My Kind of Country

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

Tag Archives: Laurie Lewis

Concert Review – Kathy Mattea at Silver Center For The Arts in Plymouth, NH

Kathy MatteaKathy Mattea came ready to give it her all. Amidst a blinding snowstorm, and the after effects of the head cold that had eluded her to three days prior, she took the stage Feb 23 in the teeny 665 seat Hanaway Theatre (located in isolated Plymouth, NH) with just three other musicians, a caravan of guitars, and a message.

Of late Mattea has been outspoken on the subject of coal, or “Black Gold” as she sings in a recent song. Her crusade opened a so-far two-album floodgate, a life-changing detour into the Appalachian Folk songs of her West Virginian heritage and the most fully realized music of her thirty-year recording career. Her otherworldly alto graces the lyrics of Jean Ritchie, Laurie Lewis, Hazel Dickens, and Alice Garrard with the plainspoken beauty of a woman directly in line with her authentic center.

But even more impressive is Mattea’s ability to blend the “new” with the old, creating a woven tapestry linked by environmental cause, a deep sense of history, and a sharp ear. She opened with the first track on Calling Me Home (“A Far Cry”) before launching into “Lonesome Standard Time,” her #11 peaking single from 1992, without skipping a beat. She then graced the audience with my favorite of her singles, “Standing Knee Deep In A River (Dying of Thrust),” which was recently reinstated back into her set.

The intermingling of her past hits and newer material took me by surprise. I expected Mattea to focus mainly on the subject of coal, with a dusting of her biggest hits, thus leaving non-signature tunes as distant memories. But instead Mattea covered the hallowed ground between her past and present with the seamless ease of a songstress in tune with every note, paying close attention to every lyric.

Dressed in a mint green blouse, black jacket, and casual leggings, Mattea had the confidence of a seasoned professional but the cool of an everywoman; she was one among equals not a star singing to a crowd. Her greatest virtue was her subtlety, showcased through her candor and humor, on par with that of a next-door neighbor, a friend.

She greeted us like we’ve known her all our lives, commending us “Plymouthians” on our toughness in weather, braving a major snowstorm like a bright sunny day. Later she encouraged communal participation, denouncing those who belittled us for an inability to carry a tune, before having us sing loud and proud on multiple choruses of both “Eighteen Wheels and a Dozen Roses” and “Come From The Heart.” The latter bonded us as a tight-knit family – she enthusiastically attempted to get us clapping on the offbeat, which wasn’t meant to be. Clapping on all beats didn’t work either so plan B had us singing “You gotta sing like you don’t need the money, love like you’ll never get hurt, dance like nobody’s watching, it’s gotta come from the heart if you want it to work” at the tops of our lungs.

Further audience participation caused an off-script deviation into “Mary, Did You Know” and a proclamation that it wasn’t included with the $35 ticket price. She rolled with the flow, only grappling with the tune to see if she could reach the high note without her head popping off (she did have a head cold, after all). The song soared, and proved that sick or healthy professionalism wins out every time.

My favorite moment of the night confirmed another of Mattea’s many facets -her shrewd intellect. Her successful blending of old and new cumulated in a shared linkage – most of Mattea’s songs are deeply rooted in various fossil flues, albeit generally indirectly. I’d never viewed her material from such a focal point before, and she gracefully clarified her hypothesis, explaining how she’s singing about the diesel fuel of trains (“Lonesome Standard Time”) and the long hall truckers (“Eighteen Wheels”) to the coal. This led to a fabulous rendition of “455 Rocket” (fossil fuel: gasoline), her 1997 single and final top 20 chart hit. (In another showcase of her clever humor, I loved how she modified the line, “as we skid I thought I heard angles sing (sounded like the Beach Boys)” into a sly commentary on Beyoncé’s recent lip-synching scandal).

Mattea went on to grace us with more stories – how she first played the banjo in college only to pick it up again more recently, and the time she performed in newly restored theatre in Ohio, only to find out the majority of the audience didn’t know whom she was. She was candid on the subject of marriage, mentioning her and Jon’s recent (the prior week) 25-year milestone, gracing us with “Love Chooses You,” a Willow In The Wind album cut, and the song sung at their wedding.

Before “Love At The Five and Dime” she remarked on Nanci Griffith’s writing, likening the second verse to poetry, and shared that her classic “Where’ve You Been” almost wasn’t written, if co-writer Don Henry hadn’t been in the room. The latter came with a tale about a man with Alzheimer’s who’d forgotten his wife, until a visit in which she and their daughter were yelling at each other – and memories came flooding back.

Some of my favorite moments weren’t even the older hits (she also sang “Untold Stories,” another unexpected surprise) but the new material, even more simplistic on stage, than record. The quiet beauty of “Agate Hill” elicited tears, while her effective reading of “West Virginia Mine Disaster” showcased her storytelling prowess. “The L&N Don’t Stop Here Anymore” was a nice uptempo change of pace, and “Coal Tattoo” really let the band rip.

My other great joy, and the benefits of my front row center seat, was witnessing the nuances of the band in action all evening. Sitting that close, I was able to take in all that was happening on stage and watch the four musicians bring each song to life with the fullness of a full ensemble. The front row seat brought an appreciation to the evening that even two or three rows back would’ve made near impossible.

Seeing Mattea live was one of those musical highlights of life where everything comes together perfectly for a truly outstanding evening. She’s an otherworldly talent who has only aged with sincere grace and humility since her Nashville hit making days. If you’ve never attending one of her shows, or if it’s been a while since your last evening with Mattea, it’s well worth it to catch her when she’s in your area. It’ll likely be one of the best musical nights of your life. That was certainty the case for me.

Advertisements

Album Review – Kathy Mattea – ‘Willow In The Wind’

By 1989, Kathy Mattea was at the top of her commercial game. She was nominated three times at the CMA Awards in 1988, winning Single of the Year for “18 Wheels And A Dozen Roses” and scoring an album nomination for Untasted Honey but losing to then red-hot K.T. Oslin in her first foray in the Female Vocalist category.

Mattea followed the success with Susanna Clark and Richard Leigh’s “Come From The Heart” in early 1989. Set to an infectious mandolin centric beat; the tune quickly rose to #1 during its fourteen-week chart run. The song, previously recorded by Don Williams in 1987 and Clark’s husband Guy in 1988, features a well-known refrain:

You’ve got to sing like you don’t need the money,

Love like you’ll never get hurt.

You’ve got to dance like nobody’s watchin’

Unlike most songs from its era, let alone most music nearing 25 years old, the song is remarkable in that it doesn’t sound the least bit dated. That’s partly why it ranks high among my favorite of Mattea’s singles.

“Come From The Heart” was the lead single to Willow In The Wind, which saw Mattea once again teaming up with Allen Reynolds. This was a smart move as he kept the production clean and let Mattea’s voice shine throughout.

“Burnin’ Old Memories” came next and like its processor, peaked at #1 during a fourteen-week chart run. The song itself is excellent, but unlike “Come From The Heart,” it has aged considerably and the production, while ear catching, is indicative of its era and other sound-alike songs including Mary Chapin Carpenter’s “How Do” and Patty Loveless’ “A Little Bit of Love.” That isn’t necessarily bad, but it keeps the song from being memorable all these years later.

The third single turned the tide, however, and elevated Willow In The Wind to classic status. Although it only peaked at #10, “Where’ve You Been,” the love story of a couple (Claire and Edwin) culminating in the wife dying from Alzheimer’s, quickly became Mattea’s signature song. Written by Mattea’s husband Jon Vezner and Don Henry, the simple elegance of the tune made it a masterpiece, and the combination of Mattea’s touching vocal with the acoustic guitar backing elevated the track to one of the greatest (and one of my personal favorite) expressions of love ever recorded in the country genre (also, a must read article on the importance of the song can be found, here).

“Where’ve You Been,” one of my top two favorite of Mattea’s songs, was also her most rewarded. On the strength of the single she won her second CMA Female Vocalist trophy in 1990, as well as a richly deserved Grammy for Best Female Country Vocal Performance. Vezner and Henry took home CMA Song of the Year and Grammy Best Country Song honors as well.

Read more of this post

Album Review – Kathy Mattea – ‘Calling Me Home’

Coming off the supposed one-off side project Coal, Kathy Mattea found her purpose as a recording artist transformed from a commercial country singer to an Appalachian folk singer. The four-year journey has led to a full exploration of her West Virginian roots and the land surrounding the mountains where she’s from.

Calling Me Home finds Kathy exploring the austere realities of man’s desire for growth at the expense of preserving our natural world. The album richly chronicles the death of nature from many perspectives, and features the works of notable folk and bluegrass singer/songwriters Jean Ritchie, Laurie Lewis, Alice Garrard, and Hazel Dickens among others.

“The Wood Thrush’s Song,” written by Lewis, leads the charge with an effective thesis on the drawbacks of advancement within the human race:

Man is the inventor, the builder, the sage


The writer and seeker of truth by the page


But all of his knowledge can never explain


The deep mystery of the Wood Thrush refrain 

The thesis makes a bold yet true statement, and I connected with the way Lewis used the plight of the Wood Thrush to hone in her main point about man’s relentlessness to grow, seemingly without consequence.

Kathy explores that sentiment on a more human level with Ritchie’s masterfully heartbreaking “Black Waters,” a crying out over the state of Kentucky’s decision to allow the building of a strip mine in her backyard. I was taken aback by the brilliance in Ritchie’s storytelling; how she layered the vivid imagery to devastating effect. The climax of the track comes towards the end, when Kathy sings about Richie’s lack of sympathy from those causing the destruction:

In the summer come a nice man, says everything’s fine


My employer just requires a way to his mine

Then they blew down the timber and covered my corn


And the grave on the hillside’s a mile deeper down


And the man stands and talks with his hat in his hand


As the poison black waters rise over my land

“Black Waters” comes off a bit too sing-song-y, a bit too commercial in feel. But the lyrical content speaks for itself as does the haunting combination of Patty Loveless and Emmylou Harris on backing vocals, which adds an additional texture to the proceedings.

Read more of this post