ANDERS OSBORNE:
The depth of one’s life is evident through their music. The more sorrow, laughter and adventure experienced, the more interesting curves and crevices are carved into an artist’s songs. The miles traveled leave rich lines in the verses that only time, misadventure, and hard-won wisdom can produce. Anders Osborne is a map of intensely felt, passionately engaged living, a fractured but healing topography of heartbreak and hope for fellow travelers to explore.
Osborne’s music is redolent of the blues bathed in West Coast sunshine and brotherly compassion, a torchbearer for rock ‘n’ roll with blood in it’s veins and a heart in it’s hands. His long awaited new full length, Spacedust & Ocean Views, offers up graceful songwriting and signature guitar work on one of the strongest releases in his storied career. A strong sense of place runs through the album. From an evocation of geography to a questioning of one’s place in the universe, big ideas are condensed in thoughtful, smoothly swinging ways. It’s the album his fans have been waiting for- one that only he can deliver.
“These twelve songs speak about places dear to me, places I feel something profound about, but there’s also the presence of the universe,” explains Osborne. “I think one of the main struggles we all face is the separation from unity. I want to understand how I can feel unified with the world and others, with the universe writ large. I can arrange the ideas intellectually but the feeling of longing remains. The whole thing is a mystery, sometimes a sad, baffling mystery and sometimes very enchanting, but overall I just don’t understand and want to desperately. That’s what this music is, an attempt to understand it all.”
And what an attempt it is.
Producer Mark Howard (Bob Dylan, Daniel Lanois, Iggy Pop) uses Osborne’s seasoned, searching voice like a river running through the song cycle. It’s a distinctly human element that continually tenderizes the listener as his sinewy, emotionally charged guitar dances with longtime bassist Carl Dufrene, guitar foil Scott Metzger (Joe Russo’s Almost Dead), and the shared drumming of Brady Blade and Tony Leone. New Orleans percussion master Johnny Vidacovich, bassist James Singleton, and pop-jazz legend Rickie Lee Jones join Osborne for the cosmically charged album closer “From Space.” On the other hand, Spacedust’s lead single “Lafayette” is a roots-fueled rocker- a track that finds Osborne simultaneously sticking to his guns and exploring new territory as an artist.
This special collection of compositions is the culmination of years of writing and touring. “This is the last chapter before something new emerges. I’m wrapping some stuff up and figuring some fresh stuff out,” says Osborne, who’s been moving beyond his complicated past for close to a decade. “Now my life is about a human experience in a larger sense. Now, I feel I’m standing on my own two feet, trying to be a grown man doing the right thing.” In an ever changing musical landscape, Spacedust & Ocean Views firmly plants Anders Osborne as one of American music’s elite guitarists and songwriters.
JAMES MCMURTRY:
James McMurtry’s extensive “Back At It” summer tour kicks off during St. Louis’ Twangfest (June 8) and zigzags across North America before wrapping up in Maryville, Tenn. (July 23). Major markets include Denver, Reno, Salt Lake City as well as Midwest and East Coast stops in Indianapolis, Kansas City and Pittsburgh. “June could be hot in Austin what with the unexpected acceleration in climate change,” McMurtry says. “Time to tour, I say. Back before Napster and Spotify, we toured to promote record sales. Now we make records to promote tour dates.”
Clearly, the sea change has only inspired the singular songwriter. Witness Complicated Game. McMurtry’s first album in six years has garnered universal acclaim. “At a stage where most veteran musicians fall into a groove or rut, McMurtry continues to surprise,” Texas Music magazine recently noted. “[Complicated Game] is a collection of narratives as sharply observed as any from McMurtry, but with a contemplative depth that comes with maturity.”
Indeed, McMurtry’s latest collection spotlights a craftsman in absolutely peak form as he turns from the political toward the personal (“These Things I’ve Come to Know,” “You Got to Me”). “The lyrical theme is mostly about relationships,” the longtime Austin resident says. “It’s also a little about the big old world verses the poor little farmer or fisherman.” Either way, McMurtry spins his stories with a poet’s pen (“Long Island Sound”) and a painter’s precision (“She Loves Me”) throughout.
Folks notice Complicated Game delivering McMurtry’s trademark story songs time and again (“Copper Canteen,” “Deaver’s Crossing”). “[McMurtry] takes listeners on a road trip of unprecedented geographic and emotional scope,” No Depression raves. “Lyrically, the album is wise and adventurous, with McMurtry – who’s not prone to autobiographical tales – credibly inhabiting characters from all walks of life.” “Fuses wry, literate observations about the world with the snarl of barroom rock,” National Public Radio (NPR) echoes. “The result is at times sardonic, subversive and funny, but often vulnerable and always poignant.”
Longtime fans know McMurtry’s vibrant vignettes have turned heads for a quarter century now. “James McMurtry is one of my very few favorite songwriters on Earth and these days he’s working at the top of his game,” says Americana all-star Jason Isbell. “He has that rare gift of being able to make a listener laugh out loud at one line and choke up at the next. I don’t think anybody writes better lyrics.” (Yes. Spin “South Dakota.” You’ll hear.) “They took their time with this one,” Texas Music magazine notes, “and it was well worth it. He’s always been wise beyond his age, but middle age suits him well.”
Evidence: McMurtry’s Just Us Kids (2008) and Childish Things (2005). The former earned his highest Billboard 200 chart position in nearly two decades and notched three Americana Music Award nominations (including Artist of the Year). Meanwhile, Childish Things scored endless critical praise and spent six full weeks topping the Americana Music Radio chart in 2005 and 2006. In 2006, Childish Things won the Americana Music Association’s Album of the Year and “We Can’t Make It Here” was named the rapidly rising organization’s Song of the Year.
Of course, Complicated Game doubles down on literate storytelling longtime enthusiasts expect. Recall high watermarks past: “Childish Things,” “Choctaw Bingo,” “Peter Pan,” “Levelland,” and “Out Here in the Middle” only begin the list. (Yes, Robert Earl Keen covered those last two, “Levelland” remaining a live staple.) Just Us Kids alone includes fan favorites “Hurricane Party,” “Ruby and Carlos” and “You’d a Thought.” “Fireline Road” delivers equal measures depth and breadth and pierces hearts with sharp sociopolitical commentary.
McMurtry’s critically lauded first album Too Long in the Wasteland (1989) was produced by John Mellencamp and marked the beginning of a series of acclaimed projects for Columbia and Sugar Hill Records. In 1996, McMurtry received a Grammy nomination for Long Form Music Video for Where’d You Hide the Body. Additionally, It Had to Happen (1997) received the American Indie Award for Best Americana Album.
In 2004, McMurtry released the universally lauded Live in Aught-Three on Compadre Records. Next, the critically acclaimed Childish Things spent six weeks at No. 1 on the Americana Music Radio Chart in 2005 and 2006, winning the Americana Music Award for Album of the Year while the cut “We Can’t Make It Here” won Song of the Year. McMurtry received more AMA nominations for 2008’s Just Us Kids. That album marked his highest Billboard 200 chart position in more than nearly two decades.
In 2009, Live in Europe was released, capturing the McMurtry band’s first European tour and extraordinary live set. Along with seasoned band members Ronnie Johnson, Daren Hess, and Tim Holt, the disc features special guests Ian McLagan (The Faces) and Jon Dee Graham (True Believers, Skunks). Also, for the first time ever, video of the band’s live performance is available on the included DVD.
The poignant lyrics of McMurtry’s immense catalog still ring true today. In 2011, “We Can’t Make It Here” was cited among The Nation’s “Best Protest Songs Ever.” Bob Lefsetz wrote that it “has stood the test of time because of its unmitigated truth.”
McMurtry tours year round and consistently throws down unparalleled powerhouse performances. The Washington Post notes, “Much attention is paid to James McMurtry’s lyrics and rightfully so: He creates a novel’s worth of emotion and experience in four minutes of blisteringly stark couplets. What gets overlooked, however, is that he’s an accomplished rock guitar player … serious stuff, imparted by a singularly serious band.”
