Linda Martell: a Black Woman in Country Music in 1969

I was only 5 when Linda Martell’s album Color Me Country was released, but Apply Music recently brought it to my attention. Recorded over the course of 12 hours, one wishes more of the raw energy that must have been present to sustain such a long recording session had been captured on the record. Nonetheless, it is a nearly flawless Country album.

It reached #40 on the Billboard Country Music charts, and three of the singles also charted, one reaching as high as #22. Apparently that wasn’t good enough for Shelby Singleton, with whom she had signed a recording contract, because she never recorded another album. It seems he saw her as a novelty act, releasing the record on, I kid you not, his “Plantation Records” label! He never had her record another album.

However, she did continue singing live. She the first Black woman to play the Grand Ole Opry where she received 3 standing ovations and was invited back about a dozen times. The clip below is from one of her rare television appearances, this one on the Hee Haw show in 1970.

Martell’s granddaughter is working on a documentary about her grandmother, and has launched a campaign on GoFundMe to raise the money to make it happen. I plan to donate as soon as I finish this post. This is a story that needs to be told.

Clearly it was racism in the recording industry that cut Martell’s career short. In the 1920s recording labels and radio began promoting music from the South as either “Hillbilly Music” or “Race Music.” This was not a distinction made by the artists. In fact, often the same songs, especially traditional folk or religious songs, would succeed in both genres, just not by the same artists! The names quickly feel by the wayside, but the division remained under different labels.

Fun fact: The first album recorded by Tina Turner was Tina Turns the Country On! It has never been released.

https://en.wikipedia.org/wiki/Tina_Turns_the_Country_On!

But I digress. Things have changed since then. Charley Pride is no longer the ONLY name that comes to mind when one is asked to name a Black Country star. There’s Rissi Palmer, Darius Rucker, Rhiannon Giddens, Jimmie Allen, Kane Brown, Miko Marks, and others. Though CMT presented Linda Martell the “Equal Play Award” in 20212, the Country Music industry just wasn’t ready for her in 1970. Consequently, her recording career was cut short. I hope that more recordings will be discovered in the making of the documentary and her granddaughter will also release a soundtrack album!

Donate to support the documentary here!

René Marie: Music for These Times

RenéŽ Marie
MotŽma Music, RubyBird Studios – Brooklyn
December 17, 2015, www.johnabbottphoto.com

My favorite artist of 2017 didn’t even release an album this year. René Marie first came to my attention in 2013 with the release of “I Wanna Be Evil,” a collection of songs originally recorded by Eartha Kitt. Later that year I saw here in Tree of Life, a production of the remarkable SPARC Live Art Series.

I was impressed, but it wasn’t until I picked up The Sound of Red, her most recent CD, released in May of 2016, that I really began to appreciate when a gigantic talent she is. Of course I digitized the CD and listened to it constantly on my iPhone, but if it had been back in the day and I owned the vinyl album, I would probably have worn out the grooves by the beginning of 2017!  I was completely unaware of the other 9 albums she had released.

Then I stumbled on a YouTube video in which she performs the most poignant version of “Oh Shenandoah” I’ve ever heard. Continue reading

Prince and the Soundtrack of My Life

Prince at Coachella.

Prince at Coachella.

It was my best friend from the neighborhood who first introduced me to Prince. Hanging out at his house one day, he played one of the earliest albums, either Controversy of the self-titled debut album. At that time, I was a good Catholic school boy trying to fit in, and Prince was kind of out there for me, with his erotic lyrics and a reputation for performing in underwear. I don’t remember my reaction as I listened to the songs with my friend, but my determination not to like this man’s music did not last long. Those songs stuck with me, echoing in my head.

Prince kept churning out great music, scoring bigger and bigger sales. Soon enough, even the suburban prep-school kids whose opinions I was too concerned about, were also listening.  It would be hard Continue reading

Adam Ezra Group Release Better than Bootleg 2 at the Sinclair January 2

The Adam Ezra Group

The Adam Ezra Group

The Adam Ezra Group is celebrating the release of Volume 2 of the Better than Bootleg series with a show at The Sinclair in Cambridge, MA on January 2. Like its predecessor, Better than Bootleg, Vol 2 is a live recording, but while all the songs on Volume 1 came from one single performance, the recordings on this collection are taken from different shows. (Cl

In an interview conducted on December 13, Adam Ezra explained that it is not a live album” in the usual sense, documenting a single concert from beginning to end.  Rather the collection represents the band’s ongoing experiments at finding the best way to engineer recordings that “translate the energy from our live shows into a recording.”  I quite like the approach taken to this collection.  A live recording of a show on a single night is documentation of that specific night’s, but this approach feels more representative of the band’s live shows in general.  It mixes things up.  The tracks include performances of some of the bands best known songs such as “Burn Brightly” and “Steal Your Daughter,” one cover of James Taylor’s “Sweet Baby James,” as well as some of the newest songs in the band’s repertoire. (Click here to jump to a video of “Hippy Girl,” another song from the album.)   Continue reading

Books, Beer, & Conversation with Jason Myles Goss

Gallery

This gallery contains 11 photos.

Plus a gallery from a great concert with unexpected audience participation! Narrative songwriting is a staple of American music, but it’s not easy to do well.  The charts are full of derivative, clichéd, sentimental songs that do sell well enough, … Continue reading

Parlor Sessions Profile: Dean Fields

FB_profiles_DeanTonight’s profile is the last in the Parlor Sessions profiles, which means that the tour starts in just a couple days.  If you’re in or near Charlotte, Atlanta, Richmond, Wilmington, Asbury Park  Middletown, Cambridge, Philadelphia, DC, and especially the tour’s first stop in New York City, you probably need to get your tickets soon! The tour starts June 5, makes a stop a night for 10 nights, and then is over!

Now that I’ve introduced Andy, Jason and Eliot, three fantastic artists whose music I, myself, have just discovered, I’ll come clean now and say that the order of these profiles wasn’t 100% random. Because I’d stated this series of posts with questions for Dean Fields about the tour itself, it felt like it would give the series a sense of symmetry if I also ended with his interview, so I made a decision to do so early on.

Plus there was the fact that I knew his music and how good it is already. I’d even interviewed him before for this site, and knew that savvy readers could find that. So I wanted to get the word out about the Eliot, Jason and Andy. Now, though, let me introduce you to Dean Fields, the only guy I know who turn stepping in dog crap into a love song, or make telling a woman she takes too long get ready seem, like a compliment.
Continue reading

The Parlor Sessions Profile: Eliot Bronson

FB_profiles_Eliot-1Today we continue our series of profiles on the artists of the Parlor Sessions Tour with Eliot Bronson who was born in Baltimore where The Sun called him a “folk singing wunderkind.” The year after earning that praise he moved to Atlanta where he’s also earned similar praise from the press and built a sizable following.  He formed the duo The Brilliant Inventions which won a number of awards and built a sizable regional following until 2010 when his partner decided to pursue a career in photography.

For his part, Eliot continued his music career, releasing a solo album, Blackbirds in 2011, and an album called Milwaukee with his band the Yonder Orphans in 2012. He continues to receive accolades for his work, including first place in the Chris Austin Songwriting Contest at MerleFest (http://www.merlefest.org), an award whose laureates include Gillian Welch, Johnny Williams, and Tift Merritt.
Continue reading

The Parlor Sessions Profile: Jason Myles Goss

FB_profiles_JasonToday’s Parlor Sessions Profile is of Jason Myles Goss, a songwriter with uncanny ability to step outside of himself and write songs from another point of view that ring utterly true. He’s a storyteller whose songs can transport us into the boxing ring, to the boardwalk on Coney Island, to a fishing boat in Maine, to name a few places.

In describing the influences on his most recent album Radio Dial, his website states:

…in his latest collection of songs, Jason displays a broad range of influences, from the stark and eclipsing lyricism of Gillian Welch and A. A. Bondy, to the lush, melody-driven, pop/rock ambitions of Ryan Adams’ “Gold” and The Wallflowers’ “Bringing Down the Horse.”

I do hear that, but I’d add there is something Springsteenesque in his ability to evoke the working class so empathetically in his lyrics.

He’s now based in Brooklyn, but he grew up in Hopedale, MA, and in 2003 at the age of 21, when he was selected as a finalist in the first Newport Folk Festival Songwriters’ Contest, he was the youngest finalist by 10 years. It’s one of a number of awards and accolades he’s received.

Yesterday I posted the responses of Andy Zipf to a series of questions about the Parlor Sessions Tour. I asked Jason Myles Goss, another of your four musical “hosts” in the Parlor the same questions. His answers make me think maybe he’ll be the comic relief in the minivan.  They’re followed by a video of “Black Lights,” one of those evocative narratives songs I mentioned in the beginning of this piece, from his most recent album Radio Dial. Continue reading

The Parlor Sessions Profile: Andy Zipf

6ffb9660a4c311e3b886125b351fb865_8The Parlor Sessions Tour, set to begin in 5 days at Rockwood Music Hall in NYC, sounds like it’ll be my favorite kind of show.  It’s 4 singer-songwriters playing together in small venues and interacting with one another.  In addition, as Andy Zipf puts it, “We really want to bring the audience into the experience.”  Yesterday I posted a short interview with Dean Fields explaining a little about about the tour.  Today I’m posting the first profile of the 4 artists who’ll be traveling in the Parlor Sessions minivan, starting with Andy Zipf, not because I’m going in reverse alphabetical order, but simply because his responses were the first I found when pulling the four responses up on my computer.

It seemed an appropriately random way to choose which to write first for a tour that doesn’t have a clear hierarchy of acts.  This will not be 4 acts playing in order of ascending importance, building to the headliner, but rather a “mutual admiration society” as Dean Fields called it. Watching artists interact is always interesting, and it’s another reason to come see this show.

So who is this guy with a name so full of consonants?  He’s definitely someone who believes music can have a lot of power. Continue reading

Season Ammons is Living Her Dream

Season Ammons, Courtesy of the artist

Season Ammons, Courtesy of the artist

Texas-born, Florida-based, singer-songwriter Season Ammons has been making music in front of an audience since the once shy child found found her voice in a middle school choir.   When she was just 17 she moved to Nashville to pursue her dreams.  She had some brushes with quick success, such as being advanced as a finalist for the USA Network show Nashville Star in 2004.  Ultimately she wasn’t chosen, yet she refused to give up doing what she loves and kept building a following.

In a phone interview she told me that when she finally released her first studio recorded CD, tellingly titled “I’m Alive,” she intended to make a statement.  The self-produced disc what her way of asserting that she was in the music business to stay.  I wanted to announce that I’m here, I’m doing this full time, and I wanted to show people what I could do.” As an independent artist responsible for every aspect of the project from the songs and sound to the packaging and marketing, there was a lot to do and a lot on the line, and she had to learn fast.   Continue reading