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Listen: Captain Americana Spotify playlist for 8/3/20

Captain Americana Spotify playlist weekly baby robot media brm folk roots blues soul country alt-country bluegrass

Listen to this week’s Captain Americana Spotify playlist featuring:

Laura Rabell – The Mirror
Courtney Marie Andrews – Old Flowers
Margaret Chavez – Honeysuckles
Andy Shauf – Judy
Rev. Greg Spradlin – I Drew Six
Lydia Loveless – Love is Not Enough
GypsyOutfit – Chasin’ the Moon Again
Dawes – Who Do You Think You’re Talking To
David Burchfield & the Fire Guild – Feelin’ Pretty Alright
Spencer Burton – Whatever I Want to Be
Wayne Graham, The Green Apple Sea – Everytime the Sun Comes Up
Laura Jean Anderson – Be Kind To Me
Sonja Midtune – Pages
Krista Shows – It Is Gone
Raye Zaragoza – Fight Like a Girl
Warren Givens – Broken Wing
Wyatt C. Louis – Dancing With Sue
W. Cryderman – Maybe Tomorrow
Mike ‘The Drifter’ Flanigin – West Texas Blues
Ron Pope – Morphine
Wood & Wire – Pigs
Thomas Csorba – Another Man in Me
Northcote – Nine to Midnight
Bella white – The Hand of Your Raising
Alexia Avina- Fit Into
H.C. McEntire- Time, On Fire
Charley Crockett – Welcome to Hard Times
Peter Himmelman – Press On
Maple Run Band – Monday Morning
Mac McAnally – Once in a Lifetime

Or check out the YouTube Playlist:

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Nashville.com premieres Laura Rabell’s new single “The Highway”

laura rabell the highway immortal alt country new record

Nashville-based singer/songwriter Laura Rabell is exclusively premiering her new single “The Highway”  today on Nashville.com. Listen above. A cross between Kacey Musgraves and Miranda Lambert might be a good description of Rabell’s style. She’s more at home in an East Nashville bar than she is at a touristy writer’s round downtown. On February 22, 2019, Laura Rabell was in the studio working on background vocals for song called “Ride the Wolf” with friend and collaborator Kristen Cothron and producer Dave Coleman. But in the middle of wrapping up overdubs for her debut album, she found it difficult to focus—Rabell had just had a biopsy, and she was waiting on the results.

“I couldn’t sleep the night before the session, so I decided to get up and do something productive,” recalls the Nashville-based singer/songwriter and alt-country artist. “Dave had sent me rough mixes with a suggested tracklist, so I got everything in order and pressed play on the album for the first time. I was so excited to hear that it finally existed. All of my dreams were coming true. But as soon as the second song started playing, my heart sank. I thought, ‘Wait, this isn’t real life. No one gets to be this happy. I’m going to find out I have cancer today.’ And sure enough, 12 hours later, not long after I got home from the studio, the doctor called me with the news.”

Just three weeks before that fateful day, Rabell had proudly announced her debut record to fans, friends and family via email blast. The big reveal? The album would be called… Immortal. She laughs darkly at the recollection: “I guess you shouldn’t call the Titanic unsinkable. I guess you shouldn’t call your first album Immortal. You’re just asking for it.”

In the midst of her very own tragicomedy, the former musical-theater student pressed on, mustering all the strength she could, finishing mixes for her album just in time to put it on the shelf where it would wait impatiently while she endured two surgeries and four rounds of chemo. Now, a year later, Rabell is cancer free and gearing up for Immortal’s release. “Stressful as that time was,” she says, “working on the record, and having the album launch to look forward to was absolutely my oxygen. Just knowing—I have work to do and music to put out into the world—helped me get through the darkest days of dealing with cancer.” READ MORE…

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Record Crates United applauds 8 Inch Betsy’s album amidst moments of tragedy

To call 8 Inch Betsy iconic would be putting it lightly. The group is often quoted as being one of the greatest queercore acts to have ever appeared, and their final posthumously released record might be the greatest proof to back that claim. The tracks on this record flow with equal parts riotous fury and expert pop punk song-craft. Imagine if you took The Muffs’ melodies and grafted them onto the grit and amped-up energy of early Misfits or L7, then you get a good idea of the strengths of of this badass record. READ MORE…

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Austin American-Statesman features Margaret Chavez in this week’s On the Record roundup

Margaret Chavez, “Into an Atmosphere” (We Know Better). A band and not a solo act, Margaret Chavez is the latest project of former Pleasant Grove member Marcus William Striplin, named for his mother. Recorded with ace producer-engineer Stuart Sikes (Sweet Spirit, Black Joe Lewis), “Into an Atmosphere” mixes elements of indie-folk, space-rock and trippy psychedelia into a fascinating sound that’s tied together by Striplin’s understated, almost unnervingly calm vocal delivery. 

READ MORE

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Arkansas Times interviews Rev. Greg Spradlin on Jim Dickinson, converting from ‘Southern Baptist to Southern Buddhist’, and his long-time-coming album ‘Hi-Watter’

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The theme of guitarist/songwriter Greg Spradlin’s life, he told Arkansas Times’ David Ramsey in 2012, is timing. “With my music, it’s always stuff like that. If I booked a gig tonight, it would come a hailstorm.” When legendary producer and pianist Jim Dickinson used to introduce Spradlin to his cohorts, he’d say, “This is my friend Greg, from Little Rock. He’s been through the L.A. grease.” 

Despite a history packed with thwarted record contracts and wrong legal turns, though, the Pangburn (White County) native ended up making his dream record, mastered by Grammy winner Tchad Blake and tracked by a roster of musicians that includes the likes of David Hidalgo (Los Lobos), a good chunk of Elvis Costello’s backing band and a legendary but elusive B3 player, the late Rudy Copeland. We talked to Spradlin about “Hi-Watter,” available now online (and, for Central Arkansans, curbside by appointment at Control in Hillcrest, and coming soon to Arkansas Record & CD Exchange), nearly a decade after its inception.

So, this record is a long time coming. Like, a LONG time. Why now? 

I was waiting on a global pandemic, and I thought it would never come. 

Right!?

No, seriously, the straight answer is: I wasn’t planning to make this record when I made it. And it was like a genie in a bottle washed up on the shore one day, and I had all the wishes to make any record I wanted to. It was this amazing thing that came true, and it happened so easily, and so fast. And then as soon as we were finished making it, we had a lot of life events, family events, things that happened that just derailed me personally for a while, and then it kind of became more important to take care of and focus on my family.

The other part of it was that I wasn’t ready to put it out. So it just kind of laid there for a long time, because I didn’t know what to do with it. I didn’t want to just throw it out. I felt like everybody who helped me out getting the record out, who put everything they put into it, I owed it to them to find the right time and the right way to put it out. And having finally found a label [Steve Howell’s Out of the Past Records] that wanted to see it born properly, that was what I’d been waiting for. 

So you had a relationship with the legendary Arkansas musician and producer Jim Dickinson. You delivered the eulogy at his funeral, even. What moments, if any on this record, are like specifically Jim Dickinson? Like, what wouldn’t exist if he hadn’t been in your musical sphere? 

The whole record wouldn’t exist. That’s the weird thing, and it’s kind of hard to explain. But basically, Jim and I, for years, played on each other’s projects. He played on my last record. I played on two of his records. He covered a couple of my songs. We’d known each other for a long time, and he really became my compass, my North Star, and was always there to encourage and help me navigate bullshit. And we talked about the kind of record I needed to make for years. Secretly, what I wanted, was to make a record with him and [sons] Luther and Cody [of North Mississippi Allstars fame]. …

What he’d always tell me is, “You need the right band. You need the right group of guys to play with you.” And then he died, and within a year of him dying, Jason Weinheimer and I were talking, and Jason was friends with Pete Thomas, from Elvis Costello’s band, and they’d worked on a Boondogs album together — coincidentally, a record Jim produced — and out of the blue he said, “What do you think about getting Pete to come to Little Rock and you do a day with him,” and Jason was doing a solo record with [his wife] Indy [Grotto], “and we’ll just make a week out of it.” … And I brought in about 3-4 songs, thinking we’d get through three or four songs, tops. And I think we got through with three or four songs before lunch. Because Pete is such a monster. He’s one of the best that there is. And he really got energized by it, and I just started digging, trying to come up with some more stuff, and we just ended up recording for about 13 or 14 hours straight, and did basically half the record in one day. READ MORE…