Tuesday, May 21, 2013

Now Hear This: Editors’ Picks (Spring ’13)

May 03, 2013
The Dead TonguesDesert FireAnt Music
The Dead Tongues
(FireAnt Music)

With Desert — Ryan Gustafson’s  follow-up to 2009′s Donkey, released under his given name — the Durham singer applies his own nuance to classic songwriting touchstones. These 10 tracks waver between moments of nothing-left-to-lose freedom and love-lost misery; this is “fuck it” music in both incarnations of the phrase. The bulk are straightforward folk- and country-inflected rockers, recorded and played loosely but with obvious love. Opener “Call Out to Me” could be Blonde on Blonde-Dylan as done by Beachwood Sparks, piano and guitar lines chasing a compelling descending chord pattern to capture the narrator’s laid-back demise “on a bed of smoke.” On both “No Intentions” and the title track, he cranks up the tension with cathartic bridges using Al Kooper-like organ for fuel. There’s a tendency to tag “Ryan Adams” on any Triangle rocker accenting his sad songs with country and folk elements, but Desert never undercuts its dark themes with self-pity. And so far, Gustafson’s proved he’s a damn fine songwriter, too. — JS


Tuesday, February 26, 2013

The Dead Tongues: "Desert"

Tuesday, February 26, 2013

Album Review: The Dead Tongues - Desert

Four and a half years since his last acclaimed solo record (Donkey LP), Ryan Gustafson, as The Dead Tongues, returns to his strength with the spectacular Desert.

The wait was worth it. Desert is stewed to perfection. It’d be easy to group this record in with all the other dark Americana coming out of the south recently, but it sets itself apart with brighter harmonies reminiscent of 70s folk rock accented with hints of Gustufson’s experiences in Max Indian, The Light Pines, Mandolin Orange, and his experimental project The Daughter Is Ambiguous.

Gustafson is clearly the star, but the organ steals some spotlight on Desert. The instrument is allowed a ton of range from low-key, soulful accenting (“Exit Song”) to soaring lead voice (“The Desert”).

The album reaches its peak with “Depression,” the front runner for best song of 2013. It sucks the listener in with an irresistible guitar hook and a knock-out first line: “I get in depression like you get into cars driving you home. Like she got into cuttin’, like I got into drinkin’ on my own.” The organ takes over and really belts it out, before setting up the gradual fade out over Desert’s final two tracks.

This complex mix of tones pushes the album beyond simple melancholy and into nuanced emotions that are harder to pin down.

Desert is about momentum and the fear of lacking it. Gustafson is afraid of getting stuck in one place, of time passing him by, of leaving the world unmarked.

“Look in the mirror. Boy, I have grown. Once just a pebble, now a sinking stone,” he sings on “The Desert.” Gustafson looks ahead as much as he looks back, but it all kind of looks the same when he’s in the middle. “Life is a desert that I’m meant to roam.”

To deal with his restlessness, Gustafson examines what’s worth stopping or, more severely, dying for (often love) and what’s not (“corporate government”). It’s all brought to life with compelling weariness by Gustafson, who wavers between vulnerability and nonchalance.

“If you want to know about something — well, something true — I don’t care about nothing, but I care about you,” he opens “Milestone.”

Gustafson isn’t a character here. He doesn’t have an agenda and there’s no bullshit.

“I’ve got no intention of pleasin’ or romancin’,” the weathered troubadour sings on “No Intentions,” “All I can say is what I feel.” That, more than anything else, is what makes Desert essential.

Desert is out now. The Dead Tongues will play Kings Barcade in Raleigh with Schooner on March 8. Tickets are $6.

Monday, February 25, 2013

"Desert" and The Dead Tongues

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Monday, February 11, 2013

Album Review: "Desert" by The Dead Tongues

The Dead Tongues released Desert on February 9
at The Cat's Cradle
Ryan Gustafson is a songwriter that I'd only heard of for years, but until Hopscotch 2012 I had never actively listened Gustafson.  Big mistake.  While I'm glad I made sure my first experience with the talented songwriter was a live show, I wish I'd hopped on the train earlier.  After releasing Donkey in 2009, Gustafson hopped around from notable projects like Max Indian, The Light Pines, and Mandolin Orange all the while working on instrumental tracks of his own under the moniker The Daughter Is Ambiguous.  However, 2013 marks the return of Gustafson's solo work, and this new Dead Tongues release is something truly special.  It's clear that Gustafson's break in songwriting allowed him to develop a sense of purpose within his songs, everything feels as raw and personal as it did on Donkey, but it feels far more dynamic than Gustafson's previous release.

Each track has a defining voice, driving the album down a road that contains many exciting peaks and curves, but ultimately arrives at the same comforting sense of sincerity that drew the listener in to begin with.  Ranging from alt-country anthems to expansive six minute tracks like "Milestone" that careen effortlessly through a wide-open musical pallet, Desert is a unique album that can truly connect with listeners through powerful lyrics and gorgeous instrumentation.

Gustafson's lyricism is something that can't be emphasized enough, while each song remains entirely enjoyable musically, the textures and feelings that are brought out through Gustafson's raw approach to songwriting is what makes The Dead Tongues the powerhouse they are.  Tracks like "Depression" boast a bouncy yet rustic approach both melodically and musically, but from the opening lines it's clear that this song contains much more than a catchy hook.  "I get in depression/Like you get into cars driving you home/Like she got into cutting/And I got into drinking on my own".  One of the joys of this album is that each song contains these lyrical gems, these moments where you feel like a veil has been lifted between you and the musicians and you can truly connect with their music.  Tracks like "The Desert" and "No Intentions" feel like sincere statements that can evoke the memories of a particular place or time, sonically they contain memorable melodies and lyrically they draw upon feelings of self reflection and aimlessness that many can immediately connect with.

Desert is an album that's wonderfully diverse to be as cohesive as it is.  Gustafson's songwriting can be likened to Ryan Adams, but it feels like Gustafson is a bit more comfortable with roaming into untravelled territory than the former Carolina songwriting sensation.  Take "The Harbor" for example, it's a track that feels like it could have been belted out by Dylan or Cash, it's a rustic narrative that's driven by unabashed honesty and reflection.  The Dead Tongues are a band that's filled with nothing but talent and potential and Desert marks the return of an amazingly talented songwriter to bask in the spotlight he deserves.  After seeing Gustafson in the contributing role so frequently with acts like The Human Eyes and The Light Pines, it's nice to see his ideas at the forefront once again, as it produces incredible results.  Desert is a fantastic album that roams into the vast unknown, it's filled with nomadic reprises and a sense of comfort in the uncertainty that comes with that.  The Dead Tongues have embraced that uncertainty through approaching their music with rich dynamics, producing an album that contains old-country ballads, powerful pop gems, and everything from strings to organs to fill in the details.  I can't wait for the round of shows that comes with this release, having missed the Donkey-days, this will be a wonderful introduction to a full-band Ryan Gustafson project.  The Dead Tongues are speaking clearly and Desert is a powerful statement from Gustafson on his staying power within the Triangle music scene.

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Thursday, February 14, 2013

Dead Tongues: "Desert," Cats Cradle, Carrboro, North Carolina

Feb. 9, 2013
Release Party: "Desert"
The Dead Tongues
Ryan Gustafson

Pix: Lew Herman 

Music Review: 

The Dead Tongues

By Elizabeth Byrum
Updated: 02/08/13 1:12am


The Dead Tongues
4.5 stars

Way back in 2009, Ryan Gustafson released the glorious and highly-praised country rock Donkey LP that had listeners (at least this one) begging for a follow-up. But for a while, as Gustafson dabbled with the Drughorse Collective and numerous other local bands, the release of his next record was left up in the air.
However, after nearly four years, the wait is over. This time, Gustafson hasn’t completely returned by himself, but instead as a reincarnation he calls The Dead Tongues. Even as an expanded group, things are still part grit, part guitar picking and completely infectious, but there is a more polished and mature presence. Gustafson and company may be a little more weathered after a few years, but on Desert they’re certainly no worse for wear.
Desert finds us at the optimistic beginning of a journey that doesn’t necessarily have a destination in mind. On “Call To Me,” Gustafson’s signature subtle twang and the accompanying harmonies are robust, and like the morning sun, the country rock-laden guitar shines brighter with each strum. The aptly named song “No Intentions” follows, offering the same musical rewards that reflect the energetic kickstart to the album.
Then, like a parched and tired traveler, the album’s title track sways and staggers onto the scene, but gracefully, with stronger-than-ever guitar and percussion. While its lyrics induce a cloud of bittersweet nostalgia, the instrumentation builds to a triumphant crescendo, and the result couldn’t finer. And as the album continues along its course, it’s just one of the tracks that firmly moves into memory and into the soul, refusing to let go.
Continue along the journey, and stumble into the throwback bass of “Depression,” where casually nonchalant lyrics like, “Well I get into depression like you get into cars driving you home,” speak of those times when there’s no need to care. As Desert continues on, the mood slows a little more, weaving in some funkier and darker instrumentation on “Sleep Talking” and “Silver Dove.” It’s the perfect component that results in a most well-rounded trip.
If “too polished” was to be a problem, perhaps Desert is flawed in that sense. Yet there is a certain crispness that remains throughout the album that is hard to make stale. The Dead Tongues are anything but expired and although the journey might be winding, the desert is calling. Grab onto the things country rock dreams are made of and make sure to jump on this ride.
Published February 5, 2013 in Diversions

Wednesday, February 6, 2013

"Desert" The Dead Tongues on FireAnt

The Dead Tongues
Release date: February 9, 2013
From the Bull City, laconic, lanky, Ryan Gustafson packs a self-assured, sweet punch on his new recording "The Desert". With backup band the Dead Tongues he artfully constructs songs with honesty, integrity and gusto featuring his unique guitar playing, solid vocals, cheeky lyrics and nifty arranging. Tunes resolve nicely - melody, chorus, breaks - all accompanied by aural surprises, from catchy guitar riffs on "No Intentions" to doo-wop-ish choruses in "Call Out to Me". Hooks abound - whether on a backup chorus on "Milestone", to a tasty guitar lick on “No Intentions”.

Ryan's guitar work - from Carolina jangle to lacerating to hypnotic, fits just right.
The intros - folkish or postmodern - lead the listener onward to the next sweet spot, like his lyrics, or a nice guitar run. Dead Tongues musicians mesh together nicely with special kudos for keyboards, whether piano or something sounding older, like a wheezy organ or a melodeon on codeine. There’s nice fiddle playing too, on "The Harbor".  And the backup singers contribute nicely, especially on "Call Out to Me", "No Intentions" and "Milestone". I liked it so much I chose to help release the damn thing.

The album's rhythms vary, mostly in mid tempo range but with enough variety to avoid monotony. Each song carries a unique identity. The lyrics carry sonic hooks and hidden messages, with each song sounding like a thousand pictures. Check out the Dylan-ish organ in "The Desert" or the post -“Norwegian Wood" sound of “The Harbor".  In short, this album has vision. If this is the new Chapel Hill sound, sign me up.

Lew Herman

Wednesday, November 7, 2012

Ty Segall: "Twins" review

Ty Segall
Drag City
Release date: Oct. 9, 2012
Lew Herman
Here’s a rare full lengther that both starts and ends well. And the middle is damn nice, too. Starting with the snappy “Thank God for Sinners” it slams purposefully throughout, ending with a conclusive “There’s No Tomorrow”. Along the way this garage squallfest is varied and cohesive with tracks listenable, catchy and hooky. This prolific San Fran based stomper has already released several recordings this year but this one sounds less garage and more studio. On last years "Goodbye Bread" he roared about his exploding head. This time he wails that he doesn’t want to be a “Ghost”.

On “Twins” Ty dishes up basement guitar skronk, dishing riffs that can sound vocally like John  Lennon (“There is No Tomorrow”) while his guitar echoes a rough sounding George Harrison - Beatles with backbone, you might say. Along he way he references the Who (“Who Are You”), Blue Cheer, Led Zep and even Jefferson Airplane though probably aiming for a cross between Black Sabbath and Hawkwind. The “Love Fuzz” guitar riff could be a slo-mo takeoff of Eric Clapton’s “Sunshine of Your Love”.

This is guitar dominated heavy rock, so for those predicting its demise – look again. Cock rock still lives. Derivative? Yes, but with verve and style. Ty brings hooks and surprising rhythmic twists and turns along the way, so even if revivalist, it goes down well.

This is dense, chunky, primal, music with stomp, style and urgency. “Twins” is more sludgy and mid-tempo than earlier work but it’s solid, restless music for the young, loud and snotty.


Wednesday, October 3, 2012

CD review: Mexican Institute of Sound's Politico


Release date: Aug. 14, 2012

If you think our political system's rotten, try listening to the Mexican Institute of Sound's powerful take from our neighbor to the south. MIS, neither a group nor an institute, is actually Camilo Lara, the main honcho at EMI Mexico. As a record collector, he amassed thousands of recordings from which he created holiday mixes for his pals, eventually leading to his current position.

Call him an accidental rock star, if you will, but his latest recording Politico ("Politics") should further embellish his stature. Released during the recent controversial Mexican presidential elections, it pulses like a ticking bomb. His "rah rah rah" chorus on "Mexico" is a deeply sarcastic response to unrest, poverty, instability and the rise of the drug lords.
The tunes are all strikingly different, pulsating with rhythms ranging from old school mambos to the latest electronic cumbia beats. As an example, try listening to "Ritmo Internacional" without skittering across the dance floor. Lara's quirky humor showcases an amazing assemblage of scratchy old samples blended with new electro-pop sensibilities.

He can't sing — he sort of croaks — but all he has to do is make his point and let his music take over. Blessed with originality, varied rhythms and astonishing production, there's always something special going on. Title track "Politico," "Revolucion!" and "Mexico" all feature wobbly mariachi horns with sly political commentary. Hint: He uses the word "podrido" an awful lot, which translated means "rotten."
These days, the best Latin recording artists from Mexico to Argentina are moving in heady new directions fusing traditional, folk/folklorico with electronica. Mexico's sound masters, especially MIS, have borrowed from a rich palette of corrida, norteƱo, ranchera and mariachi, transforming them into an entirely new, explosive sound.


Tuesday, August 14, 2012

Ray Wylie Hubbard at the Double Door Inn, Charlotte, North Carolina

Live review: Ray Wylie Hubbard, Double Door Inn, 8/9/2012

Posted by Lew Herman on Fri, Aug 10, 2012 at 4:13 PM

Ray Wylie Hubbard
Double Door
Aug. 9, 2012

Looking like an older and wiser John Lennon, Texas songster and Oklahoma-raised Ray Wylie Hubbard eased into a long set Thursday night with charm, sly humor and a dose of articulate, potent tunes on topics ranging from 19th century poetry (“Drunken Poets Dream”) to sing-along’s about reptile raising (“Snake Farm"). It was a geezer crowd, which made sense - Hubbard is well over 60 himself (“I don’t want to peak too soon”) - but there was a scattering of all ages among the dense, sellout crowd.

Best known by some for his anthem “Up Against the Wall, Redneck Mother,” he performed as a top-caliber showman, guitarist and talker, introducing all songs and sucking the crowd into every tune he offered. Introducing his “band” consisting solely of drummer Kyle Schneider, he moved quickly into classic form with “Snake Farm.”

He oozes charm and charisma and has written some incredibly good songs. Taking his time, some of his jaw-dropping tunes were mini raveups lasting five or 10 minutes, with his nasally voice, crackling lyrics and snaky slide guitar anchored by his rock-steady drummer and maracas player.
Hubbard's cover of James McMurtry’s “Choctaw Bingo” was spot-on, while some songs surprisingly resembled "Bob Dylan’s 115th Dream” or the talking blues of Rambling Jack Elliott. He played “Down Home Country Blues” reminiscent of fellow Oklahoman Woody Guthrie, with folksy yet outspoken political and cultural outbursts. Hubbard even quoted Guthrie’s famous statement of purpose: “To comfort the afflicted and afflict the comfortable.” He’s not entirely P.C., but that’s part of his charm.

Hubbard is one of the original cosmic cowboy Texas singer/songwriters in the Jerry Jeff Walker tradition (Walker made Hubbard's "Redneck Mother" famous) In the 1970s, Hubbard was too confrontational, outrageous and ornery for the record companies and public. Often shunned, Hubbard has survived and prospered from singers who have covered his songs, “including even Cracker,” he recalls. Today, he may be even more valid than ever. If I was in charge, he’d be declared a national treasure.

Comments (20)

Showing 1-20 of 20

Probably the most overrated Texas singer-songwriter ever...do yourself a favor and seek out guys like Brian Burns, Chris Wall, Jerrod Medulla, Ronnie Spears, etc., who are actually talented.
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Posted by Jud Block on 08/10/2012 at 5:01 PM

Yeah, not hardly dude. Ray Wylie is an artisan of great, witty songs you obviously have bad taste.
report 6 likes, 1 dislike   
Posted by El Boz on 08/10/2012 at 6:27 PM

Thanks for the kind words Lew. Last nights sold out show must have been full of people with bad taste in music according to Judd here. I am friends with 3 of the songwriters he mentioned to check out and they are all good writers and wonderful guys who have utmost admiration and respect for Ray. I must have pissed Judd off at some point by not letting him record the show or let his band open...haaaa! Wouldn't be the first time!
Mother Hubbard
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Posted by AskMotherHubbard on 08/10/2012 at 6:45 PM via mobile 

Puhleeez, Mr. Block!! Just listened to yr Myspace page. You're like Jakob Dylan calling dad overrated. Ray Wylie -- better watch out! Tee-hee.
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Posted by brian, your savior on 08/10/2012 at 7:13 PM

"The problem with irony is not everybody gets it." - Ray Wylie Hubbard
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Posted by Mark Kemp on 08/10/2012 at 8:25 PM

Naw Mother Hubbard, you didn't piss me off, but I'm not a fan of your husband's music or his attitude concerning some of his more popular songs...I'm from Texas, so I'm quite acquainted with his work...and Mark, if Ray Wylie believes "Screw You" is ironic, then he doesn't understand irony. Brian, you're clueless my friend...that MySpace page hasn't been active for years...I'd be glad to send you a copy of my new CD, which Creative Loafing has ignored, if you want...but I want to warn you, it's more than just boogie rhythms and repeated lines...might actually cause a synapse to fire, which I'm sure you're not used to.
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Posted by Jud Block on 08/10/2012 at 9:10 PM

Well Jud you truly have no clue regarding the meaning behind his songs as "Screw you" was written as a joke and he tells the story at every gig. Yes it is meant to be tongue and cheek. Maybe there is a reason Creative Loafing has ignored your music....go figure.
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Posted by AskMotherHubbard on 08/10/2012 at 9:30 PM

I fully understand what he thinks he accomplished with that song, but if that's irony, I'll turn in my English degree...
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Posted by Jud Block on 08/10/2012 at 9:44 PM via mobile 

Jud, ya might wanna tread lightly around here, lest you find yourself included in a RWH song. Does "Jimmy Perkins" ring a bell?
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Posted by Okey Stoneburner on 08/10/2012 at 11:02 PM

Life's too short to tread lightly...speak your piece and back it up...plus, he's definitely going to end up in one of mine...so let the games begin!
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Posted by Jud Block on 08/10/2012 at 11:10 PM via mobile 

Mother Hubbard's first comment confuses me. What does being friends with 3 of the 4 artists Jud mentioned have to do with anything? I can put my hands on easily two or three hundred people I know who are friends with all four, me included. And yep, every one of those artists gives RWH props for what he's meant to Texas music. Rightful, well deserved props. None of which changes the fact that Ray's best work, much like Steve Earle's, is a long way in the rearview. The primary value he adds these days is behind the scenes: the tremendous work he does either in the studio or by actively supporting younger talent. His music these days is an acquired taste, which is not necessarily a bad thing. But simply being different, gruff, edgy, whatever one wants to call it is not enough to qualify for status as the sort of legendary performer this review seems to crown RWH as being.

Anyone reading this can say maybe Jud could/should have worded his comment better. Or picked another forum to raise the topic. But it's simply not possible to realistically argue that his core point lacks intrinsic merit. Of course, exceptions are made for family as well as those benighted souls who live in the musical and cultural wasteland known as Charlotte. Bless your hearts.
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Posted by Dave Pilot on 08/10/2012 at 11:16 PM

Dave, I disagree wholeheartedly with your statement that Ray's best work is a long way in the rear view mirror. Red Badge of Courage, South of the River and Count My Blessings from his last CD are amazing songs. He is legendary because his writing evokes emotion and because he is genuine and authentic in delivery. His co-write with Hayes Carll, Drunken Poets Dream was listed by American Songwriter Magazine as a top song. I hope you are not looking at Redneck mother as an example of his best work, because you are overlooking 30 years of some amazing songs. (There are Some Days is brilliant)

And you may not find him legendary, that is your opinion, luckily, there are people like Ringo Starr, Joe Walsh, Guy Clark, Ian McLagen and many many other notable superstars of music who find him talented and legendary enough to work with. Not to mention the fans and critics all across the country who love him for the combined talents of gruff, soulfull singer and thoughtful, authentic, songwriter as well as being a truly great human being who truly appreciates his fans.

Judd, your remark about boogie rhythms and repeated lines is funny, as that is pretty much the definition of country blues ; it leads me to wonder what your review of STevie Ray Vaughn, Muddy Waters, or Lightnin' Hopkins would be. Perhaps they too would not be considered legendary by your standards.Perhaps you are looking at the likes of Pat Green or Randy Rogers as your ideal Texas singer songwriter--if so, then yeah, I bet to you Ray Wylie Hubbard might be a bit off--and for those who truly know music, we are glad he is.
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Posted by Jodi J Tidwell on 08/11/2012 at 12:55 AM

Two things I find humorous: Both of you are writers who are unsuccessful as writers yet quick to judge someone who could eat a bowl of alphabet soup and shit better lyrics than either one of you.
Second, you choose to make mean spirited comments about someone on a comment section of an article which is a review of a live show which neither of you attended. I understand not having a taste for RWH, I certainly don't like a lot of what I hear out there but don't troll sites with the intention of spewing arrogance and judgement.
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Posted by AskMotherHubbard on 08/11/2012 at 1:01 AM

Fair points, Jodi, and clearly you're one of the ones his stuff works for. Music is indeed a subjective beast. For my money, two of the four artists Jud originally mentioned consistently write songs that Ray's cannot touch on any level. The other two are better singers by far, but that is definitively a subjective opinion and open to discussion.

If we're going to define legendary status by who a given artist works with, though, we're going to open up a whole big can of worms. Willie Nelson proves all the time that he'll work with anybody who's opening up a checkbook. And I love Willie, don't get me wrong. But an artist claiming that working with him legitimizes their craft is potentially well off base.

It's funny that you brought up Pat Green and Randy Rogers, by the way. Here in Texas, those two -- and frankly the bulk of the Red Dirt followers these days -- play well with the Ballcap Nation and are viewed with disdain by anyone who appreciates what Blaze Foley used to put out. At the online publication I write for, we specifically look for artists like a Brian Burns, a Houston Marchman, a Jackson Taylor or even a Mike Ness whose art is worth appreciating. For Carolina equivalents, see David Childers or The Backsliders back in the day. We leave the entertainers anybody canmindlessly enjoy (see Fowler, Kevin) to the big glossy print outfits like Texas Music magazine that'll write a glowing review for anybody willing to pay the promotional fee.

I respect the hell out of Ray Wylie Hubbard for what he's accomplished, what he's done, and what he continues to do aside from recording. And I listen to all of his records, because as a music writer it's my job to do so. But his stuff doesn't make the cut for airplay in my truck, and aside from the occasional times he's popped in at Luckenbach when I happen to be around over the years, I wouldn't spend my time listening to him for free. None of which means he shouldn't be relevant to you, or that his music can't move your soul. If it does, great. In the grand scheme of things, though, when we're talking about timeless songs borne of souls poured out on six-strings and able to withstand the test of time, it's tough not to argue that Ray is overrated. That's not the same thing as saying he sucks, or isn't worthwhile. If anything, it just points out that there are plenty of others out there worth a long look.
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Posted by Dave Pilot on 08/11/2012 at 1:16 AM

Mother Hubbard, please explain how you've arrived at the conclusion that I am unsuccessful as a writer. You've sparked my curiosity.

You are correct, however, that Ray can shit out a better lyric than I can any day. Which is why I do not, and have not ever, claimed or attempted to be a songwriter.

The troll comment, though, is funny and I appreciate the laugh. Maybe we'll wind up in the same venue one day and I can buy you a Lone Star.
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Posted by Dave Pilot on 08/11/2012 at 1:23 AM

Jodi, naw, I'm more of a Kevin Fowler or Jason Aldean fan; hell, basically anyone who sings about ammo, sexy trucks and tractors, I'm there...I'll have to look into this "country blues" you speak of...

Mother Hubbard, I'm finding it amusing that you're taking these opinions -- and remember that's all they are -- so hard...makes me think we've hit on a sore spot for you...this can't be the first time RWH has had a critical comment made about him, right?...why, you've made numerous ones about me just in this thread alone, and I know for a fact that you've never heard my music or lyrics...anyway, it's been fun, but life does, indeed, go one...here's to all the RWH defenders, y'all are true fans...hope to see y'all at a show sometime.
Posted by Jud Block on 08/11/2012 at 8:00 AM

FYI Dave, I'm from Texas... I live in Texas. I frequent Luckenbach and I listen to a large selection of Texas music.

I can't stand anyone thinking I'm not and that is my last word on this.

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Posted by Jodi J Tidwell on 08/11/2012 at 12:10 PM

Bueno, Jodi. I'm not hard to find on Facebook. Say hi anytime. Maybe my wife and I will run into you at Luckenbach sometime, or anywhere else around Texas from the Back Porch in Port A all the way up north of Fort Worth where we live. You've got a great way of voicing your opinions, which means you're interesting, so even if we disagree it'd be good to talk music over a cold one sometime.

It's funny - and somewhat indicative of the pseudo-scene in Charlotte - that the opinionated voices on this comment thread come from Texas and Oklahoma. At least it's a blessing that where we live, on the right side of the Red River, there's a broad music net that runs from Janis to Buddy, Waylon to Stevie Ray, Norah to Sir Doug, Blaze and Townes to ZZ Top.

Take good care.
Posted by Dave Pilot on 08/11/2012 at 7:54 PM

Dave: First you praise Charlotte singer/songwriter David Childers (and rightly so) as part of your not-so-subtle validation of the glorious publication you write for and dismissal of another publication, and then you dis Charlotte for its "pseudo-scene" (whatever that means) and its inability to offer up enough opinions in this thread. You want opinionated from this side of the Red River? How about this: You are one arrogant fuck.
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Posted by brian, your savior on 08/12/2012 at 11:56 PM

Why go out of your way to comment on a show you did not attend? I was there, it was packed with young and old (o.k. mostly older). It was a good show. Everyone stayed until the end and left smiling. Charlotte is not Austin, but why would you be trashing a live music venue if that is where your bread is buttered. I can assure you the next time I see Jud Block playing in the area I will remember you only for your negative comments.
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Posted by Spider Murphy on 08/13/2012 at 5:00 PM


You are welcome, Mother Hubbard! Most of the peeps attending had decent taste. And hardly any left early. Paraphrasing  A. Lincoln and B. Dylan:
"You can't please all the people, all the time.

("You can fool some of the people all of the time, and all of the people some of the time, but you can not fool all of the people all of the time")