If you like banjo and some nice harmonies, you should check out The Vespers if you have not done so already. The Nashville Americana/folk quartet is made up of sisters Callie Cryar and Phoebe Cryar and brothers Bruno Jones and Taylor Jones. Below is their video for the song “Lawdy.”
The song appears on the band’s second album, The Fourth Wall, which was released in 2012. The Vespers formed in 2009 and have attracted some attention with their two albums, both of which were released independently. If you would like more of a sample from the Cryar sisters and the Jones brothers, you may hear the entire album of The Fourth Wall below by pressing the play button. [2015 Update: The option to play the whole album is no longer available.]
The Vespers are giving away a free download of a track off the album using the “Free Download” button. Or you can go to their Noisetrade website to get a download of the album for whatever donation you want to give to help support their music. For more information about the band, check out the bios of the members and an article in the Huffington Post.
What is your favorite track on “The Fourth Wall”? Leave your two cents in the comments.
I have so many songs tucked away on my iPod, sometimes while I listen to the songs shuffle in the background as I do my work, I hear a song mixed among the old friends that I don’t remember or one I did not connect to earlier and I have a new discovery. Today, I found a song by an artist who chooses to no longer make music. Today’s new discovery is Sinéad Lohan’s “Whatever It Takes.”
The song came up on my iPod as part of a collection of acoustic songs from various artists. But here is the video for the original version, which is from Lohan’s No Mermaid (1998) album. I love the odd little dancing marionnette that you see around the 1:08 mark.
Lohan is from Cork, Ireland, and in the 1990s was a rising star on both sides of the ocean. After her 1995 debut album, Who Do You Think I Am?, did well in Ireland, she made her second album, No Mermaid — which contains “Whatever It Takes” — in New Orleans. The title track of No Mermaid was used in the film Message in A Bottle, and Joan Baez covered it. Another creative person put Lohan’s No Mermaid song to scenes from The Little Mermaid even though the song was not used in that film.
Lohan also created an excellent cover of Bob Dylan’s “To Ramona.”
Despite plans for a third album, after Lohan had her second child in 2001, she decided to devote herself full time to motherhood. Last reported, she was living with her husband John, an accountant, and their two children near Leap in County Cork. Around 2005, she made a guest appearance with Phil Coulter in the Opera House in Cork. But that’s it. She no longer even has a website devoted to her music.
Wikipedia reports that Lohan in 2004 began working on a new album, and another website claims that new album was completed in 2007. But such an album has yet to be released.
In 2011, her former manager Pat Egan explained to The Irish Timesthat while touring around 2000, Lohan “suddenly decided she didn’t want to do it any more. She never really liked the music business, and wasn’t that great doing interviews.”
Although it is a loss to the music world that Lohan no longer releases new music, we cannot complain that Lohan chose family over creating more music. We know from another Lohan and another Sinead how fame can un-ground a person.
Perhaps the reason the song “Whatever It Takes” resonates so much is its honesty. In the song, Lohan is perhaps telling us what type of life she would like. She sings that she will do what she needs to be fulfilled without worrying about legacy or fans.
Whatever it takes you to believe it, That’s all right with me; Take this morning in my kitchen, Or whatever that helps you to believe; You will find me down by the river, Getting high on my mortality; I’ll be holding hands with nameless beauty, Or whoever wants to stand next to me.
Whether or not the we ever get to hear new music from Lohan, I hope Sinéad Lohan is somewhere singing for her children, high on mortality holding hands with nameless beauty. Thanks for the music.
Reports about Boeing’s Dreamliner jet airplanes reminded me of the Steve Miller Band song “Jet Airliner,” and the author of the song, Paul Pena, who died on October 1 in 2005. Pena had one of the most unique music careers in the last fifty years. If you do not recognize his name, it is because of his bad luck in the music industry. But if you know of him, that was the result of chance too.
Paul Pena and His Unreleased Record
Pena was born on January 26, 1950 with congenital glaucoma and was completely blind by the time he was twenty. He started a music career in the late 1960s. After opening for Jerry Garcia and other musicians, he recorded a self-titled album in 1972. Then, he followed it up with New Train in 1973.
The latter album’s style ranged from R&B to folk to Jimi Hendrix-style blues, and it included a future hit song. But the album was not released. The owner of the record company refused to release the album after a dispute with Pena and his manager. Due to contractual obligations, Pena could not record elsewhere either, so his career stalled.
Steve Miller, however, heard the unreleased New Train and with the Steve Miller Band recorded a hit version of Pena’s song “Jet Airliner” on 1977’s Book of Dreams. The royalties from the Steve Miller Band recording helped Pena, who later suspended his music career to care for his wife, who was suffering from kidney failure.
New Train Is Finally Released
New Train sat in the vaults for almost three decades until it was finally released in 2000. Although not a top-40 hit, the album garnered Pena some attention.
I first heard of Pena when an alternative rock station played songs from the “new” album around this time. Pena toured a bit to support the album, even appearing on Late Night with Conan O’Brien to play his version of “Jet Airliner.”
The first Pena recording I heard was another song from New Train, “Gonna Move.” I loved the song immediately, as did a number of artists.
Several musicians recorded cover versions of “Gonna Move,” including Susan Tedeschi and the Derek Trucks Band. Here is Tedeschi’s excellent version of the song, live here with Derek Trucks.
Pena’s Discovery of Tuvan Throat Singing
In the time between the recording of New Train in the 1970s and the album’s release in 2000, though, Pena was not idle. In the 1980s, while listening to shortwave radio, he accidentally discovered Tuvan throat singing, which is a unique vibrating style of singing used by the Tuva people in southern Siberia.
Fascinated by the discovery, Pena began to study the language and the singing style, eventually traveling to Tuva to perform there. Filmmakers covered Pena’s new singing style and his trip to Tuva in the 1999 documentary Genghis Blues.
The movie was nominated for an Oscar at the 2000 Academy Awards and won the 1999 Sundance Film Festival Audience Award. The soundtrack to the film features more music from Pena. Below is the trailer for the movie.
Rediscovery and Death
So in 2000, with the Genghis Blues Oscar nomination and the long-awaited release of New Train, one might think that the story leads to a successful and happy career for Pena. But around this time, Pena was diagnosed with pancreatitis, and he died on October 1, 2005.
His death was a sad ending to a story that waited so long for a happy resolution. It reminded one of the lyrics to “Jet Airliner”: “You know you got to go through hell / Before you get to heaven.”
But few artists get the chance to leave us with such great songs as “Gonna Move” and “Jet Airliner.” On top of that, he also introduced us to another culture’s music legacy.
It is sometimes frustrating and funny how fate works. But it was his work on Tuvan throat singing which led to the 1999 documentary. And that led to the reason why New Train was finally released in 2000.
The release of New Train, then, was the only reason I and many others were introduced to Pena’s music. And all of that came about because of a strange accident.
One night in 1984, a blind man who had a lot of bad luck thought his career was over. After searching for a Korean language lesson on shortwave radio, he accidentally found a new music that intrigued him on Radio Moscow. Had Pena done something else that night or turned the radio dial another way, his life and legacy might have turned out differently. There would have been no Tuvan throat singing, and then no movie. And then New Train might never have been released.
That all would have been a real tragedy.
I found out, not too long, Their rules wouldn’t let me sing my song; I knew in order to be a man, I had to pull up roots once again and move on in this land.
I’m gonna move away from here, You can find me if you want to go there; I’m gonna move away from here, You can find me if you want to go there.
— Paul Pena, “Gonna Move”
What do you think of Paul Pena’s music? Leave a comment.
Chris Whitley may be the singer with the most CDs in my collection who most of my friends have never heard of. His music covered a wide range of styles, varying from album to album, but much of it was steeped in the blues, as he was an incredible guitar player. He often used alternate tunings on his guitar, creating a unique sound that is difficult to match.
Whitley was discovered by legendary producer Daniel Lanois, and a protege of Lanois produced Whitley’s first album, where you can hear Lanois’s influence. I bought Whitley’s Living With The Law (1991) on a cassette tape when I lived in Arizona, and I played the atmospheric songs every time I drove through the desolate painted desert in the northern part of the state. I especially love the opening title track and the second song, “Big Sky Country.”
“Dirt Floor” is the title song from a solo album Whitley recorded in one day in a Vermont log cabin. The sound of the album Dirt Floor (1998) and the sparse title song contrast greatly with the sound of Whitley’s first album, but “Dirt Floor” finds its power in a dark place that hides in the blues.
As you see above, Whitley is posing with a cigarette on the album cover of Dirt Floor. Seven years later, the title song “Dirt Floor” was posted on Whitley’s website when he died in 2005 from lung cancer at the young age of 45. Whitley, who was born on August 31 in 1960, left behind a daughter.
“There’s a dirt floor underneath here / To receive us when changes fail./ May this shovel loose your trouble, /Let them fall away.”
If you like the music, check out more of his work.
What do you think of Chris Whitley’s music? Leave a comment.
I am fascinated when I read about people who traveled around the United States in the early and mid-twentieth century discovering great blues musicians and folk songs. The music was always there, but more of it might have dwelled permanently in obscurity had the music not been recorded. Those tales seem stuck in the past, because with modern technology and the Internet almost anyone can post something on YouTube.
But there remains talented artists who fall through the cracks. These lost artists make one wonder if the future may hold a revival for some late in their careers or after they are dead — modern legends who are ghosts to us, just as Robert Johnson’s image and music embrace us across time. I hope that some day the world will rediscover Marty Brown.
Marty Brown’s Early Career
Marty Brown had some success in the 1990s with several outstanding albums. In 1990, he released his debut album, High And Dry which was not a big hit but did modestly well. One music critic gave the album an A+, saying Brown is “the sweetest surprise to ride the train in a long, long time and so authentically country he probably still has a tick in his navel.”
Small radio stations played his songs, but the big country radio stations ignored him, opting for less twangy artists. Brown’s voice and his heartbreak songs led writers to compare him to Hank Williams and Jimmie Rodgers, such as on the title song to the album. But I first heard of Brown when I saw the video for “Every Now and Then,” perhaps playing on VH-1 or CMT, with his Everly Brothers-type vocals.
Marty Brown was born in 1965 in the tiny Ohio River tobacco farming community of Maceo, Kentucky featured in the above video. He began writing his own songs when he was fourteen, sneaking away with a friend to play music at honky-tonk bars.
Later, Brown began making numerous trips to Nashville seeking a record deal while sleeping in an alley on Music Row. In 1991, the CBS news magazine show 48 Hours featured the artist in a story on country music. The feature led to Brown’s record deal with MCA.
During the Autumn of 1991, Entertainment Weekly and People Magazine described Brown’s tour to promote High and Dry. During the tour, Brown rode in the record company’s 1969 Cadillac convertible to perform at fairs and Wal-Marts throughout the South. At each Wal-Mart, he performed on a small stage in a store aisle with little amplification. Fans brought him homemade cookies and fishing lures.
At that time, the 26-year-old was already divorced with two kids and living with his parents. Just months before starting the tour, he was working as a plumber’s helper, making $5 an hour. While on his first tour, he explained that his goals were to buy his dad a bean field, put his kids through college, get a nice trailer for himself, and “not live no highfalutin life style.”
The comparisons to Hank Williams continued. Somewhere around this time, Brown was filmed backstage at the Grand Ole Opry singing Hank’s “Moanin’ the Blues” for a German documentary about the country-music legend.
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Brown’s Excellent Next Three Albums
In 1993, Brown tried to reach a wider audience with the more diverse Wild Kentucky Skies, which is one of my favorite albums. The album features break-up songs like “It Must Be the Rain” and love songs like “God Knows.” A folk ballad he wrote about his grandmother’s death, “She’s Gone,” would not sound out of place on Harry Smith’s Anthology of American Folk Music. During this time, he toured with Jimmie Dale Gilmore.
The title song, below, features a more lush production than a lot of his other honky-tonk songs, but there is still an aching country sound. One of his family members told a story about how Brown kept the Nashville Symphony Orchestra waiting the morning of the recording because he had a craving for a Big Mac. But then he nailed the song on the second take. “Wild Kentucky Skies” should be the official Kentucky state song.
In 1994, Brown released another excellent album, Cryin’ Lovin’ Leavin’, making a run of three outstanding albums in four years. AllMusic rates each of his first three albums 4-5 stars out of 5.
Brown did not sound like slick Nashville country. But the record company still hoped for Brown’s widespread success because it was the early 1990s. During this time, other neotraditionalist and alternative country artists like Steve Earle and Dwight Yoakam were breaking through and building audiences.
Brown received some critical acclaim. But again the sales were not as high as the record company wanted. MCA Records dropped him.
Brown then signed with the independent label Hightone and released Here’s to the Honky Tonks in 1996. For the most part, Brown wrote or co-wrote most of the songs on his four albums. And on Here’s to the Honky Tonks, he co-wrote almost all of them (including one track covered by Engelbert Humperdinck). The CD again garnered critical praise but weak sales.
He performed one of the songs from the album, “You Can’t Wrap Your Arms Around a Memory,” on Prime Time Country on TNN. On the show, he also explained that he was inspired to write the song while watching The Honeymooners late at night. [2015 Update: Unfortunately, that video is no longer available on YouTube.]
The Music Appears to Stop
And then after the four albums, that was it. Marty Brown disappeared. Only Here’s to the Honky Tonks remained in print. If you look him up on CMT or AllMusic.com or Wikipedia, the official story ends in 1996 with Here’s to the Honky Tonks.
In the early 2000’s, I found an address for a fan club in his hometown of Maceo, Kentucky, so I wrote to the address. But I never received a response.
But of course there is more to the story. As country music became more pop-oriented, Marty Brown disappeared from the limelight and did not perform except for family reunions. But he continued to write songs, and a few were recorded by other stars. He co-wrote 1998’s “I’m From the Country” for Tracy Byrd.
As time passed, Brown fell on some hard times as he fell out of the spotlight. In subsequent years the former local hero’s name occasionally appeared in the local newspaper in unfortunate stories unrelated to his music. For example, in 1997, just one year after Here’s to the Honky Tonks was released, Brown pleaded guilty in Indiana to a misdemeanor charge for taking an old engine block and selling it for scrap metal. He explained that he found the block in an alley, but he was fined and sentenced to probation.
Hope for a Comeback?
In the last few years, though, there have been signs of a career struggling to resurrect. Around 2008, a MySpace page popped up, selling a new CD he recorded with his son Marty Brown Jr. called Somethin’ Real. The website included some photos, showing that he had aged and was no longer the skinny kid in his early videos.
I ordered two copies of the new CD. When I received them, the cover label was merely a copy of the 1996 Here’s to the Honky Tonks cover, but it included an autograph. Despite the amateur packaging and non-major label recording, the new music still had some of the magic. On songs like the wonderful “She’s Beautiful Everywhere” he showed his voice remains one of the most authentic country voices around.
Today, a few years later, the MySpace page seems to be gone. Another webpage has information about buying the album and a mailing address. But it is unclear if the sales are still operating since the MySpace page linked to the site is gone. A Facebook fan page merely includes the abbreviated Wikipedia bio. [Update July 2011: See comments below for updated Facebook and other information.]
His son Marty Brown Jr. has a MySpace page but there is no mention of the music he made with his father. There are only a few Marty Brown videos on YouTube, and they do not fully illustrate his range.
Still, Marty Brown has not completely disappeared. In October 2010, he played at the Roxy Theater in Franklin, Kentucky. He still performs as a local celebrity, and he writes songs with new artists, as shown in this session with Michael Ray.
I suspect fans who live in his area appreciate his talent, and his work is influencing others, including his son Marty Brown Jr. as well as another talented young son who writes his own music. But Marty Brown should be getting national attention from genuine country music lovers.
What Happened?
Why did his national career die out in the 1990s? Not enough people connected with his music. You can blame that on several things, ranging from the promotion to his musical style.
I love his music, although I realize that his hardcore traditional country sound is not everyone’s cup of tea. For example, after I loaned a Marty Brown CD to a country fan friend, he told me he loved the CD but “my wife said she’d divorce me if I ever play that music again.” In the comments section under a Marty Brown video, one person wrote: “I never want to hear this song again.”
Maybe Marty Brown’s career stalled because the man was too authentic. He remained rooted in his small town, and even as his career was taking off, his dream remained to buy a trailer for his family. It is difficult to imagine him hanging out with the Nashville elite.
Some of my friends make fun of country music, but most Nashville singers can hang out with the big eastern city folk while at the same time maintaining some connection to the country. John Rich and Trace Adkins sing about being country boys, but they excelled in New York City on Celebrity Apprentice. I cannot picture Tim McGraw and Faith Hill doing yard work, but I can imagine Marty Brown mowing a lawn.
Many country singers come from small-town roots and they maintain that connection, but stardom takes them to another level. Even Steve Earle, authentic as they come and another brilliant artist who spent some years in the wilderness after encountering fame, moved to Greenwich Village.
Maybe Marty Brown would have moved on if he had he found lasting fame, but I cannot imagine him living in New York City or Atlanta or any other large city. He was always too attached to his roots, as shown by the video of “Every Now and Then.” He was and remains connected to his place and locked in time like many folk singers and old blues musicians. In spite of his amazing talent, destiny apparently prevented him from being a big star on a national stage.
Brown described his fear of obscurity in a 1992 Los Angeles Times article: “I’d go to bed at night, crying myself to sleep,” he recounted. “I’d ask the Lord why he gave me this talent to write these songs just to have them sit in a drawer.”
Maybe some day when Marty Brown is an old man playing acoustic guitar in a cabin in Kentucky, someone with recording equipment will go visit him to get one more album out of the music sitting in drawer. And when people hear the music, they will wonder why there were not more Marty Brown recordings — just like I wonder about the lost folk and blues recordings from the early 1900s. Do have any favorite artists who have disappeared? Do you know anything about Marty Brown? Leave a comment.
{June 2011 Update: See comments below for new developments since this post was published. If you are looking for news on upcoming performances by Marty Brown and his family, Shellie Brown has posted some information about shows in the comments.} {Update June 2013: Marty Brown returned to the national stage on “America’s Got Talent”!}
album in 1972. Then, he followed it up with 
in 1973.
(1991) on a cassette tape when I lived in Arizona, and I played the atmospheric songs every time I drove through the desolate painted desert in the northern part of the state. I especially love the opening title track and the second song, “Big Sky Country.”
Whitley recorded in one day in a Vermont log cabin. The sound of the album Dirt Floor (1998) and the sparse title song contrast greatly with the sound of Whitley’s first album, but “Dirt Floor” finds its power in a dark place that hides in the blues.
which was not a big hit but did modestly well. 
which is one of my favorite albums. The album features break-up songs like “
, making a run of three outstanding albums in four years. 
in 1996. For the most part, Brown wrote or co-wrote most of the songs on his four albums. And on Here’s to the Honky Tonks, he co-wrote almost all of them (including one track covered by 