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Cowboys and Indians Premieres Great Peacock’s “Heartbreak Comin’ Down”

Rising Americana folk group Great Peacock gives C&I readers a sneak preview of their latest single, “Heartbreak Comin’ Down,” off of their latest LP, Gran Pavo Real.

Hailing from Music City, Great Peacock comprises lead singer and guitarist Andrew Nelson, guitarist Blount Floyd, drummer Nick Recio, and bassist Frank Keith IV. Together they turn conventional Americana on its head and challenge the very notion of the genre.

“Heartbreak Comin’ Down,” off of their upcoming Gran Pavo Real, is proof of their tasteful line-blurring.

The song tackles the insecurities and potential loss of new relationships. Rooted in gospel, the foot-tapping track is charged with organs, piano, and electric guitars, creating a sound that also blends in rock ’n’ roll and folk.

Nelson says the song always makes him want to move.

“[It]may be my favorite song on the album,” he says. “I originally wrote it with more information of an electric guitar riff type sound in my head. But our producer, Dex Green, and the other guys in the band encouraged trying it as a more acoustic type recording. Laying back on the electric guitars and letting Ralph get at it on the piano and organ really opened the recording up to a more universal type sound.

“I like that it’s kinda country and kinda R&B. The idea for writing it came to me in seconds while just goofing around on the guitar. I tend to think the best ones are the simplest and fastest to write. [This song’s] just saying, ‘Don’t use me. Don’t break my heart!’ Who can’t relate to that?”

by Baby Robot Media

Interview: Noah Lamberth of Sir Canyon on the Mystique of Los Angeles and the Brand New Album “Ventura Skies”

Americana Highways pulled over out in California to chat with Sir Canyon’s Noah Lamberth, filmmaker and occasional pedal steel player for Katy Perry, about his upcoming release, Ventura Skies, produced by Andy Davis and due to be released March 2^nd.

When asked about the project, Lambert responded, “Ventura Skies is all about connotations of the west. Whether we consider it as a cultural state of mind, or as a physical state, it’s wide open and cinematic. This album is an attempt to echo everything I love about the west: mariachi trumpets, pedal steel guitar, baritone reverb guitars, lush background vocals, it’s upbeat and vibey! I’m hoping the listener is actively seeing and experiencing being in the west.”

When urged to tell us about his favorite song on the album, he said, “It would have to be “Angeleno Daydream.” The lyrics: “so hold me close, darling, or set me free” are really about Los Angeles. People have talked about Los Angeles as a mythological place for years but until one has spent time living there it’s hard to get a sense of how “dreamy” the place really is. It’s like living in a bubble where the most beautiful, talented, creative and wealthy people in the world all descend to strike it rich in some profession. Some never want to leave and others can’t get out fast enough but it keeps luring people again, hoping for fame, fortune or a sense of identity. Los Angeles can be a dream, both good and bad, and that’s what this song is about.”

“I used to live on a street called Angeleno in L.A.; it was up on a hill and I could look out on where I used to live across the valley. The view felt like a dream with all the memories in that scene. We wrote the song at that house on Angeleno. The song was also musically inspired by Neil Young. I wanted to write a Neil Young-esque song with those big wide open baritone guitars and some melodic pedal steel guitar, like the beginning of a Western movie.”

by Baby Robot Media

SONG PREMIERE: LESLIE TOM ECHOES COUNTRY’S GOLDEN ERA VIA HANK INFLUENCED “AUDREY’S SONG”

Leslie Tom’s Ain’t It Something, Hank Williams is not your typical tribute record. It’s a 10-track reflection of Leslie’s own journey in life, thoughtfully—and often playfully—intertwined with Hank Williams-inspired tales of addiction, love, heartache and loss. “A part of all of us died, too, the day he passed away,” she croons on “Mr. Williams,” spotlighting the legend’s lasting emotional and musical impact.

Leading with her irresistible vocals and proclivity for grounded storytelling, Leslie has worked extensively with some of country music’s finest players, from honky-tonk piano veteran and Country Music Hall of Famer Hargus “Pig” Robbins (Merle Haggard, Loretta Lynn, Sturgill Simpson) and pedal-steel genius Lloyd Green (George Jones, Johnny Paycheck, Charley Pride) to Asleep at the Wheel frontman Ray Benson. Leslie has also had the honor of sharing stages with Lee Roy Parnell, Gene Watson and Kevin Fowler, and played the 2017 ZiegenBock Music Festival alongside such acts as Aaron Lewis, Josh Abbott Band, Blackberry Smoke, Whiskey Myers and Jamestown Revival.

On Ain’t It Something, Hank Williams—recorded at Nashville’s Cinderella Sound Studios and produced by John Macy (Los Lobos, Nitty Gritty Dirt Band)—Leslie once again enlists Lloyd Green on steel and is joined by a long list of talented musicians, including Andy Hall of The Infamous Stringdusters (dobro on the somber “Angel of Death”), Walter Hartman (drums), Joe Reed (bass), Eugene Moles (guitar), Todd Moore (drums), Lindsey Brown (bass), Ben Waligoske (acoustic guitar) and Matt Weesner (wurlitzer). Alabama singer and songwriter Larry Nix can be heard throughout the record singing in perfect harmony with Leslie.

by Baby Robot Media

California Sounds: Thundercat gets chopped and screwed, Quitapenas honors migrant workers and Charlie Overbey celebrates Eddie Spaghetti

Charlie Overbey, “The Ballad of Eddie Spaghetti” (self-released). Lifelong Angeleno Overbey named his last record “California Kid,” so he’s not concerned with hiding his western roots. An artist who has sweated the L.A. country rock and punk scenes for two decades, he’s maneuvered through bands including Big Bang Babies and Custom Made Scare — and a stint in prison — while working behind the scenes as a booking agent.

His forthcoming album, “Broken Arrow,” will arrive in April, and he’s been teasing it with a few prerelease songs. “The Ballad of Eddie Spaghetti” is about the singer and guitarist for the twang-punk band the Supersuckers, who was diagnosed with throat cancer a few years ago.

Written as a kind of last will and testament, Overbey inhabits his friend’s psyche to celebrate his life with thrilling glee. “If I die at 47, if I die before my time / Would they drag me up to heaven or drive me off to hell in my prime?” (The good news is that Spaghetti was declared cancer-free eight months after being diagnosed.)

Another forthcoming song, “Echo Park,” rolls with rock ‘n’ roll momentum suggestive of the E Street Band, if Bruce Springsteen were singing about lost love not in Asbury but Echo Park.

by Baby Robot Media

Oklahoma singer-songwriter John Calvin Abney announces new LP Coyote at Glide Magazine

For the past decade, John Calvin Abney has made a name for himself as a solo artist and sought-after sideman. He’s toured as lead guitarist for fellow Oklahoman John Moreland, recording with him on his last two acclaimed albums, and in between, the prolific Abney found time to add another impressive record to his own catalog (2016’s Far Cries And Close Calls), supporting the release with a run of solo shows during a whirlwind year filled with as much struggle as success. Abney’s new full-length, Coyote, out May 18 on Black Mesa Records, draws from this tumultuous time, fearlessly staring down distance, isolation and fading love, as well as loss, fear and disassociation from the self.

Working on Coyote with ace musicians Shonna Tucker (ex-Drive-By Truckers) on bass, Megan Palmer on keyboards and violin, and Paddy Ryan on drums, Abney crafted ten songs of unwavering beauty and insight, marrying languorous soundscapes to bittersweet reflections on losing what matters most, and the kind of resilience necessary to come out whole on the other side.

While Abney took his time writing Coyote, the recording process at Fellowship Hall Sound in Little Rock, Ark., was an intense three-day sprint—which is the way Abney prefers it. “I like to work fast so I don’t second-guess anything,” he says. Despite the rapid-fire sessions, Coyote boasts thoughtful arrangements—featuring Abney on piano, organ, guitar and pedal steel—that put his gorgeous melodies and heartfelt lyrics front and center. His association with Moreland might have fans expecting something akin to Americana, but the new record isn’t so easily hemmed into that genre, venturing frequently into sounds that are more dreamy and melancholy. READ MORE

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by Baby Robot Media

We All Want Someone to Shout For premieres “Heroin Honey” by Beechwood

Beechwood are a New York trio who you may remember were a part of a pretty big news story last summer.

Last year Burger Records released a tape of their new album Songs From The Land of Nod and now the album has a 2018 release via Alive Naturalsound Records.

My introduction to the band came with the lush track “Heroin Honey,” which floats around some old-school pop vibes mixed with the lo-fi charm of say early Smith Westerns. READ MORE…