T Bone Burnett
Joseph Henry "T Bone" Burnett III is an American record producer and songwriter. As a producer of the soundtrack O Brother, Where Art Thou?, he renewed interest in American roots music. He received a Grammy Award for that album, for the soundtracks Cold Mountain, Walk the Line, Crazy Heart, for Raising Sand, in which he united the contemporary bluegrass of Alison Krauss with the blues rock of Robert Plant. Burnett helped start the careers of the Counting Crows, Los Lobos, Sam Phillips, Gillian Welch, he revitalized the careers of Gregg Allman and Roy Orbison, he produced music for the television programs True Detective. He has released several solo albums, including Tooth of Crime, which he wrote for a revival of the play by Sam Shepard; the only child of Joseph Henry Burnett Jr. and Hazel Perkins Burnett, Burnett was born in St. Louis, Missouri, in 1948, raised in Fort Worth, Texas, his grandfather worked as secretary for the Southern Baptist Convention. His father wanted to be a pro athlete and was courted by the Brooklyn Dodgers, but instead he got a job in Ft.
Worth with the Tandy Corporation. Burnett was brought up in the Episcopal Church of his mother, he forgot the origin of his nickname. Burnett learned golf an at early age; when he was seven years old, he played at the Texas Christian University course. He idolized golf pro Ben Hogan, from Ft. Worth. Burnett and the other boys watched him practice at the driving range. Burnett was on the golf team at Paschal High School. In 2014 he participated in the professional tournament at Pebble Beach. Burnett discovered music through his parents' 78s of Louis Armstrong, Count Basie, Duke Ellington, Ella Fitzgerald, Mahalia Jackson, Dinah Washington, the songs of Cole Porter, he was drawn to music that took him to unconventional places, he felt no compulsion to stick to one genre. He heard Peggy Lee, Hank Williams, the Beatles on the radio, was influenced by Buddy Holly, revered Johnny Cash, he was smitten by the music of Howlin' Wolf, Skip James, the Stanley Brothers, Jimmy Reed. He learned about music through his friend, Stephen Bruton.
Bruton's father was a jazz drummer who owned a music store on the Texas Christian University campus where the boys spent many weekends. Bruton, a banjoist, revealed his interest in bluegrass music and field recordings from the 1920s and 1930s. Burnett was enamored with the live version of the song "Wrought Iron Rag" by the Dixieland revival band Wilbur De Paris and His New New Orleans Jazz; the boys would sneak into clubs to hear bands. At around the same age, Burnett picked up the guitar. Overwhelmed by seeing the Beatles on The Ed Sullivan Show, he started garage bands with Bruton. After graduating from high school in 1965, they spent most of their time at Sound City, a recording studio in the basement of a radio station where Burnett became fascinated by recording, he produced his first song, "Free Soul", with the Loose Ends under the name Jon T. Bone, his parents had divorced when he was in high school, his father, with whom he was living, died in 1967. He attended Texas Christian University then dropped out to work as an artists and repertoire agent.
Burnett produced and played drums on "Paralyzed", the novelty hit by the Legendary Stardust Cowboy As part of the pseudonymous group Whistler, Chaucer and Greenhill, he appeared on and produced The Unwritten Works of Geoffrey, Etc.. During the same year, he produced six songs for a group of friends who called themselves "The Case Hardy Boys"; this band would move to Los Angeles and become known first as "The Fare" "El Roacho", would have songs produced by Burnett, Daniel Moore, Steve Katz. He moved to Los Angeles and recorded The B-52 Band & the Fabulous Skylarks under the name J. Henry Burnett. In 1975 and 1976, he toured with Bob Dylan's Rolling Thunder Revue; when the Revue ended and two other members of Dylan's band, David Mansfield and Steven Soles, formed The Alpha Band, which released three albums: The Alpha Band, Spark in the Dark, The Statue Makers of Hollywood. Burnett and singer-songwriter Sam Phillips were married in 1989 and divorced in 2004, he produced many of her albums, including Cruel Inventions.
He married Callie Khouri in 2006. He has three daughters, including one from his marriage to Phillips. In 1980, Burnett released his first post–Alpha Band solo album, Truth Decay, produced by Reggie Fisher, on the Takoma Records label. Truth Decay was a roots rock album described by the Rolling Stone Record Guide as "mystic Christian blues". In 1982, his Trap Door EP, released on the Warner Brothers label, yielded the FM radio hit "I Wish You Could Have Seen Her Dance". Burnett toured after the release of Trap Door, opening several dates for The Who, leading a band that featured Mick Ronson on guitar, his 1983 album Proof Through the Night, whose song "When the Night Falls" got some FM airplay, his 1987 album The Talking Animals were more in the vein of 1980s new wave music, while his self-titled 1986 album was an album of acoustic country music. His 1992 album The Criminal Under My Own Hat tended toward adult album alternative music. Proof Through the Night was reissued by Rhino Records' Handmade Music in a limited edition of 5,000 on May 29, 2007, in an expanded version.
The double CD included the EPs Trap Door and Behind the Trap Door. In 2006, he released two albums; the True False Identity was his first album of new songs since 1992, Twenty Twenty – The Essential T Bone Burnett was a 40-song career retrospective. Burnett's production credits include How Will the Wolf Survive? (Slash/Warner B
The Harrow & The Harvest
The Harrow & The Harvest is a 2011 album released by American musician Gillian Welch. It was Welch's first album in eight years and was released on June 28, 2011; the album was nominated for Best Folk Album for the 54th Grammy Awards. The eight years since the release of 2003's Soul Journey marked the longest period of time between album releases for Welch. In explaining the long recording absence, Welch said, "The sad truth is we never liked anything enough to put it out, not a pleasant place to be." She added, "over the course of that time that we were quiet we had enough songs to put out two or three records. We made a few tentative steps at trying to record, but the heart would go out of it when we realised that we didn't like the material enough to go on with it." Welch performed the song "The Way It Will Be" in years prior to the release of the album. Welch explains that this tense time period inspired the album title: "Our songcraft slipped and I don't know why. It's not uncommon. It's something.
It's the deepest frustration we have come through, hence the album title." The writing process involved "this endless back and forth between the two of us," Welch said, stating that "It’s our most intertwined, co-authored, jointly-composed album." John Dyer Baizley provided artwork for the album. According to Welch, "The songs are first and second takes, Dave composed some of the music spontaneously in the studio, it was freeing. We learned to accept mistakes and rough edges, because those didn't impede what the heart of the matter was." Uncut placed it at 2 on their "Top 50 albums of 2011" list, while Q, Paste placed it at number 28, 34, 39, respectively. All tracks written by Gillian Welch and David Rawlings
Folk music includes traditional folk music and the genre that evolved from it during the 20th-century folk revival. Some types of folk music may be called world music. Traditional folk music has been defined in several ways: as music transmitted orally, music with unknown composers, or music performed by custom over a long period of time, it has been contrasted with classical styles. The term originated in the 19th century. Starting in the mid-20th century, a new form of popular folk music evolved from traditional folk music; this process and period is reached a zenith in the 1960s. This form of music is sometimes called contemporary folk music or folk revival music to distinguish it from earlier folk forms. Smaller, similar revivals have occurred elsewhere in the world at other times, but the term folk music has not been applied to the new music created during those revivals; this type of folk music includes fusion genres such as folk rock, folk metal, others. While contemporary folk music is a genre distinct from traditional folk music, in U.
S. English it shares the same name, it shares the same performers and venues as traditional folk music; the terms folk music, folk song, folk dance are comparatively recent expressions. They are extensions of the term folklore, coined in 1846 by the English antiquarian William Thoms to describe "the traditions and superstitions of the uncultured classes"; the term further derives from the German expression volk, in the sense of "the people as a whole" as applied to popular and national music by Johann Gottfried Herder and the German Romantics over half a century earlier. Though it is understood that folk music is music of the people, observers find a more precise definition to be elusive; some do not agree that the term folk music should be used. Folk music may tend to have certain characteristics but it cannot be differentiated in purely musical terms. One meaning given is that of "old songs, with no known composers", another is that of music, submitted to an evolutionary "process of oral transmission....
The fashioning and re-fashioning of the music by the community that give it its folk character". Such definitions depend upon " processes rather than abstract musical types...", upon "continuity and oral transmission...seen as characterizing one side of a cultural dichotomy, the other side of, found not only in the lower layers of feudal and some oriental societies but in'primitive' societies and in parts of'popular cultures'". One used definition is "Folk music is what the people sing". For Scholes, as well as for Cecil Sharp and Béla Bartók, there was a sense of the music of the country as distinct from that of the town. Folk music was "...seen as the authentic expression of a way of life now past or about to disappear" in "a community uninfluenced by art music" and by commercial and printed song. Lloyd rejected this in favour of a simple distinction of economic class yet for him true folk music was, in Charles Seeger's words, "associated with a lower class" in culturally and stratified societies.
In these terms folk music may be seen as part of a "schema comprising four musical types:'primitive' or'tribal'. Music in this genre is often called traditional music. Although the term is only descriptive, in some cases people use it as the name of a genre. For example, the Grammy Award used the terms "traditional music" and "traditional folk" for folk music, not contemporary folk music. Folk music may include most indigenous music. From a historical perspective, traditional folk music had these characteristics: It was transmitted through an oral tradition. Before the 20th century, ordinary people were illiterate; this was not mediated by books or recorded or transmitted media. Singers may extend their repertoire using broadsheets or song books, but these secondary enhancements are of the same character as the primary songs experienced in the flesh; the music was related to national culture. It was culturally particular. In the context of an immigrant group, folk music acquires an extra dimension for social cohesion.
It is conspicuous in immigrant societies, where Greek Australians, Somali Americans, Punjabi Canadians, others strive to emphasize their differences from the mainstream. They learn songs and dances that originate in the countries their grandparents came from, they commemorate personal events. On certain days of the year, such as Easter, May Day, Christmas, particular songs celebrate the yearly cycle. Weddings and funerals may be noted with songs and special costumes. Religious festivals have a folk music component. Choral music at these events brings children and non-professional singers to participate in a public arena, giving an emotional bonding, unrelated to the aesthetic qualities of the music; the songs have been performed, by custom, over a long period of time several generations. As a side-effect, the following characteristics are sometimes present: There is no copyright on the songs. Hundreds of folk songs from the 19th century have known authors but have continued in oral tradition to the point where they are considered traditional for purposes of music publishing.
This has become much less frequent since the 1940s. Today every folk song, recorded is credited with an arranger. Fusion of cultures: Because cultures interact and change over time
Soul Journey is the fourth studio album by Gillian Welch. As with all of her previous releases, it is a collaboration with David Rawlings. In their preceding work, Time and Rawlings had experimented with using only acoustic guitar and banjo as accompaniment. With Soul Journey, they return to the more diverse and modern instrumentation of their early work, employing electric guitar and drums; as with Welch's other works, a strong American roots influence can be heard. This is most clear on the track, "No One Knows My Name", which borrows the melody from the Carter Family classic, "Motherless Children" and in Welch's reading of the traditional, "Make Me a Pallet on Your Floor". All songs written by David Rawlings unless otherwise noted. "Look at Miss Ohio" – 4:16 "Make Me a Pallet on Your Floor" – 2:45 "Wayside/Back in Time" – 3:28 "I Had a Real Good Mother and Father" – 3:14 "One Monkey" – 5:36 "No One Knows My Name" – 3:16 "Lowlands" – 3:19 "One Little Song" – 3:12 "I Made a Lovers Prayer" – 5:03 "Wrecking Ball" – 4:56 acoustic guitar - Mark Ambrose bass - Matt Andrews, Jim Boquist Dobro - Greg Leisz fiddle - Ketcham Secor everything else - Gillian Welch, David Rawlings Review of "Look at Miss Ohio" by David Dye for NPR's Day to Day.
Gillian Welch Interview for Austin City Limits
Hell Among the Yearlings
Hell Among the Yearlings is the second studio album by American singer-songwriter Gillian Welch, released on July 28, 1998. All songs written by David Rawlings. "Caleb Meyer" – 3:05 "Good Til Now" – 3:56 "The Devil Had a Hold of Me" – 4:30 "My Morphine" – 5:53 "One Morning" – 2:41 "Miner's Refrain" – 3:57 "Honey Now" – 1:52 "I'm Not Afraid to Die" – 3:27 "Rock of Ages" – 3:08 "Whiskey Girl" – 4:15 "Winter's Come and Gone" – 2:14
Shortia galacifolia, the Oconee bells or acony bell, is a rare North American plant in the family Diapensiaceae found in the southern Appalachian Mountains, concentrated in the tri-state border region of Georgia, North Carolina, South Carolina. Additional populations have been found in Alabama, Tennessee and Massachusetts. Shortia galacifolia has been reported in Japan, as have three other species of Shortia. Creamy-white flowers appear from late March to May. Seedlings appear in early August; this is about 6 weeks after the maturation of the capsule. Stolons have shallow roots, it clay. It prefers areas. Plants can tolerate bright light for only 2–3 hours per day at midday; the leaves have an orbicular shape with wavy edges plus a heart-shaped base. Seeds are oval, with a light to medium brown color. Young plants are within 1.5 meters of mature plants, but have been found as far away as 6 meters. The stalks grow 13–15 centimeters high and the plants prefer shade and soils with a high humus content.
Within its small range, S. galacifolia is invariably found along rivers and in gorges where the land is sloping and shows evidence of natural or man-made disturbance: mud slides, trees knocked down by wind, etc. Shortia galacifolia forms a dense mat that may prevent seeds of other species from embedding in the soil and germinating, its decayed vegetative matter may have a toxic effect on other species. It is found as the only or one of few species of ground cover in a given area, it is found at elevations from 185–625 meters. The pattern of elevation distribution varies from one watershed to another. Tree species and genera associated with S. galacifolia are: Tsuga canadensis, Betula lenta, Acer rubrum, Liriodendron tulipifera, Liquidambar styraciflua, Fagus. It is less seen with: Quercus prinus, Quercus alba, Pinus strobus and Robinia. Common understory species include Rhododendron maximum in moister conditions and Kalmia latifolia in drier conditions. Several factors have made S. galacifolia an endemic relict species.
It reproduces only in disturbed areas. Light and soil conditions that are beneficial to S. galacifolia change to its detriment as forest canopy and understory get re-established. Shortia galacifolia has been cultivated as far north as Grand-Métis, Quebec. Shortia galacifolia is a relict evergreen herb which long bewitched Asa Gray, the eminent American botanist, a saga detailed in the paper "Asa Gray and his Quest for Shortia galacifolia". During his month in Paris from mid-March to mid-April 1839, Gray had seen a fragment of the plant in the Paris herbarium, Jardin des Plantes, had long sought it in the wild in the mountains of North Carolina. Gray's diary entry for April 8, 1839 records him seeing the specimen and that he felt it was a new genus; the specimen seen by Asa Gray was discovered by André Michaux, who listed the place he found the specimen as "High Mountains of Carolina."There has been disagreement as to whether Michaux's original collection site was in Transylvania County, North Carolina at the confluence of the Horsepasture River and Toxaway River, or in Oconee County, South Carolina along the Keowee River at Jocassee.
At the time it was thought to be one of the last living specimens of the plant with fruits but no flowers. Much of the area around Jocassee and the Keowee River was covered by up to 300 meters of water when the Jocassee Dam was completed in 1973. In Michaux's journal for December 8–11, 1788 he says he found the specimen near the headwaters of the Keowee, near where two rivers join together. Prior to its rediscovery, Gray made several unsuccessful trips to this region, the last one in 1876. A specimen of S. galacifolia was not rediscovered until May 1877 on the banks of the Catawba River in McDowell County, North Carolina by George McQueen Hyams, whose father, M. E. Hyams, collected medicinal herbs and sold them to a Baltimore drug firm; the Hyams did not know. Eighteen months they sent it to lawyer and botanist Joseph Whipple Congdon, who contacted Gray, telling Gray that he felt he had found Shortia. Gray was enraptured by his search for a living specimen in the field for the entire preceding 39 years.
When a specimen was placed in Gray's hand as proof, he exclaimed: "Now let me sing my nunc dimittis." Gray wrote about the rediscovery to his colleague William M. Canby on October 21, 1878. Gray wrote to the elder Hyams, on October 27, 1878, telling him the great news and that by waiting for eighteen months, the chance to include this discovery had been missed because a botanical book had been published in the meantime. In spring 1879 Gray led an expedition, in which the Hyams helped, to the spot where S. galacifolia had been found. Gray's final trip to this region was in 1884. In Gray's diary entry for April 8, 1839, he named the genus after Charles Wilkins Short because the plant was native to America in a region close to where Short lived, Kentucky. Short and Gray never met. Short never saw a dried specimen of his namesake genus; the galacifolia part of the name means "galax-like leaves" because its evergreen leaves are shaped like leaves in the genus Galax. Gray made his first field trip to find a wild specimen from late June to late July 1841.
Gray never saw Shortia in its native
Time (The Revelator)
Time is the third studio album by American singer-songwriter Gillian Welch. All songs were written by Welch together with David Rawlings and were recorded at RCA Studio B, Tennessee, with the exception of "I Want to Sing That Rock and Roll", recorded live at the Ryman Auditorium as part of the sessions for the concert film, Down from the Mountain. Welch said of recording "Revelator," -- the version on the record. Dave just said,'play'Revelator' and it was okay, let's try it and we used the mic test." Rawlings added, "it was great because we hadn't played it in months. We got that first take feeling."According to Rawlings, "I Dream a Highway" had never been played before it was recorded. "So, we played it twice and I edited both versions together. But, I wanted that because I knew it was a minor song that had... There was a lot that could happen with the harmonies and the guitar playing than if we'd done it a lot of times, so we could just travel through a lot more of it than if we knew where we were supposed to start and where we were supposed to end."
Welch and Rawlings received a great deal of recognition for their work on Time. The album received many award nominations and was included on many "best album of the year" lists by critics, it has since been included on a number of "best of all time" lists. The album was ranked 64 on Rolling Stone magazine's list of the 100 greatest albums of the decade. In 2009, the album was ranked #7 on Paste's "The 50 Best Albums of the Decade" list, it was included in the book 1001 Albums You Must Hear Before You Die. Although Welch and Rawlings did not win in any category, the duo received four nominations at the first annual awards for the Americana Music Association in 2002. Time was nominated for Album of the Year, "I Want to Sing That Rock and Roll" was nominated for Song of the Year. Welch and Rawlings together were nominated for Artist of the Year while Rawlings was nominated for Instrumentalist of the Year; the album was nominated for Best Contemporary Folk Album at the 2002 Grammy Awards, but lost out to Bob Dylan's Love and Theft.
All songs written by David Rawlings. "Revelator" – 6:22 "My First Lover" – 3:47 "Dear Someone" – 3:14 "Red Clay Halo" – 3:14 "April the 14th Part I" – 5:10 "I Want to Sing That Rock and Roll" – 2:51 "Elvis Presley Blues" – 4:53 "Ruination Day Part II" – 2:36 "Everything Is Free" – 4:48 "I Dream a Highway" – 14:39 Gillian Welch – banjo, vocals David Rawlings – guitar, vocals Recorded at RCA Studio B, Tennessee Produced by David Rawlings Engineered by Matt Andrews except "I Want to Sing That Rock and Roll": Recorded live at the Ryman Auditorium, Tennessee Produced by T-Bone Burnett Engineered by Mike Piersante & Matt Andrews Also available on Down from the Mountain Mastered by Steve Marcussen at Marcussen Mastering, Los Angeles, California Design by Frank Olinsky Photography by Mark Seliger Melissa Block, "Gillian Welch and David Rawlings", All Things Considered, NPR, August 10, 2001 Nick spitzer, "Words and Music", American Routes, PRI, January 9, 2002