Postmodern Sounds in Country and Western Music

Johnny Cash Remixed

2008-09-12T10:00:00.007-05:00

I read an academic paper once that argued that hip-hop sampling was just a natural technological continuation of the practice of quotation in jazz and the blues.* The implicit corollary was that jazz, the blues, and other primarily African American musical forms were natural and inherently appropriate sources for quotation by sampling. Johnny Cash Remixed seeks to see how well country music, a music usually considered outside the African American vernacular music tradition, fares when quoted and reinterpreted in the hip hop vernacular.

There’s a fair amount of general skepticism in country and roots music circles about the potential of this sort of remixing and of this records in particular.

It would be hard to call this record a success, in spite of a few stand out tracks, but I think its failures can show us some of the dangers that must be dealt with when remixing music history.

The most mediocre tracks on the album, such as Count De Money’s “Big River,” suffer from a lack of imagination; they merely add a beefed up, somewhat-electrified rhythmic base or filter the original vocal or instrumental track through echo or distortion digital effects. These tracks fail by being too faithful to the original, refusing to add anything interesting out of fear of overshadowing it.

At the other end of the spectrum, “I Walk the Line,” remixed by QDT Musik featuring Snoop Dogg, has a jarring disjoint between the tenor of the source material and the added sounds. I actually kind of like QDT’s beats here, but Johnny’s vocals, old analogue monaural recordings that they are, sound thin next to the dynamically richer synthesizer and new vocal recordings, and the original is never adequately integrated into the mix or into the song. I’m torn as to whether this is a failure of intention, not respecting the source material, or a failure of execution; it’s probably partially both. Overall, I’d say this collection suffers from a general disjointedness between the largely acoustic and analog source material and the very electronic-sounding new material.

Interestingly, the two tracks that undeniably succeed succeed for different reasons. The Midnight Juggernauts’ “Port of Lonely Hearts” is largely just a reworking of the music behind Johnny's vocals, but unlike “Big River,” in which the added rhythm tracks imitate and fight with the original instrumentation, here the sparse original accompaniment is largely jettisoned in favor of an equally sparse, ethereal and electronic sound into which Johnny’s vocals and a remnant of the original guitar are deftly integrated.

Alabama 3 has perhaps the best track on the album, unsurprising, as this sort of postmodern mixture has been their thing for quite some time. It is obvious that they respect their source material, yet they are unafraid of totally dismantling it to create something new. While the central author of all of the other tracks remains Johnny Cash, Alabama 3 essentially creates their own new song, which just happens to share a chorus with and include samples from Johnny Cash’s “Leave that Junk Alone.”

Listen:
Johnny Cash - Leave that Junk Alone [Alabama 3 Remix]

Buy:
From Amazon

* Andrew Bartlett, “Airshafts, Loudspeakers, and the Hip Hop Sample: Contexts and African American Musical Aesthetics,” African American Review 28 (1994):639–652.

Chris Scruggs - Tennessee

2008-07-02T10:00:00.003-05:00

I saw Chris Scruggs, former/on-and-off co-front man and steel player with BR549, last April and I picked up the tour-only EP Tennessee. I had liked Chris’s contributions to BR549, notably his song “Honky Tonkin’ Lifestyle,” which first appeared on his independent solo debut of the same title (which I was never able to track down) and was later included on BR549’s Tangled in the Pines. Scruggs also brought a youthfulness and vigor to BR549, making him, if not a good replacement, per se, for Gary Bennett, at least a good inclusion in the post-Bennett BR549.

Scruggs continues the honky-tonkin’ in his solo shows, but with a more stripped down sound and a bit more rock ’n’ roll influence. His EP is a more ethereal, however, including solid, southern gothic–influenced interpretations of ’40s and ’50s country standards.

Listen:
Chris Scruggs - Wayfaring Stranger

Reverend Organdrum - Hi-Fi Stereo

2008-02-21T01:11:00.005-06:00

The Reverend Horton Heat gig I saw last month was the same fast and frenzied postmodern rockabilly that’s been drawing standing-room only crowds for two decades. Front man Jim Heath’s hair might be starting to show his age, but his guitar playing isn’t exactly what you might expects from a many pushing fifty.

I knew that Reverend Organdrum, Heath’s side project with Hammond organist Time Alexander and drummer Todd Soesbe, would be different from Rev. Horton Heat, but I wasn’t expecting such a laid-back lounge vibe from this CD. Heath and Alexander interweave the sounds of their respective instruments not in the spirit of showmanship usually seen in rockabilly revivalism, but to effect an atmosphere, the rockabilly after-party chill-out.

Listen:
Reverend Organdrum - A Shot in the Dark

Buy:
From Reverend Organdrum
From Amazon

The Jones Street Boys - Overcome

2008-02-16T01:27:00.004-06:00

I got a song off this album from another blog (S:I?) a few months ago and couldn’t stop playing it. That song, “Last Time,” showed the Jones Street Boys as a promising string band willing to incorporate accent instruments such as piano, harmonica, and traps drums. When they sent me their disc last month, I was not disappointed. But their record shows a greater stylistic range than I was expecting. They keep their record centered on the New York-style string-band sound, but they foreground harmonica, piano, organ, and other keyboard instruments on a few tracks. This album comfortably inhabits the uneasy middle ground between string-band revivalism, insurgent country, adult alternative acoustic, and hipster folk. The other stand-out track on the disc is a cover of the Band’s “Twilight.”

Listen:
The Jones Street Boys - Last Time
The Jones Street Boys - Twilight

Buy:
From Insound
From Amazon

Corb Lund - Horse Soldier! Horse Soldier!

2008-01-20T00:50:00.002-06:00

Corb Lund is obsessed with horses. I’m not sure if every song on this album mentions them, but even “Student Visas,” a haunting song about a US soldier’s experience as a CIA aide to the Nicaraguan Contras, calls upon the soldier’s family heritage in the cavalry, connecting his injury in a shot-down helicopter to the helicopter’s replacement of the horse in some US Army cavalry units. But the horse theme, or perhaps more specifically a cavalry theme, runs throughout the disc.

I don’t know Corb Lund’s personal history with horses—whether he’s a horseman or not—and I’m not trying to question his “authenticity” if he isn’t. His songwriting shows a longing for the the history and freedom symbolized by the horse that I, as someone who cannot ride and wishes he could, find compelling. “Whenever I see horses, it reminds me of what I ain’t. . . . Whenever I see horses, I see a path I did not take.”

Listen:

Corb Lund - Horse Soldier, Horse Soldier

Watch:

Corb Lund - I Wanna Be In The Cavalry

Buy:

From CD Baby

White Ghost Shivers - Killing Tradition

2007-09-07T13:11:00.001-05:00

Austin-based "hot jazz" ensemble the White Ghost Shivers are plugging in tonight at the Replay Lounge in Lawrence, KS, and playing a set of punked up versions of their 1920s-style fare. At their acoustic show last night I picked up a copy of a teaser EP featuring four of their songs redone in this style. Here's the original version of "Strictly Ornamental" from their latest full-length album Everyone's Got 'Em along with their new version.

Listen:

The White Ghost Shivers - Strictly Ornamental (acoustic album version)

The White Ghost Shivers - Strictly Ornamental (electric EP version)

Buy:

From Chicken Ranch Records

Jeff Zentner - Hymns to the Darkness

2007-08-02T13:52:00.001-05:00

A couple months ago I posted about "distortion folk" group Creech Holler. Lead singer Jeff Zentner also sent me his solo CD, Hymns to the Darkness. Unlike Creech Holler, which takes a distorted electric take on largely traditional tunes, Zentner's disc brings a baker's dozen of acoustic originals. Truly a solo album, Zentner plays guitar, dobro, steel, mandolin, and banjo, and provides his own harmony vocals.

Listen how the steel guitar hovering over the more "old time" sounding acoustic instruments creates an interesting ethereal Southern Gothic sound.

Listen:

Jeff Zentner - Rusty Town

Buy:

From CD Baby

The Statler Brothers - The Essential Statler Brothers, 1964-1969

2007-07-17T13:38:00.000-05:00

If you're about my age, you probably only know about the Statler Brothers from their cheesy early-'90s TNN variety show and their appearance on the Pulp Fiction soundtrack (and the scene where Bruce Willis sings along). But before they got old and fully embraced corn pone humor, the Statler Brothers laced their humor with a dark underside and an earnestness that makes one wonder exactly who is supposed to be laughing.

Listen:
~~The Statler Brothers - Half a Man~~
~~The Statler Brothers - Jump for Joy~~

Buy:
From Amazon

Forty Twenty - Lowdown and Dirty

2007-07-12T15:03:00.000-05:00

I first saw Forty Twenty opening for BR549 in the spring of 2003. In the year that followed, they must have made the trip from Lincoln down to Lawrence or Kansas City another six or seven times, almost all of which I saw. Forty Twenty is a great country bar band, playing as long as three hours with no breaks, with no set list, and including a wide range of originals, classic country standards, and unexpected covers.

Forty Twenty regularly started off their shows with a cover of Black Sabbath's "War Pigs" in medley with their original tune "The Wagon." (Ninebullets' recent post on "War Pigs" covers prompted me to post this.) In concert, they often interpolated standards into their own songs, invigorating the standards/bar band formula.

Listen:
~~Forty Twenty - Drink About Her~~
~~Forty Twenty - War Wagon~~ (live medley: War Pigs/The Wagon)

Buy:
From Lone Star Music

This is America.

2007-07-04T13:53:00.002-05:00

Listen:
~~Marty Stuart - Hobo's Prayer~~

Buy:
From Amazon

Ray Charles - Modern Sounds in Country and Western Music

2007-06-29T14:05:00.000-05:00

I figure that it's about time for me to write about my (near) namesake, Ray Charles's 1962 album Modern Sounds in Country and Western Music. Much of what is written about this album sees it as the initial work in the country-soul connection that would become more obvious a decade later with the rise in both genres of the Muscle Shoals sound. But unlike later country-soul, as exemplified by Mavis Staples and Solomon Burke, both of whom truly fused the sounds of the country and soul genres (or explored overlaps, perhaps), this album largely ignores the sounds of country, instead transforming songs originally recorded in a country or western style into soul and light jazz.

None of this is meant, however, as criticism of Charles or this album. Rather, I feel that this album points out another important similarity between country and soul: their common relationship to the song. In 1962 rock and roll was on the verge of permanently intertwining the songwriter and the performer, the song and the performance. In rock music, the writing of a song and the interpretation of that song in recording are fused into one action; the song is what's on the record and what's on the record is the song.

Imagine rock hits reinterpreted similarly to this album. It's been done of course; Pat Boone's recording of Ozzy Osbourne's "Crazy Train" was heard by many as the theme to The Osbournes, but can only really be regarded as kitsch or a novelty song. The lounge interpretation can perhaps even be seen as violating or betraying the song.

The songs on this album are open to radical reinterpretation, however, because they were written with just that in mind. These songs, by and large, weren't written with a performer, genre, or performance style in mind. They were largely written with total disregard to the manner in which any performer would interpret them.

Soul and country share the same attitude toward the song and toward the value of the performer as interpreter separate from the songwriter. Placing value on interpretation seems radical to those of us thoroughly steeped in the singer/songwriter ideology of rock and roll, but listening to this album shows that its absolutely appropriate to assign authorship for genius interpretation.

Listen:
~~Ray Charles - Hey, Good Lookin'~~

Buy:
From Amazon

American Gun - Dark Southern Hearts

2007-06-25T14:01:00.000-05:00

American Gun is a Columbia, SC-based rock group that wears their love of country music on their sleeve. Ranging from straight-ahead rock and roll (circa early-1970s Stones) to more laid-back roots rock with prominent steel guitar and piano, their debut album Dark Southern Hearts shows a wide range of musical interests while retaining a strong focus on the rock that is at the heart of their style. Unlike some rockers drawing from country sounds, American Gun plays a perfect middle ground in their use of sounds normally associated with country music. They aren't cute or clever with their country allusions, but neither are they reverent. Rather, their calls to country music serve simply to flesh out their rock and roll sound without transforming it into something new. Listen to how the fiddle and banjo in "Drowning Ship," instead of turning the song into a country song, serve the needs of the song as a rock song.

Listen:
~~American Gun - Drowning Ship~~

Buy:
From American Gun
From emusic

Now on MySpace!

2007-06-25T02:35:00.000-05:00

I finally got around to setting up a MySpace profile for Postmodern Sounds.
Visit it at www.myspace.com/postmodernsounds.
Hopefully it's easier to use day to day than it was to set up.

Yarn - Yarn

2007-06-06T11:26:00.000-05:00

A couple months ago while vacationing in New York City, I just happened to get an email promoting New York alt-country band Yarn's debut album the morning of their CD release show as the Lakeside Lounge, which I had been thinking about attending. I ended up not being able to make the show, even though it was a scant block and a half from where I was staying, but I was fortunate enough to have a CD waiting in my mailbox when I made it back to Kansas.

Led by local roots-rocker Blake Christiana, of Blake and the Family Dog, Yarn takes a primarily acoustic approach to the Brooklyn Americana sound, focused on songwriting and underlaid with sharp guitar and mandolin work and occasional steel, Dobro, and fiddle/violin.

Listen:
~~Yarn - Madeline~~

Buy:
From CD Baby

Dressed in Black: A Tribute to Johnny Cash

2007-04-24T15:13:00.000-05:00

The last half decade has seen an explosion of Johnny Cash tribute albums. Leading the pack in 2002 was this indie-country oriented set produced by BR549's Chuck Mead. This compilation, probably due to its house band of Chuck Mead on guitar and Dave Roe on bass, flows together remarkably well considering the breadth of music included: the psychobilly of Rev. Horton Heat and the punk-country of Hank III and J.D. Wilkes of the Shack*Shakers as well as the Dale Watson's honky tonking and Bruce Robison and Kelly Willis's Americana.

This album has a general sense of sincerity and comfortableness that isn't exhibited in tributes (such as the Marty Stuart-produced Kindred Spirits) featuring better-known performers some of whom seem as if they are coming to the material for the first time. This album also gives some much needed attention to several people, such as Earl Poole Ball, Redd Volkaert, and Kenny Vaughan, who are better known as sidemen or backing musicians, allowing them to step up into the spotlight.

Listen:
~~Bruce Robison and Kelly Willis - Pack Up Your Sorrows~~
~~Damon Bramblett - I'm Gonna Sit on the Porch and Pick on My Old Guitar~~

Buy:
From Dualtone
From Amazon

The Soul of John Black - The Good Girl Blues

2007-04-19T00:13:00.000-05:00

Sometimes I think a lot of alt-country types think they own the "roots music" idea. I know I'm guilty of this a lot, assuming that the natural and appropriate method of engaging with popular and folk music history lies somewhere on the continuum between Uncle Tupelo and BR549. But sometimes I get CDs that show me I'm an idiot.

I got The Good Girl Blues by The Soul of John Black a couple months ago. Most of the CDs I get sent are by people I haven't heard of, and scanning down the list of names on this disc and recognizing none, I assumed it was just another indie outfit looking for a good word. As I listened to the CD and thought about how I would review it, how I could comment on the tight integration of acoustic and electric, city and country blues with elements of soul, funk, and hip hop, I realized that I didn't have the vocabulary to discuss these latter, more recent developments in African American music. Then I read the press packet and found out that front man John Bigham played with Miles Davis (even writing one of the songs on Davis' last album) and was a member of Fishbone for nearly ten years.

I guess my point is that my insular view of "roots" as nearly synonymous with alt-country prevented me from seeing strands of influence that should have been obvious and caused me to overlook playing with Miles Davis and Fishbone as legitimate avenues toward this.

Listen:
~~The Soul of John Black - Fire Blues~~
~~The Soul of John Black - Deez Blues~~

Buy:
From CD Baby

Creech Holler - With Signs Following

2007-04-05T12:34:00.000-05:00

North Carolina singer-songwriter Jeff Zentner recently sent me With Signs Following, the recent album from his trio Creech Holler. While the broad categorization of alt country is probably okay for Creech Holler, a more appropriate label might be "distortion folk." A full half of the songs on this album are traditional (with another credited to Dock Boggs and four by the band), but these songs are hardly played in a manner that could be called traditional in any way. Relying on heavily over-driven electric guitar and brash rudimental drumming, this CD doesn't risk being mistaken for the work of folk purists. The songs are still very recognizable as traditional folk songs, making for a nicely jarring combination.

Listen:
~~Creech Holler - Wild Bill Jones~~

Buy:
From CD Baby

Call for suggestions: Music in New York City

2007-03-15T01:19:00.000-05:00

I know I have a few regular readers in and around the New York City area. I'm coming your way next week; I'll be in town from this coming Friday, the 16th through the 24th. I'm looking for any advice about where I might want to go to hear some nice alt-country or roots-oriented music. I'm staying in Alphabet City, and I'm hoping to catch the Doc Marshalls' show at Banjo Jim's. I'm also contemplating some of the shows at the Rodeo Bar. Are any of the band there next week recommended? Any hints or suggestions about other worthy shows this week would be appreciated.

Thanks.

7 Shot Screamers at SXSW

2007-03-14T11:48:00.000-05:00

One of these years I'm going to make it to South by Southwest. Not this year, though. Perusing the highlights lists, like the ones posted by Twangville, I've noticed a whole lot of great roots and alt-country that I'm going to be missing. One band that hasn't been pointed out is the 7 Shot Screamers. SXSW has them listed under the punk genre, which may be why they haven't been noticed by roots music fans. This is a prime example of the limitations of the one-and-one-only genre classification scheme the SXSW index uses.

The 7 Shot Screamers' blend of punk and rockabilly should appeal to a wide variety of punk and roots-oriented tastes. I've written about their first album. Their most recent album came out last fall on St. Louis-based garage rock label Big Muddy. They've also been touring with Exene Cervenka, formerly of X and the Knitters, as the current incarnation of her Original Sinners.

They're playing 8:00, Saturday at the Dirty Dog Bar in Austin.

Listen:
~~7 Shot Screamers - Love Always, Charlie~~
~~7 Shot Screamers - War Song~~

Buy:
From CD Universe

Kirk Rundstrom

2007-02-23T00:01:00.000-06:00

I didn't know Kirk Rundstrom personally. I wish I had. He had a real presence over the Lawrence music community.

This was my first favorite song of theirs years ago.

Listen:
~~Split Lip Rayfield - The Day the Train Jumped the Tracks~~

Support:
The Kirk Rundstrom Cancer Fund

Loomer - Songs of the Wild West Island

2007-02-19T12:35:00.000-06:00

Canadian indie-rock/alt-country band Loomer released their sophomore album last fall. I've been listening to it in my car for a while and I've been quite taken by the way they combine the often disparate sub-genres of country music. Instead of focusing on cross-generic synthesis like some indie-roots bands (the proliferation of country/soul around these days, for example), Loomer creates an intra-generic synthesis of Americana, honky-tonk, Uncle Tupelo-style alt-country, and old time. Featuring sweet pedal steel, baritone guitar, banjo, and a combination of sweet harmonies and rough vocals, this album highlights the best sounds from these often separated strands of country music.

Listen:
~~Loomer - Endless Holiday~~
~~Loomer - Anastasia (Live BBC Session)~~

Buy:
From Miles of Music
From Amazon

The Highway Sound - What Henry Ford Forgot

2007-02-07T00:46:00.000-06:00

The Highway Sound is a project of Brooklyn-based singer/songwriter Jay Zasa. The focus of the album is Zasa's songwriting, which is foregrounded by his distinctive, slightly off pitch but endearing voice that is reminiscent of Michael Stipe of REM. Jay is backed up by an ensemble playing what he calls "big Brooklyn Americana." While they never reach the ethereality of Brooklyn neighbors Hem, preferring a lower-fi aesthetic, the family resemblance is apparent. Listen for the fiddle of Mat Kane (of the Doc Marshalls) and the piano of Andy Bienen (co-screenwriter of Boys Don't Cry).

Listen:
~~The Highway Sound - Railroad Bill's Return~~

Buy:
From CD Baby

Top 10 of 2006, Part 3

2007-02-01T10:41:00.000-06:00

Today we finish up the sample songs off my favorite albums of the year. My top two are perhaps the least well-known releases on this list, but don't think that I upped their placement just to have an unconventional top pick. I actually feel that these two albums are the best I've heard this year, surpassing the better-known and more-respected musicians who are below them on the list or not present at all.

3. Kris Kristofferson - This Old Road

Listen:
~~Kris Kristofferson - Pilgrim's Progress~~

Buy:
From Amazon

2. Bob Wayne and the Outlaw Carnies - Blood to Dust

Listen:
~~Bob Wayne and the Outlaw Carnies - 27 Years~~

Buy:
From Bob Wayne

1. Scott H. Biram - Graveyard Shift

Listen:
~~Scott H. Biram - Been Down Too Long~~

Buy:
From Bloodshot
From Amazon

Top 10 of 2006, Part 2

2007-01-30T12:20:00.000-06:00

Today we continue the sampling of my top 10 of 2006. Follow the link for more detailed commentary.

7. Old Crow Medicine Show - Big Iron World

Listen:
~~Old Crow Medicine Show - I Hear Them All~~

Buy:
From Amazon

6. Solomon Burke - Nashville

Listen:
~~Solomon Burke - Valley of Tears~~

Buy:
From Amazon

4. Hank Williams III - Straight to Hell

Listen:
~~Hank Williams III - D. Ray White~~

Buy:
From Amazon

Top 10 of 2006, Part 1

2007-01-25T16:33:00.000-06:00

Head over to Americana Roots to see my top 10 albums of 2006. All ten albums are highly recommended and I've included a brief paragraph of explanation after each choice. Here are my favorite songs from albums 8, 9, and 10. Stay tuned for the rest of the count-down.

10. White Ghost Shivers - Everyone's Got 'Em

Listen:
~~White Ghost Shivers - Little Kisses~~

Buy:
From Chicken Ranch Records

9. Gary Bennett - Human Condition

Listen:
~~Gary Bennett - Headin' Home~~

Buy:
From Gary
From Amazon

8. Grayson Capps - Wail and Ride

Listen:
~~Grayson Capps - Give It To Me~~

Buy:
From Hyena Records
From Amazon

Cadillac Sky - Blind Man Walking

2007-01-22T13:23:00.000-06:00

Blind Man Walking, Cadillac Sky's first album on Skaggs Family Records, hits stores tomorrow. Cadillac Sky could primarily be classified as a newgrass band, but the influence of country, traditional bluegrass, and Celtic music can be heard. Banjo player Matt Menefee and fiddler Ross Homes have both placed at Walnut Valley and singer and mandolin player Bryan Simpson has had several songs recorded by mainstream country artists.

Singer Bryan Simpson's baritone splits the difference between recent hat act Josh Turner (with whom they're played) and John Cowan of New Grass Revival and highlights an ambivalence running through this CD toward the divisions between traditional, progressive, and popular.

Listen:
~~Cadillac Sky - Born Lonesome~~
~~Cadillac Sky - You Again~~

Buy:
From Scaggs Family
From Amazon

The Can Kickers - Mountain Dudes

2006-12-14T12:45:00.000-06:00

New London, CT-based The Can Kickers combine a punk ethos with traditional mountain music instrumentation: banjo, guitar, fiddle, harmonica, and washboard. What they may not possess in instrumental virtuosity, they make up in frantic energy and excitement. This, their third album, features mostly standards. Check out this collage of traditional sources, incorporating a traditional melody I can't quite place, some words from "Blue Moon of Kentucky," and some original lyrics.

Listen:
~~The Can Kickers - Shenandoah X~~

Buy:
From The Can Kickers

Antsy McClain and the Trailer Park Troubadours - Merry Christmas from the Trailer Park

2006-12-09T17:46:00.000-06:00

If you're looking for a campy, white-trash Christmas, and if you're looking to experience it vicariously, this CD by Antsy McClain and the Trailer Park Troubadours is the one to get. And the music's pretty good, too. Unlike some white trash send up records, which are more concerned with the broad comedy, this CD also features some nice country and rockabilly sounds. Lead singer Antsy McClain also happens to do "serious" work, so don't think that he's a one-note novelty act.

Listen:
~~Antsy McClain - Christmas at the Trailer Park~~
~~Antsy McClain - She's Underneath the Mistletoe Again~~

Buy:
From Antsy McClain

Sunny Sweeney - Heartbreaker's Hall of Fame

2006-12-06T01:51:00.000-06:00

The first thing I noticed about Sunny Sweeny was her East Texas accent. It reminded me a bit of Natalie Maines of the Dixie Chicks. I’m glad I didn’t let my initial prejudice get in the way of listening to the whole album, though, as Sweeney puts out a compellingly sweet and swinging album of Texas-style honky tonk.

Read the rest of my review on Americana Roots.

Listen:
~~Sunny Sweeney - If I Could~~

Buy:
From CD Baby

Spicewood Seven - Kakistocracy

2006-11-06T21:26:00.000-06:00

I got this CD more than a month ago but haven't had the time to review it until now. I figured that after tomorrow, it would be a moot point to feature a disc intent on effecting the political status quo.

"Kakistocracy" is "government by the least qualified or most unprincipled citizens," according to the American Heritage Dictionary. I don't think it's risky to guess to whom the Spicewood Seven are referring. This CD isn't a liberal diatribe, though. Including a dig at "hippie girl" protesters and lamenting the removal of "under God" from the Pledge of Allegiance, this album is more reminiscent of Merle Haggard's populism than Steve Earle's full-fledged liberalism.

The album touches on a variety of issues, but the focus is the war in Iraq. Unlike some east coast liberals, this album doesn't show disdain for military personnel and it touches on religion as a force for progressive social change in a way that the Democratic establishment doesn't seem to get. The rise of populist opposition to the war in Iraq as exemplified by this album and Haggard's recent album makes me think the GOP is going to be in trouble tomorrow. The Democrats' inability to seize this discourse on a national level, however, mystifies me and if they don't pull it off tomorrow it wasn't for lack of opportunity.

The album, masterminded by Tennessee State U. English professor Luke Powers and Austin producer Tommy Spurlock, features guest appearances by Leon Rausch (of Bob Wills' Texas Playboys), Rosie Flores, Elana Fremerman (of Hot Club of Cowtown), and Garth Hudson (of the Band), who provides a church pipe organ version of the Doxology/Old 100th entitled "Garth's Dox."

The portion of the proceeds from this album are being donated to The Center for the Intrepid rehab facility being built at Brooke Army Medical Center in San Antonio.

Listen:
~~Spicewood Seven - 21 Guns (For Cindy Sheehan)~~

Buy:
From CD Universe

Hem - Funnel Cloud

2006-10-01T19:57:00.000-05:00

Hem is one of the few bands that is productively mining the intersection of country, folk, adult alternative, and indie-rock. They call their music "countrypolitan," and they do draw heavily on Nashville Sound-era country-pop, but I find that they reference a much wider range of pop musics.

I think that Hem might just be the epitome of the new "Americana" classification. They are a group that is too pop to fit comfortably as alt-country, yet too country to really make it onto pop radio. They also have much more lush and orchestrated arrangements than one normally finds in modern folk, although the singing style would certainly fit there.

I'm linking to some streams from their label Nettwerk. The first, "Not California," shows their diverse influence: it opens with Dylan-esque harmonica and ethereal steel guitar coupled with strong female vocals that build in intensity to something from when alternative was on the verge of becoming adult alternative in the mid-1990s.

Listen:
Hem - Not California
Hem - He Came to Meet Me

Buy:
From Amazon

Three previews from Bloodshot

2006-09-11T17:15:00.000-05:00

Veering for once from my normal album-centered reviews, today I'm going to post three songs that Bloodshot Records sent out to audioblog types from upcoming albums of theirs.

Wayne Hancock's new album Tulsa drops October 10. I'm a big fan of his. I reviewed a live album of his here. I'm really looking forward to hearing this whole disc.

Listen:
~~Wayne Hancock - Shootin' Star From Texas~~

The Wee Hairy Beasties' album Animal Crackers comes out on October 24. This Bloodshot supergroup of Jon Lanford, Sally Timms, Kelly Hogan, with backing by Devil in a Woodpile sings kids songs.

Listen:
~~Wee Hairy Beasties - Toenail Moon~~

Also out October 24 is the Bloodshot tribute to the Old Town School of Folk Music. For the Kids: The Old Town School of Folk Music Songbook features most notably Jon Langford and Robbie Fulks and many others singing songs that fit under the general category of standards.

Listen:
~~Robbie Fulks - Browns Ferry Blues~~

Hope to have a real post up soon!

The Dewayn Brothers - A Family Farewell

2006-09-07T22:29:00.000-05:00

The Dewayn Brothers started out as a side project of Emporia, KS-based jam band Loco Macheen. Playing in a more rock/funk oriented jam style, they decided to branch out into an acoustic, bluegrass style. Their bluegrass doesn't come out all that jam-band-y, though.

The band has a pretty typical bluegrass line-up, but with the addition of an accordion, which gives them a little bit of distinction over all the other side-project bluegrass bands floating around Lawrence.

This is their second CD; I'm not sure if it's available still. Their third and fourth CDs are at CDBaby. Their most recent was produced by Mike West at the old 9th Ward Pickin' Parlor.

Listen:
~~The Dewayn Brothers - Pigeon Stew/That Train~~

Buy:
Frontyard Junkyard from CD Baby (3rd CD)
Critter Creole from CD Baby (4th CD)

Scott H. Biram - Graveyard Shift

2006-08-28T21:46:00.000-05:00

I got this album pretty soon after it first came out last month, but I never had the will to take it out of my stereo, I just wanted to let it keep playing over and over. This is the second Bloodshot album by Austin-based "dirty old one man band" Scott H. Biram and his fifth album overall. Unlike his previous record (which I reviewed here), this record really is just him, singing lead and harmony vocals and playing all the instruments: guitars, harmonica, Hammond B3 organ, and a plethora of percussion and "random noise." He is only joined by another person for one track; Ethan Shaw of Chili Cold Blood and the Moonhangers plays steel guitar on "18 Wheeler Fever."

His previous album The Dirty Old One Man Band has a very live feel (not surprising since a good half of it are concert-recorded tracks) and features backing by the Weary Boys to round out the sound on several tracks. The other tracks only have Scott playing what he could conceivably play simultaneously: guitar, foot-pedal percussion, and harmonica or voice. I don't know if that album was recorded with or without overdubs, but Graveyard Shift doesn't have any pretense of avoiding them. This gives a much richer texture as electric and acoustic guitars intertwine, voice and harmonica overlay, and Hammond B3 provides a foundation for all sorts of stuff that definitely couldn't be played by the same person at the same time.

This record is rather morose, as is indicated by the title and the album art. Scott continues to work through his near-death experience in a head on collision with a semi. His deep ambivalence to death and spirituality is puzzling as it makes him hard to categorize. His frequent use of the gospel call and response form as well as calling out to Jesus both come off as neither sincere nor insincere. His use of religious musical forms certainly cannot be grouped with the so-called irony of current indie rock, but it also doesn't have a place within gospel.

While this album doesn't quite teeter precariously between Saturday night and Sunday morning (it's more Saturday night) the way Bob Wayne's Blood to Dust does, I feel that it further represents a revival of the ambivalent relationship between gospel and the blues that was so important in the formative years of what we have come to call country music and which has been somewhat lacking recently.

Listen:
~~Scott H. Biram - Been Down Too Long~~

Buy:
From Bloodshot
From Amazon

Dale Watson - Whiskey or God

2006-08-22T00:01:00.000-05:00

Sorry for the delay. Two unexpected things about my new schedule. First, without a twenty minute drive to work, I have no built in time to just listen to CDs, and not listening to CDs means not being able to write about them. The other thing is that not working nights anymore, I can go to weeknight concerts (like I just did) which further eats up my time.

Dale Watson released this album several months ago, but I just picked it up last week. It's a strong outing from one of the reigning kings of the honky tonk. Featuring songs he's been playing live for years but that have never made it onto disc, this album has the polish of the studio with the intimacy and emotion of a live recording.

Dale Watson is often grouped with alt-country, but he isn't alternative in the same genre-bending way as, say, the Bloodshot Records stable of artists. He's not particularly interested in combining seemingly disparate genres and examining off the tensions created. Rather, he's interested in making good old country music. Unfortunately, these days that is an alternative to the mainstream. Not to say that he doesn't have a wide range of influences. This album has songs with influences from Cajun, Tex-Mex, and even disco, along with the more expected honky tonk, Bakersfield, and Nashville Sound.

For some of these songs, I can make an educated guess which album they were originally written for. This is particularly true for "My Heart is Yours" and "I Wish I Was Crazy Again," both of which delve into the same agony of love and loss that is featured on Every Song I Write is For You. (Thankfully, these songs don't feature that albums synth strings.) "I Wish I Was Crazy Again" is to me the strongest song on the album. Listen for the subtle trombone on this track.

Listen:
~~Dale Watson - I Wish I Was Crazy Again~~

Buy:
From Dale Watson
From Amazon

Service Advisory / A Brief Personal Note

2006-08-11T03:13:00.000-05:00

Thanks for reading me for the last few months. Some of you may have noticed my pretty regular Tuesday/Thursday night posting routine. Tonight will likely be the end of that. Tomorrow is my last day at my full-time job and next Thursday I'm starting school again -- the master's program in American Studies at the University of Kansas. I'm planning on focusing my studies on the same sort of music upon which I focus here.

In the coming weeks, I hope to feel out a regular, probably still twice weekly posting schedule. Until then, check back once in a while; I'm not going on hiatus.

Caught in the Webb: A Tribute to the Legendary Webb Pierce

2006-08-11T01:35:00.000-05:00

To be honest, before I picked up this tribute album, I didn't really know that much about Webb Pierce. I'm not sure I could have named more than a couple songs of his. "There Stands the Glass" was his one really big hit, and BR549 covered "Honky Tonk Song." But somehow I know most of the songs on this CD. I guess he was a bit more prolific than I knew and is well remembered by classic country radio.

This is a remarkably successful tribute album. Like many country tribute albums, this one has a house band, led here by Kenny Vaughan, that gives a unifying sound. The individual needs of the singers aren't ignored, though; the band is able to adjust according to the style of each guest. The contributions from Emmylou Harris, Dwight Yoakam, Dale Watson, and Willie Nelson, all highly distinctive artists, fit well within their individual bodies of work.

Being such an even album, there isn't one obvious stand out track. I'm going to post the contribution from the disc's producer, Gail Davies.

Also, the proceeds from this album go to the Minnie Pearl Cancer Foundation and the Country Music Hall of Fame.

Listen:
~~Gail Davies - Love Love Love~~

Buy:
From the Minnie Pearl Cancer Foundation
From Amazon

Bloodshot Bill

2006-08-09T01:33:00.000-05:00

I saw one man band Bloodshot Bill at the Replay Lounge last night. I missed the first part of the show 'cause of work, but the rest was really good. And apparently I look cool enough to work at the Replay 'cause two people mistook me for the doorman since I was sitting kind of near a door that you're not even supposed to come in. Guess they thought I was guarding it.

Well, Bloodshot Bill is crazy and Canadian and plays guitar, bass drum, and high hat all at the same time. He has a new record out in September from punk/psychobilly label Flying Saucer Records. In the mean time he's selling ~~home-burned~~ "limited edition" tour only CDs, which feature some tracks off the upcoming Trashy Greasy Rockin' 'Billy album as well as some tracks that aren't otherwise available on CD.

Bloodshot Bill inevitably draws comparisons to other one-man-bands Hasil Atkins, Bob Log, and Scott Biram, but those comparisons only go so far. Bloodshot Bill leans much more punk than any of these others. If Hasil Adkins started out trying to be Hank Williams' whole band, then Bloodshot Bill is a one man London Calling.

Listen:
~~Bloodshot Bill - Hide n Seek~~

Buy:
From Bloodshot Bill

The Pine Valley Cosmonauts - The Executioner's Last Song

2006-08-04T01:03:00.000-05:00

I just heard a piece on NPR today about North Carolina's new Innocence Inquiry Commission which got me thinking about this CD. I actually got this several months ago during Bloodshot's spring cleaning sale, but it got lost in the mess of my car. Well I dug it out and gave it another listen.

Although billed as by the Pine Valley Cosmonauts, this is in reality a compilation album. The Cosmonauts serve as house band for the project, but every song is credited to a guest performer. The song selection is probably about the most morbid of any album I have (even more so than American V), but mostly in a humorous way, if you can be humorous about death, seeking, as the cover says, "consign songs of murder, mob-law & cruel, cruel punishment to the realm of myth, memory & history!!"

The proceeds to this album benefit the Illinois Death Penalty Moratorium Project, which I don't think exists anymore. I think maybe it goes to the Illinois Coalition Against the Death Penalty. It may have dropped out of the news, but the moratorium is still in effect, leaving the death penalty in Illinois in a strange limbo, as it still exists de jure and several people have been sentenced since the moratorium, but it cannot be carried out. The fate of the Moratorium probably rests in the hands of the voters in the upcoming gubernatorial election.

Anyways, this album is quite enjoyable considering the weighty topic. I know we've all laughed at the Louvins' "Knoxville Girl," which is the lead off track, here performed by Brett Sparks. And we laughed through most of this album, as maybe we should, at the sheer absurdity of it. Not that there aren't serious songs here, such as "Oh Death" by Diane Izzo or "Idiot Whistle," with Tony Fitzpatrick giving a very serious recitation about the politics behind the continuation of the death penalty.

Listen:
~~The Pine Valley Cosmonauts w/ Frankie & Johnny Navin - 25 Minutes to Go~~

Buy:
From Bloodshot
From Amazon

Texas Unplugged Vol. 2

2006-08-02T00:27:00.000-05:00

This is the second volume in the Palo Duro series of acoustic albums from their stable of Texas musicians. Included are the Derailers, Dale Watson, Johnny Bush, and Two Tons of Steel. This albums serves as both an introduction to the label as well as a look into Texas music in a particular style. The low-key, but not quite "stripped down", nature of the acoustic constraint gives a little more prominence to the songwriting in most cases, although Cindy Cashdollar and Carolyn Wonderland supply a wonderful Dobro/Guitar duet instrumental.

Of the twelve contributors to this album, only the Derailers and Watson are already in my CD collection. Their contributions are pretty close to the nature of their regular, electric work. I'm not sure about the rest of the people, though. I was a big fan of the MTV Unplugged years ago, but those performances often had little to do with the studio albums of the groups. Nirvana's MTV Unplugged in New York (their only listenable album, to me) is practically an alt-country album, quite different from their studio work or normal performances.

I am interested in following up on some of the groups on this CD. Two Tons of Steel has been on my wish list for a while, and the Sidehill Gougers sound very promising.

Listen:
~~The Sidehill Gougers - One Tiny Sin~~

Buy:
From Palo Duro
From Amazon

Roots Music: An American Journey

2006-07-28T01:12:00.000-05:00

A couple weeks ago my dad gave me this Rounder compilation out of the blue.

I had him proofread some stuff a few months ago for my grad school application in which I mentioned "roots" music and he asked me to explain what that meant. I actually had a really hard time. It was easy to list constituent genres: folk, country, blues, etc., but I couldn't give a definition that included the right stuff but also excluded the rest. He asked if Johnny Cash was roots music and I said I guess he was. Then he asked about the Statler Brothers, of whom he is a fan, and I didn't know what to say. Definitely not anything recent of theirs, but maybe their early stuff is. In the end I had to paraphrase Justice Potter Stewart: I can't define it, but I know it when I hear it.

Anyways, he saw this four-disc box set at Barnes & Noble and got it for me.

It's a fairly good round-up of the most prominent genres/styles (or whatever you want to call them) that can be clumped under the term "roots" as well as a few tracks from lesser-know genres/styles. The set is a little heavy on stringband/old-time/bluegrass, but cajun & zydeco, a variety of Mexican-Americans styles, and a broad range of the blues also receive good-sized representation. The first two discs are meant to be an overview of "hard-core traditional styles" and the last two "roots-derived music and interpreters of folk traditions." I'd argue with their placement of several tracks, but overall I can see this organizing pattern.

There are also tracks from a bunch of places that don't fit that well into one of these larger groups: one Hawaiian song, one Mardi Gras Indian song, one New Orleans brass band song, one klezmer song. There are also some holes. Shape note singing and sacred steel have both been gaining popularity recently, but aren't included. Overall, though, I think that this is a pretty good overview when you consider that it is all taken from the catalogue of one record label.

In the coming months you might see some records by some of the folks in this set appear here as I explore their other work.

Listen:
~~Rebirth Brass Band - Just a Little While to Stay Here~~

Buy:
From Rounder
From Amazon

Bluegrass Doubleshot: Bobby Osborne - Try a Little Kindness & The John Cowan Band - New Tattoo

2006-07-26T00:38:00.000-05:00

Today I'm lumping together two solo albums from former members of "progressive" bluegrass bands. Try a Little Kindness by Bobby Osborne of the Osborne Brothers and New Tattoo by John Cowan of New Grass Revival.

I first heard about Bobby Osborne's new album on Living in Stereo, which featured its version of Kris Kristofferson's "Sunday Morning Coming Down" in a comparison of several versions of that song. That song is, I feel, the stand out of the album, but the rest does not disappoint. It features mostly covers and standards from bluegrass and country and beyond, including songs by Bill Monroe and Carter Stanley, Josh Turner and Kristofferson, as well as Paul Simon.

While this isn't a career redefining album, it is a good listen from a musician who could be in Branson.

This album follows pretty closely in the proto-jam band sound of New Grass Revival. While not featuring any extended cuts, the atmosphere is the same and is updated with a touch of that new-agey Celtic sound that was all over in the '90s. Featuring alumni of IIIrd Tyme Out and Leftover Salmon, this album has a bit of a mix of traditional and newgrass sounds. The harmonies, in particular, are of a more traditional nature, in the vein of IIIrd Tyme Out.

Of note on this album is "Drown," a brutal song by John Cowan about his experience of being molested as a child. Certainly a very brave thing to do, to talk in public so frankly about something generally taboo; however, the graphicness of the song sends me too quickly to the skip button. It does raise visibility, though, as does his work as a spokesman for Project Safe Place.

Listen:
~~Bobby Osborne & The Rocky Top X-Press - The Hard Times~~
~~The John Cowan Band - Carla's Got a New Tattoo~~

Buy:
Try a Little Kindness from Amazon
New Tattoo from Amazon

Solomon Burke - Make Do With What You Got

2006-07-23T21:20:00.000-05:00

I have to admit that when I saw a taping of Conan O'Brien featuring Solomon Burke in the spring of 2001, I had no idea who Solomon Burke was. (Of course, this was before his "comeback" album Don't Give Up On Me (Epitaph, 2002). He was in New York to be inducted into the Rock and Roll Hall of Fame.) I also have to admit that it's only been recently, since the buzz about his upcoming album produced by Buddy Miller, that I've really paid much attention to him.

This album is his 2005 follow-up to Don't Give Up and follows much the same formula: record songs by well known songwriters. Songs from the pens of Dylan, Robbie Robertson, Van Morrison, Jaggar/Richards, and Dr. John appear as well as the Hank Williams gospel tune that I'm including. I don't know what the Buddy Miller-produced album is going to sound like, but this album, although an album I would consider thoroughly soul, shows that country isn't far from Burke's vernacular. As it shouldn't be, since has first Atlantic recordings were soul covers of country songs, records made in much the same spirit as my (almost) namesake album.

Listen:
~~Solomon Burke - Wealth Won't Save Your Soul~~

Buy:
From Amazon

Grace Potter and the Nocturnals - Nothing But the Water

2006-07-21T02:13:00.000-05:00

When I first got this CD by Grace Potter and the Nocturnals in the mail, I wasn't sure if it was appropriate to the scope of what I review. But after several listens, I've decided that not only is it appropriate, but that it actually highlights the cross-generic interplay which I really like and which I feel is vital to so-called roots music.

After listening to this album three times through, I'm still having trouble deciding what genre I would classify the album as. It ranges in influence from the searing vocals of Janis Joplin, to the roots funk of the Band, to the soft and smooth vocals of Norah Jones, to the (almost annoyingly) catchy pop-funk of Maroon 5. While several songs combine many influences, several are also more easily discernible as a specific genre. The album hangs together remarkably well, though, having such a variety of style incorporated.

I think the song I'm including does a good job of showing the breadth of influence. The main guitar riff is Delta blues by way of Dire Straits era Mark Knopfler; the organ almost takes us to church; and the drummer doesn't refuse to use the fundamental drumming he learned in marching band.

Listen:
~~Grace Potter and the Nocturnals - Joey~~

Buy:
From Amazon

Gary Bennett - Human Condition

2006-07-19T00:34:00.000-05:00

I'd been holding off on buying this CD for Gary Bennett's show last Saturday at Knuckleheads in Kansas City. I'm not glad I held off, but I am glad I finally got it. Well, maybe I am glad I held off; he signed my copy.

Gary played in front of a modestly-sized but enthusiastic crowd on the newly-moved outdoor stage. His set was on the short side, but he played all of this album (I think) as well as quite a few BR549 numbers and standards/covers. After the show he was very friendly, signing everybody's CD and chatting. He commented to someone in front of me that he had played just about everything that his touring band knew.

This CD is a bit of a departure, focusing much more on songwriting than any of the BR549 discs. That's not to say that the music isn't compelling, though; this is no singer/songwriter album. Gary plays finger-style guitar on one track, but largely leaves the instruments to a good cast of supporting players, including notables such as Marty Stuart, Kenny Vaughan, and Lloyd Green. The result is a musical background that is both compelling and focused on the songwriting.
The sound has a touch of the "retro" feel of BR549, but without the frantic energy. This meshes well with the theme of weariness that pervades the CD.

Listen:
~~Gary Bennett - Headin' Home~~

Buy:
From Amazon

The Meat Purveyors - Someday Soon Things Will Be Much Worse!

2006-07-14T00:46:00.000-05:00

The Meat Purveyors' newest CD, out Tuesday on Bloodshot, is a bit of a different turn for the band. The album is largely electric and features drums prominently. I had heard that they did an electric set at SXSW (and they are allegedly going to be doing the same again at the North vs. South mini-fest here in Lawrence next month), but I was a bit shocked to hear electric guitar, drums, pedal steel, and honky-tonk piano when I put this album in my stereo.

Not that they've given up on the pretty distinctive punk-bluegrass sound they've been working on for something like ten years; it appears on the album also. The new sound and the old integrate quite well, so well that I can't recall without relistening which songs are electric. Highlights of the album include covers of the Human League's "Don't You Want Me" and Loretta Lynn's "Fist City" as well as original "Liquor Store." (On the other hand I could have done without the Foreigner cover; they're the reason I stopped listening to classic rock radio.)

The overall sound of this album is much more honky tonk than bluegrass, largely due to the electrification as well as the contributions of guest musicians, particularly Amy Boone on piano and "Sweet" Gary Newcomb on steel. The album also features a bit of a political undercurrent, as the title ought to suggest, including two (count them two) songs that question the genuineness of the president's Texas accent.

Listen:
~~The Meat Purveyors - Fist City~~

Buy:
From Bloodshot
From Amazon

Black Ale Sinners - Honky tonkin' with the....

2006-07-12T01:09:00.000-05:00

I'd been meaning to see the Black Ale Sinners for probably over a year. Every time they had a show, it seems like something else was going on and I figured that, them being a local group, I'd be able to catch them later. Well, Saturday, I happened to walk by a poster advertising their last show ever was going to be that night. I had been planning something else, but I couldn't put it off again, so I went.

They're a nice hard driving honky tonk and old time sextet. Many of the members switched between instruments, but usually at the same time, leading to two noticeably distinct sounds. The lead guitarist switched between archtop guitar and banjo and the steel player never played steel during a banjo song. Also, the drummer played washboard during the banjo songs, but played single snare during the archtop/steel songs. Another guy switched off between mandolin and fiddle, although his switching wasn't in synch with the others. In addition to the plethora of instruments, they also sang quite a bit of harmony. The harmony was good, but a bit gritty.

They played mostly originals, which this album features exclusively, but they also played a few standards, including a couple Buck Owens songs and a Roger Miller.

This album showcases their more honky tonk side (hence the title) and doesn't feature any banjo or washboard as far as I can tell. Many of these original tunes have a ring of familiarity about them, one of the hallmarks of good songwriting, I think. These guys are also obviously having fun, which brings out the best in their tunes. They fall into a nice place between the sometimes over-seriousness of Dale Watson and the snarky "irony" of so many indie rockers turned country.

Listen:
~~Black Ale Sinners - Highway 10~~

Buy:
Email them at blackalesinners@blackalesinners.com

Kris Kristofferson - This Old Road

2006-07-07T00:41:00.000-05:00

I saw this album in the used bin at my local record store in late January. I knew it must be pretty new 'cause of its '06 date, but I hadn't heard anything about it so I left it. I figured that if Kris Kristofferson put out a new album I would have heard about it if it was any good. Well, a couple weeks later, he's on the cover of No Depression and everyone's calling this CD his best in decades. Turns out someone had sold their promo copy to my local store even before the this had been released.

Well, it is a great album. Very sparse and atmospheric, yet not vapid as Kristofferson's lyrics come to the front. I could see comparisons to Cash's American Recordings, especially the character of the old voice. The production here, by Don Was, is much less obvious than Rick Rubin's on the American series, though. The songs are mostly rather sparse, with Kristofferson on guitar and harmonica with mandolin, drums, bass, and piano also appearing. The harmonica is rather Dylan-esque and complements Kristofferson's rough voice in a similar manner.

The lyrical content of this album is what you might expect of a lefty during a conservative political swing, particularly "In the News," which responds to the US-led occupation of Iraq as well as problems at home, and "Wild American," an ode to Steve Earle and others who have suffered for vocalizing their political beliefs. But Kristofferson's writing skills haven't lessened over the years and he once again proves his place as one of the great songwriters. He deals subtly with topics that might be approached more clumsily by lesser writers.

Listen:
~~Kris Kristofferson - Thank You For a Life~~

Buy:
From Amazon

The Derailers - Soldiers of Love

2006-06-30T22:15:00.000-05:00

This sixth album by the Derailers, the first since the departure of former frontman Tony Villanueva, is a dramatic turn toward '60s pop music. Former sideman, now leader, Brian Hofeldt, whose pop leanings colored previous releases, leads the band a bit away from their previous Buck Owens-like sound, with much of this record sounding closer to the Beatles' version of "Act Naturally" than to Owens'.

The records start and ends with undeniably country tracks, but the middle dips its toe into several '50s and '60s pop/rock sub-genres. Several songs bring to mind the "mod"-ified rockabilly covers of the early Beatles, while others venture into soul and go-go influenced sounds.

Listen:
~~The Derailers - Cattin'~~

Buy:
From Amazon

Al Trout's Hokum Washboard Band - Hokum Strut

2006-06-28T03:11:00.000-05:00

I picked this CD up in the used bin at Love Garden for like 4 bucks. But when I get up to the counter they give me a shrink-wrapped copy from behind the counter. Turns out Love Garden co-owner Kory Willis is in the band as is fellow Midday Rambler Mike Horan. I don't really know much about the band; they're mentioned in the archives of our local paper a couple times in passing. Al Trout is listed on the web page of Rural Grit Records, best known for the Wilders. I can't find a picture of the cover to download and post. The only mentions of the band that Google turns up are to the lyrics of a song about them. I don't even know how or where you could buy this CD. But I like it.

I'm posting their version of "Chinatown" because that song is one of my favorite songs. It's a song I've collected several versions of over the years. Hokum, western swing, hip-hop brass band, I forget what else. You might be subjected to some more of them sometime.

Listen:
~~Al Trout's Hokum Washboard Band - Chinatown~~

Buy:???

Hank Williams III - Straight to Hell

2006-06-23T00:29:00.000-05:00

Tomorrow night I'll be missing Hank III in the KC/Lawrence area for the fourth time in a year and a half. Hopefully he doesn't stop touring before I leave my second shift job, 'cause I'm looking forward to seeing him again.

I was originally hesitant to buy this album due to knowing many of the songs. I really enjoy the discovery of buying new albums and hearing stuff I don't know, and I thought that might be missing from this purchase as even two years ago when I last saw him at the Bottleneck, he was playing half of these songs. (That show on archive.org.) However, the arrangements are quite a bit different than what I remember and the bootleg versions I've come to know.

This album relies heavily on old-time instrumentation, going without drums for half of the tracks, often preferring dobro to the more countrypolitan steel, and featuring some amazing claw-hammer banjo by BR549's Donnie Herron. Hank name-checks the '70s outlaws several times, but the sound of this record largely bypasses a Texas influence, instead giving us a thoroughly Appalachian sound, although updated to include more than a nod at Hank's parallel interest in metal.

Lyrically, this album borders on the disturbing, concentrating on death and personal destruction of the chemical sort. I read an interview in which he said he isn't really that big of a hellraiser, that he saved his partying for on stage, but this album claims otherwise. Also, his insistence on the whole the-South-will-rise-again thing is somewhat annoying, especially when he parallels that with "real country" rising again, as if pop country was just another way northerners where subjugating the south. (I'm sure all the Dixie-loving Toby Keith fans would disagree.) However, when his celebration of rural Appalachian culture turns positive, such as in this song about the several famous residents of Boone Country, WV, this disc really hits the spot.

Listen:
~~Hank Williams III - D. Ray White~~

Buy:
From Amazon

7 Shot Screamers - I Was a Teenage 7 Shot Screamer

2006-06-21T01:30:00.001-05:00

The 7 Shot Screamers are a punk rockabilly band out of St. Louis. I'm including them in my Tuesday night series of "local" bands because, well, because I can and I figure it's close enough.

I first saw the 7 Shot Screamers opening for Split Lip Rayfield a couple years ago. Honestly, I don't always expect much from the first of a three-band bill, but on this occasion I was rather surprised. In fact, I have to say these guys blew away the middle band whose mediocre country-rock sent me looking for a copy of Pitch and left me forgetful of their name.

The Screamers, although appearing as clean-cut, greased up rockabillies on their album cover, have a more glam look these days. The lead singer also engages heavily in glam histrionics, but don't let this turn you off; their music is sharp punk rockabilly reminiscent of the more '50s oriented numbers by the Clash. This album features mostly originals, but also several covers, including the one-two punch of Buddy Holly's "Maybe Baby" and the Stones' "Paint It Black" halfway through the album.

Check out some downloadable songs from their second album on their myspace page.

Listen:
~~7 Shot Screamers - War Song~~

Buy:
From mp3.com

Wayne Hancock - Swing Time

2006-06-16T01:03:00.000-05:00

I've never seen Wayne "The Train" Hancock in concert, but this live CD makes me wish I had. I imagine the Fourth of July show last year at Knuckleheads was great; I should have gone. There's probably not much I can add to what's been said about him. He's one of the premier Austin-based honky tonkers.

One of the best things on this CD, I think, is the guest trombone work of Bob "Texaco" Staffard. Trombone isn't the first instrument you think of when you think honky tonk or even wester swing, but this trombone works perfect for the record. He plays on two tracks, "We Three" and hidden track "Summertime," and interweaves and trades solos with the steel player Eddie Rivers. It's a real treat to listen to.

Listen:
~~Wayne Hancock - We Three~~

Buy:
From Bloodshot
From Amazon

Split Lip Rayfield - Should Have Seen It Coming

2006-06-14T02:24:00.000-05:00

Split Lip Rayfield is probably the most prominant band from around my parts (at least that is germain to this blog). Guitarist Kirk Rundstrom was recently diagnosed with esophageal cancer and the band has been on hiatus since.

This is their most recent album and still includes mandolin player Wayne Gottstine who left the band last summer. The other two members are Eric Mardis on banjo and Jeff Eaton on gas tank bass (yes, a bass made out of a gas tank). Gottstine and Rundstrom wrote about half of the tracks each, with one (which happens to be one of my favorites) by Mardis. The bluegrass pickin' on this record isn't your grandad's (or even your dad's), rather it's pure metal mayhem on bluegrass instruments. The punk drive doesn't over-shadow the instrumental skills, though, particularly Mardis' fine banjo work. The raw four-part harmonies are another sweet spot on this album.

Listen:
~~Split Lip Rayfield - C'mon Get Your Gun~~

Buy:
From Bloodshot
From Amazon

Redd Volkaert - Telewacker

2006-06-09T02:14:00.000-05:00

I had been planning on writing about Redd Volkaert today even before I noticed that he's playing Prairie Home Companion this weekend. Redd is probably best known as Merle Haggard's lead guitarist of the '90s or, in Music City crowds, as Brad Paisley's sideman on Paisley's Mud on the Tires.

Recently he's been tearing up the Austin scene; often proclaimed as the best guitarist in town ("even if you've never heard of him"), he plays regularly in several bands as well as solo. Haybale, Lucky Tomlin Band, and the High-Flyers are several of the names you might see him playing under.

The High-Flyers are the group he's appearing on PHC with. They also include PHC regular Cindy Cashdollar on steel and former Hot Club of Cowtown fiddler Elana (née Fremerman) James.

This is his first solo album. Just over half is instrumental; mostly he's interested in showing of his telecaster chops, which he does, ranging from rocking to swinging with a little Chicago blues tossed in as well. This Redd-penned tune is a fine example of his guitar skills, showing not only great technique and good feeling, but also that to be really good you have to play well with the rest of the band, not over-power them.

Listen:
~~Redd Volkaert - She Loves Everything That Swings.mp3~~

Buy:
From Redd
From Amazon

The Midday Ramblers - Bluegrass Music is Fun!

2006-06-07T01:16:00.000-05:00

The Midday Ramblers are a really good local bluegrass band. They are probably the most well known bluegrass outfit in Lawrence, probably because of their willingness to promote themselves in the college/rock music scene. They're a pretty traditional, one-mic bluegrass foursome, but they regularly play at places like the Replay Lounge, a seedy punk bar that's also alt-country friendly. Three of the four members of the group have also been active in more rock-oriented groups, so I guess it makes some sense.

This is their third album, and features mostly songs written by members of the band, but also a few standards. They show off both technical virtuosity ("John Hardy" and "Banjo Tickle") and quasi-jam band bounce ("Skeeter Bit") as well as vocal harmonies ("The Lost Soul").

The bending sound the banjo makes in this song is actually the banjo player retuning his strings. He's not fretting, he's just turning the tuning pegs to get the right note. It's pretty fun to watch, too.

Listen:
~~The Midday Ramblers - John Hardy.mp3~~

Buy:
From The Midday Ramblers

Jon Rauhouse's Steel Guitar Air Show

2006-06-05T01:28:00.000-05:00

My first experience with Jon Rauhouse was as Neko Case's steel player. Her concert was one of the best I had been to at that time, and Neko's crystal clear, reverbed voice was wonderful, but what stood out the most was Jon Rauhouse's steel playing. I don't think I got the CD that night, but I think I tracked it down soon after.

This CD is a mix of genres, but what stands out most is '50s lounge jazz, Retro Cocktail Hour style. Most of the album is instrumental, but several songs also have vocals, with guest appearances by Neko Case, Kelly Hogan, and Sally Timms. Most of the tracks also feature the Calexico rhythm section of Joey Burns and John Convertino.

Listen:
~~Jon Rauhouse - The World is Waiting for a Sunrise.mp3~~

Buy:
From Bloodshot
From Amazon

Bob Wayne and the Outlaw Carnies - Blood to Dust

2006-05-26T00:24:00.000-05:00

To be honest, I wasn't expecting much from a CD that wasn't even formally pressed, just burned off a computer and hand labeled with a Sharpie. I wasn't originally sure if Bob Wayne's scrawl on the disc of "If you don't like this shit fuck off" was a suggestion or the title of the album. After letting CDDB work it's magic, I found out that the title is apparently Blood to Dust and it's maybe the best CD I've bought this year.

Bob Wayne and the Outlaw Carnies, when I saw them, were a Bob Wayne (who I've found out is Hank III's guitar tech) on acoustic guitar, Joe Buck on bass, and a really good banjo and telecaster player who's name I don't know. The CD includes drums and some other instruments.

The sound of this album is really wonderful. It leans toward '70s hard country-rock, but the presence of banjo as the lead instrument on several of the tracks pulls it back before it goes too far. I can't think of another band off the top of my head that uses banjo so effectively and prominently in a hard-driven country sound.

Bob Wayne (I assume) writes really pensive and spiritual songs. This combination of song and sound is unfortunately a real feat these days. I could easily see these same songs becoming maudlin in the hands of an unskilled singer/songwriter, but Bob Wayne doesn't fall for undue dramatics. This album is also the most honestly spiritual set of songs outside of true gospel, referencing God and the devil on almost every track. But, unlike some "alt-country" indie rockers, he's not being ironic or dismissive. In fact, his understanding of the sin/salvation contrast of gospel and the blues might give discomfort to some hipsters who are only familiar with ironic spirituality or cherry-picked, tourist versions of Buddhism or Kabbala.

"Road Bound" is the lead off track of the album and shows of their sound pretty well. "27 Years" is a bit slower, but emphasizes the complex spirituality that I was commenting on.

Listen:
~~Bob Wayne And The Outlaw Carnies - Road Bound.mp3~~
~~Bob Wayne And The Outlaw Carnies - 27 Years.mp3~~

Buy:
From Bob Wayne

Scott H. Biram - The Dirty Old One Man Band

2006-05-24T01:52:00.000-05:00

If Scott H. Biram didn't have such a rough, son-of-a-bitch stage persona, his story might be considered inspirational. In early 2003, he was hit head-on by a semi, but only one month later, still in a wheelchair with IV bags attached, he returned to the stage.

He's a one man band of the Hasil Adkins sort (frequent references to chicken on this album draw to mind Adkins' Poultry in Motion), playing guitar and stomping his foot on an amplified box and singing through a distorted mic. On a couple of the songs on this record, he has the backing of Austin-based The Weary Boys, as well as his self-labeled Scott H. Biram's First Church of the Ultimate Fanaticism Gospel Choir. Some of the songs feature some pretty spooky CB radio recordings.

This album's currently on sale at Bloodshot Records as part of their effort to raise some money for their artists who are currently working on new stuff. (Also included are Bobby Bare, Jr., Paul Burch, the Meat Purveyors, and Wayne Hancock.) Scott's new album is due in July.

Listen:
~~Scott H. Biram - Whiskey~~
~~Scott H Biram - I See The Light/What's His Name?.mp3~~

Buy:
From Bloodshot

The Doc Marshalls - No Kind of Life

2006-05-20T02:29:00.000-05:00

The Doc Marshalls are a NYC-based country/cajun band. This is their first full-length CD. I was thinking about ordering this, but then I ran into (quite literally) Nicolas Beaudoing, the frontman and songwriter, in the very small bathroom at the Rodeo Bar.

He plays a mean squeeze box. And the songwriting's really good, too. Guest steel player Rob Segal also puts down some nice licks, and I wish he played on a track that also has accordion. Having the cajun and the country sounds, which each have their own songs on the album, more integrated would make for a more compelling album, I think.

It took me a couple listens through this CD to catch the stories in the songs. The songwriting is quite good and bodes well for the bands future releases. This song is my favorite, both for its wonderful melody and its melancholic story.

Listen:
~~The Doc Marshalls - Half Asleep.mp3~~

Buy:
From Miles of Music

Soda and His Million Piece Band - Soda

2006-05-15T00:21:00.000-05:00

I first heard about Soda and His Million Piece Band through the now-defunct podcast The Outhouse. They play some pretty gritty punk-influenced Americana/blues, complete with accordion, bari sax, and every kind of string instrument you can think of. The mix of instruments is really great and doesn't have the novelty to it that, say, my previous post the White Ghost Shivers has. The vocals are very course; I'm guessing they were recorded with a harmonica bullet mic.

This band is based in LA and hasn't traveled anywhere near me, which is understandable with a varying lineup of anywhere from 8 to 16 musicians. Their website said they were as SXSW and I wish they'd make their way up I-35 next time they're in Texas.

Listen:
~~Soda and His Million Piece Band - July.mp3~~

Buy:
From CD Baby

White Ghost Shivers - Everyone's Got 'Em

2006-05-10T02:28:00.000-05:00

I first saw the White Ghost Shivers last fall when they opened for Split Lip Rayfield here in Lawrence, which I believe was their first trip this far up I-35. I missed a return trip 'cause it was an early show, but I made it to this show and I bought their latest CD, which is something like two weeks old.

I like this album very much. I can't say how it compares to the first studio disc or the live radio album, but it's a transfixing listen. The songs are familiar, more familiar than seeing two shows should make them. Their style is very '20s revivalism, and several of the songs seem like old standards, even though the liner notes seems to indicate they're all originals. (Unlike their name sake song which is an old standard.) The mix of string band and hot jazz instrumentation leads to a compelling mélange of styles: hot jazz, hokum, blues, and hillbilly music, I think the show poster read.

The record plays something like a concert, with the first track introducing the band and the last listed track wrapping it up, followed by the encore of the hidden track. I'm including the first track, a nice introduction to the band. I believe they started their show off with this one.

Listen:
~~The White Ghost Shivers - Everyone's Got 'Em.mp3~~

Buy:
From Chicken Ranch Records

Grayson Capps - If You Knew My Mind

2006-04-28T03:09:00.000-05:00

I have to admit that I don't really know much about Grayson Capps. He played in KC last week, but I couldn't go. I think I first heard about him from Roots Rock Radio or from one of the americanaroots podcasts.

I had noticed this album at Love Garden, and then when I heard about him a couple of times on podcasts, I bought it. It was in the alt.country section, but I would say it is more of a blues type album. If you like recent Rodney Crowell or Buddy Miller, then this is probably up your alley. The backing is a bit more blues-rock informed, almost in the vein of the Black Crowes, but the songwriting is much more predominant, since he is, at the core, a singer-songwriter rather than the frontman of a band.

Listen:
~~Grayson Capps - Graveyard.mp3~~

Buy:
From Hyena Records
From Amazon

Rex Hobart - Your Favorite Fool

2006-04-26T01:49:00.000-05:00

Rex Hobart and the Misery Boys are probably the premier honky-tonk country band in the greater KC area. This is their third record, which was produced by Pete Anderson, longtime Dwight Yoakam sideman. I bought it the first time I ever saw them play; it was the newest album at the time.

I particularly like track six, "I Don't Feel It Anymore," and the duet with Kelly Hogan of the Jones/Wynette classic "Golden Ring."

Rex just recently moved back into town after living away for a few years. (I guess sometimes "real life" gets in the way of a great music scene.) They've been doing regular shows at the Record Bar in Westport. "Rex Hobart's Chuck Wagon Dinner Show" is every Tuesday night at 7.

Listen:
~~Rex Hobart and the Misery Boys - I Don't Feel It Anymore.mp3~~

Buy:
From Bloodshot
From Amazon

Marty Stuart - The Pilgrim

2006-04-19T02:31:00.000-05:00

Marty Stuart is one of a handful of country musicians who have managed to find success in both the pop country and alt.country circles. Coming up in the music business as a bluegrass sideman, then forging out on his own as one of the "new traditionalist" pop country stars of the late '80s/early '90s, then, as pop country passed him by, recording one of the best no-adjective country albums of the '90s instead of becoming a "parody of [him]self in a themepark."

He's commented that "Hobo's Prayer" is his favorite song off The Pilgrim. It's mine also.

Listen:
~~Marty Stuart - Hobo's Prayer.mp3~~

Buy:
From Amazon

Truckstop Honeymoon

2006-04-12T03:20:00.000-05:00

In the wake of Hurricane Katrina, my local music scene found itself blessed with the seemingly permanent addition of former Ninth Ward residents Mike West and Katie Euliss, aka Truckstop Honeymoon, to our local scene. I've only been able to catch them once in the almost six months since, but I'm hoping to catch them soon, maybe outside at the Gaslight, like the show I just missed Monday.

Truckstop Honeymoon is a hard and raucous bluegrass/country/blues-holler married duo. They take their name from their wedding night stay at the Tiger Truck Stop in rural Louisiana. Their music is loud and fast and slow and soft and also includes some very humourous and sometimes macabre lyrics. I've included two tracks to show their range.

PS: They're playing this Friday night, 14 April, at the Uptown Theatre in KCMO with Drakkar Sauna, The Wilders, and others to benefit Kirk Rundstrom, singer/guitarist of Splitlip Rayfield, who is battling cancer. You should go.

Listen:
~~Truckstop Honeymoon - Weary Blues From Waitin.mp3~~
~~Truckstop Honeymoon - No Beer On Sunday.mp3~~

Buy:
From Mike West

Making Singles Drinking Doubles

2006-04-05T03:41:00.000-05:00

My local used records store, Love Garden, is very country, bluegrass, roots, etc. friendly (I suppose a mandolin playing owner doesn't hurt) and just about every time I go in I find some treasure waiting in the bins to be bought by me.

Not too long ago, I was fortunate enough to find Making Singles Drinking Doubles, the 2002 Bloodshot Records compilation commemorating their 100th release. The disc includes the usual suspects at Bloodshot, the Waco Brothers, The Meat Purveyors, Rex Hobart, and Moonshine Willy, but also includes two tracks featuring a pre-national fame Jack White backing soul legend Andre Williams.

Listen:
~~Andre Williams & 2 Star Tabernacle - Lily White Mama & Jet Black Daddy.mp3~~

Buy:
From Bloodshot
From Amazon

Up and Running Soon (I Hope)

2006-02-25T03:26:00.000-06:00

I've been looking for a nice audioblog about good current country and western music. There are several very good archival audioblogs, and also several good indie rock blogs that cover the side of alt-country that strays that direction, but none that I can find focused explicitly on modern sounds in country and western music.

I hope to get this up and running soon. This is an experiment for me in some ways. I've never tried to do something like this before and I don't know that I'll succeed. I felt that someone should be showcasing this music, and I'm hoping that someone else feels the same need.