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Pedal Steel Legends Lloyd Green and Jay Dee Maness share “You Ain’t Goin’ Nowhere”

In 1968, The Byrds released the legendary Sweetheart of the Rodeo, a deeper exploration of the country music they had begun to explore on earlier releases. This shift was brought on in large part by the entrance of Gram Parsons whose association with the band would introduce his sound and songwriting to a vast audience.

In addition to the contributions of Parsons, Sweetheart of the Rodeo received much of its authenticity from a pair of country-music steel-guitar wizards: Lloyd Green and Jay Dee Maness. Green, an in-demand Nashville session player (George Jones, Johnny Paycheck, and Charley Pride) and Maness, a young gun on the L.A. scene, gave Sweethearts its unforgettable twang and down-home pedal-steel hooks – and forever put their stamp on country-music history.

Now, Green & Maness are preparing to release their new album, Journey to the Beginning: A Steel Guitar Tribute to the Byrds, which celebrates the 50th anniversary of those fabled Sweetheart of the Rodeo sessions. Producer John Macy worked with Green and Maness to transform eleven Sweetheart classics into lush, imaginative steel-guitar instrumentals that stay true to The Byrds’ simple but perfect melodies while injecting new life into the songs.

Today, ND is pleased to share the closing track, a reprise of Bob Dylan’s “You Ain’t Going Nowhere.” Featuring Sam Bush on mandolin and vocals from Herb Pedersen (The Desert Rose Band), Jeff Hanna (Nitty Gritty Dirt Band), Richie Furay (Buffalo Springfield) and Jim Lauderdale, the all-star group put their indelible stamp on a beloved classic that is just as endearing as the original.

Lauderdale had this to say about working on the project, “Lloyd and Jay Dee are sounding better than ever revisiting and expanding their mastery on the groundbreaking and important album that they added their touch and feel too all those years ago. It was a thrill and an honor to get to help sing on “You Ain’t Goin Nowhere.” Hearing these two legends play together is a dream for a steel lover like me.”

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by Baby Robot Media

XLR8R reviews diNMachine’s new LP

New York-based noise/pop artist Michael J. Schumacher has released a new as diNMachine, titled The Pleasure of Principles.

Schumacher has been pushing the boundaries of sonic practice for decades. In the ’90s, he launched his Room Pieces series, a collection of sound installations that run continuously for long periods in galleries, museums, public spaces, and people’s homes. From there he went on to collaborate with sound artists Stephen Vitiello and Oren Ambarchi, as well as famed NY film director Ken Jacobs.

Though diNMachine’s instrumental noise/pop is cerebral and at times challenging, it is also Schumacher’s most mainstream-accessible project, utilizing sound and technology to challenge traditional definitions of pop music. “With this music, from the waist down, you want to move, but from the neck up, you want to sit and figure it out,” Schumacher says of the record. “People should relax and enjoy it. I think it’s what pop music should be.” We’re told that the new record is “a fusion of hyperactive drum & bass and analog synths laced with elements of rock, funk, and soul.”

Since it began in 2012, diNMachine has released its hard-to-classify music on Greedy Dilettante and the group’s own Yocto Yotta label, with Schumacher working with artists including Michael Evans, Alejandro Flores, Hari Ganglberger, Nisi Jacobs and Brian Lawlor on the project.

Despite the diversity of sounds and the many ways the music plays with song structure, The Pleasure of Principles represents a comparatively stripped-down approach, with Schumacher on synths and Alex Goldberg on drums and electronic percussion, with additional drum programming by Jake St. John. Initially, these more minimalist recordings weren’t intended as part of the diNMachine oeuvre. “The first two records were defined, for me, by the juxtaposition of electronics and acoustic instruments, so this material felt essentially different,” Schumacher says. “But then Nisi kept saying it’s got the same basic vibe, so just make it a diNMachine record.” READ MORE…

by Baby Robot Media

SONG OF THE WEEK: ROSS COOPER, ‘LIVING’S HARD, LOVING IS EASY’

Our music is filled to the brim with songs about the hardship of love — how difficult it can be to fight for a true partnership, to triumph over heartbreak, to pine away for some unrequited romance. Love, and its never-ending complications, will likely feed songs until eternity, and lyrics will forever serve as a scrawling board to work out the road bumps along the way. Songwriters have been known to resist or even end a steady relationship out of fear that comfort might impact their creative minds: Everyone wants a Blood on the Tracks, and it’s a lot easier to get divorced than it is to be Bob Dylan. A lot.

So it’s refreshing to find a song that deals in the pure security and ease of a relationship — particularly in a world that gets less secure and less easy by the day. Ross Cooper, a former professional bareback bronco rider, is a Nashville-residing songwriter with a background that could lend itself to aggressive, barn-burning honkytonk that those with only cowboy dreams could conjure. Instead, on “Living’s Hard, Loving Is Easy,” he goes sweet and subtle with gorgeous harmonies from Erin Rae. The story isn’t complicated: It’s about making ends meet while pursuing your dreams, always knowing that, back at the kitchen table, you’ll be sitting next to the one you love. Bills are difficult to pay, but, in “Living’s Hard,” love is the free currency. There’s no blood on the tracks … just a train chugging full steam ahead.

by Baby Robot Media

SONG OF THE WEEK: ROSS COOPER, ‘LIVING’S HARD, LOVING IS EASY’

by Baby Robot Media

CD Review: Sir Canyon “Ventura Skies”

What happens when you create a sound for your band with various influences like Folk, Rock, Indie Rock, even some influence from the music of Spaghetti Western movie soundtracks? You would think you might end up with a hodgepodge of stuff that doesn’t really sound like it would blend well together. However, when it comes to the band Sir Canyon, a band of musicians from Southern California that is led by Noah Lamberth, they have created a style with all of those musical elements that come together rather well to create something that is fresh and unique. That unique blend from Sir Canyon can be found on the band’s new album entitled Ventura Skies.

Ventura Skies from Sir Canyon begins with the track “Angeleno Daydream”. The first thing you’ll notice is the influence of the bass tremolo effect at the beginning of the track that adds a slight Western flavor to the background of the song. On top of that is a flavor to the music that brings to mind the guitar stylings of Santo & Johnny Farina of “Sleepwalk” fame”. Together, the two influences help to create a musical blend that adds a lot of depth to the otherwise folk-rock track. The slow pace to the music of the song and the various other elements make for a song that seems to feel both retro and fresh at the very same time.

With how unique the sound of “Angeleno Daydream” is, Sir Canyon continues that uniqueness with the next song of “Cindy Come Over”. The track about a blooming relationship comes complete with a rather exotic sound. Featuring a mariachi band feel in the horns at the beginning of the track, “Cindy Come Over” immediately takes the listener in a direction that is completely different from the previous track of “Angeleno Daydream”. Along with the horns on the track, the inclusion of bells adds to the exotic feeling to the otherwise Indie-Rock track.

by Baby Robot Media

Cowboys & Indians Magazine premieres Charlie Overbey’s “Outlaws”

If you like honky-tonk country music from artists like Johnny Cash, then this new track from multitalented country rock ’n’ roller Charlie Overbey is for you. Driven by a pedal steel, bluesy guitar riffs, and lyrics about the passing of outlaw great Waylon Jennings, the song “Outlaws” is country folk rock that packs a gritty emotional punch.

“‘Outlaws’ is derived from my thoughts and haunting realizations about losing so many of the great talents and artists of our time,” Overbey says. “It’s a song about dreaming big and creating magic. It’s a song of hope. It’s a song about keeping our late musical heroes close to the heart and having faith in new artists to carry the torch for generations to come. It’s about those of us who refuse to buy into the concept of being part of the herd, and the spirit of ‘Waylon’s Way’ taking the wheel, so to speak.”

Overbey, who also designs custom cowboy hats with his company, Lone Hawk, is a California rocker with a flair for the Western lifestyle. Witness the panache with which he pulls off wearing his distinctive vintage-inspired hats.

“Outlaws” also features a stunning performance by the Mastersons, who play backup for the legendary Steve Earle. The track is a fantastic preview of Overbey’s upcoming album, Broken Arrow, a compilation of songs from a man who has been through hard times and come away wiser.

Check out Overbey’s latest nostalgic track from Broken Arrow.