Favorite Records of 2013 - Number 10

First things first...I do not claim that this is a "best of 2013" list. As copious as my music listening is, I have not heard everything, so any claim to best is silly. For example, the latest record from a psychedelic band called Earthless should be landing on my doorstep sometime today. And after a couple of listens on Spotify that record would have had a good chance to make the list.

But time waits for no man!! And...here...we...go!!!!

Around about the turn of the century I was way into alternative country. Ha ha! Turn of the century. That was ten years ago. Technically 13 years ago. Whatever. I was huge into Wilco and Son Volt and Uncle Tupelo and The Jayhawks and Ryan Adams and Whiskeytown and Old 97s and all the bands of that ilk. I still like those bands a ton but the current state of alt country sort of bores me. That's not the music's fault, that is my fault. My ear, my sensibility, whatever you want to call it, has shifted. Right now, I am much more tuned into harder music, heavy music.

Caitlin Rose is neither hard nor heavy. What she is is a damn good song-writer and a damn good singer. Her latest record is The Stand-In is a great bar-room friendly, classic-country sounding record. If you like that show "Nashville" you should be checking out Ms Rose.

She also knows it is smart to surround herself with talented people, especially The Jayhawks' Gary Louis who helps out on a couple songs, two of the songs that happen to be the best on the record: "Only A Clown" and "Silver Sings." Both those tracks have an unmistakable Jayhawks-vibe, those shimmering 12-string guitars that seemed just a little bit amped up than usual, that great country meets rock with a heavier lean toward rock.

But what's best about Caitlin Rose is her voice. She has a sensational voice. Most importantly it is an interesting voice. It is not a hard-road kind of voice, like a Lucinda Williams, but is very unique, more like that of a young woman starting to see the mess that haunts the honky-tonks. The band that supports her is top shelf, switching between rockier numbers to more hard core classic country tunes without problem.

Nashville is a concept I have railed about a ton. The majority of music that is coming out of their factories is uninteresting, dull, not-really-country. Country is a vibe, country is a mood. It's more than sombre; Johnny Cash knew how to get jaunty when he felt like it. Too much country music comes across as fake. And nothing about Caitlin Rose comes across as fake.

Other lists I have seen feature young country artists like Kacey Musgraves and Ashley Monroe. Those young women are definitely talented compared to a lot of the junk Nashville is putting out, but Caitlin Rose is hands down my favorite of the group.

Here's "Only A Clown," my favorite song off the record and one of my favorite songs of the year.

Next up...more mellowness from way up north!

The Stand-In Takes Center Stage

The most expressive of musical instruments is the voice. Such a range and depth of emotion can be conveyed from one line to another. Caitlin Rose is a another Nashville artist and is blessed with an excellent instrument in her voice. She is also a gifted songwriter.

Her latest record is The Stand-In and is a great slice of modern takes on a classic country sound. Focusing on the lady side of the house, country music in it's current popular format has become so commercialized and pop-ized that it has been rendered unlistenable. What makes good country music great is the pathos, the longing, and most importantly the element of strength imbued in the music and the lyrics. It started with Shania Twain, whose ex-hubby Mutt Lange added electric fiddles and a pop sensibility. Sure it had an element of feminism but it had no punch; it was girl-power in the form of girls-night-out-in-short-skirts-and-high-boots. Fair enough (and nothing inherently wrong with that), it was made to move records and it moved a LOT of records, but the music isn't interesting in the slightest. This has culminated in the form of Taylor Swift, who for all the praise and sales is to me absolutely terrible. It's bubblegum without any of the sweetness. And country music this ain't.

That doesn't mean good female country isn't out there. Artists like Tift Merritt, Shannon McNally, Lindi Ortega, Allison Moorer, Shelby Lynne are still doing their thing. Add Caitlin Rose to the interesting mix. The Stand-In is a classic sounding record with a modern touch. It has that Loretta and Patsy vibe on songs like "Golden Boy," "Dallas" and "Pink Champagne," goes nearly indie-rock on "Everywhere I Go" and then rocks a way Shania can only dream of in tracks like "No One To Call" and "Silver Sings."

She has such a great expressive voice. It's classic sounding but unique; that's what makes a truly great singer. Ms Rose has a wonderful instrument at her disposal and she knows how to write songs that let her gift shine. It helps she has a crackerjack of a band backing her.

Here's the best song on the record, co-written with Gary Louris of The Jayhawks, "Only A Clown." Taylor Swift wishes she could write a song this good. It has a fantastic hook in the chorus that just grabs me and makes me smile.

Of course though this song won't be a hit because the system is fixed. That's another story, though.

PS smoking is bad for you, Caitlin!

Johnny Cash & The Gospel Road

I reckon if anybody could get me back in touch with my faith it would be Johnny Cash.

Johnny's faith was a big part of his life. It was a big part of his return from the abyss of drugs. That and June Carter were the two things that got him back on the straight path. When he left Sun Records he did so because Columbia Records was so happy to have him they had no problem with him releasing Gospel records, even though they were not the kind of thing that would sell.

Early in the 1970s Johnny was at the height of his popularity. Between the records and the TV show he was doing very well. So he parlayed that popularity into a movie that was very personal to him: "The Gospel Road." I haven't seen the movie but I understand it to be inspired by Johnny's visit to The Holy Land and made up of Johnny narrating against scenes of that visit and of actors portraying scenes of Jesus' life, interspersed with songs both traditional and original. The soundtrack to that is what I am listening to right now.

I grew up Catholic; I went to Catholic schools from second grade through high school, high school spent with the Jesuits. In the last few years however, I find myself without much of a faith these days. Much of it is that I don't agree with the Church; I find people (not just in the Church but elsewhere) spend too much time meddling with other people's lives. I am not anti-religion; I feel if it helps you become a better person then fine. I think if it makes you feel superior or look down on other people, or if it makes you disregard the value of human life because paradise awaits you, then that's where I disagree vehemently.

Johnny Cash had the kind of faith that I sometimes wish I had. He embraced it and was never afraid to talk about it or sing about, but it never felt in listening to him that he was judging you or pushing his faith on you, in least in a way that made it uncomfortable. What you had was a man who loved and embraced his faith and used it to improve his own life and of those he loved.

The record here is not Johnny's best but it's interesting. I found it at the local used record shop for $5 and I couldn't resist. Listening to it, it appears to be the audio from the movie put to a record. There are some great songs and performances. Kris Kristofferson shows up and does a great version of "Help." June is here of course. Larry Gatlin to. But the fascinating part of it is the portrait of Cash and his faith; that he was brave if that's the right word to so openly display what he cared so much about and meant so much to him. That I really admire and it's one of the reasons why he's one of my heroes.