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with piano and organ by engineer Ross Nykiforuk (The Northern Pikes) and pedal
steel by the band's drummer Lucas Goetz, The Deep Dark Woods' sophomore record
possesses all the same diverse song writing as their self-titled debut but with
more emphasis on arrangements and instrumentation. Influenced by the likes of
The Byrds,The Grateful Dead, Gram Parsons, Neil Young, Bob Dylan, and Tom Waits
as well as traditional bluegrass artists like The Stanley Brothers and Carl Story,
The Deep Dark Woods blur the lines between country, rock, folk and bluegrass.
From the dark, creepy Redwood Forest to the joyful gospel number Glory, Hallelujah
to the bitter heartbreak of Five-Hundred Meters to the pedal steel driven They
Won't Last Long the record's songs are as heartfelt as the band's songwriters.
(Black Hen)
Richman
is one of modern music's most original artists, and quite possibly the friendliest,
most sincere live performer on the face of the earth. This is his fifth release
on Vapor, and his first new album in three years. Features eleven new tracks,
plus a new version of "Old World" and a Leonard Cohen cover, "Here
It Is". Vinyl version features bonus track on a 7-inch single.
The
latest collection from one of America's most wandering-est of wandering troubadours.
After almost a decade of rave reviews & countless shows in stadiums &
shoeboxes Harvesting music & lyrics from headlines, horror movies, four-color
ash-can adventures, and the black & white reflections of late night re-reruns,
Mills returns with a raw & ready collection of true rock n' roll numbers,
each one peppered with knowing asides & unencumbered poignancy. (Ernest Jenning)
For
the millions of fans unable to witness this electrifying performance first-hand,
Night Train To Nashville, Benoit’s sixth solo release on Telarc, is the next
best thing. The recording captures the magic and intensity of Benoit in a live
setting, joined by his faithful backup unit and New Orleans mainstay, Louisiana’s
LeRoux, and a series of guests representing some of the most talented voices on
the current blues, Cajun and country scenes: harpist/vocalist Jimmy Hall (Wet
Willie), guitarist/vocalist Jim Lauderdale, harpist/accordionist Johnny Sansone,
fiddler/washboard player Waylon Thibodeaux and harpist/vocalist and Fabulous Thunderbirds
frontman Kim Wilson. Tracks: Night Train / Solid Simple Things / Darkness / Too
Sweet For Me (with Kim Wilson) / Moon Comin'’Over The Hill (with Jim Lauderdale)
/ Lost In Your Lovin' / Rendezvous With The Blues (with Jimmy Hall) / Fever For
The Bayou (with Jumpin' Johnny Sansone) / New Orleans Ladies (with Jimmy Hall)
/ Muddy Bottom Blues (with Jimmy Hall) / Stackolina (with Kim Wilson & Waylon
Thibodeaux) (Telarc)
The
title track may lament the fact that even arrested adolescents grow old, but,
if anything, James McMurtry sounds more energized than ever. On Just Us Kids,
he and his longtime rhythm section—Daren Hess, Ronnie Johnson—have solidified
their sound into a low, tribal rock growl, with McMurtry’s fierce guitar
work leading the way. The Austinite doesn’t couch his tales in metaphor;
he tends to come right out and say what’s on his mind. This might seem a
ham-fisted approach in the hands of a lesser talent, but McMurtry knows how to
tell a story. The music just helps thicken the stew. Buoyed by the success of
his 2005 single, “We Can’t Make It Here,” which tapped into a wellspring
of societal discontent, Kids’ politically minded tunes (“God Bless America,”
“Cheney’s Toy”) follow suit. While they don’t make their point
quite as eloquently, they don’t play like forced sequels either. Still better
are the all-too-human characters that populate “Hurricane Party,” “Bayou
Tortous,” “Ruby and Carlos,” “Freeway View,” and “Fire
Line Road”; you’ll not only get to know them, but you’ll find them
hard to leave behind. – Jeff McCord, Texas Monthly (Lightning Rod Records)
Just
one year after their double disc debut, The Outskirts of Your Heart, Pat Todd
& the Rankoutsiders return with yet another testament to the enduring spirit
of Rock ’n’ Roll with Holding Onto Trouble’s Hand. This release
marks the welcome return of original Lazy Cowgirls’ bassist, Keith Telligman
as well as the debut of Defendant’s front man, Rob Bolger on rhythm guitar
and vox. Guest musicians include: Rick Shea (Dave Alvin), Earle Mankey (Sparks),
Michael Leigh (Lazy Cowgirls), and Paul Mejias. 'Holdin’ Onto Trouble’s
Hand is an Exile on Mainstreet for a post-Ramones world.' - Stiles White (Rankoutsider
Records)
Peace,
Love & BBQ features some of the most stirring performances of Marcia's career.
Singing the praises of simple virtues in the funky title track, working the Crescent
City strut of "Party Town" or coming to grips with the devastation of
Hurricane Katrina in the deeply moving ballad 'Where Do You Go?' Marcia galvanizes
this record with soul-touching vocals and her always killer piano playing. Dr.
John and Tracy Nelson guest. (Alligator)
'You
have no idea how much of a relief it is that I love American Hearts. . .I have
decreed many times: 2007, at least for me, has been a year of acoustic guitars,
whiskey, and hearty storytelling. I have listened to album after album of vocalists
in need of throat massages, but rather than pamper their moneymakers, they spend
time penning tales of Americana on a borrowed back porch or termite-infested staircase.
A.A. Bondy, harmonica in hand, has once and for all cemented my love of the acoustic/folk/blues
genres. This is not some fluke, steamy, one-year love affair. At least I don't
have to buy a ring. . . Not just a record about brawls and drunken escapades (such
a girly word), American Hearts discusses spirituality in terms followers and non-believers
can easily discuss. All of this happens over bare instrumentals and near-ironic
harmonies. Spectacular "American Hearts" tries Bondy's hand at politics
over a strummed acoustic guitar (a harmonica finishes the song on a sweet note).
. . American Hearts has everything you're looking for in an indie-folk record.
There's food for thought, imagery aplenty and the gentle meeting of soft textures
with raw content. The stories may not be as inventive, but it never hurts to hear
another man's take on the world around you. Especially if he's wielding a harmonica.'
-- Blake Solomon, Absolutepunk.net (Fat Possum/Superphonic)
Dave
Insley may have left Arizona for Austin, but he hasn`t let the neon flame he carries
for vintage honky-tonk dim. With a reedy baritone recalling early Willie Nelson
(vibrato and all), Insley`s delivery and material make him less of a singer, more
of a storyteller. And he is capable of telling a fully-formed tale in less than
four minutes ("Geneva," "Exit 93"). His backing band, The
Careless Smokers, provide the Bakersfield-inspired instrumental foundation for
Insley. Several songs feature hints of modern jangle-pop like the bouncy "Waitin`
Where She Hides" and "Beating Ya Down." There are also whimsical
touches - such as the jaw harp and glockenspiel on "Everything`s Broken Again"
- that nicely underscore the lyrical content. Insley isn`t afraid to go back to
the country catalogue. His intriguing choices are performed admirably. On Johnny
Darrell`s "Come See What`s Left Of Your Man," he comes across with the
sly charm of early Roger Miller. He puts his own deft touches on "Ol` What`s
Her Name." A solid, engaging recording. -- Linda Daily Paulson, countrystandardtime.com
Art
springs from personal hardship? Frequently. Especially on 'Past Life Crashing."
Herring spent the last several years of his life tearing himself down, picking
himself up, making an unreleased version of this record, and repeating the process.
Andy Riggs wrote on Americana-UK.com, "It’s a superb record full of
regret, looking back, looking forward and a record that asks for one more last
chance." His mix of ballads and up-tempo rockers meld with his wrenching
melodies do not hide his disquieting search for redemption. His third CD may be
his best but it was emotionally costly. Let's hope he can get right and make music
this good again without hitting bottom a few times in the process. -- Jeff Weiss,
Miles of Music (self-released)
When
is the blessing of a nomination for an interntionally acclaimed award the moment
when you realize the business of music isn't for you? Gwil Owen had that moment.
After being nominated for an Oscar with Allison Moorer, Owen concluded he wanted
to make music for himself. That was 1999. The title of Owen's 2008 release "Gravy"
speaks of how he views this album. Made outside of the machinations of Nashville,
outside of the desire to achieve stardom and notice, Owen has put together a loose,
stylistically diverse and uplifting album. Tired of introspective shoe-gazing
songwriters? Gwil's the guy for you. Besides the title track, he charms with Faith,
Peace & Love and the always popular Don't Break Funky On Me. Gravy is a man
releasing himself from the machine and not only coming out whole, but also coming
out happy. -- Jeff Weiss, Miles of Music (Rambler Records)
A
fourteen-song set documenting The Decemberists' lead singer/ songwriter's 2006
solo tour. Meloy was heralded by Rolling Stone as "a master of improbable
juxtaposition: arcane, detailed fictions of star-crossed passion and avenging
bloodshed dressed up in indie rock jangle, la-de-da choruses, and vintage prog-rock
bombast" in a review of The Decemberists' show in NY's Central Park last
spring. By contrast, the live solo album presents him in a stripped down, acoustic
setting. Of the thirteen Meloy originals, two are previously unreleased compositions,
"Dracula's Daughter" and "Wonder". Along the way, he employs
snippets of songs from The Smiths, Fleetwood Mac, Pink Floyd, and REM. The collection
also captures ample between-song banter. Tracks: Devil's Elbow / We Both Go Down
Together / "Evoking a Campfire Singalong" / The Gymnast High Above the
Ground / Here I Dreamt I Was an Architect > Dreams / Dracula's Daughter / Wonder
/ "A Brief Introduction to Shirley Collins" / Barbara Allen / The Engine
Driver / On The Bus Mall / "A Skull, a Ship, and a Sheep" / California
One/Youth and Beauty Brigade > Ask / The Bachelor and the Bride / A Cautionary
Song / Red Right Ankle / Bandit Queen 
Thad
Cockrell's angelic voice shines on these six tracks of devotional country. Produced
by Jason Lehning. Tracks: Price (Won't Get Us Where We Are Going) / Greast Rejoicing
/ A Country Of my Own / The Master's Calling / He Set Me Free / O To Be Loved
By Jesus (self)
IBMA
and Grammy award winner Tim O'Brien is a singer of unusual clarity and originality,
a self-taught multi-instrumentalist of rare ability, and an incisive songwriter
who has made a lasting mark on Americana music. O'Brien's contemporary original
folk offering entitled Chameleon, is his first since the simultaneous release
of Cornbread Nation and Fiddler's Green (2006).. the latter of which won him a
Grammy for Best Traditional Folk Album. (Proper)
Fayssoux
McLean was best known in music circles for providing harmonies on the first four
Emmylou Harris solo albums. Journalist and musician Peter Cooper coaxed Fayssoux
from retirement resulting in this sublime country album. McLean and Cooper combined
her originals, traditional songs her grandma used to sing, and classics from well
respected songwriters. Cooper, Lloyd Green, and Brandon Turner provide a gentle,
aching country backing. Several old friends and admirers contribute, including
former boss Harris but never overshadow the true star in this production, Fayssoux
McLean. -- Jeff Weiss, Miles of Music (Red Beet)
Released
in 84, it features classics including I Will Dare, Androgynous, Sixteen Blue`
and `Unsatisfied,` and was recently named the #3 Greatest Indie-Rock album ever
by Blender. Among the six bonus tracks are five previously unreleased gems including
a home demo for `Answering Machine,` an alternate take of `Sixteen Blue` and a
cover of The Grass Roots `Temptation Eyes.` (Rhino)
The
1983 album rolled garage rock, punk, country, folk and more into a sound that
delivered signature songs including Color Me Impressed and Within Your Reach,
as well as Willpower and the drunken punch of Mr, Whirly. Six previously unreleased
bonus tracks include an alternate take on Treatment Bound and the solo home demo
of the lost classic Bad Worker -- also featured is Lookin For Ya, originally issued
only on KQDS-FMs Trackin Up North talent search compilation. (Rhino)
The
bands thrashing 1980 debut, introduced classics including Takin A Ride, Shiftless
When Idle, Customer and Johnnys Gonna Die. 13 bonus tracks open with the four
previously unreleased songs that won The Replacements their Twin Tone contract
plus an alternative version of Customer, the rehearsal Basement Jam, studio demos,
outtakes and more. (Rhino)
The
1982 EP is a 15-minute adrenaline masterpiece liner notes writer Terry Katzman
says, `the band began to merge its ragged sense of honesty with true rock `n`
roll power.` standouts include Kids Dont Follow and Go plus bonus material including
three session outtakes -- Staples In Her Stomach and covers of Hey, Good Lookin`
and (Were Gonna) Rock Around The Clock -- and Westerbergs solo home demo for Youre
Getting Married. (Rhino)
John
Nelson delivers each song with a calm, almost moist vocal that draws a little
from Paul Simon, an accent-less Graham Nash, and a gentle Neil Young. His voice
is elegantly calming as it and the harmonies melt into the disciplined guitar
picking and tender band. It all feels so effortless, as it it floats out of Nelson
and his band. Tengo Ranchito, Nelson's 2007 release succeeds in gently, beautifully
squeezing out your breath. -- Jeff Weiss, Miles of Music (Mystery Bay)
Audiophile
Quality 180 Gram Vinyl With 4 Previously Unreleased Bonus Tracks. Tracks: Inn
Town / Excuse Me While I Break My Own Heart Tonight / Yesterday’s News /
16 Days / Everything I Do / Houses on the Hill / Turn Around / Dancing with the
Women at the Bar / Waiting to Derail / Avenues / Losering / Somebody Remembers
the Rose / Not Home Anymore / Live in the Studio Radio Performances September
1997 Houses on the Hil: Nurse with the Pills* / I Don’t Care What You Think
About Me* / Somebody Remembers the Rose* / Turn Around* (*previously unreleased)
(Outpost)
Shoot
The Horse, recorded live at the venerable and claimed - by - civic-progress Sidetrack
Cafe, is long, hot goodbye kiss. Alberta resident Dave McCann and The Ten Toed
Frogs took the opportunity to use the excellent recording system at the Cafe and,
maybe, the finality of the club going away, and let the band breath a little country-rock
fire. McCann's Joe Ely-like voice soars over the sonic country crunch of the band.
The band captured a moment when they let loose and weren't afraid to walk the
edge. This is no beer-soaked live pity party for the club. In fact, the audience
is an occasionally added instrument, not played to by the Ten Toed Frogs. This
a "live" album in name only. On this particular night the band hit the
set-list hard without dropping a note. That is happened to be one long take with
a group of friends standing mere feet away is a footnote. Shoot The Horse is an
amazing country-rock record. -- Jeff Weiss, Miles of Music (Old Man River Folk
Music)
Roy
Davis wrings emotion from his voice as if he learned the "how-to" from
Neil Young. For Davis, hitting the notes are less important than the feeling.
Jon Nolan's production places Davis' ragged voice to ride atop the country-rock
laments most closely resembling the sound of Wilco's A.M. Davis' outstanding debut
Grey Town showcased an artist with tumult. Fortunately, for the listeners it sounds
like he hasn't personally worked much out yet. -- Jeff Weiss, Miles of Music (self-released)
For
the first time on one CD, Raven offers two classic country rock/bluegrass albums
by the legendary Flying Burrito Brother. The Flying Burrito Bros album (1971)
is acknowledged as a prime example of country rock, and most significantly the
great lost Burritos live album Last of the Red Hot Burritos (1972) has been made
available on CD. These albums are the last two that ex-Byrd and Burritos co-founder
Chris Hillman produced with the band. The Burritos were among the originators
of country rock and when Gram Parsons left in 1970, singer songwriter Rick Roberts
joined. His contribution to The Flying Burrito Bros is immense, including such
memorable performances as ‘Colorado’ and excellent covers of Merle Haggard’s
‘White Line Fever’ and Dylan’s ‘To Ramona’. . . 
CC
& Laurie Rider dance their X-influenced harmonies atop a rumbling rhythm section
and the dazzling guitar work of T.W. Lott. Shades of Dick Dale, Don Rich. The
Cramps, Southern Rock, makes this a wild brew of American music. Pete Knapp of
Shut Eye Records commented, "Like a bulldozer in a field of wildflowers,
this powerhouse from the land of Gram has enough intelligent twang to satisfy
any lover of quality Americana music - and enough pent up rage to satisfy any
PBR-swillin' NASCAR fan south of the Mason-Dixon line."
Co-founder
of the Juno Award winning group The Wailin’ Jennys, Cara Luft has returned
to her solo roots. Assembling a cast of characters from some of Canada’s
top folk and rock groups - including producer Neil Osborne (54-40), multi-instrumentalist
Hugh McMillan (Spirit of the West, James Keelaghan), violist/fiddler Richard Moody
(The Bills), Winnipeg session drummer/percussionist Christian Dugas (Madrigaia,
Alana Levandoski), and mixer Warne Livesey (Midnight Oil, The The). Cara’s
new album is a cornucopia of sonic delight. A bit of Carole King meets early Zeppelin
with a dash of Sigur Ros, and songs ranging from country ('There’s a Train')
to folk ('Wilcox'), roots rock ('Falling Away') and traditional ('Black Water
Side'), with a modern spiritual ('Jerusalem'), this is an album replete with deft
musicianship and sensitive, effective arrangements. Her original songs are underpinned
and anchored by finely honed evocative lyrics. (Black Hen)
Americana
- UK.com's Dave Cowling described Fournier's style as, "... mixture of John
Fogerty and Jim White. Underneath the bluster there is a genuine eye for detail
and storytelling that doesn’t get in the way of a decent riff." Three
records into his late-starting career Joe Fournier has refined -- if you can actually
"refined" for a guy who sings with a voice that is as much a holler
as it is singing -- his style. The songs are detailed stories about unfolding
events. Sometimes hilarious, sometimes heartbreaking but always rocking. He is
very much an America heartland rocker, even if he hails from the Eastern edges
of Canada, compiling a collection of songs that are infectious and immediately
memorable. Joyously sing along with Joe even while his stories are breaking your
heart. -- Jeff Weiss, Miles of Music (Junkyard Dog)
Hayes
Carll released the best Americana album of 2005 in Little Rock. Carll claimed
at the time that all the good songs about Texas were already written, but that
Arkansas was fertile new territory. And he was right. Trouble in Mind, the followup
that arrives on Lost Highway Records April 8th, is worth the three-year wait.
There's the usual colorful cast of characters -- drunkards, roustabouts, country
singers -- some of them all rolled into one autobiographical sonic package. There's
a great cover of Tom Waits' 'I Don't Wanna Grow Up.' There are gut-wrenching ballads
like 'Faulkner Street' and some great southern fried boogie, courtesy of guitar
duelists Will Kimbrough and Georgia Satellites alum Dan Baird. Best of all there's
the hilariously vengeful 'She Left Me For Jesus,' a good ol' boy's plot to get
back at the man who stole his formerly fun-loving woman. 'If I ever find Jesus,'
Carll avows, 'I'm gonna kick his ass.' There's about forty-five minutes of asskicking
here, all of it of the good, stomping musical variety. -- Andy Whitehead, Paste
(Lost Highway) 
With
Iron & Diamonds, Eric and Leigh have taken their rightful place on the American
jukebox. The Gibsons have made a conscious effort to co-write most of the songs
on this album. By using their own band and a single microphone for their duet
vocals, you hear exactly what you hear in a live show: a tight ensemble that plays
to the song, toneful and nuanced lead and duet harmonies, and songs that can move
you to tears or to the dance floor. (Sugar Hill)
'For
the course of 11 tracks, Earle takes listeners on a sweeping tour of southern
music, from Gulf coast to Carolina Piedmont. And he's captured it all at a breakneck
pace; the whole album clocks in at just over 40 minutes. Along the way, he convincingly
explores everything from tragic Civil War ballads ('Lone Pine Hill') and blues
organ riffs ('South Georgia Sugar Babe') to lonesome Hank Williams-esque numbers
('What Do You Do When You're Lonesome') and the Muscle Shoals sound ('Far Away
in Another Town'). . . Earle's voice slides into just the right grooves for whatever
genre he's exploring, whether blazing above the light accompaniment of his own
guitar, as in the lamenting self-analysis of 'Who am I to Say?' or weaving among
the backing of multiple instruments on tracks like 'Hard Livin'.' . . .Whatever
the style, Earle leans tall and heavy into the mike. You can almost smell the
Dapper Dan in his hair and the sweat on his brow. It's easy to imagine hearing
'The Good Life' spilling out of the tinny speakers of a vacuum-tube '30s Philco
between the latest episodes of 'Little Orphan Annie' and 'Dick Tracy.'' - Casey
Phillips, timesfreepress.com
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