Archive for the ‘Eric Brace’ Tag

Fervor Coulee’s Favourite Roots Albums of 2016   1 comment

At the end of each year, writers and broadcasters get to indulge themselves and—one hopes—their readers and listeners with their judgements on the year past.

I’ve spent substantial time reviewing the roots/Americana/whatever you want to call them, if they are on the No Depression list I might have considered them, and even if they aren’t I still may have albums I heard during the past year, and have come up with my definitive (at least for today) list of Favourite Roots Albums of 2016. Of course, your kilometreage will vary: I once received a cranky email from the father of a fairly prominent bluegrasser whose album I didn’t include on such a list several years ago. For those such inclined, I repeat—these are my favorite roots albums of the year. Not the best, ’cause that is silly. And all I can base it on is those albums I’ve heard, and maybe I somehow missed your son’s album…talk to his publicist.

I’ve already posted my Favourite Bluegrass Albums of 2016, and while bluegrass is an essential part of roots music, I’ve chosen not to intermingle the ‘grass into this list. Reason? This way I get to praise more albums. If you care about such stuff, my favourite bluegrass album of the year, Laurie Lewis & the Right Hands’ The Hazel and Alice Sessions would also top this list if I were to include bluegrass amongst the roots. Likely the top six bluegrass albums would have made my top 20 roots albums, and I likely would have found space for Sam Bush, too…

The number rankings, once past four or five, don’t mean much more than a way for me to stay organized: feel free to move your favourite up a spot or three. Full reviews are linked as artist/title.

My Favourite Roots Albums of 2016 are…

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1.Mark Erelli- For a Song Likely the album I listened to second most all year. Erelli has been at the top of his game over the past number of years, both with his bluegrass band Barnstar!, as an interpreter of others’ music (his Bill Morrissey album of a couple years back, Milltowns,) as a pissed off (alternately, disappointed) topical folkie of the Woody Guthrie vein (“By Degrees,”) and on his latest full length release, For A Song. For a Song is a quiet album, yearnsome and blue in turn, reflective, observant, and above all honest; the album wove its way into my soul, making me appreciate what I understand and consider that which I don’t. I just wish he would show up in Alberta some time.

2.Maria Dunn- Gathering One of Alberta’s foremost folk musicians returns with her sixth collection of lyrically-rich gems. An artist who places her convictions and heart on display in complementary proportions, Dunn has found balance between sharing the inspirational and compelling within songs that are insightful, artfully constructed, and just plain enjoyable. There will always be more than a bit of the Celtic lands in Dunn’s music, and throughout Gathering African, Asian, and Canadian First Nations influences can also be heard. Like the finest troubadours, Dunn communicates: she is the vessel through which others exist. She reveals the innermost, personal, and captivatingly universal perspectives and insights of devoted parents, the down-trodden challenged by circumstance, those connected to the land by more than choice, and the youthful who rise above.

Certainly one of the finest recordings to be released this year. Those who compare Maria Dunn to Woody Guthrie, Hazel Dickens, Jean Ritchie, and Buffy Sainte-Marie aren’t taking the easy way out: with the release of Gathering she demonstrates that she is an international folk artist of significance.

3.Jenny Whiteley- The Original Jenny Whiteley On this recording, Whiteley satisfies a desire to more fully explore the music that provided the foundation for her development—old-time folk sounds that have existed and thrived for generations. A recognition of her rich and diverse Americana/Canadiana upbringing within the venerable Whiteley clan, this fifth recording is a rootsy masterpiece. In a lesser artist’s hands such a multi-dimensional homage might sound disjointed; The Original Jenny Whiteley is united in its eccentric melding of the rich traditional and roots tapestry—folk, jugband, bluegrass, early jazz and ragtime, Francophone, Dylan, and the blues.

4.The Honeycutters- On The Ropes Fronted by Amanda Anne Platt, the Honeycutters offer up country sounds that have a bit of rock ‘n’ roll push, a combination that enhances rather than detracts from their honky-tonk foundation. Their instrumental interplay is excellent, and Platt has an incredible voice, as powerful as needed and as tender as desired. There exists an intimacy within these songs, all but one written by Platt, and that intensity allows the songs (and their performance) to make personal connections with listeners.

The Dixie Chicks seem a reasonable comparison. Playfully rambunctious and justly pointed, a song like “Let’s Get Drunk” resonates: “…and if the ship is really sinking what’s the use in waiting til it’s sunk? Baby, we’re already drinking, so we might as well get drunk.” Where was she 35 years ago?!

5.Western Centuries- Weight of the World I am sure it is no coincidence that the debut album from Western Centuries vaguely resembles the self-titled release from a late 60s band of considerable Americana-roots influence. Fronted by a trio of songwriters, each singing their own songs with distinctiveness, Western Centuries is a modern country band that encourages cerebral shifts as readily as it does two-stepping shuffles. Drawing inspiration from generations of country honky tonk singers and their bands, Western Centuries is something many of us are continually pursuing—a genuine country band that doesn’t take the easy way reinterpreting familiar songs, but rather pushes their talents toward creating modern classics. Weight of the World is pert darn special.

6.Robbie Fulks- Upland Stories Stone classic this one is. Nominated for a Grammy for “Alabama at Night”—wait a second, Robbie Fulks is nominated for a Grammy! Let that percolate for a minute. Maybe 2016 wasn’t an entirely awful year! There are a dozen memorable songs on Upland Stories, none indistinguishable from those surrounding it. Maybe not Fulks’ most exciting or dynamic album (tough to beat those early albums,) but maybe his best.

7.William Bell- This Is Where I Live I have to admit, when I saw a tweet from Rosanne Cash about a new William Bell album, my first thought was “Is that like the Pop Staples album of last year?” Because I truly thought William Bell was dead. Idiot, me. I first heard William Bell after Billy Idol covered “To Be A Lover,” playing the crap out of that pink Soul of a Bell album in the mid-to late-80s. I’ve now played This Is Where I Live as many times. A beautiful sounding, complete album. Another Grammy nominee. Tied with #8 for Comeback of the Year.

8.The Monkees- Good Times! Hands down, my most played album of the year. No Depression has it on their year-end list, so that makes it roots enough for me. “She Makes Me Laugh,” “You Bring the Summer,” and “Love to Love” are just great songs. Pure pop for old people.

9.Caleb Klauder and Reeb Willms- Innocent Road Featuring the Caleb Klauder Country Band, Innocent Road is comprised of a half-dozen Kluader songs, a few obscure covers, and a healthy dollop of familiar country classics from the likes of Buck Owens and George Jones. The kicker is a track from Paul Burch’s stunning Fool For Love album, “C’est le Moment (If You’re Gonna Love Me,)” artfully sung by Willms.

As much as I enjoy Prine and DeMent and Robison and Willis, I think I might just prefer what this duo accomplishes. There is no artifice within these recordings, no hint of sly aside.

10.Northern Cree- It’s A Cree Thing North America’s original roots music perhaps? Northern Cree are a drum group from Alberta, and It’s A Cree Thing has also been nominated for a Grammy, the seventh time this group from Saddle Lake has been recognized in this manner. It’s A Cree Thing is a powerful collection of round dance songs full of energy, personality, and history. “Oh, That Smile” should be a hit single! Gorgeous.

11.Darrell Scott- Couchville Sessions With consistency his strong suit, and similar in most ways to his breakthrough album Family Tree, Couchville Sessions is a welcoming listening experience highlighted by Scott’s warmly distinctive voice and diverse presentation choices. Recorded around the same time Scott was starting to ‘break’ 15 years ago—working with Tim O’Brien and Guy Clark then—this is a set of well-aged performances captured in Scott’s living room, the gestation of which are disguised within the sultry “Come Into This Room.” It provides continuing evidence that Scott is one of Americana’s most vibrant visionaries.

12.Matt Patershuk- I Was So Fond of You Back in January or so of this year, I was listening to the radio and a four-song set was played-some combination of Corb Lund, Guy Clark, John Fulbright, and Patershuk, and I recall realizing that I couldn’t tell which of those guys was from La Glace, Alberta and making his living in construction. Put his songs on WDVX, and Patershuk would sound as comfortable alongside Darrell Scott, Fred Eaglesmith, and Chris Stapleton. Heck, add Sturgill Simpson, Hayes Carll, and the rest to the list. Patershuk is the real deal, folks. If you are missing the country, the kind of country music recorded in the days when there was more grease and a little less gloss, check out I Was So Fond of You.

13.Eric Brace & Peter Cooper- C & O Canal I suspect that I would enjoy passing time about a round table with a cool beverage in my hand in the company of either Eric Brace or Peter Cooper. Two of my favourite musicians, songwriters, and wordsmiths, Cooper and Brace have released a strong slate of albums over the past decade. C & O Canal, their latest, pays homage to the folk and bluegrass music the two encountered in Washington, DC in the 70s and 80s.

14.Rory Block- Keepin’ Outta Trouble A tribute to Bukka White, this set is so strong that it deserves a place in my Top 20 rather than as part of my tributes/collections list that is still being assembled. Block goes beyond White’s music, creating original music inspired by his life and his approach to the blues. With attention to detail, but an even greater sense of purpose, Block enlivens these performances with a balance of passion and precision that breathes life into oft-encountered numbers. Her voice is magic, and her approach to blues guitar is clean, restrained, and just damn fine beautiful.

15.Dori Freeman- Dori Freeman Freeman isn’t interested in presenting herself as some social archeology project, the mountain singer untouched by modern sway. She is a contemporary vocalist, one touched by the influences of her rural mountain upbringing as well as less-rustic contributions. She is a folk singer, a country singer, and a pop singer, all rolled into one appealing vocal package. Having written these ten songs, Freeman most obviously has her own viewpoint and voice, one that has been honed by producer Teddy Thompson; the focus of the arrangements, musicians, and production choices remain on Freeman and her songs.

16.Red Tail Ring- Far Away Blues How did this relatively unheralded set have such a significant impact on me that it took about two months to (barely) uncover the words to attempt a review? It is danged freakin’ good. This Michigan duo of Laurel Premo and Michael Beauchamp is incredible. They have the rare ability to inhabit songs, removing the barrier of time, place, and reality between their performance of ancient tunes “Yarrow” and “Come All Ye Fair & Tender Ladies,” their own timely compositions, the recorded medium, and the audience. You are transported into the recording, watching the pair lean into their songs as they maintain eye contact to communicate chords and progressions.

17.Chicago Farmer- Midwest Side Stories Cody Diekhoff—okay, Chicago Farmer—doesn’t set out to do anything fancy on Midwest Side Stories. He has insight into the experiences and internal dialogues of contemporary working class folks, and has the artistic ability to convert these into songs of substance and interest. “Skateboard Song” touches on a whole lot of stuff—youthful disenchantment, small-mindedness, finger-pointing, and police harassment, just to start—over a hard-beaten melody that would do both Weezer and Dan Bern proud. Chicago Farmer’s mid-western insights do not limit these songs: they appeal whether you are rural or urban, upstate or down, blue- or white- collar, Canadian or American. “Rocco N’ Susie” are our neighbours, the ones we don’t really know, but are more like us than we care to admit—a couple pay cheques away from foreclosure, a few months from desolation, several bad decisions from remand. The gradual journey from independence to dependence is identified in “Farms & Factories,” suspicion thrives in “Revolving Door,” and the night shift margins are explored on “9 pm to 5.”

18.Margo Price- Midwest Farmer’s Daughter I had several albums circling around these final spots, and I went with the ones I did because of their genuineness, their apparent authenticity. There is little to suggest Price considered market configurations or sales ramifications when compiling the songs for this release. Like Hazel Dickens did and Brandy Clark does, Price sings and writes of true life situations, and like Dickens (but not so much Clark) she doesn’t add a lot of spit and polish to the music. When I hear “Four Years of Chances,” “Hurtin’ On the Bottle,” “Desperate and Depressed,” and “This Town Gets Around,” I imagine I’m experiencing something similar to what folks felt listening to Loretta Lynn for the first time more than fifty years ago; still, I don’t think Loretta ever sang of blow jobs.

19.Corey Isenor- A Painted Portrait (Of the Classic Ruse) This is country music. Just not country music. There are times, as in “From Towers to Windmills,” that I am reminded of New Order (“Love Vigilantes.”) At other points Isenor’s approach reminds me of Matthew Lovegrove’s Woodland Telegraph: sparse, minimalist and achingly poignant (“Queen of Calgary” and “Diamonds on the Moon.”) “The Navy Blues” is catchy and complex, with Andrew Sneddon’s pedal steel providing additional melancholy. Rebecca Zolkower and Desiree Gordon’s vocals lend depth to several songs, as do Liam Frier’s guitar contributions. Alt-country continues with Corey Isenor.

20. Grant-Lee Phillips- The Narrows Sometimes you locate an album never realizing you were looking for it. The Narrows is one of those albums. I have a couple Grant-Lee Phillips albums, ones I listened to a few times upon purchase and then filed away in the drawers. I was looking around the internet one night a few months back and clicked on a video link for “Tennessee Rain.” Before the song was finished playing, I had gone into iTunes and hit Buy. Raucous in places (“Rolling Pin”) and atmospheric elsewhere, the deluxe edition of the album provides additional takes that extend the pleasure of the listen. While the Drive By Truckers delivered a more timely and angry disc, GLP produced the more enduring one.

I’m out of words, but also enjoyed these discs:

Brandy Clark- Big Day in a Small Town; Mary Chapin Carpenter- The Things That We Are Made Of; Parker Millsap- The Very Last Day; Lori McKenna- The Bird & the Rifle; Paul Gauthen- My Gospel; Loretta Lynn- Full Circle; Mandolin Orange- Blindfaller; Blackie & the Rodeo Kings- Kings & Kings; Chely Wright- I Am the Rain; Steve Forbert- Flying at Night; and Drive-By Truckers- American Band;

As an aside or addition, my favourite Roots Compilations/Tributes/Reissues of the year are, in no particular order:

VA- 40 Years of Stony Plain

J D Crowe & the New South- S/T vinyl 

Gillian Welch- Boots No. 1- The Official Revival Bootleg

Nitty Gritty Dirt Band- Circlin’ Back: Celebrating 50 Years

VA- Wayfaring Strangers: Cosmic American Music

VA- God Don’t Never Change: The Songs of Blind Willie Johnson

VA- Just Love: A Tribute to Audrey Auld Mezera

VA- The Life and Songs of Emmylou Harris

VA- Fast Folk: A Tribute to Jack Hardy

Merl Saunders and Jerry Garcia- Keystone Companions: The Complete 1973 Fantasy Recordings vinyl box

(Not included in the above list are excellent tribute [or tribute-ish] albums from Del McCoury Band, Laurie Lewis & the Right Hands, The Earls of Leicester, Rory Block, Jenny Whiteley [tribute to her family’s musical roots,] and Eric Brace/Peter Cooper, all of which made my top Bluegrass or Roots album lists.)

Finally, some 2015 albums didn’t get as much attention from me last year as they did in 2016, for a variety of reasons. But, man- did I play the heck out of them this year: Linda McRae- Shadow Trails; Chris Stapleton- Traveller; Josh Ritter- Sermon on the Rocks; Sam Baker- Say Grace; and Steve Forbert- Compromised.

BUY SOME MUSIC, DAMMIT! Roots musicians deserve our support.

Best for the New Year, Donald

 

 

 

 

 

Eric Brace & Peter Cooper- C & O Canal review   Leave a comment

cooper Brace I suspect that I would enjoy passing time about a round table with a cool beverage in my hand in the company of either Eric Brace or Peter Cooper. Two of my favourite musicians, songwriters, and wordsmiths, Cooper and Brace have released a strong slate of albums over the past decade. C & O Canal, their latest, pays homage to the folk and bluegrass music the two encountered in Washington, DC in the 70s and 80s. It is a remarkable set of music. My review is posted at Lonesome Road Review. I hope you think it is worth checking out.

Thanks for visiting Fervor Coulee. More great roots reviews coming soon. Donald

Eric Brace & Karl Straub- Hangtown Dancehall review   Leave a comment

tumblr_mzd5dltrFO1sgs3bqo1_500I have a very strong feeling that 2014’s list of Roots Albums of the Year will be even more challenging to create than the last several years. No shortage of candidates already, and we’re less than a quarter of the way through. Eric Brace and Karl Straub’s exceptional Hangtown Dancehall is certain to receive considerable um, consideration.

My review of this album has been posted to the Lonesome Road Review. I’ve yet to encounter a recording associated with Brace that hasn’t been top notch, and I can hardly wait for the Peter Cooper & Brace album I understand is slated for later this year.

Thank you for visiting Fervor Coulee. I hope you are finding writing of interest. Stay in touch: @FervorCoulee

Donald

Roots Song of the Week: Eric Brace, et al- El Dorado Two-Step   Leave a comment

tumblr_mzd5dltrFO1sgs3bqo1_500Eric Brace and Karl Straub have created a most ambitious album based upon and extending “Sweet Betsy From Pike,” a song from the California Gold Rush era. Prior to listening to Hangtown Dancehall, I had only passing familiarity with “Sweet Betsy From Pike” having heard versions by Suzy Bogguss and Johnny Cash. Admittedly, I hadn’t paid attention to the song, and certainly hadn’t gleamed the potential the song held.

A well-written overview of the album is available at Engine 145. In short, Brace has created ‘the rest of the story,’ an imagining of what happened to Betsy and Ike after the dance. “El Dorado Two-Step” isn’t nearly my favourite song on this wonderful and cohesive album, but it is the one I can find a (functioning in Canada) link to, so…I guess it’ll do. It is one of a couple songs featuring Tim O’Brien and, as always, he delivers. This track also features Mike Auldridge, Buddy Spicher, and frequent Brace collaborator Peter Cooper, among others, but curiously not Straub. The entire album is fair brilliant, and its liner notes and packaging- featuring woodcuts from Julie Sola- is outstanding.

Give “El Dorado Two-Step” a listen at the Red Beet Records site.

Thank you for visiting Fervor Coulee. Donald @FervorCoulee

Eric Brace & Peter Cooper- The Comeback Album   Leave a comment

One of my great failings as a writer is that I am not talented enough to blow smoke up the arses of every performer I review, all the while simultaneously saying absolutely nothing about the music and seeming intellectually gifted.

At least, that is the feeling I acquired shortly after starting this intermittently successful gig in 2000. I’ve read thousands of reviews in many of the magazines and on the websites- from Mojo and Uncut to Rolling Stone and No Depression, and for every review that I’ve found enlightening and helpful, there has been three that praise the latest release from some unknown as the greatest thing since Lucinda found sobriety.

Equally often, an album is trumpeted as either the artist’s best since 1979 (do a search of Neil Young reviews and see how often that phrase is used, although the year changes with each piece) or as the most accomplished of the year within some finely attuned genre, my favourite being post-Americana, indie-grungefolk. Frequently, by the end of the review I am no further ahead than I was when I started.

I hope readers don’t find that to be the case here, ’cause that would be embarrassingly ironic. Perhaps sardonically self-destructive, even.

comeback%20album%20cvrEric Brace and Peter Cooper The Comeback Album (Red Beet Records)

The fourth album from Nashville singer-songwriters Eric Brace and Peter Cooper may not be their best album (I continue to favour You Don’t Have to Like Them Both, their 2008 debut, but I tend to do that), and neither is it the strongest release of this calendar year. It will not change the course of music history, and it is not likely to be the subject of scholarly writing throughout the next decade.

It is a wonderful collection of music that has provided me with hours of enjoyment; I suspect it might do the same for others who appreciate thoughtful, melodic interpretations of country and roots music that owes as much to Tom T. Hall (the subject of their previous tribute album I Love…) and Jerry Jeff Walker (who gets name-checked within the album’s lead track “Ancient History”)as it does the likes of Todd Snider and Kieran Kane.

I feel quite inadequate attempting to describe music executed within such an accomplished setting. The collective musicianship contained within The Comeback Album is staggering, continually engaging, and the composition of the songs- the ebbs and flows, the changes in tempo and mood, as often as not indicated by subtle shades of acoustic and electric guitar- sometimes attributed, as in the playing of Thomm Jutz on the lead track, elsewhere not- is profound.

Lloyd Green, Cooper’s collaborator on the earlier The Lloyd Green Album, plays pedal steel on every second song, and as always (it would appear) does just enough to make each track stronger than it might have been without his efforts.

The album comes in at forty minutes, and during that time the duo examine or at least consider subjects both significant and light. From a Tennessee jail cell to the remnants of a life spent searching for ambition in a dead-end job and a never-ending bottle, and no few opportunities to examine matters of lust, love, and loss, Brace and Cooper write and perform songs that are as memorable and substantial as they are even-handed and self-aware.

Apparently unflappable, Brace and Cooper bring in the unlikely trio of Mac Wiseman, Duane Eddy, and Marty Stuart to perform one of Tom T. Hall’s earliest songwriting hits, “Mad.” Described by Phil Kaufman (related in the song notes) as ‘The Neverly Brothers,’ Cooper and Brace are that unlikely duo of (seemingly) even-minded, focused individuals who are greater for their collaboration.

As they have in the past, Brace and Cooper share material written by others, in this case Karl Straub (again) and David Halley, whose “Rain Just Falls” closes the disc.

Never shying from self-deprecation, the pair are equally adept at self-evisceration, as on the needs-to-be-a-classic “She Can’t Be Herself.” Coloured in heartache by Green’s waves of blue steel, this Brace-Cooper composition should be accompanied by the number for the local mental health helpline. Brace’s “Kissing Booth” reminds me of John Wort Hannam, and I realize that reference means little outside of Alberta…but it shouldn’t, ’cause JWH is amazing: small town life and individual perspective magnified by shared experience and universal emotion. Beautiful stuff, if anguish inducing.

Eric Brace and Peter Cooper’s The Comeback Album is eminently appealing, and should keep listeners enthralled with clever phrasing, both lyrical and melodic, accomplished lead and harmony singing, and especially impressive instrumentation.

“Ancient History” can be heard here. Watched, too. But, I’m still not sure exactly what it means. “She Can’t Be Herself” can be experienced here, thanks to the YouTube. Cooper’s “Grandma’s Batman Tattoo,” not included on The Comeback Album, is HERE. Spend an hour or so listening to their varied clips- better than watching a rerun of Storage Wars.

Thanks for visiting Fervor Coulee. I very much appreciate the continued interest and support. Donald

The12 Roots Songs of Christmas- #2   Leave a comment

Just a couple of days to Christmas, and my series of Roots Songs of Christmas is coming to a close. There are so many songs and performances I wish I could have included, and- rather than having a non-roots song of Christmas today- I will provide links to some of these down below.

I had considered going all Bah, Humbug today, but I couldn’t find a link to Tim O’Brien’s song of the same name. “Santa Bloody Claus” was an option, but while I love both of these songs, I don’t want to go down that path this year. I’d rather keep things focused on more traditional meanings of Christmas.

untitledAnd things don’t get much more traditional than the birth of Jesus Christ. Today, my Roots Song of Christmas is an entire album, bluegrass songwriter and artist Donna Ulisse’s All the Way to Bethlehem. Much like Kimmie Rhodes’ Miracle on Christmas Day, Ulisse has chosen to go all the way and write an entire album focused around Christmas; this set is focused on her interpretation of the events leading up to and following the birth of Christ.

The album obviously has a Christian rather than secular approach to Christmas. From the immaculate conception (“You Will Be Delivered”,) to Joseph’s confusion (“He’s Not Mine,”) to an interpretation of the events at the inn (“You Cannot Stay Here,”) to the star leading the three kings (“I’m Gonna Shine“) Ulisse’s (along with her collaborators) interpretation of Scripture and the Christmas story is both interesting and listenable. I believe “Let the World Wait for a Little While” will become a seasonal favourite.

Considering the number of songs that already exist about the first Christmas, all the traditional songs that we grew up on, it is pretty remarkable that Ulisse has been able to create new and inspirational music that forges new ground: a listen to “He Is Here” provides ample evidence of this.

The music is varied, some touches of bluegrass, a bit of contemporary Christian-pop sounds, and some country, and it definitely isn’t for everyone. But, one admires the energy and focus- not to mention talent and vision- that went into All the Way to Bethlehem.

Honourable mention today goes to The Father of Bluegrass Bill Monroe and his Blue Grass

A Christmas bluegrass set I've almost plum wore out

A Christmas bluegrass set I’ve almost plum wore out

Boys with “Christmas Time’s A-Comin’;” this clip is from the old Nashville Network Ralph Emery show.

As for the other songs that I couldn’t fit in before tomorrow’s all-time best Roots Song of Christmas, and really it will be the only song on the list that I consider to be in any sort of order, there are links to more; happy exploring.

Jack Johnson “Rudolph, the Red Nosed Reindeer” in which Johnson has rewritten the popular song into the tale of self-determination it should have been all along.

Mary Chapin Carpenter’s excellent “Bells are Ringing” from her Come Darkness, Come Light album of a few years back.

Eric Bogle “Santa Bloody Claus

Chuck Brodsky “Toast to the Woman in the Holler

The Be Good Tanyas “Rudy

Mary Gauthier “Christmas in Paradise

Eric Brace and Peter Cooper “Silent Night

The Indigo Girls “I Feel the christmas Spirit

Chris Rea “Driving Home for Christmas

Chris deBurgh “A Spaceman Came Traveling

As well as a couple I couldn’t find links to, Jane Hawley “Christmas in Montreal” which is on her Letters to Myself album and Laurie Lewis & Tom Rozum’s entire Winter’s Grace album.

Thanks for checking in at Fervor Coulee. Tomorrow, what I consider the all-time best Roots Christmas Song.

Peter Cooper, The Grammys, and a great piece of writing   Leave a comment

http://blogs.tennessean.com/tunein/2012/02/16/peter-cooper-on-music-nice-to-try-grammy-shoe-on-other-foot/

Read it.

Posted 2012 February 17 by Donald Teplyske in Uncategorized

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