Americana und so weiter

Über handgemachte Musik: Roots Rock, Country, Rock 'n' roll, Folk, Blues, Rockabilly, Singer/Songwriter, Cajun, Zydeco, TexMex und so weiter.

A must have.

HanspeterEggenberger ‏@_eggenberger  31 Dec 2016

#2016AmericanaAlbumsOfTheYear – 3. Matt Patershuk: I Was So Fond of You  @MattPatershuk @blackhenmusic


Thursday, December 15, 2016


29. Matt Patershuk - I Was So Fond Of You


matt patershuk in was so fund of you
Matt Patershuk is not a man who sings about to drown sorrows in whiskey. Instead fill his glass of good whiskey, lift it up to your eyes, look into the glass and try to find answers and a way out of the sorrows and rather enjoy the memories. (Rune Torsteinsen)


      This year's International Album 2016

This year's International Album 2016

2016 has been a roller coaster of a year. Legendary and beloved artists have fallen from as autumn leaves in October. Big stars like Guy Clark, Bowie, Cohen and Haggard has left us.While losses of artists like Chris Porter and our own Henry Johnsen at home have done Americana genre poorer. Sturgill has quarreled with the established Nashville, been ostracized and ignored by the CMA, but instead grabbed a surprising Grammy nomination.A previously ostracized artist, Robbie "Fuck This Town» Fulks, also got some of the recognition he has deserved for 20 years, with double Grammy nomination.

And then we have then gotten all this wonderful music. 2016 takes and gives, and has been a unique and inspiring year for all who love music in and around our perception of Americana genre. Americana has for the first time sold more than "established" country in the United States, and Americana Fest in Nashville could offer large quantities of artists we present in our Year list - and showed the breadth and the incredible growth of the genre.

We hope that's both familiar and unfamiliar things among the 50 plates the overall editorial liked best this year. Good luck, and thanks for all the music!

Matt Patershuk was for me a completely unknown name until a few months ago. In winter he released his second album, I Was So Fond of You. His first album, Outside the Lights of Town , was born in 2013, but went past my house. The first time I heard this year's record of Patershuk, I was sure that this was a salty, which had been around for decades. His voice and his music hit me immediately. But after what I've understood, so he started not with music in earnest until 2011.

There is no simple matter to mention such a plate with word. I have thought long about what I might write, which is this album and Matt, worthy. 
It's not about whether it is a masterpiece or not. It's about where and how it hit me.

You probably know the tone of this photo. I sit down with a book and a cup of coffee. In the background goes a playlist of new and unheard music. So it happens that sometimes happens, the music takes center stage. I sit to listen and look straight ahead, out the window and onto the forest. The book has patted again, the coffee has gone cold, Matt Patershuk have caught me with his lyrics and his music.


I Was So Fond Of You, has a sad and grief heavy drag over them, and sends me straight in, and the far north of the forest called Country. It hit me so hard that I put the pedal flat on the floor and travels upward along old dusty roads, past ancient tracks, empty bottles and broken dreams. For I know that in me that I will find Patershuk up where the heartfelt and true count Ryen live. Up there where the biggest trees live forever, and have names like Hank, Merle and George. Where the great river to Johnny Cash slowly flowing past. It is in this part of the forest where the modern count Ryen extends towards the classical giants. Here where time and space have lost to art and poetry. The list is long, the names are many, here are Sturgill Simpson, Daniel Romano and Whitey Morgan. Here is Zoe Muth, Lindi Ortega and Elizabeth Cook. I find a new beautiful fir in between the two giants John Prine and Guy Clark. It's Matt Patershuk, this is where he belongs. It is here baritone his voice sings his blues, and he sings it with his heart on his shirt. His heart is big, but it has a scar to heal. He has already become my friend.

Back home in the living room again, I take courage and send a few words to my new friend on the Canadian prairies, specifically a small place named La Grace, Alberta. It is there in the small farming community Matt lives with his wife and their two daughters. A small community is named after an old and highly respected Indian chief from Beaver tribe. Matt could tell me that on the little farm where the family lives together with their horses, cats and dogs, are there any old log houses that he believes there is some Norwegians or Swedes who once upon a time have built. He tells me further that around La Grace attracted a lot of Norwegian and Swedish settlers who would live by forestry, sawmill and build log houses. And still to this day one finds shops and workshops called "Snekkerverkstedet" and "Sons of Norway". It sells various trolls and rosemaled thing, Matt telling me. Matts own great-grandfather was one of the first who settled in La Grace and started up with forestry, and Matt followed his great-grandfather track and educated first in forestry, but later switched to a career as a bridge. For although his music is the best kind, it is not given that one can live on music today, much less support a family. It takes time to build a name as an artist when you write songs that Matt Patershuk, songs like'm totally honest and have stories to tell.  Today gooddoers often music that sell to the masses and charts about completely different things. but later switched to a career as a bridge. For although his music is the best kind, it is not given that one can live on music today, much less support a family. It takes time to build a name as an artist when you write songs that Matt Patershuk, songs like'm totally honest and have stories to tell. 

I've obviously talked to Matt about music, and asked him what kind of music he grew up with, and what he hears on today and where he teases his inspiration from? When responses from Matt comes with email across the Atlantic, I see that he has grown up in the same forest as his own music led me to. Matt tells me that he grew up with the sound of his father's records. Sheets and artists such as Willie Nelson and his Red Headed Stranger , Kris Kristofferson Me and Bobby McGee , Johnny Cash and John Prine. His mother was from Liverpool and therefore were bands like The Dubliners and The Clancy Brothers also a natural part of the soundscape from childhood. His mother was also very fond of reading books and she was generally very concerned about language and text.

When he discovered teenage blues via a cassette he received from his uncle, tells Matt me that he still can remember that he thought his heart was going to explode every time he listened to BB King cartridge, Live at Cook County Jail . Later he discovered Steve Earle, and he says that he was almost obsessed by Earle and his music. Via Steve Earle discovered the names Guy Clark, Hank Williams and Tom Waits. Today he also puts much appreciated songwriters as Mark Knopfler, Anais Mitchell and Ana Egge.

Matt says it's important to him, that the songs he writes are honest and direct, and that in a sense his subconscious talking in songs. Although all the mentioned names of influencing the way his writing on, he hopes that his music emerges as his own. For me it's just that it does. I Was So Fond Of You , appears to be one hundred percent real thing, and songs that only Matt Patershuk do.

matt p

I Was So Fond Of You , a mournfully plate. In many ways, sad but also very beautiful. I thought to myself after hearing the first time, that one can not make such a disc without having undergone any blue mil in life. Which proved to be correct. Matt Patershuk, is well known where the blues live. This album is dedicated to his sister Clare. Clare was killed by a drunk driver three years ago, and many of the songs on this album is all about her. Such does something to a man, but luckily Matt Patershuk a kindhearted man. A man, who when it was darkest, did not seem to crush of anger and bitterness, but as armed themselves with pen and guitar. For, as he sings in the song "Little Guitar", you can not fists when playing the guitar. This is an incredibly beautiful way to honor, memory and avenge the ones you lost. Not many people do this as good as Matt. What he has done here with this album, is simply to create art out of grief. Art as we know it from men like Guy Clark, Townes Van Zandt and Hank Williams.

The cover of the album, oozing also of art. The image of a rugged and weathered man, painted by Matt's sister, Clare. Timber Wall picture hanging on the cogged barn wall at the home of Matt.

I Was So Fond Of You , was recorded in producer Steve Dawson's Studio in Nashville, and all music and lyrics are written by Matt himself. The album is recorded live in the studio and consists of Matt Patershuk and Steve Dawson with their guitars, Mike Bub on bass, Gary Craig with beaters on drumhead, and himself Fats Kaplin on mandolin, fiddle and banjo. They sat down in the same room without headphones and played songs straight.Afterwards Ana Egge added at their wonderful harmonies. It adds not just any damper on the impression that Matt tells me he asked Ana Egge, precisely because Clare loved her voice. I love what happens when Matt's raw, unpainted baritone voice meets the distinctive voice of Ana.

This album can make me cry, and then the next moment, get even me to be the desire to bid up to dance. If you ask me, it's just that country music is all about. It crushes you in one moment, only to rescue you in the next. And Matt Patershuk breathe country music.He IS country music.

I could have taken me every one of the songs on the album. I could have written about those for days, but let it be. Highlights queued from start to finish. Here are the honky tonk and waltz, here you will find wisdom and advice. From killer ballad into western swing. You find it sad and you find a little humor. Songs about people, dogs and horses. About old guitars and shattered souls. The song "The Closer" is his wife Saionne, and the album's last song, "Tennessee Walker," is about Clare and her horse Calvin.

Matt Patershuk is not a man who sings about to drown sorrows in whiskey. Instead fill his glass of good whiskey, lift it up to your eyes, look into the glass and try to find answers and a way out of the sorrows and rather enjoy the memories.

I want you to hear the songs themselves. Hearing the hurt, honest and genuine his lyrics. I want you to sacrifice Matt and Clare Patershuk some thoughts, tears and smiles. This is a huge plate, signed a good-hearted big man. It is because of discs that they have invented repeat button.

Thanks Matt Patershuk, Thank you for a wonderful plate. You are for me one of the major player in the real country music of today.

Matt Patershuk Music -  Plata ordering online Black Hen Music
Fervor Coulee- roots music opinion   Music reviews and thoughts @FervorCoulee

Fervor Coulee’s Favourite Roots Albums of 2016   1 comment

Patershuk is the real deal, folks.

My Favourite Roots Albums of 2016 are…

12.Matt Patershuk- I Was So Fond of You Back in January or so of this year, I was listening to the radio and a four-song set was played-some combination of Corb Lund, Guy Clark, John Fulbright, and Patershuk, and I recall realizing that I couldn’t tell which of those guys was from La Glace, Alberta and making his living in construction. Put his songs on WDVX, and Patershuk would sound as comfortable alongside Darrell Scott, Fred Eaglesmith, and Chris Stapleton. Heck, add Sturgill Simpson, Hayes Carll, and the rest to the list. Patershuk is the real deal, folks. If you are missing the country, the kind of country music recorded in the days when there was more grease and a little less gloss, check out 
I Was So Fond of You.

The number rankings, once past four or five, don’t mean much more than a way for me to stay organized: feel free to move your favourite up a spot or three. Full reviews are linked as artist/title.




My name is Donald Teplyske, and I try to keep this blog-of-sorts as active as possible. The Fervor Coulee blog has been going now for seven years, and in reading the “About” feature recently, I figured it was due for an update.

I am a freelance roots and bluegrass writer with reviews and features appearing regularly at The Lonesome Road Review  I also write for Country Standard Time and maintain a sister blog to Fervor Coulee called Fervor Coulee Bluegrass at Until its demise, I also wrote for the fine publication Bluegrass Now for seven years, writing numerous reviews and a few features, one of which- on Dale Ann Bradley- was the cover story. I also had a twice-monthly roots column in the Red Deer Advocate for twelve years, but gave that up when we moved from the city.


In the name of country music – Matt Patershuk

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Matt Patershuk has captivated me with his words and music.

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Until a few months ago, Matt Patershuk was a complete unknown to me. Last winter he released his second album, «I Was So Fond of You». His first, «Outside the Lights of Town», saw the light of day in 2013, but I missed out on it. The first time I heard this year’s Patershuk record, I was certain he had to be an old fox who had kept going for decades, as his voice and music hit home with me immediately. But after what I understand, he didn’t go into the music business all the way until 2011.

It’s no small thing finding the right words to describe this record. I’ve been thinking a long time on how to phrase this in a way that shows due respect for this album and for Matt. This is not about whether or not it’s a masterpiece – it’s about where and how it hits me.

I’m sure this will sound familiar to you: I sit down with a book and a cup of coffee. In the background, a playlist with new music I’m not familiar with is playing. Then something happens that occurs every now and then, the music takes centre stage. I end up sitting there just listening, looking straight ahead, out my window into the woods. My book is closed, the coffee has gone cold – Matt Patershuk has captivated me with his words and music.

   matt patershuk i was so fond of you

I Was So Fond of You» has something sad and sorrowful to it, and takes me straight north into that deep forest called country. It hits me so hard that I floor the pedal and travel along dusty old roads, past old trails, empty bottles and broken dreams. I have a feeling I’ll find Patershuk up there, where genuine, true country lives. Up where the tallest trees live forever, and have names like Hank, Merle and George. Where Johnny Cash’s wide river flows slowly past us. It’s in this neck of the woods modern country tries to reach the old time greats, where time and place give up to art and poetry. The list is long, the names are many – here’s Sturgill Simpson, Daniel Romano and Whitey Morgan. Here’s Zoe Muth, Lindi Ortega and Elizabeth Cook. Between the two giants John Prine and Guy Clark I find a more recent silver fir – Matt Patershuk, right where he belongs. This is where his baritone sings the blues, while he wears his heart on his sleeve. He has a big heart, but it has a scar that takes a long time to heal. He’s a friend of mine already.

Back in my living room again, I pull myself together and send off a few words to my newfound friend on the Canadian prairie, to a little place called La Grace, Alberta. That’s the small farmer community where Matt lives with his wife and two daughters, a place named after an old and respected First Nation chief, of the Beaver tribe. Matt tells me that on the little farm where the family lives, with their horses, cats and dogs, there are some old log buildings that he believes were built by some Norwegians or Swedes back in the day. He goes on to tell me that the area around La Grace attracted many Norwegian and Swedish homesteaders who wanted to work in lumbering, sawmills and building log houses. To this day you find stores and workshops called things like «Snekkerverkstedet» (The carpenter’s workshop) and «Sønner av Norge» (Sons of Norway). You can find trolls and artefacts painted in «rosemaling». Matt’s own great grandfather was among the first settlers in La Grace and went into logging. Matt followed in his tracks and took up the same trade, but later went into building bridges. Because even though his music is first rate, it’s not given that you can make a living from music these days, let alone provide for a family. It takes time building a name for yourself when you write songs of the kind Matt Patershuk does, dead honest songs with stories to tell. In our time, this is rarely the focus in the music which appeals to large audiences and fills hit parades.

I have to bring up music when writing to Matt, and I ask him what kind of music he liked while growing up, what does he listen to these days, and where does he find inspiration. When Matt’s answers reach me by email across the Atlantic, I see he grew up in the very forest his music took me into. He tells me he grew up listening to his fathers records, artists like Willie Nelson and his «Red Headed Stranger», Kris Kristofferson’s «Me and Bobby McGee», Johnny Cash and John Prine. His mother was from Liverpool, accordingly, bands like The Dubliners and The Clancy Brothers were also an integral part of his childhood soundtrack. His mother loved reading, and was generally very concerned with language and text. She was a thinker and a philosopher, and taught him to love language and poetry, and eventually how poetry could translate into song.

As a teenager, he came across blues on a tape his uncle gave him, and Matt tells me he still remembers how he thought his heart would explode any time he listened to that B.B. King tape, «Live at Cook County Jail». Later he discovered Steve Earle, and says he was half possessed by Earle and his music. Through Steve Earle, he discovered names like Guy Clark, Hank Williams and Tom Waits. Today he has a lot of appreciation for songwriters like Mark Knopfler, Anaïs Mitchell and Ana Egge.

Matt tells me that it’s important to him that the songs he writes are honest and direct, and in a way it’s his subconscious talking in his lyrics. And even though the names mentioned above have influenced his way of writing, he still hopes his music comes across as his very own. To me, that’s exactly what it does. «I Was So Fond of You» is 100 % genuine, and has a unique Matt Patershuk quality to it.

matt p

«I Was So Fond of You» is a sad record. Sorrowful in many ways, but still very beautiful. You can’t record an album like this without having covered some blue miles in your life, I thought after listening to it for the first time. And that turned out to be right – Matt Patershuk knows where the blues lives. This album is dedicated to his sister Clare, who was killed by a drunken driver three years ago, and many of the songs are about her. Losing someone like that does something to a man, but, thank goodness, Matt Patershuk has a good heart. Even in his darkest hour, he didn’t let anger and bitterness crush him, but armed himself with a pen and a guitar. As he says in «Little Guitar», you can’t make fists while playing your guitar. It’s an incredibly beautiful way to honour, remember and avenge a loved one who has left this world, and not many are able to do this as well as Matt. What he does on this record, is to turn sadness into art. Art like we know it from men like Guy Clark, Townes Van Zandt and Hank Williams.

The cover is also pure art – a painting by Matt’s sister Clare, of a man exposed to the elements. The picture hangs on a log wall back home on Matt’s farm.

«I Was So Fond of You» was recorded in producer Steve Dawson’s Nashville studio, and all music and lyrics were written by Matt himself. The album was recorded live in the studio, by a band consisting of Matt Patershuk and Steve Dawson on guitars, Mike Bub on bass, Gary Craig with brushes on drum skin, and none other than Fats Kaplin on mandolin, fiddle and banjo. Later, Ana Egge has added her glorious harmonies, and it really touches a nerve when Matt tells me the very reason he asked Ana Egge was because his sister Clare used to love her voice. I adore the sound of Matt’s raw, coarse baritone when it meets Ana’s unique timbre.

This album can bring tears to my eyes, and the next moment I feel like asking someone for a dance. And for me, this is just what country music is about – it crushes you in one instant, and rescues you the next. Matt Patershuk breathes country music. He IS country music.

I could go through each and every one of the songs on this album. I could have written about them for days, but I’m not going to. It’s a series of peaks, from start to finish – you’ll find honky tonk and waltz, words of wisdom and advice. It goes from murder ballad to western swing, you’ll find sadness, and a little humour too. Song about people, dogs and horses; about old guitars, and broken souls. «The Closer» is dedicated to Matt’s wife Saionne, and the last hit off the record, «Tennessee Walker», tells the story of Clare and her horse Calvin.

Matt Patershuk is not the one to sing about drowning your sadness in whisky. Instead, he fills up his glass with good whisky, lifts it up to his eyes, looks into it trying to find answers and a way out of the sorrow by rejoicing in memories.

I want you to listen to the songs yourself. Listen to his painful, honest and genuine words. I want you to give a few thoughts, tears and smiles to Matt and Clare Patershuk. This is a great record, made by a great man with a good heart. The repeat button was invented with records like this in mind.

Thank you, Matt Patershuk – thank you so much for a wonderful album. To me, you’re among the truly great in today’s real country music.

Translated by Geir Juell Skogseth, from the original review by Rune Torsteinsen.

Order the album from Black Hen Music.




The Journal of Roots Music

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The Journal of Roots Music

I have listened to this Patershuk album at least three times and every time I listen I get sucked into the marvelous stories this singer-songwriter tells, warmly, succinctly and effectively.


Gruff, Melodic, Earthy, Rural & Sincere: Unique Country Flavors 

Matt Patershuk - I Was So Fond of You



JULY 31, 2016 

Produced in Nashville, this British Columbia-born, rough-hewn, gritty, authentic and commanding vocalist – Matt Patershuk – is the kind of singer that -- out of the starting gate -- is going to appeal immediately to fans of Jon Dee Graham, Buddy Miller, Otis Gibbs, Kris Kristofferson, Tom Waits, Chuck E. Weiss and Bob Dylan. If not, probably a dozen other similar singers with some grit with personality in their vocals. Nevertheless, the voice is gruff, but it's melodic, earthy, rural and sincere. All those fine traits along with well-written tunes and a tight, down to earth band – how can you miss? 
For my ears, it certainly beats commercially sweet, pulp, jargon lyrical, calorie ridden sugar coated Pablum, that is shoved down so many musically uneducated ears lately. While there are some singers who sing in a similar fashion to Patershuk -- he is no cookie cutter, carbon copy, mechanized imitator. There is a unique flavor to this vintage. 
Aside from some college radio stations, and alternative roots publications similar to No Depression -- there are very few outlets where this type of music gets the exposure it deserves. I know there is an audience for it. I have attended many concerts and people are there in big numbers. I just wish there was one giant Americana-Roots-Folk-Rock radio station -- conventional or streaming -- that could lasso the ears of the entire country and ignite their radios with the fact that this music does exist and there are sponsers who could get involved. You can't convince me Coke, Pepsi, Mobil 1 Oil, some hard cider maker, independent record companies, Martin Guitars, Ludwig Drums, Sheplers Boots, Firestone Tires, Slim Jims, or AXE Cologne manufacturers wouldn't sponser some great Americana-Roots-Folk/Rock artists and their music. Those types of customers are the audience.  
I know many people are not aware of this material because every time I play it to strangers / friends their ears open and pop like their coming down a mountain road. There is so much good atmospheric stuff out there that few people are aware of. But, that’s an article unto itself. I just get angry sometimes. 

But, there is reason to celebrate here.
I have listened to this Patershuk album at least three times and every time I listen I get sucked into the marvelous stories this singer-songwriter tells, warmly, succinctly and effectively. He’s of that school that includes Townes Van Zandt, Lyle Lovett, Nick Cave even folk-singers like Ferron, who is an excellent singer-songwriter & lyricist.
The opening tune on Matt’s second album “I Was So Fond of You,”showcases a haunting, slow whining pedal steel coupled with a jaunty fiddle. Then Matt’s deep, “…well, I lost my job this morning. I got two young mouths to feed...” on “Back Against the Wall.” It has a grab-you-by-the earlobe type arrangement with each instrument knowing its place in the production. There are times that the gruff actually bows its head, steps away and Matt almost approaches the level of quality in his voice of the late Jim Reeves. Now, he still has a way to go before he catches up to Jim's warm, resonant classic baritone voice. But, you can't help but hear some of those qualities in Matt's voice on certain songs. Matt may be Canadian, but he does sound very American-Southern with his adept vocal and pronunciation. Maybe Arkansas’ Levon Helm left behind some of his prowess and ingenuity behind and Matt picked it up off the side of a Canadian road. The song does have a traditional sprout from The Band – I can hear that. If they were still with us, they would cover this delightful piece. But, I can't discount that haunting Jim Reeves possibility that creeps in. 
Fats Kaplin opens the next tune with mandolin and he plays so many stringed instruments that he is invaluable to this album’s sound. As Matt sings “Prettiest Ones,” with his deep, beautiful resonant voice, he is supported with the lilting and sad pipes of Ana Egge (who has been reviewed here as well for her solo album). This song is short, but just stays with you.
“Smoke a Little Cigarette,” is more upbeat and Ana joins in again. It has some square dance inflected fiddle that just rides alongside the song’s melody at the same speed coming and going like crosstown traffic. Very good Steve Dawson guitar enlivens the tune. The song is energetic and fun. “Talking to your echo…”  -- ah....little lines like that raise the song far and away from jargon. That’s nice and creative in a Lucinda Williams manner. The standard image of “smoke a little cigarette and drink a little wine…” as simplistic as those words are it gives a listener something to focus on – they can "see" that image, smell the tobacco, the ruddy cork and probably wish they could partake of the grape.

Ana Egge's welcome presence remains for another song and her voice smooths over the piss and vinegar (a compliment) of Matt’s vocal (his masculine vocal being the type I enjoy most to listen to with or without a female vocal). But, Buddy Miller sang for years with his wife Judy Miller and they were effective together as well. Matt and Ana are a welcome replacement. So far, the songs hold up and have a quality that is consistent. “Harviestown,” displays more mandolin and acoustics, upbeat drums with the accent on the bass drum – nice and deep. It compliments Matt’s vocal and this song has reminiscence in it – has a little of that Buddy Miller timbre in the vocal. But, it also has a pleasant, rich, emotive John Prine attractiveness. That is always welcome when it’s done with respect and quality – and it certainly is here.
More old Americana in spirit, the title track “I Was So Fond of You,”has a touch of Richard and Mimi Farina in its pedigree. The song sounds like it was written ages ago – yet, all the songs on this eleven song collection were written by Matt. This song includes a mournful accordion by Fats Kaplin and it’s sad, but so well supporting. On this song, Matt sounds like a cross between Lee Hazlewood, Chip Taylor and Matt Johnson (The The). This is effective, well done and anyone who admires Matt Johnson's work with The The on the Hank Williams’ loaded “Hanky Panky” album – will enjoy this song immensely. Ana Egge, once again, reliably offers wonderfully supportive vocals. She’s like that little swirl of vanilla that runs through a chocolate swirl cone. I can see why this song became the title of the album. Not exciting in a classic sense, but poignant and powerful. The way “Moon River,” was all those years ago.

A real upbeat, danceable tune “Burnin’ the Candle at Both Ends,”includes some fiery fiddle work and it has an old-time country sound from the late 40’s. It's so well-recorded and filled with energy grounded in the old American country tradition. Matt has this down solidly. Perfect. It would fit at an Outlaw Country concert with bikers and Rednecks and it would fit on the 1970's Hee Haw show with Buck Owens & Roy Clark guitar work. This song would be so incredible if the legendary country guitarist Roy Clark did indeed take a solo on it and that hot Cajun fiddler Doug Kershaw played a little dueling fiddle with Fats. Ah, well, I can dream can’t I?
Well, my point is, that if a listener starts to think like that while a tune plays then the song succeeds. The imagination has taken over. The song is that exciting. So well-written that a listener starts picking out names from the past who could probably have fun with it. I know those veterans of country music would enjoy playing on a song like this.
“Little Guitar,” is an intense, sad story, but it’s not depressing. It’s typical of country music. It passes down a story, how it affected someone, how it makes someone stronger. This is like a family’s page out of a history book, family album, diary -- in a song. Every song by Matt Patershuk is rich with the earth that way. It has roots that surround a tree above the soil and then go deep into the dirt. The songs possess that smell of dirt with rain in it.
Patershuk has this gift in his music. You can sometimes see the roots above the tree, winding around it, but then there are the roots you don’t see. And as you listen to his music you can begin to imagine just how deep some of those big and little roots go. And they don’t need to be watered – they are watered when it rains. Self-sufficient. These songs are self-sufficient.
Does Matt have a sense of humor? Well, every artist in this genre should.
“Pep the Cat Murdering Dog,” is his submission. Rich with pedal steel, mandolin, Matt’s own rhythm guitar, Mike Bubs bass bellows beautifully, Gary Craig’s drums remain clean and steady – and the entire murderous tale skips down and into your ears without ever tipping over any of the other tunes still stuck to your earwax that you already heard.
“Closer,” has that 60’s Liberty / Decca Records sound coming off the guitar – the way those old Timi Yuro, Brenda Lee records sounded, and Willie Nelson in his early days. A little Chet Atkins in flavor. And the reverb is set just high enough to echo through the melody without interfering with Matt’s strong, Willie Nelson-type inflection and then when the lead guitar takes a solo it continues in that classic Nelson sound. Willie needs to hear this – that would get Matt’s name out front for sure. “I can’t warm you up, if you don’t come in…” simple again, but so much better than all those silly pickup truck tunes, ten-gallon hat, beer for my horses, tight jeaned, whiskey drinking, tobacco chewing, kick-ass, drunk and aggressive songs that are endlessly sung by those commercial country bands in the same chord progressions. 
Tex-Mex, a little Freddy Fender, Alejandro Escovedo, Jimmie Dale Gilmore and Townes Van Zandt begins to emerge in “Mean Coyotes,”and Ana Egge’s vocal slash out sharp and emotional throughout. At times there are shades of Guy Clark, J.J. Cale that run through the melody and the accordion plays with the whining guitars is excellent. I hate to use a cliché in my description, but this IS what good country music is all about. Distinctive music, creative lyrics, memorable melodies, exquisite backup vocals and while it remains modern in many ways – it retains its respective traditional roots. And...if I may be a child for a moment: tells me a story.

Now this sounds like Buddy Miller. I love the tune “Tennessee Walker,” but it’s a little close to Miller’s “So New, There Is No Title” (actually, that song became the song called “Chalk” written by Patty Griffin).
That aside, I'd dismiss it. Each tune has such a special offer despite the similarities – they are both potent, strong and – necessary. I'm comfortable with it all. Two excellent songs – and they tell different stories and if we dare to go back and “investigate” their origins I'm certain like old blues songs we will find another song similar written fifty years ago. The coincidence and beauty of it – if you listen to Buddy sing it off his album “Written in Chalk,” – credited to Buddy & Judy Miller – this would lend a hint as to why Matt Patershuk and Ana Egge sound so good and should continue. They are both so tightly in that Miller duo style and they do it -- so well. It’s not emulating, it’s not copying – not when you have such original songwriting as Matt’s working for you. It’s a duo that follows respectfully in some very big shoes. After all, following a pattern is not copying – especially when the final design is different from the original. I come away from Matt’s album with the fact that he may even be a little more diversified than Buddy Miller himself. Miller’s style is solid. Yet, Matt seems to be able to straddle many genres of the country idiom and come away with successful renditions. In Miller’s case, he has to continue to sound like Buddy Miller because that’s what people expect. But he is good -- isn't he?

Matt is still young and developing. He has proven with this collection that he has the necessary intuition and grasp of country music. He is not key-holed in any one style. He's still in the margins and not stereotyped. In a few years, some of the comparisons I made – may even fall away. Matt will find a niche and stay with it. Hopefully, it won’t be a commercial niche. This is where he needs to “stay in touch” with his inner Buddy Miller. At the same time, not lose touch with his swabs of Townes Van Zandt, Jon Dee Graham, Otis Gibbs and those other invaluable, possible influences.
If he can toss all those people into a big musical bowl and successfully balance his own creative, original approach – Matt will be one of many new singers others will be emulating. I think he has the right ideas: different instruments, intensely different song subjects for lyrics, maintain originality and not be afraid to challenge it. I liked what I heard. Look forward to more. I will listen to Matt alongside my Buddy Miller because he earned that spot. Not with the similar voice – but, with his own song writing integrity and vocal expertise. Maybe Buddy will begin listening to Matt’s songs as well.
Now that would be a great duo on stage.
The album was produced by Steve Dawson in Nashville, TN.  The CD package was designed by Matt and John Rummen. It’s a nice six panel CD with a touching, beautiful picture of Clare Ann Riley Patershuk (his sister) – July 9, 1986 – June 30, 2013 -- which I believe should have been placed in a more strategic part of the CD for better viewing. Perhaps the horse photo could have gone to the CD tray instead. Just an opinion. The CD package also has a neat 12-page color booklet that outlines some of the reasons / inspirations for each song.
Disclaimer: The opinions expressed in this review / commentary are those of the author and do not necessarily reflect the official position of No Depression. All photography is owned by the respective photographers and is their copyrighted image; credited where photographer’s name was known & being used here solely as reference and will be removed on request. YouTube images are standard YouTube license. 
John Apice / No Depression / Written July 2016

Matt Patershuk’s I Was So Fond of You

He writes and sings like a veteran.


cover artCanadian Matt Patershuk sings his country-tinged folk songs in a beautiful, slightly frayed bass baritone that is refreshing in a world of tenors, falsettos and screechers. It helps that the songs are sturdily constructed by Patershuk, and the album recorded with great dexterity by Steve Dawson at his Henhouse studio in Nashville.

Patershuk seems to be a bit of a late starter, as this is his second album of a career that only got started in 2011. He writes and sings like a veteran, though, proving once again that the best songs are highly specific and thus universal. Specifically, this album revolves around the tragic death of Patershuk’s sister Clare, killed by a drunk driver in 2013. In the title track he croons an ode to her to a slow, sad waltz tune, while he uses another number, “Harviestown,” to fantasize about taking revenge on her killer.

Mortality is a thematic streak through many of the songs, including “Mean Coyotes” about the gruesome end of a broken-down horse, “Little Guitar” a ballad about an instrument played by a broken veteran, and “Pep the Cat-Murdering Dog,” a truth-based tale about the execution of a canine for the death of a prison warden’s feline. “Burnin’ The Candle At Both Ends” is a spiffy honky-tonk shuffler, “Prettiest Ones” an ode to good songs, and “Smoke A Little Cigarette” a swinging bit of bad mental health advice.

The album ends on a tender note, another love song to his sister and the “Tennessee Walker” she once loved.

Here’s a video of a live duo recording of “Burnin’ the Candle At Both Ends.”

I Was So Fond of You was essentially recorded live with no separation. It’s played by a crack band featuring Dawson on all kinds of guitars, the multi-talented Fats Kaplin on fiddle, mandolin, banjo, accordion and more, and with Anna Egge providing lovely harmonies. Beautifully packaged. Highly recommended.

Black Hen, 2016



"If there was ever an artists who belonged on the stage of the Grand Ole Opry its Matt Patershuk.... " 

Another amazing 4**** review for Matt Patershuk. This time in R2 (Rock'n'Reel) Magazine..

These songs are never less than committed and authentic.




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Matt Patershuk

I Was So Fond of You – 2016 (Black Hen)

Reviewed by Donald Teplyske

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Matt Patershuk is country music. "I Was So Fond of You" is what country music longs to be again.

CDs by Matt Patershuk

Matt Patershuk's debut "Outside the Lights of Town" was a welcome surprise in 2013. A reminder of what country music has forgotten - nature, experience and the complexity of relationships - "Outside the Lights of Town" provided hints of what has bloomed on "I Was So Fond of You."

Full-voiced, Patershuk comes from northern Alberta, a place about as far removed from corporate Nashville gloss as one will find and still be in North America. Recording again with roots veteran Steve Dawson, Patershuk has delivered an unvarnished, personal portrait of modern society.

Inspired by and dedicated to his sister Clare, killed by a drunk driver as his previous album was unveiled, "I Was So Fond of You" seeks to make sense of places and people intersecting in unforeseen circumstances. Not unlike Guy Clark, John Prine and Townes Van Zandt in previous decades, Patershuk combines vocal heft and artful vision to create convincing scenarios simultaneously unimaginable. "Harviestown" explores retribution for senseless murder for which the protagonist "won't need that gun." One is aware that the act will afford a sacred, personal cost as he seeks revenge.

Without having heard Patershuk, one can be forgiven to think comparisons to Clark, Prine, Van Zandt - add in Hayes Carll, Sturgill Simpson and Robbie Fulks if you like - hyperbolic. They won't after a listen.

Without losing sight that each of us experience loss individually, the title track explores the shattering impact sudden death has on those left behind. Without resorting to contrived sentimentality or cliché, Patershuk reveals devastation. With associated themes in "Mean Coyotes" and "Little Guitar," Patershuk proves himself a master of establishing dynamic tension through metaphor.

Things don't pick up much past a shuffle, and even its lightest moments ("Pep the Cat Murdering Dog") provide insight, but don't let that worry you. There's no shortage of steel guitar whine and impressive picking throughout. Recorded largely 'off the floor' with Americana stalwarts including Mike Bub, Gary Craig and Fats Kaplin, the disc benefits from its producer's 'less is more' approach. Ana Egge's harmony vocals provide the perfect complementary softness to Patershuk's edgy baritone.

Matt Patershuk is country music. "I Was So Fond of You" is what country music longs to be again.


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  FAR #200 (March 2016)  
This Month
Last Month
- Loretta Lynn: Full Circle (Legacy) *EW/*JF/*LB/*LMG/*MB/*N&T/*PGS/*SZ
- Robbie Fulks: Upland Stories (Bloodshot) *ATC/*HT/*KE/*OAM
- Matt Patershuk: I Was So Fond Of You (Black Hen) *DP/*MP
19 Willie Nelson: Summertime (Legacy) *AG/*JT/*PT
3 Carrie Rodriguez & The Sacred Hearts: Lola (Luz) *AH/*TJ
Dori Freeman (Free Dirt) *RJ
The Cactus Blossoms: You’re Dreaming (Red House) *TF
Hayes Carll: Lovers & Leavers (Highway 87) *AB/*BS
T Jarrod Bonta: Mr Jukebox (Music Room) *MT/*TB

Worthing Sunshine Radios 'American Roots' music 
Del Day

Now that's my kind of playlist! 'Album Of Week' for Cale Tyson, and multiple plays for The Orphan BrigadeSteve Dawson and Matt Patershuk! Sweet.. Thanks Mike!
8/ Matt Pattershuk - Mean coyotes from the 2016 album 'I was so fond of you'

Miller Tells Her Tale Americana Music
 Matt Patershuk on The Miller Tells Her Tale on Celtic Music. Sweet!

Del Day
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Show 582: Recorded 10 April 2016, Available from 10 April 2016      

View playlist: 

Artist (click on name for website) Album - Buy from Amazon UK Track Record Co. Released
Merle Haggard The Complete 60s Capitol Singles Mama Tried Omnivore Recordings 2013
Sam Outlaw Sam Outlaw EP Kind To Me Noisetrade 2015
Anderson East Southern Family (v/a) Learning Low Country Sound / Elektra 2016
Andy Ferrell At Home and In Nashville Last Dime Blues self-released 0
Merle Haggard and Willie Nelson Django and Jimmie Django and Jimmie Sony 2015
Merle Haggard, George Jones and Willie Nelson Walking The Line No Show Jones (George & Merle) Epic 2016
Merle Haggard, George Jones and Willie Nelson Walking The Line Pancho and Lefty (Willie & Merle) Epic 2016
Willie Nelson, Merle Haggard and Ray Price Last of the Breed Goin' Away Party Virgin 2007
Cale Tyson Careless Soul Easy Clubhouse Records 2016
Margo Price Midwest Farmer s Daughter Hurtin' (On The Bottle) Third Man Records 2016
The Cactus Blossoms You re Dreaming Change Your Ways or Die Red House Records 2016
Applewood Road Applewood Road I'm Not Afraid Anymore Gearbox Records 2016
Lowri Evans Everyone Is From Somewhere Else Piece of Me Osmosys 2016
Lauren Heintz Where I Belong Blue Spring Swing Gatarbone Records 2016
The Earl Scruggs Revue Dylan, Cash and The Nashville Cats Silver Wings (feat. Linda Ronstadt) Legacy 2015
Emmylou Harris Anthology: The Warner/Reprise Years Today I Started Loving You Again Warner Bros 2001
Suzy Bogguss Somewhere Between Somewhere Between Liberty 1991
Joey + Rory A Farmhouse Christmas If We Make It Through December Vanguard 2011
Sunny Sweeney Kent Finlay Dreamer Between You and Me (with Randy Rogers) Eight 30 Records 2016
Buddy Miller Cayamo Sessions At Sea Just Someone I Used To Know (feat. Nikki Lane) New West 2016
Matt Patershuk I Was So Fond of You Smoke A Little Cigarette Black Hen Music 2016
Don Henley Cass County The Cost of Living (feat. Merle Haggard) Virgin 2015
Heather Myles Highways and Honky Tonks No One Is Gonna Love You Better (feat. Merle Haggard) Decca 2008
Johnny Gimble Celebrating With Friends Sweet Georgia Brown (feat. Merle Haggard) Cmh Records 2010
Fraser Anderson Under The Cover of Lightness Simple Guidance Me & My Americana 2016
Thomas Hine Some Notion or Novelty The Turn That Time Had Taken self-released 2016
Chris Flegg The Road To The Rainbow s End Everybody Gets The Blues Sometime self-released 2016
Merle Haggard The Bluegrass Sessions Blues Stay Away From Me McCoury 2007
Elvis Costello Almost Blue Tonight The Bottle Let Me Down Edsel 0
Merle Haggard Live From Austin., TX I Think I'll Just Stay Here and Drink New West 2006
Dave Alvin Tulare Dust: A Songwriters Tribute to Merle Haggard Kern River Shout Factory 2000
Merle Haggard The Bluegrass Sessions Mama's Hungry Eyes McCoury 2007

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Here's a review of "I Was So Fond of You" from 3rd Coast Music in Spring, TX

The man can write outstanding songs.

This month's 3rdCM Cover
3rd Coast Music is only available as emailed PDFs. Subscriptions are $10 (universal) for 12 issues of tough love for roots music. See subscription information, below.

# 3
  current archives <previous | next>  
  FAR #200 (March 2016)  
This Month
Last Month
- Loretta Lynn: Full Circle (Legacy) *EW/*JF/*LB/*LMG/*MB/*N&T/*PGS/*SZ
- Robbie Fulks: Upland Stories (Bloodshot) *ATC/*HT/*KE/*OAM
- Matt Patershuk: I Was So Fond Of You (Black Hen) *DP/*MP
19 Willie Nelson: Summertime (Legacy) *AG/*JT/*PT
3 Carrie Rodriguez & The Sacred Hearts: Lola (Luz) *AH/*TJ
Dori Freeman (Free Dirt) *RJ
The Cactus Blossoms: You’re Dreaming (Red House) *TF

Image result for

Best Country Album of 2016 thus far for me, and very hard to beat.

Matt Patershuk, on the basis of this delightful offering, is yet another Canadian to richly impress.

Matt Patershuk  I Was So Fond Of You  Black Hen

There appears to be an endless supply of hugely talented Canadian singer-songwriters emerging in recent years. Ryan Boldt, Jim Bryson, Kathleen Edwards, Kendal Carson, Luke Doucet, Frazey Forde, immediately come to mind in this context, artists unfortunately unlikely to achieve the commercial recognition they richly deserve. Matt Patershuk, on the basis of this delightful offering, is yet another Canadian to richly impress.

I Was So Fond Of You follows Patershuk’s debut, the Western Canada Music Awards nominated Outside the Lights of Town released in 2013. This album is a collection of eleven songs, in the main dedicated to his sister Clare, tragically killed by a drunk driver in 2013. It’s an album that has the listener immediately seeking out the lyrics to some beautifully written songs from the understated title track to the equally moving and saddening Prettiest Ones.

Equally impressive is the quality of the musicianship throughout. Fiddle, banjo, accordion, mandolin and guitar are contributed by Nashville resident and one of America’s finest, Fats Kaplin. Gary Craig adds drums and percussion, with backing vocals, to beautiful effect, by Ana Egge, an extremely talented singer-songwriter in her own right. The album was produced by Juno Award Winner Steve Dawson who also adds some elegant steel guitar throughout and was recorded at Dawson’s Henhouse Studio in Nashville 

Sounding decades beyond his years (elder statesmen Guy Clark and Jerry Jeff Walker come to mind) Patershuk’s baritone vocals throughout cannot be described as melodic but are controlled, disciplined and magically suited to his lyrics. Melancholy may be the overriding tone of the album yet it’s not without humour.  Pep The Cat Murdering Dog tells the tale of Pep the Labrador sentenced to life without parole by a State Governor for killing his wife’s cat and Burnin’ the Candle is straight down the middle honky tonk. 

Despite these lighter moments it is the material dealing with its core subject that remain with the listener. The previously mentioned and understated title track, the wonderful Tennessee Warrior ( his lines weren’t straight but his heart was true, papa said girl he was meant for you) relating to a horse owned by Patershuk’s sister and the evocative Prettiest Ones standing out in particular. 

Noteworthy also is the striking packaging and artwork on I Was So Fond Of You which is better described as a sharing of thoughts by Patershuk than simply an album. Highly recommended indeed.

Matt Patershuk

Matt Patershuk
Album: I Was So Fond Of You
Label: Black Hen
Tracks: 11
It's timeless country music

From the gnarly line strewn portrait (painted by his sister) on the sleeve and the whine of the first chord, coupled with the opening line; "Lost my job today" - you sense you're on to something good. Dour downbeat, downtrodden, it's the best sort of country music, from the wrong side of the tracks, not embellished, over polished or slick - but truthfully, raw, even abrasive at times - something to be thankful for.

Tales of depression, the lonesome and the unloved, Patershuk does a great line in the dark side of the genre. Sob filled fiddle, heartbroken pedal steel and one of the saddest voices I've ever heard, Patershuk has a fine ear for the tune in the frequency of Waylon, Willie and Kris. It's timeless country music, delightfully it'll turn off modern country 'bro' fans - it's too good for them anyway, too rich, too sophisticated for their bland palates.

Relaxed, under produced, it lets its natural light shine through, its ease is its charm - it draws you close to its warming fire, and with a couple of rotations this feels like a record you've owned for years. Testament to its quality is the line-up of players; Fats Caplin - always the seal of quality, but importantly Ana Egg who's most recent I loved, just takes the whole thing up an extra notch to gold medal.

A Canadian in Nashville, it needs that sense of outsider to really make a record that is so fluid and beguiling, simply songs that somehow have that extra flourish to amount to more than the sum of the parts. An intensely personal record in parts, yet isn't too overly sentimental, it feels shared rather than the listener is prying.

The songwriting is terrific; "stray dogs don't go missing, they just go away", 'Closer' shows another side to his obvious talent. A soul lament, with his aged, oaked voice, Patershuk has made a remarkable album, only his second; fans of Pidcott, Cleaves and the mercurial Prine are going to enjoy this so so so much.

Rudie Humphrey



Blabber 'n' Smoke
A Glasgow view of Americana and related music and writings.


A wonderful album.

We’ve written about several acts who might be considered a new wave of young country bucks (Sturgill Simpson, Cale Tyson, Daniel Romano, Barna Howard etc.). They sidestep the current Nashville trends such as Bro’ Country and EDM and instead look back to classic country music, not the hillbilly type but the golden years of the fifties and sixties, their heroes George Jones,  Waylon Jennings, Kris Kristofferson, Glen Campbell and John Hartford, artists who were mavericks but still able to turn in a hit song.

Well it’s time to add Canadian Matt Patershuk to this list. I Was So Fond Of You, his second album, is a breath of fresh air, an inhalation of healthy banjo, fiddle, pedal steel and guitars, all set to a fine shuffle from the excellent rhythm section and topped with his  sometimes honeyed, sometimes gravelly  vocals.  Recorded at producer Steve Dawson’s Nashville studio, the band, Mike Bub, bass, Gary Craig, drums, Fats Kaplin, fiddle, banjo, accordion and guitar along with Dawson on guitar and pedal steel, sat down together and played live with no overdubs. The cherry on the cake here is the addition of Ana Egge on harmony vocals, added later but knitted right into the songs.

The opening song, Back Against The Wall is a gritty slice of Southern slither with mean slide guitar and rasping fiddle. It’s a great opener but hardly indicative of what is to follow. Prettiest Ones introduces Egge’s voice, a perfect foil for Patershuk’s wearied tones on a gentle song that tiptoes along sprinkled with mandolin and sweet pedal steel. She remains on board for the mild Western swing of Smoke A Little Cigarette, Kaplin here superb on fiddle and Patershuk capturing the laconic songspeak of Bob Wills perfectly, a trick he repeats on the upbeat Burnin’ The Candles At Both Ends. Pepe The Cat Murdering Dog, an absurdist tale of sorts finds the band all jaunty and hitting a bluegrass stride while Mean Coyotes heads into Tex-Mex country on a Willie Nelson like ticket. Here Patershuk just hits all the right buttons, the harmonies with Egge beautiful, the band just on the right side of closing time at a cantina, reedy accordion setting the scene  on a mournful song that paints a rancher burying a pony, a victim of those coyotes, as he relates this to his own life.

There’s more equine content on Tennessee Walker, an epitaph to a beloved steed that recalls Doc Watson as imagined by Steve Earle and Earle comes to mind again on the revenge ballad of Harviestown. Here a “yellow bellied drunk man killed my darling girl” and the singer vows to go down to Harviestown where “I’ll use my two bare hands, I won’t need a gun.” It’s a great song, a fine addition to the old murder ballad tradition but it gains some extra weight when one realises that Patershuk is here dissembling a tragic moment of his own. His sister, Clare, was killed by a drunk driver in 2013 and he dedicates the album to her memory and in particular he describes his memory of this on the title song, a truly affecting piece which is given a respectful reading from the band, a slow waltz with Egge echoing his plaintive vocals. It’s tearstained indeed and sad to think that the song grew from a tragedy but ultimately (and here one does feel somewhat helpless, like a mourner not knowing what to say at a funeral) it’s a beautiful song and hopefully gives some comfort for those who knew her. Patershuk can certainly wring the emotions and he does so expertly on Little Guitar, a song that stands tall in the grand tradition of the likes of Kris Kristofferson and Jon Prine. Here he inhabits a veteran of world war II, bruised and battered, his brother killed in the war, blood flowing through his flaxen hair.
He finds solace in his second hand guitar singing, “you can’t make a fist when you’re playing guitar.” It’s a monumental song delivered with grace by the players and well worth the price of admission on its own.
A wonderful album. 




There are echoes of so many other people in Matt Patershuk's  music and yet he doesn't actually sound like anyone else!


            This is only the second full length album that Canadian country singer songwriter Matt Patershuk has released and yet the recording has the feel and warm atmosphere of an artist who has been around for decades! Maybe it's because many of the songs are reminiscent of the 'country and western' music of five or six decades ago but with a natural modern day 'alt.' edge in production, arrangement and musicality that avoids any of the sugary sweetness that many of the recordings back then were guilty of. Matt's deep vocal style has a naturalness that must be the envy of singers who have to resort to affectations to get their story across, sometimes tender, at others ominously threatening but always natural.
            It is an album that blends some funereal paced songs with a deep melodicism and perfect for purpose arrangements into a quite addictive stew, it's mellow sound not detracting in the slightest from it's musical power and depth. I suppose what separates it from other work that is stylistically similar is the honesty and integrity of every song, in a similar way to the work of an artist such as Guy Clark, with no unnecessary accoutrements in the often sparse arrangements.
            The album was produced by Steve Dawson and Mike Bub with Gary Craig on drums and Fats Kaplin playing fiddle, banjo and accordion and adding her gorgeous character laded backing vocals to the mix was Ana Egge. Whilst Ana's harmonies, that often extend to duets, are added to most of the mellow softly toned songs, this is far from being a 'countrypolitan' album. With it's often raw tales of heartbreak the recording is given an  edginess that, however mellow the music, avoids any signs of mawkishness
            The raw swampy bluesy country of Back Against The Wall is a hell of a way to start an album particularly when it is as lyrically dark and haunting as this tremendous song. When it is propelled by a raw yet melodic vocal style you can be forgiven for thinking it surely has to be all downhill after this incredible start that is reminiscent of Tony Joe White at his very best, with some tremendous slide guitar and fiddle work for good measure!  It is followed by Prettiest Ones, proof that things have not gone down hill but that the huge quality has actually been maintained. There is still an element of rawness to Matt's evocative vocals but they are softened by Ana Egge's beautiful feminine harmonies, occasioinal mandolin and weeping steel guitar on a gorgeous slow moody ballad. Harviestown is a powerful tale with Ana's gorgeous harmonies on a tale that is stylistically reminiscent of the 1950s story songs of murder that dominated the country and western charts. The lovely mandolin adds a haunting edge of loneliness whilst Matt's vocal performance is in best storytelling mode. Little Guitar is a gorgeous aching lovelorn ballad with sparse instrumentation, again with Ana's lovely harmonies on the chorus adding to the keening fiddle and melodic guitar. The slow sparseness does nothing to detract from the songs power instead blending beautifully with the depth of Matt's voice perhaps creating an echo of Guy Clark. Finally, Pep, the Cat Murdering Dog is a tremendous, if easy rolling, murder ballad with a difference. It's a song that bores its way into the memory with classic weeping steel guitar for good measure, with the bass thud and light percussion laying a foundation that never detracts from the story line and the lovely sound of a mandolin jumping in and out, adding a little light to the lyrical darkness.
            The reflective nature of most of these songs that look back at happenings rather than forward to what might happen is probably what helps to give the album it's relaxed feel, despite the often harrowing nature of some of the lyrics. There are echoes of so many other people in Matt Patershuk's  music and yet he doesn't actually sound like anyone else! That in itself puts him in a very good position, with his tremendous songwriting abilities, deep and sometimes raw but manipulative vocal style and the perfect arrangements, added to which is the fact that his songs are at least within hailing distance of the mainstream but with a complete lack of saccharine!


It is a stunning piece of work


Some albums stay with you  a little while, some longer and some forever. Among the albums reviews to appear over the coming weeks in Lonesome Highway  is 'I Was So Fond Of You' by Matt Patershuk. It is a stunning piece of work, beautifully written, produced and including musicianship of the highest standard from Fats Kaplin and harmonies to die for from Patershuk and Ana Egge.
Highly recommended, from the heart and well worth checking out. Expect it's going to get a lot of listens by myself


Elmore Magazine

Music News

EXCLUSIVE: Discover Matt Patershuk’s Lonesome Americana


Patershuk inhabits a blue collar consciousness of Springsteen while modeling a rambling weariness akin to Guthrie.

With a somber tone and an earnest perspective about the aftermath of loss, Canadian country troubadour Matt Patershuk’s track,“Back Against The Wall,” from his upcoming record I Was So Fond Of You gives voice to sentimentality and rural life in modern Alberta.

Patershuk’s positioning through his music is that of an outsider. Though an active participant in the ennui-inducing lifestyle set before him, his scope of a horizon before him is great and his colloquial jawings are knowingly tongue-in-cheek and prescient.

“Each place where I’ve lived has worked its way into who I am,” said Patershuk. “I think that kind of perspective, where there is knowledge, but not familiarity, is gold for songwriting.”

“Back Against The Wall” plays like a lamentation of a day lost to fruitless work, with dobro and fiddle underscoring the thankless grind of the working class folk. Patershuk describes the track as a lament of a family who has fallen on hard times and the father’s resolve to do something about it. Patershuk’s languorous vocals extend themselves over an exhausted bass and drums, steeping the singer-songwriter in the unfolding monotony before him. Patershuk inhabits a blue collar consciousness of Springsteen while modeling a rambling weariness akin to Guthrie.

Patershuk’s I Was So Fond Of You debuts March 11 on Black Hen Music. Patershuk is currently touring Canadian dates in support of the album. More information can be found at his site.


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Raw, passionate lyrics.

Many artists use their work to help guide them through difficult, and often traumatic, experiences, and Alberta-based country and roots musician Matt Patershuk is no different. After his 26-year-old sister, Clare, died in a head-on collision with a drunk driver, Patershuk turned to song to make sense of the tragedy, ultimately creating his newest record, I Was So Fond of You.

The album is both a tribute to his sister and a catalogue of his feelings during his grieving, evident in the raw, passionate lyrics, teeming with metaphors about death, powerlessness and senseless loss.

He enlisted the help of Nashville-based producer Steve Dawson, who also helmed his debut album, Outside the Lights of Town, as well as folk singer-songwriter Ana Egge, whose delicate vocals provide a necessary balance to Patershuk’s signature gruffness.

Patershuk is also using the album as a way to give back to some of his sister’s favourite causes — proceeds from the record will go to the Sexual Assault Centre of Edmonton, where his sister worked as a counsellor, the Peace Area Riding for the Disabled Society and the Clare Patershuk Undergraduate Psychology Travel Fund at the University of Alberta.

— Erin Lebar

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The Real Thing: Matt Patershuk’s Musical Redemption
by doug heselgrave


Prairie singer-songwriter’s second Steve Dawson produced album, ‘I Was So Fond of You’ is a heartbreaker

By Douglas Heselgrave

There aren’t very many singers like Matt Patershuk around anymore.  There probably weren’t very many to begin with.  It’s true that, if you look at it in a certain way, there’s not a heckuva lot new about listening to a man accompanying himself on a guitar and singing his heart out. Well, it may not be anything new, but in today’s music it’s definitely something rare.

You’d have to go a long way back to find another singer and performer that reminded you of Matt Patershuk.  You’d have to go past all the singer songwriters you’ve heard in the last few decades, through Jason Isobel, Mac Demarco, past acoustic, moody Beck where you’d sidle up along some old rough diamonds from Waylon Jennings or Kris Kristofferson.  That’d bring you pretty close. 

What’s different about Matt Patershuk is that when most singers sing about the kind of subjects and experiences as he does, as good as they may be, they’re interpreting, their music creating a subtle distance between them and what they sing about.  When you hear Patershuk, you’re not immediately amazed by the rhyme, melody and metaphor in his work.  Instead, you feel the raw humanity, the reserve, the dirt of the land from the hands that wrote the lyrics down. 

It’s hard to describe Matt Patershuk’s music accurately or in a way that does it justice; comparisons rarely work, but to take a stab, there’s a vibe that runs through the songs on ‘I Was So Fond Of You’ that is reminiscent of the music Ian Tyson made when he left the city to go back to live in rural Alberta.  Patershuk’s music shines with that kind of authenticity, but his music is rougher, less smoothed over than Tyson’s.  Nothing watered down. Patershuk’s music has a sound that you can only communicate when you never left the land to begin with. 

Matt Patershuk is a rural singer, a prairie philosopher, and a rough-shod poet.  If he were a builder, his constructions would be blessed with strong foundations and clean, simple lines. Nothing fancy and no unnecessary frills. Patershuk has lived on a sprawling rural property near La Glace, Alberta for the past decade or so.  The property, with its original buildings and vintage weathered horse barns, perfectly reflects the atmosphere that he shares in his music.  As if to prove that there’s no easy ride in life – especially if you want to play the kind of music that he does – Matt spends his days working for a local bridge building company.  When I caught up with him recently to talk about his new album, he was on a lunch break and construction sounds could be heard through our entire conversation.  We laughed, as the crashing, banging and hammering sounds in the background made my planned first question, ‘Are you a fulltime musician?’ redundant.  One quickly gets the sense that as much as he might wish that were true, Patershuk has no feelings of regret about the life he’s chosen.  He admits, ‘I love to sing and play and I love to go on tour.  I never get to do either of those things as much as I’d like.  I play lots of weekend gigs, mostly to Edmonton or Calgary, but I try to get out further when I can.  In total, I guess I get out about a month a year.  It’s what I love to do, so I have always made ways to fit in music, somehow.  I have to burn the candle at both ends to do it, but, like I said, I have to make time to do this kind of thing. Nothing feels right if I don’t. I’m not a fulltime artist, but I take what I do as seriously as anyone else does.”

‘I Was So Fond Of You’ is Matt Patershuk’s second full length album, and like his debut, ‘Lights Of This Town’, it was produced by Steve Dawson, the Canadian guitarist and roots music legend, this time at his newly refurbished Black Hen studio in Nashville. Patershuk remembers the experience fondly. “Going to Nashville was amazing.  And, to go and work with Steve down there was my dream scenario.  The first album we recorded in Vancouver and that was great, but to be in Nashville with world-class musicians sitting two tables away at the tiny club you just walked into. To have the access to some of those great musicians and to have the experience of playing with them was just so amazing.  I can’t believe how fortunate I was to play with all of those folks.  And, best of all was Steve.  He’s got such a wonderful ear and such interesting musical ideas that always fit in with what’s going on.  On top of that he’s a very generous guy and very easy to get along with – which was essential on a project like this.”

The results speak for themselves, and it shouldn’t take anyone very long to hear the huge musical growth between Pattershuk’s first and second albums. As promising as ‘Lights Of This Town’ was, ‘I Was So Fond Of You’ is in another league, and is that rare kind of record whose songs transform personal experience into something vital and universal that goes far beyond the particular experiences they describe.

Most of the songs on ‘I Was So Fond Of You’ are a tribute to Matt’s sister, Claire who was killed by a drunk driver in a road accident a few years ago.  Like Matt, Claire loved music, and for the album he set out to record songs that were both about her and also reflected the type of music she loved.  He gave an example. “Claire and I both really loved Ana Egge’s music, and it was such a thrill that she came in and sang backups on a few of the songs.  Claire would have loved that.  I can remember her listening in rapture to Ana’s music. And, it’s funny.  You know, I don’t usually think of who’s listening to my songs.  If I thought about that, I would be paralyzed.’ I asked him if not thinking about his listeners made it easier for him to compose such raw and personal music.  He replied, “Songs really affect you in a way that an actual event wouldn’t.  I think it’s because they poke you somewhere in your hindbrain that isn’t behind a wall of rational thought. For me, the beauty of a song is that it’s always partly truth and partly fiction.  You can take certain liberties with the stories you’re telling.  My little shield if things get too close to the bone is that I can say that what I write is not real life.’

I remarked that the songs about Claire came from real life, and I wondered if the process of writing them helped to come to terms with her passing. Matt was silent for a moment and then offered, ‘to do art properly, you have to expose yourself. In real life, I’m not a great emotional sharer.  These songs have a lot of stuff that I would never say or tell people, even people that are close to me.  When I started this project, I really wanted to write a song as a tribute to Claire.  I had a few false starts.  You know, I delivered her eulogy at her funeral and I had planned to have a song ready for that, but I wasn’t ready.  It was too close.  I had to wait for that.  For me, the best stuff has always come when I don’t work for it.  When I try really hard, sometimes nothing happens.  When ideas come to me, they often seem as if they come from out of the blue.  I respect that and try to get down as much as I can while the inspiration allows.  Then, when I have an idea, I go to a quiet place to write and work on it.”

Over time, and with less conscious effort, ideas for songs began to come to Matt, often while he was involved with other things.  “I couldn’t think of anything else after Claire died.  It seemed so wrong.  I went through everything from anger to resignation. In the end, nearly all the songs on the album are about her.  Of course there’s the title – ‘I Was So Fond Of You’, but a lot of the songs come back to her.  The character in ‘Little Guitar’ has lost her brother and is trying to recover from that.  At that time, I don’t think I could have written about anything else and made it any good.’

And, ‘I Was So Fond Of You’ is good.  Really, really good. But, be ready and be warned.  You’d have to be made of stone not to choke up a little as you listen.  And, more to the point, you’d also have to be made of stone not to appreciate such honest, true and bighearted music.  You’re not going to hear anything more real anywhere in 2016 as ‘I Was So Fond Of you.’ Guaranteed.

Matt Patershuk will tour in support of ‘I Was So Fond Of You’ supported by Steve Dawson and Gary Craig (drums) 

For dates see:

You can buy ‘I Was So Fond Of You’ at


This is a truly wonderful recording.

Ron Myhr

I was looking to see if there was a review of this recording yet, didn't see one.  But here it is, in effect, despite being under "Articles".  And a nice piece, too.

I love this record.  Hadn't followed Matt before, but I definitely know Steve Dawson's work.  It's a beautifully produced recording, all live-from-the-floor, except for the backing vocals.  Dawson does all the acoustic guitars, and he's enlisted Fats Kaplin (Kane Welch Kaplin, Jack White's band), all-around multi-instrumentalist, who adds beautifully to the mix.

And Matt's singing,of course, is outstanding, the songs wonderful. 

This is a truly wonderful recording.

I should add that the package is really nice, with a great set of liner notes that highlight the meaning to Matt of each of the songs.  If you buy digitally from, you get the full liner notes as well as high-res files, all for less than $7 (US). 

34 avenue des Pages

                                     Vue Weekly

Matt Patershuk strikes a personal chord on new album
by Meaghan Baxter
                                                                                             // Peter Patershuk

“Public speaking has never been an issue for me, but singing in front of people was a whole different ball of wax,” says singer-songwriter Matt Patershuk.

He released his debut album, Outside The Lights of Town, in 2013, after working to overcome some of the stage fright that had made him reticent to pursue music. Patershuk, who admits he tends to be more introverted when he’s not on stage, has made strides in overcoming apprehension inherent to performing and actually enjoys the experience these days.

“I think it was just doing it: gritting my teeth and saying, well, if you like this enough then you should do the work to make it so that it’s not so difficult,” he says. “It was just a matter of wanting it bad enough to push through the few little issues that I had and keep doing it.”

Is there anything that still poses a challenge when it comes to performing?

“Forgetting the words to my own songs,” he says with a boisterous laugh. “That happens more than it honestly probably should. I don’t have a great memory for lyrics, but that’s just a matter of doing the work

Patershuk will have plenty of time to work on singing his lyrics correctly as he heads out to promote his new album, I Was So Fond of You. Much like Outside The Lights of Town, there is a strong sense of humanity and an intrinsically relatable quality to Patershuk’s songs. They’re heartfelt and poignant, and Patershuk’s gruff baritone lays out deeply personal stories with unabashed clarity. Many of the tracks, particularly the title song and “Harviestown,” attempt to make sense of the death of his sister Clare, who was killed by a drunk driver in June 2013.

“I was thinking about Clare’s death constantly for such a long time after she died anyway, so I think to have written a good song, or an honest or genuine song, most of them would have been about that,” he says of whether songwriting helped him get through the situation. “I think it’s just a product of missing her and thinking about her.”

Patershuk notes he couldn’t write an album of “total downers,” and there is some lyrical and melodic variety to be had on the Steve Dawson-produced record, but there’s an underlying sadness at its core. All of the proceeds from album sales will also be donated to charities Patershuk says his sister was interested in: the Sexual Assault Centre of Edmonton, where Clare worked as a counsellor, as well as the Peace Area Riding for the Disabled Society. A portion of the money will also be donated to the Clare Patershuk Undergraduate Psychology Travel Fund at the University of Alberta.

“If you pick one of [the albums] up it won’t be going to beer money—this time,” Patershuk jokes.

Clare’s presence is further entrenched in the record through its cover art, a striking painted portrait of an elderly man. The monochromatic colour palette of greys, blacks and whites converge to create a weathered character that, while unknown to Patershuk, has become a personal favourite of his.

“I loved that painting from the moment I saw it,” he says. “It’s the eyes of the man in that painting: they’re pretty startling. It’s hard to look away from them. The man in the painting looks like he’s been through some sort of tragedy. You can see the pain on his face, and I thought that was, aside from being a painting that I really liked, I think it fit the tone of the record well.”

Matt Patershuk
I Was So Fond of You - Black Hen


Penguin Eggs's Folk, Roots & World Music Magazine, published quarterly.

Embodies a Prairie bleakness that still somehow manages to be pretty.

Patershuk, who calls LaGlace, AB, home, reteams with guitarist/producer Steve Dawson for the followup to 2013's Outside the Lights of Town, recorded at Dawson's new Nashville digs. Whatever has changed about Dawson's facilities, the trademark intimacy and warmth of his prior work turns up here, setting Patershuk's dusky baritone against spare but tasty arrangements with fiddle, banjo and the producer's Swiss Army knife-like versatility with stringed things.
Good country music's preoccupation with heartbreak is on abundant display here, but the album gains extra heft from the mournful title track, dedicated to the sister Patershuk lost tragically in 2013, while Mean Coyotes, wafting on accordion and Dawson's piercing Weissenborn asides, embodies a Prairie bleakness that still somehow manages to be pretty.
Prettiest Ones is a singer/songwriter's homage to the power of his chosen vehicle, foregoing cheesy namechecking for a thoughtful evocation of the feelings music draws out and nurtures, If you're looking for a record to curl up with at the weary end of the day. I Was So Fond of You readily fits the bill.
- by Scott Lingley
Penguin Eggs Magazine, spring 2016 issue

Inline image 1


It is time to pay attention to Canadian Matt Patershuk.
Matt Patershuk - I Was So Fond of You
It is time to pay attention to Canadian Matt Patershuk. His second album I Was So Font Of You is a relief, a revelation of banjo, fiddle, pedal-steel guitars and combined with an excellent rhythm section and topped with honey Patershuk sometimes sweet, sometimes gruizelige voice. In producer Steve Dawson's Nashville studio, the band with Mike Bub, Gary Craig, Fats Kaplin, along with Dawson on guitar and pedal-steel sit together and took the eleven songs on the album completely live, without overdubs on. The icing on the cake is the indispensable additional vocals by Ana Egge these songs give a special meaning and depth.

Het werd tijd om aandacht te schenken aan Canadees Matt Patershuk. Zijn tweede album I Was So Font Of You is een verademing, een openbaring van banjo, fiddle, pedal-steel en gitaren in combinatie met een uitstekende ritmesectie en gegarneerd met Patershuk soms honingzoete, soms gruizelige stem. In producer Steve Dawson’s Nashville studio ging de band met Mike Bub, Gary Craig, Fats Kaplin, samen met Dawson op gitaar en pedal-steel bij elkaar zitten en nam de elf songs van het album geheel live, zonder overdubs, op. De kers op de taart is de onmisbare toegevoegde vocals van Ana Egge die de songs een bijzondere betekenis en diepgang geven.


Image result for
Matt Patershuk - I Was So Fond of You 


[Black Hen Music]

Matt Patershuk - I Was So Fond of You
Submitted by Frans de Jonge
[Black Hen Music]
Matt Patershuk's voice may well lack the perfection compensate for the eloquence of his songs more than adequate. The eleven songs on this album are narrative songs that do have some dark nature. But the man has to take some had to be processed. Therefore, the near death in his songs, sometimes caused by coyotes or just a dog, other times by a drunk driver. Matt Pattershuk you can see a bit like the Canadian version of Mark Lotterman. Both are packed with quality, but the world looks the other way. I Was So Fond of You is Patershuks second album and that album is great! read more.

Matt Patershuks stem mag dan wel de perfectie ontberen, de zeggingskracht van zijn liedjes compenseren dat meer dan voldoende. De elf liedjes op dit album zijn verhalende songs, die wel wat donker van aard zijn. Maar de man heeft dan ook wat te verwerken gehad. Daarom is de dood nabij in zijn songs, de ene keer veroorzaakt door prairiewolven of gewoon een hond, de andere keer door een dronken chauffeur. Matt Pattershuk kun je een beetje zien als de Canadese versie van Mark Lotterman. Beiden zitten bomvol kwaliteit, maar de wereld kijkt een andere kant op. I Was So Fond of You is Patershuks tweede album en dat album mag er zijn!

If It's Too Loud...  blog

Matt Patershuk - I Was So Fond of You

"It's a heartbreaking album of loss."

Matt Patershuk's I Was So Fond of You is not a happy album. Dedicated to his late sister (and with all proceeds of the album going to a few charities in her name,) it's a heartbreaking album of loss. It's not a pretty album, but it's absolutely beautiful.

The two songs that deal with death and loss the most are "Harviestown" and "I Was So Fond of You." Playing in the style of old fashioned country-folk creates the perfect setting for these songs, but the album does have a bit more of an edge to it than your typical country or folk album. It reminds me a lot of John Doe or The Nightwatchman mixed with the rootsy sound of Joe Fletcher. I Was So Fond of You is a must listen for anyone reading this blog.

I Was So Fond of You is available now at Black Hen Music. You can listen to the title track below, and for more information check out Matt Patershuk's website.

                                                                         BeatRoute Magazine
CALGARY — High off the success of a charming and concise first record, 2013’s Steve Dawson-produced Outside the Lights of Town, Matt Patershuk was rocked by the tragic death of his younger sister at the hands of a drunk driver.

His new release, I Was So Fond of You is drenched with loss, but also the triumph of a life well loved. Patershuk memorializes his sister by turning her into the style of music he loves most of all.

The title track specifically is the centrepiece of the record, and is proud to premiere an intimate performance of this song, with Patershuk surrounded by his tools of memoriam and celebration: his guitars.

                                                                                          Image result for metro winnipeg

Patershuk's album is dedicated to sister killed by drunk driver

                                                                          Country artist Matt Patershuk’s will end his Western Canadian tour at the West End Cultural Centre Wednesday.


Country artist Matt Patershuk’s will end his Western Canadian tour at the West End Cultural Centre Wednesday.

An old man’s weathered face gazes from the cover of Alberta roots-country artist Matt Patershuk’s new album I Was So Fond of You.

It’s a painting made by Patershuk’s sister Clare, who was killed by a drunk driver in June 2013. He has dedicated the album to her memory, along with his tour of Western Canada which will conclude on Wednesday at the West End Cultural Centre.

“Clare was a painter and a writer,” said Patershuk. “I feel very fortunate to be able to put her memory out into the world, and to be able to talk about her.”

He said the attention and publicity would have embarrassed Clare, but he’s sure she would have been proud. “We really lost a lot when she was killed,” he said.  

Patershuk is donating all revenue from sales of the album to three Alberta charities: the Sexual Assault Centre of Edmonton where Clare worked as a counsellor, the Peace Area Riding for the Disabled Society which provides horse therapy programs and is based near his home in LaGlace, and the Clare Patershuk Undergraduate Travel Scholarship Fund at the University of Alberta.

Of the donations, Patershuk said it will be nice for some good to come out of his family’s loss. “I hope I sell 50,000 copies of the record and regret the decision until the day I die,” he said with a laugh.

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Matt Patershuk
I Was So Fond Of You

Matt Patershuk - I Was So Fond Of You

I Was So Fond Of You is Matt’s second record, and like his debut, the Western Canadian Music Awards nominated Outside The Lights Of Town, Patershuk tapped Juno award winning producer Steve Dawson to guide it to completion.

Matt Patershuk’s unaffected singing belongs to a different time and reflects a reserve and unspoken toughness that is rarely heard today. The songs on I Was So Fond Of You are peppered with the kind of humanity that you can hear in Willie Nelson’s best work and reflect a subdued irony that wouldn’t be out of place in a John Prine tune.

- See more at:
I Was So Fond Of You is Matt’s second record, and like his debut, the Western Canadian Music Awards nominated Outside The Lights Of Town, Patershuk tapped Juno award winning producer Steve Dawson to guide it to completion.

Matt Patershuk’s unaffected singing belongs to a different time and reflects a reserve and unspoken toughness that is rarely heard today. The songs on I Was So Fond Of You are peppered with the kind of humanity that you can hear in Willie Nelson’s best work and reflect a subdued irony that wouldn’t be out of place in a John Prine tune. - See more at:

Matt Patershuk
I Was So Fond Of You

Matt Patershuk - I Was So Fond Of You

I Was So Fond Of You is Matt’s second record, and like his debut, the Western Canadian Music Awards nominated Outside The Lights Of Town, Patershuk tapped Juno award winning producer Steve Dawson to guide it to completion.

Matt Patershuk’s unaffected singing belongs to a different time and reflects a reserve and unspoken toughness that is rarely heard today. The songs on I Was So Fond Of You are peppered with the kind of humanity that you can hear in Willie Nelson’s best work and reflect a subdued irony that wouldn’t be out of place in a John Prine tune.

- See more at: