Joni Mitchell clocks in at #1, and obviously Janis Joplin made the top ten as well. Lucinda Williams and Dolly Parton are also in the top 20. Also appearing from the genres this blog covers: Loretta Lynn, Gillian Welch, Emmylou Harris, Linda Ronstadt, Bonnie Raitt, Rosanne Cash, the Dixie Chicks, Tammy Wynette, Shania Twain, Joan Baez, Bobbie Gentry, Buffy Sainte-Marie, Alison Krauss and Union Station, Alabama Shakes, Miranda Lambert, Reba McEntire, Patty Griffin, and Iris DeMint.
Check out the full list. What do you think is missing? What would you put at #1?
Lots of great stuff in other genres from amazing, remarkable women, too, including many women of color. Check it out, and open up your Spotify to look up the artists and albums that are new to you!
Nikki Lane, Town Mountain, and Grand Ole’ Ditch teamed up for a great triple-threat show at Gypsy Sally’s on Friday night. (Town Mountain and Grand Ole’ Ditch are both bluegrass bands; Nikki Lane is country.) The night’s highlight was when a tipsy Lane came back out to join Town Mountain for a cover of Conway Twitty and Loretta Lynn’s “After the Fire is Gone.”
This was the second time I’ve seen Town Mountain at Gypsy Sally’s (and I narrowly missed them at Delfest). Pandora brought them to my attention through their cover of Springsteen’s “I’m on Fire,” and several friends have told me the same. They didn’t play it the last time I saw them, so I was delighted they did Friday. And their fiddler, Bobby Britt, was particularly great on Orange Blossom Special. But don’t think this band is just covers – you gotta love their original song Lawdog. Robert Greer’s award-winning lead vocals are usually more modern – no high lonesome falsetto sound here – but Phil Barker sure hits the high notes on Lawdog. Town Mountain is the bluegrass you’ll ever find at this price point ($18 for three great bands).
Lane was good, too. I like Town Mountain a lot, but I mainly went to see her for the first time, and to round an awesome weekend of great women country artists (along with Brandy Clark and Nora Jane Struthers – reviews coming soon). I was surprised at how free-spirited and bubbly Nikki seemed on stage, given the heartache and struggle present in a lot of her songs. She was pretty rip-roaring on Right Time and Seein’ Double, though – loved those two, and her Waylon Jennings cover. It was fun to hear her tell the story behind “Man Up” (writing it was her passive-aggressive way of telling a now-ex to move out) or talk about setting up “Sleep With A Stranger” and then seeing a nine-year-old with an unhappy mother in the front row (hey lady, you came without listening to the album). She didn’t play my favorite of her tunes, “Love’s on Fire,” but that’s a duet with producer and Black Keys vocalist Dan Auerbach and she didn’t have a male vocalist with her so I guess that makes sense. And as I wondered in my review of her album last year, she is indeed better when her vocals are crisp, not recorded with an intentional muffled vintage sound. I’d love to see her in a festival setting, or at least with a rowdy crowd.
Also, loved this sentiment from her: “Now I’m going to play a brand new song. Or maybe you’ve heard it if you’ve seen me in the last six months – but it’s still brand new! ‘Brand new’ is just various stages of bad, until it’s perfect.”