The Best of No Depression: Writing about American Music by Grant Alden, Peter Blackstock
By Grant Alden, Peter Blackstock
Because the magazine's founding in 1995, No melancholy has said on and helped outline the song that is going via names similar to alt.country, Americana, and roots track. notwithstanding brushed aside via the economic kingdom song institution as "music that does not sell," replacement nation has attracted hundreds of thousands of listeners who lengthy for the authenticity and wealthy complexity that come from its powerful mixture of state and rock 'n' roll and any variety of comparable musical genres and subgenres. To have fun No Depression's 10th anniversary and highlight probably the most very important artists and traits in alt.country tune, editors furnish Alden and Peter Blackstock have compiled this anthology of twenty-five of the magazine's most sensible and so much consultant function articles. Their matters variety from honored nation artists reminiscent of Johnny funds and Ray expense to modern songwriters reminiscent of Lucinda Williams and blood brother and Julie Miller to the post-punk country-influenced bands Wilco and the Drive-By Truckers. all the articles incorporated right here illustrate No Depression's dedication to track writing that places the artist front-and-center and covers his or her occupation in enough intensity to be definitive. Alden and Blackstock have additionally written a preface to this quantity during which they speak about the alt.country phenomenon and the historical past and editorial philosophy that experience made No melancholy the bible for everybody looking actual American roots song.
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Shortly after that, we went to New York to tour,” Escovedo picks up the story. ” 18 ALEJANDRO ESCOVEDO All of which must have been an exciting, eye-opening experience for a young musician who had never traveled to the East Coast before. “Because that’s what I had always dreamed of doing, was going to New York. I never really wanted to go to London or any place like that. I wanted to go to New York. It was very exotic to me. All these guys were pretty prominent in the New York scene at the time.
But the record wasn’t really doing very much, and three weeks into the tour, we run into this Geffen field rep at a gig, and we’re all drinking with him, and he gets drunk enough to go, ‘I like you guys, and I gotta tell you, the word came down from the office that we’re supposed to sit down behind this record,’” meaning the label would no longer aggressively promote it. In the midst of those gigs, plus some work with former Lone Justice guitarist Ryan Hedgecock and Doe’s X ex Exene Cervenka, Graham gradually started to assert himself as a solo singer-songwriter.
It was a bold and controversial move, since the local blues scene (built around Antone’s nightclub) and punk scene (centered on Raul’s) were light-years apart in those days, aesthetically and ideologically. “It seemed like a really good move, but I think it pissed a lot of people off in the blues mafia, and pissed a bunch of people off in the Raul’s scene,” Graham says. “That whole purist attitude was pretty strong back then; not much crossover was allowed. But being the way I am, I kinda liked that.