tarist and singer Dan Auerbach, with whom he

had long hoped to work. The pair spent two weeks last fall cutting the tracks at Auerbach’s Nashville studio.

Along with his signature vocals, LaMon-tagne’s rhythm work on his Paul Reed Smith

guitar anchors the record, but thanks to the generous layering of organ, electric guitar, drums, ukulele, and background vocals,

Super-nova is an explosion of new sounds. If that

experimentation is too much for some of his fans, LaMontagne says, so be it.

“There’s this core group of my fans, well, they call themselves fans, but they really hate me, but they love the first record, and they want Otis Redding,” he says. “They want me to make an Otis Redding record and every new record is a disappointment. But I’m a 160-pound white guy, you know, I’m not a 250-pound black man who was born wherever. I mean, come on. I never claimed to be a soul singer and I never wanted to be a soul singer.

“I’m a songwriter.” AG

No

Apologies

With an assist from

Elvis Costello,

Ray LaMontagne starts

anew on Supernova

BY DAVID KNOWLES

NEWS SPOTLIGHT

PHOTO BY SAMANTHA CASOLARI

Ray LaMontagne

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Valerie June 21

PLAY

Rolling Stones 25

Keb’ Mo’ 29

That’s all right, Elvis, you’re still the king p34

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(21)

Blurred Lines

Valerie June sings and plays

an otherworldly mix of ancient

Appalachian folk, Delta blues,

Motown soul & fuzzy indie rock

BY JEFFREY PEPPER RODGERS

SONGCRAFT

B

ack in the late 2000s, Valerie June would busk every

year at the Arkansas Blues and Heritage Festival, now known as the King Biscuit Blues Festival. The money was good—she could earn more in a day singing with her guitar and banjo than she did in a month at her day job in Memphis—and the feedback she got from passers-by made a big impression.

“It was funny,” she recalls in her Tennessee drawl. “They were coming up, ‘You know, this is a blues festival, right? Well, that’s hillbilly music you’re playing.’ Then the next person would come up, ‘Um, that’s gospel—that’s spiritual music you’re playing.’ Another person would come up, ‘That’s old blues. I ain’t heard nothing that old on this street in a long time.’ I was like, ‘Well, what the hell is it that I’m playing?’ I was rather confused as well.

“I just thought it was Valerie June music.”

Spinning June’s fourth and most recent album, Pushin’

Against a Stone (Concord), you may well have the same

confu-sion. Co-produced by Dan Auerbach of the Black Keys, Pushin’

Against a Stone clearly taps into Delta and Piedmont blues. But

then there’s the Carter Family–esque gospel song “Trials, Troubles, Tribulations” (written by the late Virginia finger-picker E.C. Ball), the old-time country waltz “Tennessee Time,” and the modern Motown of “Wanna Be on Your Mind.” Holding all these sounds together is June’s startling voice, which somehow combines Appalachian twang and the rounded tones of gospel and soul—blurring the color lines that have forever been drawn through American music.

Realizing that her style just wasn’t easily categorized, June started calling it moonshine-roots music. “Everybody hears what they want to hear,” she says. “I just want people to have an open question mark in their minds, to receive it in the way that they want to receive it.”

June grew up singing in church in Jackson, Tennessee, got started as a guitarist and songwriter in Memphis, and these days lives in New York—though with the international success of Pushin’ Against a Stone, she’s rarely at home. I reached her by phone during a tour across the South, shortly before she headed out for a long string of dates with the neo-soul act Sharon Jones and the Dap-Kings.

(22)

22 June 2014

What was the music like that you sang in church growing up?

Church was three times a week and everybody sang. There wasn’t a choir. It was a thing where you walk in a door, you sit on the bench, you pull out the songbook, turn to the page number the song leader says, and everybody starts singing. It was very similar to the Carter Fami-ly’s music—“Anchored in Love” is a good song to listen to if you want to understand what I’m talking about. Imagine it without a guitar. There were never any instruments because it’s against God’s law, according to the Church of Christ. You had to learn how to use your voice in your way that felt good to you. It didn’t matter whether you sounded good or not. It’s like, get in there and sing, because that’s what God com-mands you to do.

So did that experience give you confidence in your own voice?

In a lot of ways it did. I felt confident in church singing. But then out in the world, where people are used to worldly voices, I didn’t feel

so comfortable. Without my 500 companions singing next to me, I didn’t feel so comfortable either. Just out there naked, singing alone, it’s hard.

There was a point where every time I sang I was like, I should sound better—I should sound more radio. I beat myself up that I didn’t sound like all the other singers that are popular. But then, when I did grow up and move out of my parents’ house and move to Memphis, I heard the Carter Family and Mississippi John Hurt and Orna Ball and E.C. Ball and I was just like, there’s a whole section of music that honors voices like mine. That was the time where I said to myself, “There’s nothing wrong with my voice.” Will it be on the No. 1 radio station? Probably not, but it is what it is.

In addition to the vocal quality of those musicians from past generations, did you cue into the way they played their instruments?

Yes. When I first heard Mississippi John Hurt’s g u i t a r, I w a s l i k e , “ O h , m y G o d , t h a t i s

beautiful. How is he doing that?” He gets so much out of those six strings, and he does it so gently, so sweet and soft. He starts with that steady rolling thumb and then he sneaks in playing the melody.

I fell in love with the Piedmont and the coun-try-blues type of picking. But when I started trying to learn how to play exactly like he did, or exactly like Elizabeth Cotten, I got so discouraged. She started when she was nine and I’m freaking 20-something, and I’m never going to get it! So I just started playing the way that I hear it.

At what age did you write your first songs?

Well, when I was a young girl, I wrote lots of little songs. I made up songs in kindergarten with other kids. I just loved making up songs— about rainbows, frogs, anything, just singing to myself all the time, so much that my family would be like, “Shut up!”

I also remember making up lyrics to some-body else’s song. I did it a lot with Willie Nel-son’s “On the Road Again.” It was just so much fun—silly, though.

PHOTO BY BRIAN CHILSON

(23)

How did you progress from there to writing songs in a more formal way?

I can remember when I moved to Memphis and I was singing and writing in a band, I was like, “OK, I’m hearing voices and I’m writing songs, but I don’t really know what I’m doing. If I really want to be a songwriter, shouldn’t I pick some of my favorite songs and write them down on paper and then learn the structure of these songs?”

I remember writing down a few songs and looking at the lyrics and the rhyme scheme, things of that sort, and trying to learn if there was a pattern or a way to write a song. But I had to let that go, because songs can go so many ways. A lot of people who live in Nash-ville and write songs, they have a formula, and that’s a good thing, but I didn’t really feel like there was a pattern for what I was trying to do. I wanted to maintain the openness.

Your guitar on ‘Workin’ Woman Blues’ has such a cool modal sound. What do you remember about writing that song?

I moved to New York and got a job playing at a blues club. I lied to the guy: He said, “Can you play two hours of straight blues?” and I was like, “Yeah, I can do it,” because I needed the job. I was like, “OK, I’m going to have to go home and learn some blues, because I have one blues song.”

So I sat down with my guitar, and [“Workin’ Woman Blues”] is what came out. But I think the influence in my subconscious mind was my years stalking Mr. Robert Belfour all around the South, watching him play and listening to the way he bends notes, and loving Mississippi Delta blues and the similarities between that and African music. I think the song has a lot of that in the guitar.

Does ‘Shotgun,’ with its spooky slide, come from a similar place?

It came from the same time period. I was trying to come up with blues songs. I opened myself up to that. I sat down, and I just got this vision with that song. It was pretty graphic, like I was watching a little movie, and I heard a voice too. That one’s pretty dark. It’s one of the darkest songs I think I’ve ever written.

What do you mean when you say you heard a voice?

That’s how I write. I just hear voices really, and I write the melodies and the lyrics that I’m hearing. Sometimes I hear humming and then the humming morphs into words. Sometimes I just hear the voice really clear, and then some-times I play the guitar and I hear the voice s i n g i n g o v e r w h a t I ’ m p l a y i n g — “ Wo r k i n ’ Woman Blues” was like that. Not that many songs come that way though.

What was the process like co-writing with Dan Auerbach on ‘Tennessee Time’ and other songs?

I have books and books of half-written songs, where I hear a voice and write down exactly what I hear. With “Tennessee Time,” I heard [sings], “Running on Tennessee time.” I wrote that down six months before I met [Dan], and then when I met him the rest of the song came. We were sitting there across from each other with guitars, and I started singing that part and he started playing something, and we started dialog-ing back and forth about the song and the story. It definitely had to be something that was felt by both of us, because not everything I sang did he feel, and not everything he played did I feel.

So he contributed to the lyrics as well?

In “Tennessee Time,” [the line] “Houston’s a hard town” was his idea, and then “New York’s not for mine” was my idea—I stole that from a Mississippi John Hurt song, “Avalon Blues.” And t h e n h e w a s t a l k i n g a b o u t N e w O r l e a n s , because he’d been on the road and he was just there, so [we wrote] “New Orleans hustle.” We went back and forth about which parts, which cities to talk about on that song.

In the wake of Pushin’ Against a Stone, do you feel as if the music is carrying you in a particular direction?

I don’t. I usually have a really strong vision and can tell what exactly is going to happen within the next few years, but right now I just have the vision of growing as an artist every day, a little bit more, and continuing to write.

I don’t know where it’s going. This Townes Van Zandt song [“Waiting Around to Die”] keeps going in my head:

Sometimes I don’t know where this dirty road is leading me

Sometimes I don’t even know the reason why But I guess I’ll keep on gambling

Lots of booze and lots of rambling It’s easier than just waitin’ around to die

I feel like that song these days, because I’m

living on the road a lot. AG

GUITAR

Martin 000-15M. June compared three 000s at Nashville’s Gruhn Guitars and picked her favorite— then was stunned to learn that the last four digits of its serial number match the last four digits of her cell number. The guitar has an L.R. Baggs M1 soundhole pickup, and June uses extra-light Martin strings.

OTHER INSTRUMENTS

Goldtone five-string banjo and a banjo ukulele built by Tennessee luthier Tommy George (georgeban-jos.com). The banjo uke, a gift from one of her Memphis friends, has Val inlaid on the headstock.

WHAT

VALERIE

JUNE

PLAYS

‘When I first heard

Mississippi John Hurt’s

guitar, I was like, “Oh,

my God, that is beautiful.

How is he doing that?”’

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On Tour

Stephen Inglis Thomas Leeb Shawn Jones

Three World Class guitarists team up for an unforgettable

evening of acoustic guitar driven musical bliss

US West Coast June 2014

UK Autumn 2014

www.globalguitargreats.com

Handmade in Ireland

georgelowden.com

Thomas_Leeb_Tour.indd 1 26/03/2014 09:50 021-024_258_June.indd 24 4/1/14 10:10 AM

(25)

I

n 1964, Mick Jagger and Keith Richards

desperately needed a hit that would offset the Rolling Stones’ image as just a bad-boy blues-rock cover band with an atti-tude. Their manager, Andrew Loog Oldham, had a solution: The boys would write a pretty ballad—something asexual that an innocent young pop chanteuse could sing.

Voila! “As Tears Go By.”

The original version of this Stones classic, recorded by then-unknown 17-year-old singer Marianne Faithful and released 50 years ago, began with 12-string guitar, light percussion, and a prominent oboe part, with a swelling string section creeping in after about a minute.

With its slight Spanish feel and melan-choly lyrics about feeling trapped in a bubble of depression, the song was like nothing Jagger and Richards had ever come up with—and it was a smash. Faithful’s version

shot to No. 9 on the British pop charts and reached No. 22 in America.

By the time the Stones went into the studio to record their own version, their rivals, the Beatles, were riding the success of a similarly downcast acoustic-guitar ballad with strings, “Yesterday.”

Not to be outdone, the Stones under-scored the 12-string guitar part in their own arrangement of “As Tears Go By”—released on their 1965 album December’s Children

(and Everybody’s)—and did away with the

percussion altogether.

Beginning with Richards’ spare and crisp, fingerpicked 12-string intro, the Stones’ fairly stripped-down version is more immediate and intimate than Faithful’s—and more Baroque folk than Baroque pop. For a full 40 seconds, you hear nothing but Richards’ guitar and Jag-ger’s aching vocals. When the strings do come in, they sound much like the string quartet

that accompanies Lennon and McCartney’s “Yesterday”—subtly, but surely, keeping the emphasis on the acoustic guitar.

“As Tears Go By” represented a dramatic turning point in the Rolling Stones’ develop-ment—from American blues/R&B wannabes to full-fledged singing and songwriting pop stars able to compete, toe-to-toe, with the Beatles. Within a year, the Stones would be cranking out even more acoustic-based Baroque pop and folk ballads, including “Lady Jane” and “Sittin’ on a Fence.” Within three years, they’d be recording entire albums based around such folk-, country-, and blues-rock songs as “No Expectations,” “Dear Doctor,” and “Factory Girl” (Beggar’s Banquet), “Country Honk” and “You Got the Silver” (Let

It Bleed), “Sweet Virginia,” “Torn and Frayed,”

and “Sweet Black Angel” (Exile on Main St.), among others.

But it all started with “As Tears Go By.”AG

When Bad Boys Go Soft

The Rolling Stones’ ‘As Tears Go By’ launched Jagger

and Richards’ entry as bona fide singer-songwriters

BY MARK SEGAL KEMP

ACOUSTIC CLASSIC

Randy California, center

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1. It is the evening of the day

G A C D

I sit and watch the children play

Smiling faces I can see, but not for me

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I sit and watch as tears go by

G A C D

2. My riches can’t buy ev’rything

G A C D

I want to hear the children sing

All I hear is the sound of rain falling on the ground

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I sit and watch as tears go by

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3. Guitar Solo

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4. It is the evening of the day

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I sit and watch the children play

Doin’ things I used to do, they think are new

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I sit and watch as tears go by

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D.S. and Fade

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Controlled by AB K C O M U S IC, I N C. and TRO -E S S E X M U S IC, I N C., New Y ork, NY

ermission. International Copyright Secured

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