Tag Archives: Tommy Womack

Rock and Rap Confidential

Yep, it used to be Rock and Roll Confidential. Times change.

Still an amazing read, and it’s free by email, although a donation to the tip jar wouldn’t be a bad thing. Interesting pieces, good links, some decent truths…albeit skeptical, but really, what truths aren’t?

You can read the classic Steve Albini piece about major label deals, often reprinted as “Some of your friends are probably already this fucked“. In a recurring column called “Why Do We Need The Music Industry?” you can read comments about the state of the industry from Tom Petty and Tommy Womack and Ice-T.

And there’s often a brilliant piece, like the essay that Holly Gleason wrote about the late Steve Popovich. I thought I paid him a nice tribute, but Gleason’s essay blew me out of the water:

I’m in a shitty hotel room, chattering and chilled to the bone. I’ve driven all day, and it doesn’t even matter. Sometimes you do what you have to do – even when it doesn’t make sense to the people that know you. It’s not irrational. I know exactly why I’m here — shivering, waiting for the heat to actually kick in. And it’s not just the funeral for an iconoclast with a huge heart and bigger balls, even though that’s why I’m here. It is about the world in which we live, the vineyard in which I’ve toiled going on thirty years. It’s the way I spent my life and the beliefs I’ve held. Especially at a time when doing the right thing, fighting for greatness, believing the music matters is at best quaint, but most likely is viewed – no matter what “they” say – as chump stuff.
Steve Popovich, who passed away June 8th in Murfreesboro, TN, would disagree. He’d tell you to fight for what’s right, to stand up for what’s different, believe in the music, not the business or the politics or the egos… to know great, no matter the guise, and make sure it gets heard. Steve Popovich was that kind of guy. That’s how he lived… right til he died.
That kinda guy… big, bottomless heart. True believer. Fearless advocate for what he believed. Tireless in pursuit of great music – be it progressive polka bands like Brave Combo or Michael Jackson, Boston or David Allen Coe. When Meatloaf sold 200,000 copies of his first album and Epic Records informed him they’d done all they could do, Popovich went market-by-market and created a sensation, making Bat Out of Hell the biggest selling record that year.
That’s the thing about true hearts and big dreams… they don’t let go. They’ll haunt you. Take hold and keep holding. Rarer than rubies, when you encounter one, you never forget. They will make you do things you can’t believe you’re doing…Like driving 10 hours dead exhausted at the end of a record launch and an Oscar winner on a red carpet… to sit in a church where I know barely anyone… to honor a legacy so many would never understand. Because it’s just not done that way. Not any more. Not to the point where people even understand why it matters.And yet, if you know, experienced, saw or even glimpsed Steve Popovich in action, there was no way you could turn away. How could you? To see passion, raw and unfiltered, 250 proof and looking for matches… that was the kind of thing that left people speechless.Only Steve Popovich would never settle for that. He wouldn’t let people stand by mute. He’d cajole and engage and encourage. He wanted you to know… for sure… but he wanted to know. All about you. And every single you in the room, the street, the world. What did you think? need? feel? what makes you thrill? ache? rage?

And that’s just an excerpt. Things like this get emailed to subscribers all the time. Email me if you want the whole piece, because it’s not on the website yet. Or subscribe for free and ask them to send it to you. It’s a great read. It gives me faith that in an age of content, there are still writers who give a shit.

Kudos, Holly Gleason. Gotta love someone who once wrote “…in the end, there is no substitute. You can talk all you want, but you either rock or you don’t.” And that’s why you come here, right? For the occasional moment when I earn your support with a decent essay? So today I repay your faith by asking you to sign up – for free – and double your odds.

As of today, 900 posts in the Prescription, and I’m still going. Please keep visiting. I’ll try to get my batting average higher.

Rock and Rap Confidential

Holly Gleason’s website

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Under The Radar: Tommy Womack

It’s about this time every year that I post something about Tommy Womack, and damn it, I’m going to keep doing it every year until people wise up and recognize this great American treasure. Forgive me if you are already on board, but if you are, please link this to one friend tonight.

The review I’m reposting below will celebrate its twelfth birthday on Thursday, and you’ll see that even then I’m referring to “faithful Consumable readers” just like I occasionally now defer to “regular Prescriptioneers”. In other words, I’m a loyal drum beater if you have a drum worth beating. Tommy Womack did then, and still does.

So go listen to his new efforts with Will Kimbrough in Daddy, by all means. But don’t forget Tommy’s excellent solo albums and other projects. People with talent and a wicked sense of humor deserve our attention and support. In a perfect world, there would be a double bill of Tommy Womack and Todd Snider playing your town and mine.

Faithful Consumable readers will remember my “how the Hell did I miss this” review of Tommy Womack’s last record Positively Na Na; I was overjoyed to stumble across one of the most uncompromisingly original songwriters currently competing for our ears. Womack’s back with a new record, and I’m back to tell you to get your ass to the store now, because he’s at it again.

Who else could open a record by sandwiching a rollicking double-time swamp blues song between a snippet of psychotic poetry and a thirty-second faux-folk song called “Christian Rocker?” But when he gets down to business, it’s incredible songs like “The Urge To Call,” where his sharp storytelling is matched sonically by an infectious combination of organ and dobro. Or the searing slide guitar, sword fighting with Womack’s emotive vocal on “I Don’t Have A Gun” (“I’m so glad I don’t have a gun/on a night like this/I’d use one…”). In a better world, a song like “She Likes To Talk” would be a hit single. And give the man bonus points for covering a Kinks song, and “Berkeley Mews” at that.

Lyrics aside, Tommy Womack flat out rocks. “Telling You What You Want To Hear” builds from the ground up like the bastard son of “Honky Tonk Women” that it is (right down to the cowbell). The all-star stable of players is once again all over this record, featuring killer guitarists like George Bradfute and Dan Baird and especially fellow Bis-Quits axeman Will Kimbrough. Not that Womack is a slouch (his slide playing is incredible!), but Kimbrough plays some of the filthiest lead guitar solos I have ever heard, and his work on “Dreams And Golden Rivers” is top shelf stuff.

Womack’s way with words extends beyond songs. His novel about life in the rock and roll trenches (“Cheese Chronicles“) is an underground classic, and according to his website, he’s hard at work on the follow-up, “Jesus Has Left The Building.” Nashville has a rep for wearing down willing talent and molding it into cookie-cutter Hat Music, but Tommy Womack just continues to sit at the bar, too cool to even bother flipping the bird.

It’s time you pull up a stool and join his army.

Listen to clips here.

Tommy Womack website

Who's your Daddy? Will and Tommy are...

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Who’s Your DADDY?

Not-so-sloppy seconds.

Not-so-sloppy seconds.

Why, DADDY is your daddy, of course. DADDY is fronted by Will Kimbrough and Tommy Womack, and if neither of those names ring a bell for you, then it’s good that the new album won’t be out until Father’s Day 2009…because you have a lot to catch up on.

No really – go ahead, I’ll wait.

Yeah, they've been on a few records.

Yeah, they've been on a few records.

How about those audio resumes? Start saving those deposit bottles, because there’s a lot of great stuff there. You also might want to track down side projects like The Bis-Quits, whose one awesome album was released on John Prine’s Oh Boy label years ago. How can you not like a band that writes a track about a guy who plays a cello “like ringin’ a bell” and titles it “Yo Yo Ma”? (Trust me, it’s a great record but that one song is worth the price of the album).

You can’t mention either name without realizing the lineage with Steve Earle, Todd Snider, Jason and the Scorchers, Rodney Crowell, Dan Baird and dozens of other credible names that should have your radar sparking like a dropped muffler just by being in the same paragraph. Will and the Bushmen. Government Cheese. Really, do I have to keep pimping here? These are two bonafide A-list singer/songwriter/guitarists who adorn any worthy record collection, and they also happen to bring the best out in each other. So whether it’s redneck country, y’alternative rock, torch’n’twang, rockabilly, blues, gospel, roots rock or just taking the piss out of something with wit and passion…you’ve got the right guys on the job.

But as entertaining as those two could be as a duo, DADDY is a band. Backing up the troublemakers are Paul Griffith (one of Nashville’s most sought-after session drummers), Dave Jacques on bass (John Prine, Emmylou Harris) and John Deaderick (Dixie Chicks, Michael McDonald, Patty Griffin) on keys.  Those of you within distance of SXSW can get a nice preview next week, but Daddy will hit the road to promote the new album For A Second Time, set to drop on June 16th.  Why a second time? Because like many people, you probably missed the one-off At The Women’s Club, recorded live in 2005 at only their second gig. And unlike Crosby Stills and Nash, they were not scared shitless…they’re back four years later to save your ass again.

June isn’t that far away, but until then…enjoy some live DADDY here.

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