My Kind of Country

Country music from a fan's point of view since 2008

Tag Archives: Dan Tyminiski

Concert Review: Willie Nelson & Family and Alison Krauss and Union Station along with Kacey Musgraves

“That is the most random pairing of acts I’ve ever seen in one show together in my life”

300x_062014If not my exact words, that’s at least what I was thinking when I logged into Engine 145 Feb 10 to Ken Morton Jr’s headline – “Willie Nelson, AKUS announce co-headlining tour.” Why in the world would two seemingly completely different acts share a stage unless for a one off benefit show somewhere in Texas or Nashville? Well I didn’t get my answer June 17 at The Blue Hills Bank Pavilion on the Boston Waterfront, but I was treated to four hours worth of music across the span of three acts.

I was most excited about tour opener Kacey Musgraves, the only act on the bill I hadn’t previously seen live. Her thirty-minute set was short, and we came in while she was performing a perfect rendition of her live-your-life mid-tempo ballad “Silver Lining.”

She plucked away on the banjo during “Merry Go ‘Round” and tried to get the crowd going during the chorus of “Follow Your Arrow,” which worked surprisingly well. Both were good, but Musgraves stunned with “It Is What It Is,” wrapping her voice around the lyric brilliantly. She gave her underrated steel player a gorgeous solo – and an “I love Pedal Steel” shout out – that easily trumps the recorded version.

The main concern people have with Musgraves is her burgeoning friendship with Katy Perry, a move that could transition her away from country. But the set showcased her country bonafides wonderfully, from her naturally twangy voice to her love of western themes (trademark neon cacti). As proof, Musgraves and her band closed their set with a glorious a Capella rendition of the Roy Rogers classic “Happy Trails To You” featuring the refrain “Till We Meet Again.” I know I’ll be meeting her again, hopefully as a headliner, real soon.

Alison Krauss and Union Station were next, bringing their comforting bluegrass picking to the hungry audience. From the first notes of opener “Let Me Touch You For A While,” I was home. Their 90-minute set was spectacular, with Krauss wrapping her otherworldly voice around their signature songs – “The Lucky One,” “Every Time You Say Goodbye,” “Baby, Now That I’ve Found You,” to “You Will Be My Ain True Love,” “Sawing On The Strings,” “Ghost In This House,” and “Paper Airplane.”

While their set was familiar, it was heavy on uptempo material, which I found surprising, given Krauss is known for her ballads. It worked though, as a whole night of ballads would’ve been too much. Even more startling was Dan Tyminski’s heavier-than-usual role acting like a second lead singer more than just a band member. He ripped through many of songs he fronts including “Dust Bowl Children” and got a charge out of some venue workers with “Boy Who Wouldn’t Hoe Corn.” Krauss showcased her trademark wit when talking about “Hey Brother,” his collaboration with EDM mastermind Avicii and the mainstream exposure it’s afford him, including a prime spot over the speakers at Kohl’s stores. Tyminski played that, too, along with his classic rendition of “Man of Constant Sorrow.” He’s a great singer but his prominence was likely do to Krauss’ vocal troubles over the past year.

Her master Dobro player Jerry Douglas also got a solo, plucking away on covers including one by Paul Simon. He’s incredible and the obvious master of his craft. They closed their set with an encore highlight, gathering around in a semi-circle to gift the audience short snippets of “When You Say Nothing At All,” “Down At The River To Prey,” the chorus of “Whiskey Lullaby” and a fabulous take on “The Long Journey,” which Krauss recorded with Robert Plant. The inventive encore was the highlight, a surprise moment of magic. At this point, especially since they haven’t released new music in three years, Krauss and Union Station is a well-oiled machine, albeit an exquisite one.

It’s hard to believe Willie Nelson is a man of 81, when he sings and has the energy of men thirty years his junior. After the show a friend asked me if he still had the goods and with a resounding yes, he does. But really, does he sing well? No, he doesn’t. But much like Kris Kristofferson, that’s to be expected, as Willie will always be Willie.

Like most every other show he’s played, Nelson began his set just as expected, with “Whiskey River.” He has to be the oddest entertainer I’ve ever seen as he doesn’t take breaks between songs, instead he lets song after song bleed into one another so you don’t know where one ends or the next begins. It works for him as he bled “Crazy” into “Night Life” and “Funny How Time Slips Away” into “Always On My Mind.”

He also turned in fantastic renditions of “On The Road Again” and “Good Hearted Woman,” which he dedicated to Waylon Jennings. When he launched into “Beer For My Horses,” I didn’t recognize the song at first given how he’d changed it up, but the lyric caught up to me when he got to the “Pappy told my pappy” line in the second verse. I always love hearing him sing “Me and Paul,” and especially liked the all-too-appropriate line about him singing on a package show with Charley Pride.

Nelson had his family band with him, which included his two sons and sister Bobbie, who gave a nice piano showcase. His guitarist was introduced as simply as Johnny, and revealed late last week to be the actor Johnny Depp, who’s in town playing Mobster Whitey Bulger in the biopic Black Mass.

His son Lukas had a showcase of his own, ripping through the blues on “Texas Flood,” a nine minute set highlight showcasing his masterful guitar playing and powerfully aching booming voice. He later went more restrained and joined his dad for their recent duet “Just Breathe.”

As much as for his own material, Nelson’s set was a showcase for country music. He gifted us with three Hank Williams covers – “Jambalaya,” “Hey Good Lookin,” and “I Saw The Light,” all of which were outstanding. He turned “Mama’s Don’t Let Your Babies Grow Up To Be Cowboys” into a chant, converting the word ‘mama’ into a deep-throated wail, which worked for a sing-along but became grating.

Nelson, who transported the crowd to a 1970s Texas honky-tonk with his unique outlaw sound, closed the show (and evening) with a sing-along that brought out Krauss, Union Station, Musgraves, and her band. With everyone on stage they went through the gospel favorite “I’ll Fly Away” and country standard “Will The Circle Be Unbroken” among others. It was fabulous he included everyone in this and it was a hoot to see Musgraves’ band in their flashy suits that light up like a Christmas tree.

All and all it was a fantastic evening of live music that left this Musgraves, Krauss, and Nelson fan extremely satisfied. Given that Rounder Records began in Massachusetts, it’s wonderful that Krauss gave a shot out to the people who signed her in 1985 – who also happened to be in attendance.

Now, could Nelson have sung “Poncho and Lefty” or “City of New Orleans?” Of course. Should Musgraves have been allowed to play longer? Hell, yeah. Did I want to hear Krauss sing a bit more? Without a doubt. But that’s just nitpicking a near perfect evening of exceptional music from three of the brightest talents country music has to offer. Just a terrific show, and wonderful evening, all around.

Album Review – Alison Krauss and Union Station – ‘Paper Airplane’

images2Upon its release in 2004, AKUS’s previous full-length album Lonely Runs Both Ways was criticized for being too safe and not taking enough chances. While no one can argue with the instrument that is Alison’s voice, the mix of slow balladry with flushes of Jerry Douglas’s masterful dobro picking may have been riskless, but when music was that well crafted, being risk-free was a mood point.

When they did finally return with a sampling of new music, on 2007’s A Hundred Miles or More: A Collection, they stuck with familiar tone but took more chances with subject matter. At the same time, Krauss turned in two of the most stunning vocals of her career on “You’re Just a Country Boy” and “Jacob’s Dream.”

“You’re Just A Country Boy” was a brilliant cover of the Don Williams classic that was far more orchestral then Bluegrass, but worked just the same. “Jacob’s Dream” is Julie Lee’s musical account of two brothers who perished in the mountains in the late 1800s, a heartbreaking true story perfectly nuanced for Krauss’ otherwordly ability to deliver a devastating lyric. Also included was the contemporary ballad “Simple Love,” a sweet number reminiscent of the Forget About It era and “Away Down The River” in which the project gets it’s title. Two duets with rock singer John Waite round out the new songs. A cover of his classic “Missing You” has Krauss veering into slick pop territory, while “Lay Down Beside Me” has Waite trying a typical Krauss ballad on for size. Both are excellent with the latter also coming from Williams’ catalog.

It also didn’t hurt that Alison spent the hiatus from Union Station teaming up with Robert Plant on Raising Sand, the best collaborative roots albums of the last decade. By reversing roles, producer T-Bone Burnett pushed both out of their comfort zones and pushed them to new heights.

The furtherance continues on Paper Airplane. The first single, the album’s title track, marks the return of the mandolin to AKUS’s sound, an instrument missing from both New Favorite and Lonely. This addition gives the tune a fresh flare helping to mark the next phase in their Grammy Winning career. With Paper Airplane Krauss and company exude a quite confidence and show they’re masters at their simple fussless sound. At a point when most artists lead with an overblown ego, AKUS scaled back to create their most cohesive collection of songs ever.

But AKUS is an Americana band at heart, a fact lost on their recent albums, which tended too far into acoustic country. Thankfully, though, they smartly avoid Bluegrass cliches (odes to coal mining, inane product placement) and keep from overwhelming even the casual fan with fast picking and sharp twang. Their Bluegrass is softer, far more adult than their contemporary’s, classier, and more pleasant on the ear.

Even when Krauss relinquishes the lead vocal to bandmate Dan Tyminski on “Dust Bowl Children,” “Outside Looking In,” and “Bonita and Bill Butler,” and  the album veers closest to traditional Appalachia, it’s modern charm isn’t lost. Tyminski softens his vocals compared to his solo work, and fits right in. With “Children,” though, he provides the only seemingly misplaced track, both vocally and lyrically, on the whole album. For those buying the record for Krauss’s vocal contributions alone, it comes a bit strange when Tyminski launches into his Great Depression era tune. In reality, it isn’t parculier at all, his vocal talents have been present on AKUS’s records ever since his journey to fame with “Man of Constant Sorrow” ten years ago, and the song fits in nicely with the album’s overall themes of misery and loneliness.

Paper Airplane is everything a contemporary country/bluegrass/roots record should strive to be. A fully-formed album, it executes a winning yet tired formula in a new light. All the required themes of an AKUS music project are present – heartbreakingly sad songs presented as ballads and sung exquisitely – yet the album feels more like a rebirth than a recession. It never rests on its laurels and surprises the listener around every bend. But what’s truly remarkable is when most singers do whatever it takes to get noticed, Krauss doesn’t sell herself out for the price of fame. She doesn’t work her butt off at chasing her youth but instead records songs from an adult woman’s perspective. She smartly acts her age without appearing matronly. Without being anything she isn’t, she stays true to her roots and shifts the focus off her and onto the music, where it belongs in the first place.

For a mainstream country/bluegrass release, Paper Airplane was one of the best records of early 2011. It’s confident without being cocky and masterful without being showy. It’s the perfect continue of their unparalleled legacy and a worthy addition to any music collection.

Grade: A 

Album Review: Dolly Parton – ‘The Grass Is Blue’

Dolly Parton found herself without a record deal for the first time in 30 years when Decca Records closed its Nashville office in 1998. Throughout the decade, she had been losing ground with country radio, though her album sales had remained solid for much of that time. With the major label phase of her career now over, she decided that it was time to make a legacy record and partnered with Sugar Hill Records for a trilogy of critically acclaimed bluegrass albums. The first and best was 1999’s The Grass Is Blue, which is one of the finest — perhaps the finest — albums of her career.. Finally free of major-label constraints and commercial considerations, she finally made the bluegrass album she’d first talked about a decade earlier. With longtime producer Steve Buckingham once again on board, she assembled a who’s who list of bluegrass musicians, including Jerry Douglas, Sam Bush, Stuart Duncan, Bryan Sutton, Jim Mills and Barry Bales, and recorded a collection that included some bluegrass standards, grassed-up covers of other artists’ hits and four of her own original compositions. Alison Krauss, Dan Tyminski, Claire Lynch, Keith Little, Patty Loveless, Rhonda Vincent and Darrin Vincent all contributed harmony vocals to the project.

The album opens with a spirited cover of Billy Joel’s “Travelin’ Prayer” that is so effective it is difficult to remember that it wasn’t originally conceived as a bluegrass song. It is followed by covers of The Louvin Brothers’ “Cash On The Barrelhead”, Hazel Dickens’ “A Few Old Memories”, and Lester Flatt’s “I’m Gonna Sleep With One Eye Open”. The best of the cover songs, however, is a beautiful rendition of Johnny Cash’s “I Still Miss Someone”, on which Alison Krauss and Dan Tyminski contribute harmony vocals.

The four original Parton compositions are reminders of Dolly’s tremendous talent as a songwriter. “Steady As The Rain” and “Endless Stream Of Tears” sound like rediscoveries of previously forgotten long-lost gems, while “Will He Be Waiting For Me” has a slightly more contemporary feel. Dolly’s sister Stella had taken “Steady As The Rain” into the Top 40 in 1979, while “Will He Be Waiting For Me” was a remake of one of Dolly’s own album cuts from the early 70s. But the centerpiece of the album is the gorgeous title track, on which Dolly’s vocal performance and songwriting, as well as the musicians’ performances, shine. “The Grass Is Blue” is vintage Dolly that, with a slightly different arrangement, would have been equally at home on her albums from the early 70s or the 90s. The album closes with an acapella gospel number, “I Am Ready”, which was written by Dolly’s sister Rachel Dennison. Rhonda Vincent, Darrin Vincent and Louis Nunley provide the harmonies.

Perhaps as an acknowledgement that there was little here to appeal to radio, no singles were released, but the album managed to reach #24 on the Billboard Top Country Albums chart and is credited with aiding the resurgence of the bluegrass genre in the early 2000s. It also earned Dolly a Grammy for Best Bluegrass Album, which, along with her induction into the Country Music Hall of Fame in 1999, allowed her to close out the millennium on a high note. More importantly, The Grass Is Blue, along with its successors Little Sparrow and Halos & Horns, helped to erase lingering memories of some of Dolly’s less than stellar efforts from the late 70s and early 80s, and went a long way towards restoring her credibility amongst those who still regarded her as a pop sellout. These three albums were to Dolly’s career what the American Recordings albums were to Johnny Cash’s – they reaffirmed that veteran artists who were past their hitmaking days could remain relevant, and that their finest work often comes after the mainstream has stopped paying attention.

The Grass Is Blue
is still easy to find on CD and in digital form from Amazon and iTunes.

Grade: A+