Jim McCormick

PREVIEWS, REVIEWS AND NEWS
from "HOT SEVEN WEEKLY PICKS" in Gambit Weekly
Jim McCormick
10 p.m. Saturday
Carrollton Station, 8140 Willow St., 865-9190
It seems a CD doesn't formally exist until it has a CD-release party, so even though Jim McCormick's You Can't Drown Your Sorrows (Independent) has been available since Jazz Fest, with this show it officially exists. The album, McCormick's second, shares classic country music's lyrical concern with the domestic life of the working class. A song such as 'Shotgun Wedding' has the cleverness associated with the good ol' days in a line like, 'There's nothing wrong with a case of cold feet you can't cure with a 20 gauge.' On the other hand, the quiet 'Expecting Rain' is rooted in more contemporary sensibilities when he sings, 'When you were mine / I wasted time / expecting rain.' Live, McCormick's Louisiana and rock &140;n' roll roots come through more clearly. The band gives the songs a rowdier treatment with a little less precision and more of a roadhouse feeling. $7 cover. -- Rawls
______________________________________________
McCormick works his Nashville/New Orleans connection
By Keith Spera (from The Times Pacayune)
Music writer
For nearly four years, Jim McCormick has commuted monthly between his native New Orleans and Nashville. Every two weeks, he travels 500 miles on interstates 10, 59 and 65, then drives the eight-hour route in reverse.
His motivation? The vast talent pool of professional Nashville songwriters, the guys that pen hits for country stars. McCormick has gradually acclimated himself to this community, sharpening his skills and accumulating a catalog of co-writing credits.
McCormick's new CD, "You Can't Drown Your Sorrows," samples this catalog as it balances his lives as a performer in New Orleans and a writer in Nashville.
He recorded the disc with the local members of his Full Band: Guitarist Edward Conway, his former bandmate in '90s roots rock band The Bingemen; acoustic guitarist Skeet Hanks of Beatin Path; bassist Bill Berry; drummer Mike Barras and pedal steel guitarist Dwight Breland.
But McCormick co-wrote six of the 10 songs with Nashville writers; many of the songs boast the sort of hooks and lyrical twists that mark that town's repertoire. All are rendered in his hearty baritone, with the equally sturdy backing of the full band.
The wink and wordplay of "Nobody Leaves You the Same" might suit George Strait. Alan Jackson could make the acquaintance of "Jimmy Driftwood." The disc's outlaw country title track, written with New Orleans lyricist/vocalist Ron Cuccia, recalls David Alan Coe: "You can't drown your sorrows, they know how to swim/You can't hold 'em under, they come bobbin' up again/Drink up whiskey river, drain an ocean of gin/You can't drown your sorrows, they know how to swim."
Such sly exercises are balanced by the acoustic romantic remembrance "Expecting Rain" and the lament "What Happened to the Night," in which the protagonist sifts through an evening's ashes. The electric guitars return for "Should've Been Bad," a McCormick co-write with Conway. "What Shoes" and "I'd Love Her Again" feature especially fine pedal steel from Breland.
Together, McCormick and his crew easily bridge the New Orleans/Nashville divide.
. . . . . . .
Jim McCormick & the Full Band perform at a CD-release party Saturday at Carrollton Station.
____________________________________________________________
Jim McCormick_You Can't Drown Your Sorrows_(Independent)_--from OffBeat Magazine
There is one thing Jim McCormick has not done since leaving the Bingemen: stop writing songs. McCormick, who divides his time between New Orleans and Nashville, either wrote or co-wrote the ten songs on his second solo release, You Can't Drown Your Sorrows, and remains as active as a supporter of songwriters as he is one himself.__His band is great, especially Mike Barras and Bill Berry who form a solid pocket for the rest to fill, but whatever happened to pleasing country songs about horses like "Tennessee Stud"? As the times dictate, modern county is about the people who wrote songs about horses, like McCormick's "Jimmy Driftwood," which is a nice eulogy to a man I can only assume had a great effect on him, and songs about trucks, like "Dually Man," that sounds as if it was written directly for a TV commercial. There is something so much less romantic about a man driving "Six wheels/Diesel engine/Crew cab and did I mention?/Flood lights/Silver coated," than riding, "The Tennessee stud was long and lean/The color of the sun and his eyes were green." On the other hand, McCormick treats timeless themes, such as love and drinking, with uncomplicated lyrics and recites them in a memorable baritone. Some are soothing ballads ("Expecting Rain") and others verge on the roots rock he was once known for ("Should've Been Bad").__"What Shoes" is a stand out last song, because it is where McCormick expresses his feelings for something other than his woman or his truck. Dedicated to the Bingemen, "What Shoes" is straight up country music, but McCormick sings abstract lyrics that convey a feeling rather than tell a story, unlike his other songs that do both. It makes me wonder whether this feeling is one of disdain or reverence, and turns out to be my favorite track on the album. Jim McCormick will celebrate the release of You Can't Drown Your Sorrows at Carrollton Station on Saturday, August 28.--Brenda Lee_____________________________________________________________________
(from ThomasHarris.Com)_Thomas Does Demo
Thomas has finished his demo project and is now waiting to hear from MCA. Besides recording a top-notch demo, Thomas appeared on stage with Emerson Drive, met lots of Nashville stars, and had what he calls "an unbelievable experience."
The three song demo finishes what Thomas refers to as "the realization of a childhood dream." The three original songs ("Coming Home To Me" by Sharon Vaughn and Greg Barnhill, "All Because Of You" by Keith Urban, Monty Powell, Anna Wilson, and Jerry Flowers, "What Love Does" by Pete Sallis and Jim McCormick) were all chosen by Thomas and producers Rogers Masson and Pat McMakin along with song publicist Michelle Metzger during his previous trip to Nashville. MCA brought over their new up-and-coming artist Jedd Hughes and Thomas talked him into laying down a little guitar work for the demo.
The demo took six days to record, over-dub, clean up, and mix before turning it over to MCA's Stephanie Wright. Thomas, Rogers, Pat, and Stephanie all sat down to listen to the final project before heading home. Stephanie said it sounded great and the final decision would be up to MCA President - James Stroud. Thomas got to meet Mr. Stroud and says, "He's the man!"
"All the people at MCA were so good to me during this. They made me feel important and were very encouraging" says Thomas of the experience.
The musicians hired for the job were a who's who of studio stars. Pictures at the bottom show Thomas with Paul Leim on drums, Mike Brignardello on bass, J.T Corenflos on electric, B. James Lowry on acoustic guitar, and Tony Harrell on piano and keyboards. Perry Coleman and Allison Parson were also on the demo providing back-up vocals.
The surprise highlight of this trip was Universal Music inviting Thomas to come to a concert and appear on stage with Emerson Drive. Carolyn Dawn Johnson headlined the show and backstage introduced Thomas to one of his biggest fans - her mom. "The guys in Emerson Drive were so cool. They got me to sing part of a song off their new album" says Thomas. The night included videotaped interviews with CMT, GAC, and Country Weekly magazine.
Thomas got to meet many country music stars during his visit including Jedd Hughes, Blake Shelton, Keith Stegall, Montgomery and Gentry, Joe Nichols, and the gang from Trick Pony.
"It's just a wait and see situation now" according to Thomas. MCA has contracted Thomas to this demo and they have the right of first refusal. We'll keep our fingers crossed!
_________________________________________________________
JIM McCORMICK: The 60-Second Interview
(from The Times Picayune, New Orleans' daily)
Chris Rose
Jim McCormick first bubbled up on the New Orleans music scene in the early '90s with his country-flavored rock band, the Bingemen. In '97, he went solo, traveling a well-worn path between Nashville and New Orleans.
He's a truly skilled songwriter with a trademark baritone voice, delivering crisp and clear ballads and honky-tonk fodder -- tough love, hard luck, all that stuff. He plays with his band at Jazzfest today at 12:20 at the Fais Do-Do Stage.
We spoke recently on my weekly Webcast, originating live on Bourbon Street (or the Acme Oyster House) every Tuesday afternoon at 3. You can find the video and audio archives of this and many other Jazzfest interviews (and live performances) at www.nola.com/rose.
You sing Nashville-inspired singer/songwriter country drinkin' music._Yep.
I think I just answered the first question, which is: Describe your music in 10 words or less._Soulful, lyric-based, sincere, crying or laughing country music.
Country's kind of an anomaly in New Orleans, huh?_There's not a lot of it here. But there's a rich history of country music in Louisiana -- and New Orleans. It's not that much of a stretch; the great soul singers that I fell in love with first led me to Charlie Rich and from there, a doorway into country music. That's how I got there.
What's the best thing about Jazzfest?_Cleavage whiteout.
I'm not familiar with that term._That's a state you reach when you can't see anything else.
What's the worst thing about Jazzfest?_Same thing: That whiteout part.
Distracting?_It keeps you going for 15 hours.
Is there enough jazz at Jazzfest?_For me there is, but I'm not really the right guy to ask.
If you could change one thing about Jazzfest what would it be?_Maybe more country music. More Texas honky-tonk music. Willie Nelson being there was great. Lyle Lovett was great. Jerry Jeff Walker would be great. Guy Clark. There could be a little more twang.
Why isn't Jerry Jeff Walker there? He lives in the French Quarter._Let's go knock on his door and ask him.
What's one thing you'd never change about Jazzfest?_That springtime occasion; don't change the dates.
What's your favorite festival food?_Meat pies.
What's the biggest difference between Jazzfest and Mardi Gras?_Lent.
If Jazzfest were in Des Moines, how would it be different?_More dairy products.
When you're playing on stage, what takes you to the next level?_A great song. You feel the audience with you. A great sound system. When it's all clicking like that, you don't want the song to end.
What kills the moment?_Indigestion.
What song moves you to tears?_"Good Year for the Roses," by George Jones. "He Stopped Loving Her Today" is another one that kills me.
Other than you, who should readers see today at the fest?_The 'dudes and Anders (Osborne) are an easy sell. Bob French, Andi Hoffman & B-Goes, Bruce Daigrepont, Motorway and John Rankin.
___________________________________________
Jazzfest Best Bets_by Sean Fitzmorris
(FROM Liquid Magazine, New Orleans)_April 2003__Jazz Fest 2003 is nearly upon us, and it's nice to have at least a vague notion of what we want to do once we get there, though we mostly just wander aimlessly directed by whatever sensory input is dominant at the moment. Everybody knows where and when to go see all the big-name acts like Cowboy Mouth and Crosby, Stills and Nash. So here's a brief list of some of the lesser-known things to look out for at Jazz Fest.
Musical Acts__Check out Jim McCormick on Saturday, April 26. His contagious country sound and baritone voice will have you singing along with him before the song's even over. Definitely an artist to watch in days to come.__Rebirth Brass Band plays Sunday, April 27. You'll want to see these young guys play like old pros. They are one of the reasons Jazz Fest exists.__Big Chief Bo Dollis & the Wild Magnolias on Sunday, May 4, have the funky sound of a garage band on brass instruments. These guys will have you moving your feet and swinging your hips even if you're an uncoordinated white guy like me.__Also on Sunday, May 4, you can't miss the Bucktown Allstars. One of the best cover bands this city has produced; you'll wish that these guys were the ones who made the remakes of your old favorites rather than the Dixie Chicks or Britney, the Ride of Louisiana.
___________________________________________________________
(from The Times Picayune, New Orleans' daily newspaper)
The cable convention and all that Jazzfest
By Chris Rose_Staff writer/The Times-Picayune
...Now for some ruminations on Jazzfest 2002.
... Though I saw fewer acts than usual this year, the best I saw was Jimmy McCormick, a local guitar slinger who used to rock in a band called the Bingemen but found his muse as a country songwriter and who positively has the goods.
He lives in Nashville part time now, chasing the dream. This just in: He's good.
...
(Catch Chris Rose live on the Web each Tuesday at 3 p.m., or leave a comment anytime in the Chris Rose forum, both at www.nola.com. You can e-mail crose@timespicayune.com)
____________________________________________________________________________
From The Official N.O. Jazz Fest Program:
Jim McCormick (COUNTRY)- Gaining notice as much for his distinctive baritone as his sharp songwriting, McCormick is a musician to watch. With fans and admirers that include Anders Osborne, Theresa Andersson and many others in the New Orleans music community, McCormick stands at the vanguard of contemporary country and roots-rock. Friday, April 26 - Sheraton New Orleans Fais Do-Do Stage, 1:50 pm.
__________________________________________________________________________
PopScene
I caught Jim McCormick's CD release party at Carrollton Station last Saturday. Playing to a packed house, Jim mostly performed songs from his self-released first solo CD. He was backed by some of the musicians playing on his CD, featuring guitarist extraordinary Ed Connelly, whose ripping solos rocked the house. Tireless networking, both for the Nashville Songwriter's Association and with his own publishing company Caffeine Music, has obviously paid off for Jim. He seems poised to join the ranks of his Nashville songwriting peers. Gigs at Jazz Fest, the French Quarter Festival, South by Southwest in Austin, and at the House of blues opening for Deana Carter have built him a solid fan base and a lot of respect in and beyond New Orleans, a city otherwise not really known for its country music. (Nicole Bloomers, Contributing Editor)
See also http://www.popscene.nl
_________________________________________________________________________________________
Times Picayune
Over the course of his career, Jim McCormick sang lead for roots-rock band The Bingemen, set up publishing company Caffeine Music, which sponsors a popular songwriters' night at Carrollton Station, and had his songs covered by the likes of Anders Osborne, Mulebone, Theresa Anderson, Kim Carson, and the Swinging Haymakers. All those experiences factor into his new self-titled solo debut, on which he applies his steady baritone to a dozen country-leaning cuts he wrote or co-wrote.
Throughout, it is McCormick's voice and words that are stamped on every cut, establishing that it was high time he stepped out under his own banner.
--Keith Spera
__________________________________________________________________________________________
VFR Records
Jim McCormick has been selected as one of ten finalists in the 2001 Garth Brooks Tribute to Songwriters Contest, held on the occasion of the VFR Records release of In The Beginning: A Songwriter's Tribute to Garth Brooks. Go to http://www.pitchsheetassociate.com/ or http://www.countrystars.com/index.html?/news/haislop/archives/092801.html for more info.
__________________________________________________________________________________________
Gambit Weekly
McCormick's always been an artist first and foremost, and his new debut CD shows the polish of years of careful craftsmanship. McCormick packs the CD with hooks and insightful lyrics, with prime slices of Americana like "Dream Farm" and "Weave Your Flame with Mine," sporting guitar work from Tommy Malone and Anders Osborne, while "Call Me" and "A Man Movin' On" are on par with the work of Nashville's best singer/songwriters. McCormick's delivery is natural and effective, and his baritone fully conveys the impact of the new songs.
Jim McCormick voted into Gambit Weekly's Best of New Orleans for the category, "Best band that doesn't fit any of these categories."
--Scott Jordan
__________________________________________________________________________________________
OffBeat Magazine
Jim McCormick_Jim McCormick_(Caffeine Music)
_Scott Miller and the Commonwealth_Thus Always to Tyrants_(Sugar Hill)
For his debut solo album, one-time Bingeman Jim McCormick has assembled a stellar line-up including the almost-ubiquitous John Gros, Tommy Malone, Ray Ganucheau, Anders Osborne, Susan Cowsill, Theresa Andersson, Mike Mayeux and various members of Cowboy Mouth. Ironically, all that talent plays with perfect discretion and leaves the spotlight to McCormick's roots/country songs; fortunately, time after time they prove to be strong enough to merit center stage. Three or four songs are sufficiently catchy to be half-remembered after one hearing, and "Take Me Home With You"—which Kim Carson recorded on Tonkabilly as "Around the Lakeside"—is simply a classic waiting for someone smart in Nashville to record it and sell a few million copies.__The news on the album, besides the strength of the songs, is McCormick's growth as a singer. Though it isn't really accurate, more than one critic will compare his voice to Randy Travis's or Charlie Pride's simply because his baritone sounds so at home and plain-spoken singing country lines and melodies. He has always had the necessary sincerity to sell a homily like "Love Will See You Through," but here he sings with more nuance than ever before. "Grand Old Way" ("of feeling blue," the chorus ends) has an expansiveness that suggests the way he got the blues was worth the experience, and on "Dream Farm," he sounds genuinely Prozac-ed by love.__It's easy to imagine a number of songs on Jim McCormick's album made shiny and no fun in Nashville hands, but it's impossible to imagine anyone anywhere near Davidson County touching a song off Thus Always to Tyrants, the first album for Scott Miller and the Commonwealth. Miller, formerly a member of Knoxville's The V-Roys, plays roots rock/alt.country with the sort of crashing guitars and reckless energy the Opry has always declared heretical. In fact, for five or six songs, he brings the sort of wild fire and energy a lot of roots rock bands miss for fear of sweating up their cool retro clothes.__The opener, "Across the Line," sounds like a good song the Jayhawks forgot they wrote, then the next four in a row rock with a winning, distinct personality. Miller's writing is earnest and working on artful, but the passion and the buzz of the songs makes concerns about pretensions to profundity irrelevant. On the wonderful "I Won't Go With Her," he captures one of the nuances of male/female relationships, singing "I won't go with her when she leaves/ Where she's going, she takes me."_Unfortunately, Thus Always to Tyrants gets a little thin in the second half. "Goddamn the Sun" has a punky snarl, but it's preceded by "Daddy Raised a Boy," which is simply way too Springsteen. "Miracle Man," pales beside the Elvis Costello song by the same name that it inevitably recalls, and if you can forget Costello, then the song sounds like a garage punk workout in plaid and boots. If this were vinyl, you wouldn't listen to side two much, but you'd wear out side one at parties.__—Alex Rawls, OffBeat Magazine
__________________________________________________________________________________________
CITYSEARCH.COM
Country music has long been sorely underrepresented on New Orleans' diverse music scene, but songwriter Jim McCormick hopes to change that perception. On his self-titled debut, packed with an A-list of New Orleans stars (including Anders Osborne, Theresa Andersson and Fred LeBlanc), McCormick delivers arguably the strongest salvo yet in the campaign to gain the Big Easy recognition as the bayou chapter of Music City.__The wistful "Dream Farm" and "Long Mad Way" pack plenty of appeal for fans of the Continental Drifters (whose Susan Cowsill appears on the stunning duet "Call Me," easily the disc's high point). "A Man Movin' On" and "Grand Old Way" sport sturdy melodies (powered by McCormick's bedrock baritone) and enough production sheen to compete for space on mainstream radio airwaves.__--Kevin Forrest Moreau, @ citysearch.com_See the rest of the citysearch.com review
__________________________________________________________________________________________
Louisiana Jukebox
How To Sell Your Songs
I'm A Great Song Writer -_So How Do I Make Money At It?
BY KATHY GOODE
According to Jim McCormick, songwriter & partner in New Orleans based music-publishing company Caffeine Music, you need persistence & a plan. He should know. He recently conducted "The Craft of Songwriting" workshop for NARAS' Grammy in the Schools at NOCCA and has had his songs cut by Anders Osborne, Kim Carson, Mulebone & others.
Jim advises, "First, copyright your songs through the Library of Congress. Then create clear vocal guitar or vocal piano demos." Next he says to find singers the songs would fit. "Read artists' cds & see who wrote the songs. If you see the artist or producer's names as writers, they probably won't be interested in outside material. Go for the artists who perform other people's material."
Jim also cautions, "Don't overlook local recording artists. Don't hold on to material waiting for the 'big' artist." More words of wisdom? Join professional groups like the National Songwriters Association, the Louisiana Songwriters Association & other professional organizations - you can use them for networking, advice & feedback. Also try co-writing so you'll have 2 people pitching songs & networking.
Other places to get advice include books like Fred Koller's "How To Pitch & Promote Your Songs" as well as internet sites like songpitch.com. And, above all, advises Jim, "Believe in yourself & your material! If you don't, no one else will."
from: http://www.louisianajukebox.com/offbeat2.htm
__________________________________________________________________________________________
Regarding Jim's former band, the Bingemen...
CMJ (COLLEGE MEDIA JOURNAL)
''the Bingemen's self-titled debut adds new influences to it's already varied pot of country, boogie, rock, Southern rock and blues - you name it and you'll find it here. One thing that saves this record from sounding like another band trying to reinvent the wheel is the Bingemen's ability to pull off their deep reserve of retro-rock in such an honest, and convincing style. Check out 'Deeper Palms', 'Happens To Be' and Blind Man', and see if you don't agree...''
PORT FOLIO MAGAZINE (NORFOLK, VA)
''Like the secret spice in red beans and rice, the Bingemen, a foursome from the heart of the Big Easy, are also on the musical menu, and they guarantee to heat things up .... If you like the Boogaloo (Bayou Boogaloo and Cajun Food Festival) like I do, you just might find the Bingemen are better than red hot chili peppers.'' [Secret Spice, by Eric Worden]
OUT'N ABOUT(ASHEVILLE, NC)
''Happens To Be' has a good Little Feat rhythmic jumpiness to it and a loose funk that works well. The funk continues on 'Too Loose', but it's a smooth, controlled funkiness the Bingemen work that maintains a rock solid rhythm base ... some roots, some funk, some edgy, moody rock - the way they work on and expand those elements is impressive... Lead vocalist Jim McCormick has a voice which has excellent pure range but his real strength is an ability to achieve completely different tones from song to song. (Hootie's Darius Rucker could learn a lot from McCormick - they have similar tones, but McCormick has far more control) .. the other two reasons for their success lies in that solid rhythm section, wise and tasteful at every turn, and the guitar work of Edward Conway ... I highly recommend the Bingemen and this recording ... it (the CD) is going to sound as good six months from now as it does the day after the show .. work this solid just doesn't fade away''
MORE NOTICES ON THE BINGEMEN
''the Bingemen embrace the traditions of New Orleans soul and drag it kicking and screaming into the '90s'' (Tribe Magazine)
''Their fine CD should go a long way toward establishing this rootsy band'' (10 Bands to Watch in 1996, Offbeat Magazine)
''The latest disc from this earthy local rock group may have the same effect on your soul that a purifying rain has on the stanky streets of New Orleans ... it's no wonder that this band made many 1995 best-of lists'' (Gambit)
Best Local Album (WZRH, 106.1 FM, The Zephyr)
"The Pixies may have uncovered the musical link between Husker Du and Peter, Paul and Mary, but the Bingemen one up them by synthesizing the Band, Derek and the Dominoes and Pearl Jam, which isn’t all that difficult once you think about it. ... All in all, The Bingemen is another strong slice of local rock by a band that’s paid its dues" (Offbeat)
- VARIOUS