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Jim Lauderdale is both a “songwriter’s songwriter,” who’s written/co-written many modern classics for iconic artists, as well as an intuitive sideman, who’s enhanced the music of a bevy of esteemed musicians. As a solo artist, since 1986 up until now, he’s created a body work spanning 29 albums of imaginative roots music, encompassing country, bluegrass, soul, R&B and rock, as well as helping pave the way for the current Americana movement.
A longtime ambassador of the Americana genre, Jim received the WagonMaster Lifetime Achievement Award, presented by George Strait, on Wednesday, September 21, 2016, as part of the 15th annual Americana Honors & Awards.
“I know him mostly as a songwriter; a really, really, really good hit songwriter, and I’ve been very fortunate to cut a lot of his songs over the years,” Strait said in his speech. “Like Porter Wagoner, Jim Lauderdale is a consummate entertainer, a sharp dressed man as well, a terrific songwriter and a great singer.”
Lauderdale has released at least one, and sometimes as many as three, records every years since 1998. He is the second most recorded writer in George Strait’s canon, as well as responsible for country hits for Patty Loveless, George Jones, Mark Chesnutt and the Dixie Chicks. He’s also recorded albums with Dr. Ralph Stanley, the North Mississippi Allstars, Donna the Buffalo, Elvis Presley’s band, Elvis Costello and Buddy Miller, as well as collections written whole albums with long time Grateful Dead collaborator Robert Hunter. He’s the co-hosts a weekly radio show on SiriusXM with Buddy Miller, “The Buddy & Jim Show”. He is also co-host of Music City Roots, the weekly live and radio, podcast and PBS series.
June 30th Lauderdale released his 29th album, London Southern that was recorded in London at Goldtop studios and produced by Neil Brockbank and Robert Trehern. London Southern features co-writes with Dan Penn, Joan Oates, Odie Blackmon and Kendell Marvell alongside six Lauderdale solo compositions and a host of celebrated guest musicians.
The making of London Southern in Jim’s own words:
Making London Southern was my first time recording in the London area. It’s something I had wanted to do for a long time, but more important was getting to work with Nick Lowe’s band and with his co- producers Neil Brockbank and Bobby Irwin. I had been such a huge fan of Nicks and was able to be his support act back at different times in ‘94 and ‘95 which was a huge break for me. So fast forward 20 years later and this record came together. We recorded over several sessions at the Goldstar Studios in Balham. In my opinion Neil Brockbank is one of the best producers, engineers, and mixers out there, period. Tragically, Bobby Irwin has passed away and I dedicate this record to his memory. He was well loved by his friends and family and is terribly missed. JIM LAUDERDALE Management: Michelle Goble/Gellman Management / michelle@gellmanmgmt.com Some of the songs for the first session were written or started in Glasgow, Liverpool, or London after gigs in the few days before starting. Back in the States, before going back for second rounds of sessions, I wrote with co-writers John Oates (If I Can’t Resist, Different Kind Of Groove) and Dan Penn (Don’t Shut Me Down, What Have You Got To Lose). Neil got me to add strings to “I Love You More” which I had never tried before. He had great ideas and made this a different sounding record than I had ever gotten to make. It was a real pleasure and inspiration to play with the musicians and some of the songs were written during the recording.
LONDON SOUTHERN track listing
Sweet Time
Written by: Jim Lauderdale
I Love You More
Written by: Jim Lauderdale
Only So Much Time
Written by: Jim Lauderdale, Odie Blackmon
You Came To Get Me
Written by: Jim Lauderdale
What Have You Got To Lose
Written by: Jim Lauderdale, Dan Penn
If I Can’t Resist
Written by: Jim Lauderdale, John Oates
Don’t Let Yourself Get In The Way
Written by: Jim Lauderdale
No Right Way To Be Wrong
Written by: Jim Lauderdale
Different Kind Of Groove Some Time
Written by Jim Lauderdale, John Oates
I Can’t Do Without You
Written by Jim Lauderdale, Kendell Marvell
Don’t Shut Me Down
Written by: Jim Lauderdale, Dan Penn
This Is a Door
Written by: Jim Lauderdale
“I wanted a different sound, kind of a throwback to the early ’60s. All the players had the same sort of experience I did, only from where they were. So it was that thing of how much British musicians loved American music, and how they interpreted our roots, then we interpreted them. They love a lot of the same things I do, only from a very different perspective…it was very American to British to America to Britain to America to, well, here. And sonically, I really put myself in Neil’s hands. He got things that were very unique, and fresh, and captured that feeling I was after.”
Having that quicksilver creativity added a bit of urgency in the studio, but also a freedom from thought out parts. As he recalls, “You hope you’ll take those influences and the influences that influenced them – and it will harken back to that excitement of hearing all that music for the first time. Because of it, we were able to just let the moment drive us, let those memories of love and of music just take over. Instead of planning everything out to the last detail, those things come through in the playing.”
As a man who writes about states of unrequited desire, tumbling into love and riding the tides of romance, Jim Lauderdale has always stretched the possibilities of genre, song structure and rhythm. With a common ground of how we all feel and the desire to say things in a slightly left of center manner, his wanderlust has provided one of the great American music surveys of the post-modern era.
Lauderdale has released at least one, and sometimes as many as three, records every years since 1998. He is the second most recorded writer in George Strait’s canon, as well as responsible for country hits for Patty Loveless, George Jones, Mark Chesnutt and the Dixie Chicks. He’s also recorded albums with Dr. Ralph Stanley, the North Mississippi Allstars, Donna the Buffalo, Elvis Presley’s band, Elvis Costello and Buddy Miller, as well as collections written whole albums with long time Grateful Dead collaborator Robert Hunter.
“I wanted a different sound, kind of a throwback to the early ’60s. All the players had the same sort of experience I did, only from where they were. So it was that thing of how much British musicians loved American music, and how they interpreted our roots, then we interpreted them. They love a lot of the same things I do, only from a very different perspective…it was very American to British to America to Britain to America to, well, here. And sonically, I really put myself in Neil’s hands. He got things that were very unique, and fresh, and captured that feeling I was after.”
Having that quicksilver creativity added a bit of urgency in the studio, but also a freedom from thought out parts. As he recalls, “You hope you’ll take those influences and the influences that influenced them – and it will harken back to that excitement of hearing all that music for the first time. Because of it, we were able to just let the moment drive us, let those memories of love and of music just take over. Instead of planning everything out to the last detail, those things come through in the playing.”
As a man who writes about states of unrequited desire, tumbling into love and riding the tides of romance, Jim Lauderdale has always stretched the possibilities of genre, song structure and rhythm. With a common ground of how we all feel and the desire to say things in a slightly left of center manner, his wanderlust has provided one of the great American music surveys of the post-modern era.
Lauderdale has released at least one, and sometimes as many as three, records every years since 1998. He is the second most recorded writer in George Strait’s canon, as well as responsible for country hits for Patty Loveless, George Jones, Mark Chesnutt and the Dixie Chicks. He’s also recorded albums with Dr. Ralph Stanley, the North Mississippi Allstars, Donna the Buffalo, Elvis Presley’s band, Elvis Costello and Buddy Miller, as well as collections written whole albums with long time Grateful Dead collaborator Robert Hunter.
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“I wanted a different sound, kind of a throwback to the early ’60s. All the players had the same sort of experience I did, only from where they were. So it was that thing of how much British musicians loved American music, and how they interpreted our roots, then we interpreted them. They love a lot of the same things I do, only from a very different perspective…it was very American to British to America to Britain to America to, well, here. And sonically, I really put myself in Neil’s hands. He got things that were very unique, and fresh, and captured that feeling I was after.”
Having that quicksilver creativity added a bit of urgency in the studio, but also a freedom from thought out parts. As he recalls, “You hope you’ll take those influences and the influences that influenced them – and it will harken back to that excitement of hearing all that music for the first time. Because of it, we were able to just let the moment drive us, let those memories of love and of music just take over. Instead of planning everything out to the last detail, those things come through in the playing.”
As a man who writes about states of unrequited desire, tumbling into love and riding the tides of romance, Jim Lauderdale has always stretched the possibilities of genre, song structure and rhythm. With a common ground of how we all feel and the desire to say things in a slightly left of center manner, his wanderlust has provided one of the great American music surveys of the post-modern era.
Lauderdale has released at least one, and sometimes as many as three, records every years since 1998. He is the second most recorded writer in George Strait’s canon, as well as responsible for country hits for Patty Loveless, George Jones, Mark Chesnutt and the Dixie Chicks. He’s also recorded albums with Dr. Ralph Stanley, the North Mississippi Allstars, Donna the Buffalo, Elvis Presley’s band, Elvis Costello and Buddy Miller, as well as collections written whole albums with long time Grateful Dead collaborator Robert Hunter.
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