No Depression #77: Surveying the Past, Present, and Future of American Music (Bookazine (Whatever That Is))

For most of its thirteen-year history as a beloved and decorated music magazine, No Depression sought to be an instrument of change: to draw attention to the deep well of American musical traditions; to shine a light on performers whose gifts far exceed the size of their audiences or their pocketbooks; and to provide a safe harbor for the best long-form writing about music on the newsstand. These traditions continue through No Depression's now semi-annual series of bookazines. The inaugural bookazine, numbered ND #76 so as to make explicit the continuity between No Depression's original and new formats, focused on the next generation of emerging roots music performers. ND #77, due out the spring of 2009, will center around the phrase "instruments of change," and the various ways in which those words may be interpreted. Early assignments include profiles of mandolinist Chris Thile by Seth Mnookin, Tejano accordion masters by Joe Nick Patoski, and A-Team bass player Bob Moore by Rich Kienzle, as well as essays on the strange journey of Dock Boggs' banjo and an activist's memory of Phil Ochs. No Depression first appeared during the fall of 1995 as a 32-page quarterly magazine. Ten years later it had become a 180-page glossy bimonthly. Along the way it became one of the most prominent publications to cover American roots music, starting from the intersection of country and rock 'n' roll and tracing the links to bluegrass, folk, blues, gospel, soul, jazz, indie rock, Cajun, conjunto, and beyond. No Depression grew to be acknowledged as one of the finest music magazines ever published, was compared often to the 1960s origins of Rolling Stone or the 1970s heyday of Creem, and received awards from the Utne Reader, ASCAP, and the International Country Music Conference. It was cited by the Chicago Tribune in 2004 as one of the nation's Top 20 magazines in any category. The magazine's cofounders and coeditors, Grant Alden and Peter Blackstock, continue to guide the bookazine. The magazine's senior writers and contributors remain on board to shape the tone and voice of the bookazine, and its distinctive graphic design imprint continues in the hands of ND art director Grant Alden.

for Most Of Its Thirteen-year History As A Beloved And Decorated Music Magazine, No Depression Sought To Be An Instrument Of Change: To Draw Attention To The Deep Well Of American Musical Traditions; To Shine A Light On Performers Whose Gifts Far Exceed The Size Of Their Audiences Or Their Pocketbooks; And To Provide A Safe Harbor For The Best Long-form Writing About Music On The Newsstand.
These Traditions Continue Through No Depression's Now Semi-annual Series Of Bookazines. The Inaugural Bookazine, Numbered Nd #76 So As To Make Explicit The Continuity Between No Depression's Original And New Formats, Focused On The Next Generation Of Emerging Roots Music Performers. Nd #77, Due Out The Spring Of 2009, Will Center Around The Phrase Instruments Of Change, And The Various Ways In Which Those Words May Be Interpreted.
Early Assignments Include Profiles Of Mandolinist Chris Thile By Seth Mnookin, Tejano Accordion Masters By Joe Nick Patoski, And A-team Bass Player Bob Moore By Rich Kienzle, As Well As Essays On The Strange Journey Of Dock Boggs' Banjo And An Activist's Memory Of Phil Ochs.
No Depression First Appeared During The Fall Of 1995 As A 32-page Quarterly Magazine. Ten Years Later It Had Become A 180-page Glossy Bimonthly. Along The Way It Became One Of The Most Prominent Publications To Cover American Roots Music, Starting From The Intersection Of Country And Rock 'n' Roll And Tracing The Links To Bluegrass, Folk, Blues, Gospel, Soul, Jazz, Indie Rock, Cajun, Conjunto, And Beyond.
No Depression Grew To Be Acknowledged As One Of The Finest Music Magazines Ever Published, Was Compared Often To The 1960s Origins Of Rolling Stone Or The 1970s Heyday Of Creem,and Received Awards From The Utne Reader, Ascap, And The International Country Music Conference. It Was Cited By The Chicago Tribune In 2004 As One Of The Nation's Top 20 Magazines In Any Category.
The Magazine's Cofounders And Coeditors, Grant Alden And Peter Blackstock, Continue To Guide The Bookazine. The Magazine's Senior Writers And Contributors Remain On Board To Shape The Tone And Voice Of The Bookazine, And Its Distinctive Graphic Design Imprint Continues In The Hands Of Nd Art Director Grant Alden.

Contents......Page 2 Editors' Note......Page 4 Dock Boggs' Banjo (Jesse Fox Mayshark)......Page 5 The Voices of Como Now (David Menconi)......Page 15 The Accordions of Texas (Joe Nick Patoski)......Page 21 Bob Moore's Bass (Rich Kienzle)......Page 39 The Words of Bob Martin (Bill Friskics-Warren)......Page 49 Roman Cho's Photographs (live, from McCabe's Guitar Shop)......Page 55 Chris Thile's Mandolin (Seth Mnookin)......Page 69 Chris Hillman's Country-Rock (Barry Mazor)......Page 87 Jason & The Nashville Scorchers' Country-Punk (Don McLeese)......Page 98 Jeffrey Hatcher's Songs of Healing (Lloyd Sachs)......Page 111 The Words of Phil Ochs (Kenneth J. Bernstein)......Page 129 BUDDY & JULIE MILLER, Written in Chalk......Page 137 NEKO CASE, Middle Cyclone......Page 139 MADELEINE PEYROUX, Bare Bones......Page 140 DAVID BYRNE & BRIAN ENO, Everything That Happens Will Happen Today......Page 141 BRUCE ROBISON, His Greatest......Page 142 VARIOUS ARTISTS, Keep Your Soul: A Tribute to Doug Sahm......Page 143 Dock Bogg's banjo / by Jesse Fox Mayshark The voicos of Como now / by David Menconi The accordions of Texas / by Joe Nick Patoski Bob Moore's bass / by Rich Kienzle The words of Bob Martin / by Bill Friskies-Warren Roman Cho's photographs : live, from McCabe's Guitar Shop Chris Thile's mandolin / by Seth Mnookin Chris Hillman's country-rock / by Barry Mazor Jason & the Nashville Scorchers' country-punk / by Don McLeese Jeffrey Hatcher's songs of healing / by Lloyd Sachs The words of Phil Ochs / by Kenneth J. Bernstein Appendix. Reviews / Buddy & Julie Miller, ... [et al.].