News
Radio
New Reviews
Review Archives
Links
Best of FTB
About FTB |
|
| |
The last Backsliders CD was excellent and
came out in '97, but since then most of the band is gone except one of the lead
singers, Chip Robinson. Losing their other lead singer and songwriter took
away some of the band's country "edge". Robinson aims the band
in a harder-rockin' direction, with the help of producer Eric "Roscoe"
Ambel, who has worked with the Bottle Rockets among many others. Robinson
writes some great tunes and I like his voice too. As soon as I listened
with my CD player in the shuffle mode, I liked the album better. You might
try it. Although a few of the tunes have that dated "southern rock anthem" sound,
there's still enough twang here to recommend this CD. |
| |
 BAD
LIVERS 
Blood & Mood... (Sugar Hill) | |
The Bad Livers have had an interesting career mixing the unique vocals and amazing
guitar and banjo of Danny Barnes with Mark Rubin on bass and tuba. They
are best known, for lack of a better term, for playing old-timey/bluegrass
with an punk rock edge. With Blood & Mood, Barnes and Rubin have
taken a highly adventurous leap. They've have added a loud and obnoxious
drum machine to the mix, at times oddly accompanied only by Barnes' banjo. It's
so different that their mostly-bluegrass record label didn't even send the CD
out to their usual radio stations. They even attempt some dialogue-sampling
that suggests they've been listening to My Live In the Bush of Ghosts or
possibly some recent Tom Waits albums. All in all, I value their effort but I'm
not knocked out by the results. | |
Check out the band's site, BadLivers.com,
or Sugar Hill's site.
Good-humored bassist Mark
Rubin has his own site that's great too! Buy
from Amazon.com. Released Feb. 2000, reviewed by Bill
Frater. |
| | |
These guys, formed in Austin, play original
old-timey/jug band music. Think 1920's thru 1940's, and they do it with humor
and fine musicianship. Leader Danny Barnes is the man- writin', singin', and versatile
banjo pickin', while bassist Mark Rubin doubles on tuba. Do you remember the Red
Clay Ramblers? Well, the Bad Livers are in the same broad "bag", but
they're a little younger and they have a great fiddle player. Liberal bluegrass
and old-timey fans will love this stuff, and so will anyone else who has an open
musical mind. | |
Best tracks: Hogs on the Highway, Counting the Crossties, Corn Liquor Made a Fool
Out of Me, News not the Weather. The
bands own news and info. Skimpy but fun! Buy
from Amazon.com. Released Feb. '97, reviewed by Bill
Frater. |
 THE
BAD PENNY BOYS 
Loose Change... (self released) | | Unless
a CD is just absolutely insipid, I have to award some points for effort, and such
is the case here. Coming from locales as disparate as Chicago, San Antonio, Bogota,
and Philadelphia, the band now calls the 'Frisco Bay area home. I'd have thought
that with such diverse backgrounds to draw upon, these guys could have produced
more noteworthy music. Instead, they sound like the epitome of the laid-back,
carefree Northern California lifestyle that commonly comes to mind when people
envision that area. Technically adept at their instruments, they've only got one
song here that has any real bite, and that's "Tides of Life". They need a writer.
While I probably won't Frisbee this one out the car window, by the same token,
it isn't going to find its way into the preferred category, either. | | Bad
Penny Boys' site. Order from CD
Baby. Released early 2004, reviewed by Don
Grant. |
 DAVID
BAERWALD
Here Comes The New Folk Underground... (Lost Highway)
|
| Former ‘80's alterna-pop hitmeister (he was one of the
Davids in David and David) Baerwald steps out from behind the scenes as a hitmaking
producer (he helped with Sheryl Crow's mega-selling debut) to create some new
music of his own in a new style. Baerwald has decided to eschew his penchant
for studio wizardry and re-immerge with some invigorating country and folk-tinged
songs making his previous lushly produced popwork sound like pure wankery. Musicians
often re-invent themselves by trying new styles and new ideas but in Baerwald's
case he has just managed to find the best parts of his songs and weed out the
superfluous nonsense that used to clog them up. While some of the arrangements
on the CD are inventive and feature more than he and his guitar, there is little
to hide behind and Baerwald obviously knew he had a strong set of songs here because
he sounds as natural as can be in this new environment. His work with Crow did
show a return to a rootsier style, but on this disc Baerwald embraces it and makes
it his own and has become a serious player as a result. This is sure to surprise
his previous fans as much as it pleases them but is well worth exploring. By adapting
to this new bare bones style Baerwald may once again find himself on the top of
the charts and in the forefront of musical conversation. He and his new album
deserve nothing less. | | Lost
Highway does a nice job on their site for Baerwald
which includes a bio, mailing list, and more. Buy
from amazon Released July, 2002.
Reviewed by Scott Homewood . |
 JOAN
BAEZ
Dark
Chords On A Big Guitar… (Koch) |
| I’m not
sure how old Baez is these days, but she doesn’t appear to be resting on her considerable
legendary 60’s folk music laurels. Unlike many other artists of her generation,
she’s taking chances and striving to stay contemporary. Special credit must go
to Joan’s manager Mark Spector, who produced the CD. Since the producer is the
person who traditionally is responsible for song selection, Spector has done his
homework. A virtual all-star group of songwriters are represented here: Greg Brown,
Gillian Welch, Ryan Adams, Steve Earle, Joe Henry and a few others who you've
probably heard of. Spector also brings a nice gritty sound to the whole affair,
featuring the "big guitar" of one Duke McVinnie. Who ever this guy is, he carries
the whole CD himself and he’s a damn good and versatile guitarist. Ms. Baez still
has great command of her strong, deep voice with a hint of folkie sweetness that
doesn’t always suit the dark and sometimes rockin’ tunes. But for the most part,
the whole thing works rather nicely, thanks to some excellent choices in songs
to cover and imaginative production. |
| Why
there's JoanBaez.com. Buy
from amazon. Released Sept, 2003. Reviewed by Bill
Frater |
 THE
BAGBOYS
Just Say Moo... (Hairy Moon) | |
If you like your music delivered with a healthy dose of serious fun the Bagboys
are for you. I love this band. They are somewhat reminiscent of the
Austin Lounge Lizards, Riders in the Sky and/or the Red Clay Ramblers. But
don't let their over-the-top humor fool you, this is a band of serious, talented,
and historically knowledgeable musicians. This CD is mostly original material
with humable melodies and imaginative arrangements. The quality of the musicianship
is consistently high and though everyone sings, honestly, some are better than
others. While they are capable of some pretty convincing genre hopping -
moving easily from solid driving bluegrass to bouncy western swing to contemporary
folk - they're not content with merely aping these traditions but inhabit them
as living, contemporary forms. And they are clearly having a ball playing
music. That sense of toe-tapping, knee-slapping fun is infectious and most
listeners will find themselves, like me, mooing right along with the Bagboys.
| | Check out The
Bagboys' website for CD ordering info, bios and such, they also have a couple
of songs on MP3 to sample. Released Feb. 2000, reviewed by Kevin
Russell. |
 SAM BAKER
Mercy... (Integrity) |
Austin singer-songwriter, Sam Baker, got his body blown apart in Peru when a bomb went off on a train. Senseless violence, but Baker chose to make blessings of his wounds. Eighteen surgeries later, Sam had to switch to playing guitar left-handed because of damages. His singing is about as honest as it gets. Mercy works as a suite, simple and complex, offering rich details which activate the imagination. This is a folk album, but don't be fooled by category; there's a genius at work here. Townes Van Zandt would've loved these songs, might've tried to win them in a card game. But Baker's no gambler. These songs are his art. It's been a while since a record sent such a short right hand to my heart, and that was before I read Baker's bio. |
| Sam Baker Music. Buy from amazon. Or CD Baby has it cheaper. Released June, '04, reviewed by Doug Lang. |
 SAM BAKER
Pretty World...
(BlueLimeStone) |
He wears a blue suede cowboy hat / Got a Juarez woman stretched out on his lap / He sings an old song, a song to himself / He sings waiting round to die…
So begins "Juarez", the opening song on Pretty World, Sam Baker's follow-up to his brilliant debut, Mercy. Received this two months before its release, been reading it slowly. Takes time to reveal itself. It's that way with artists like Sam Baker; his songs plant seeds instead of handing you a bouquet. Ghosts of Townes and Stephen Foster here, Cormac McCarthy in the background nodding. "Odessa" is a movie in itself. A box falls down, memory breaks open. Valentines? She kept every one he gave her. There's a war going on, always, and relics resemble people. Horizon line, sun and dust, a man on the porch examining broken fingers. Sam playing guitar, backwards, upside down. Baker's writing is landscape, a mood struck, a stroke or two of detail. Words of the heart throw shadows, spooking a horse your grandpa once fell off of. Bring your burnt tears to the table, soldier, Cormac says. There are women laughing inside. Dinner is ready. A sad hymn, candles. How beautiful. |
| Buy from amazon. Released Aug., '07, reviewed by Doug Lang. |
 THE BAND OF HEATHENS
The Band Of Heathens... (BOH) |
| There's gotta be a couple a thousand talented singer/songwriters looking for work around Austin. The story goes that 3 of them shared some open mike gigs and decided to combine forces to create something greater than the sums of their parts. Thus came The Band Of Heathens, and the town loves these guys. The principles are Ed Jurdi, Gordy Quist and Colin Brooks and each brings something unique to the stew. All are fine songwriters, Brooks especially has a gritty. soulful valice and he knows his way around a lap steel and Dobro. They get a big Austin stamp of approval with production by Ray Wylie Hubbard and Patty Griffin all over the thing on vocals. What's special is that the band has a bluesy rollicking side that's just amazing. I hear strains of The Subdudes and even the Small Faces here and there. Check them out. |
| Their site is quite nice. Buy from amazon. Released May, '08, reviewed by Bill Frater. |
 RC
BANKS
Conway's Corner.. (Loudhouse)
| |
As the liner notes to this CD (Banks' fourth) readily admit, Texas musicians have
always been a strange breed. Think of Texas musicians such as Ponty Bone, Clarence
"Gatemouth" Brown and the late, great Doug Sahm and you will see that
the common denominator in their music was that it not only sounded like nothing
else, it also sounded like a little bit of everything, including blues, soul and
country. Knowing this, I am not surprised that each cut on this fantastic new
CD sounds like a totally different style of music. Ranging from blues to roadhouse
rock to cajun two-steps to swamp pop and everything in between, Banks has crafted
an album that shows his versatility in spades while also showing that music is
music dadgummit and as long as it's performed with heart, soul and fiery passion,
it's gonna sound great. No, this isn't country. It's more than country. It's everything
that Americana music and roots music is supposed to be: an enjoyable mix of styles
that makes you forget about genres and labels and just captivates the hell out
of you. I love this album. It's got a little of everything I like on it. I'm sure
you'll feel the same way. | |
Loudhouse Record's site.
Buy
from amazon Reviewed by Scott
Homewood. |
 JEFF BARBRA & SARAH PIRKLE
The Barb Hollow Sessions... (Barb Hollow Music) |
| In its own quite understated way this CD is a masterpiece of modern folk music. And by “folk” music I mean some uncatagorizable blend of country, old-time, bluegrass and folk. First class evocative vocals, brilliant song writing, tasty expressive instrumental back-up; this one has it all. Given that the duo is features his guitar and her fiddle, comparisons to Dave carter and Tracy Grammar may be inevitable. And as much as I liked Dave & Tracy, I like these two even more. Though less lyrically mystical, Jeff & Sarah create memorable melodies & use simpler, more accessible language to capture the time honored themes in the best country music of home, God, love, family & friends. A simply gorgeous record. |
| Their website. Order fron CD Baby. Released 2003, reviewed by Kevin Russell. |
 BOBBY BARE JR.
Young Criminals Starvation League... (Bloodshot) |
| Long renowned for the devil-may-care Southern rock swagger he showcased in his band Bare Jr., Bare has thrown his fans a curve ball with his latest release. Instead of his usual hard guitar attack, Bare focuses on quieter, more reflective and story-based songs for this one, showing a quality of song writing and vocal inflection few thought him capable. In effect, he has put out his best album ever and one that would make his father (a country hitmaker in his own right) very proud. This praise is not to denigrate his earlier, much rowdier releases. It's just that previously, he was following a path already trod by Hank Williams Jr. Loud country songs featuring Southern rock guitar and a rebel-like attitude. Some songs resonated but most seemed only skin deep. With this album, Bare goes straight to the heart, nailing yours and his own to the wall with his honest, masterful storytelling and his to-the-bone performances. After releasing an album this good and showing the world he can write songs that can stand through the ages, Bare Jr. has an unenviable task: following it up. Until then, I recommend this CD as the CD to by should you only have enough money for one. |
| Bare's website. Bloodshot's Bare Jr. page. Buy from amazon Released July, 2002. Reviewed by Scott Homewood. |
THE BARN
BURNERS
Alibis... (Run Wild) | |
A decent bar band sportin' some red neck country rock that, while probably fun
in a place serving liquor and containing pretty women (maybe that's enough, who
knows) sounds pretty derivative on your stereo. The first song rips of The Stones
while the second takes licks note for note from Lynyrd Skynyrd. All bands gotta
show their influences a little but some of this is outright copy. That said, there
is nothing cringe inducing on this record, just not too much of an original statement.
Bar bands are a dime a dozen and unless you want a recording of a fairly decent
one, you can probably save your CD money and just go out on a Saturday night and
hear something as good as this. | |
The Barn Burners website.
Order the CD from Miles
Of Music. Reviewed by Scott
Homewood |
| |
| Get your torch 'n twang-o-meters
out cuz we got something here. Spotlight Owen Bradley & Family on the
production end which gives the sound a certain smooth predictability, but I'm
also here to say Barnett can smoke a tune or two. I've always associated
her name with mainstream country but this record is, ok, I'm gonna say it, more
reminiscent of the Patsy Cline sound complete with an impeccable band. Some
of that I attribute to the production , some to stylistic influence but a big
part of it is just that wonderful smoky style of delivering great tunes with a
big voice that makes you want to sway, slow dance or just plain sit around and
dream to and that's all hers. I love the tone of this music, smooth, seductive
with just enough frisk to keep you awake. This record has me thinking frocks,
updos and low lights..... See you at the Cimarron. |
| |
 DANNY BARNES
Livin' Large In A Little Bitty Room… (Terminus) |
| Banjo master Danny Barnes is presented here live, solo and acoustic, in the raw. Featuring a career overview with songs from his Bad Livers days up through his recent solo work (Things I Done Wrong, Dirt on the Angel ) Barnes is an engaging performer and monster instrumentalist, with outstanding, roosty songs. Always intense, Barnes alternates his banjo playing with fiery Merle Travis style guitar picking.
The spirits of John Hartford, Dock Boggs and Nathaniel Hawthorne are all present and accounted for in the work of this truly original and forward thinking artist.
This is a first-rate introduction for the un-initiated and a must have for fans of his past work.
This CD was recorded to be sold at Barnes live shows but is now available on his website. |
| DannyBarnes.com Released in 2004, reviewed by Michael Meehan. |
 PAUL BARRY AND THE DEL RAYS
Paul Barry and the Del Rays... (Lulu) |
| I don't know anything about Paul Barry except he is a fine lead vocalist and has released a jumping little CD. Full of rockabilly, honky tonk, retro- pop and a little british invasion, this set of somewhat obscure covers (by Chris Hillman, Todd Snider and Don Reno, among others) is mostly well chosen and basically a hoot. An American pub rock spirit inhabits this offering with some well done Everly Brothers/Maverick type pop crooners thrown in. The Del Rays are tasteful players fortified with pedal steel and fiddle, but the M.V.P. award has got to go drummer Gary Koehler for his tight harmony vocals.
Highlights include the opener "Boo Hoo", the twangy "Heaven" and the retro crooner "Longing". I definitely recommend seeking out this self titled disc from this Cudahy, Wisconsin act. |
| Barry's RockinRoots.com. Order from CD Baby. Released early 2005, reviewed by Michael Meehan. |
 CLAY
BARTLETT
Fixin' To Break Down... (Lu Belle) | | Clay
Bartlett has been around the vibrant musical scene of the Northwest for quite
some time now, having worked with, amongst others, the Supersuckers and Gerald
Collier, but this, Fixin' To Break Down, is his first solo effort, and it's a
pretty darn good one. The press blurbs compare him to the late Townes Van Zandt
and Bob Dylan, and I'd say I hear a bit of Leonard Cohen texture in there also;
similar, but with some important distinctions. Shades of Townes, yes, but without
the aura of self-destruction; lyrically, the writing is akin to that of Cohen's,
but not nearly half as morose, and musically, Bartlett is comparable to Dylan,
except that Clay can carry a tune without having to have it in his pocket. My
only complaint is with the length, eight songs totally just under thirty-one minutes
seems a bit brief, considering what one is asked to pay for a CD. I do prefer
quality over quantity, and there is quality here, but I'd have been happier waiting
a little longer for some additional material to be included. | | Clay's
site. Order from CD
Baby. Released early 2004, reviewed by Don
Grant. |
 BASTARD
SONS OF JOHNNY CASH
Distance Between... (Ultimatum Music) | |
The band with one of the coolest names in the music business comes back for another
round after their incredible debut a few years ago. This time, the sound has changed
a little. The rough and ready rumbling roots rock sound is still there but it
has definitely been polished a hair although not to the detriment of the music.
Where their first album got much of its' charm from its' slight sloppiness and
slurred, grungy guitars this album's charm comes from its' tightness and confident
swagger. These boys ain't messing around. This is serious! It's more a confidence
thing, the band hitting its' stride more than anything else, though, and one need
not worry about the music sounding safe or sterile. These guys ain't having none
of that. As great as that first record was, there is just a weight and a substance,
lyrically and musically, that wasn't there the first time. Another thing you will
notice right away is lead singer/songwriter Mark Stuart's vocal resemblance to
Bruce Springsteen. It starts to show up on the album's second song and stays there
pretty much through the whole thing. Maybe the aural specter of Springsteen is
making the songs sound weightier than they normally would. It's something Stuart
may want to change in the future. As great as this album sounds, as good as it
is lyrically and musically, other less enlightened critics may use the Springsteen
thing against them and it may eventually cloud the band's own identity. For now,
though, this CD remains a swaggering, rocking near-perfect musical creation bound
to send both twang-country stalwarts and modern roots rock fans swooning.
Marvelous. | | bsojc.com
is a nice looking site. Buy
from amazon Released Aug, 2002.
Reviewed by Scott Homewood . |
 BEACHWOOD
SPARKS
Once We Were Trees... (Sub Pop) | |
Throughout the sophomore release from the Beachwood Sparks the SoCal indie
cowboys deliver an album displaying musical, songwriting, and repertory growth
beyond their critically acclaimed self-titled debut. Previously, they were labeled
a retro extension of the late 1960's country-rock icons Buffalo Springfield
and the Flying Burrito Brothers. On Once We Were Trees, the band proves
themselves to be one of the most exciting sub-genre leaders in the current indie
rock world. The mid-tempo groove of "The Sun Surrounds Me" illustrates
the songwriting growth the Sparks have achieved in the last three years, followed
by the somewhat campy yet cool "You Take The Gold" which reverts to
a simple carefree sing-a-long. One notable track is a revamped version of the
Adult Contemporary Sade hit "By Your Side" which stands as the albums
'must listen' track. The Beachwood Sparks bring a much needed good time
attitude to the nearly smothered indie market filled with quickly aging Generation
X-ers who have run out of bitchy social commentary. | |
Sub Pop's Beachwood
Sparks page. Buy
from Amazon.com Released Oct 9th, 2001. Reviewed by Matt
Reasor. |
 MIKE BECK & THE BOHEMIAN SAINTS
Rooted... (Reata) |
Mike Beck's a horse whisperer by trade, learned from the Dorrance brothers, horsemen they based the Redford movie on. Beck's a guitarist steeped in the
Bakersfield sound, and writes excellent and evocative songs. Earlier albums trace his cowboy life, Mariposa Wind being the best. Beck's new one, Rooted,
is a departure of sorts. "George Orwell's 113th Dream" is evidence, as is one of
the more subtle, moving anti-war songs around, "Amanda Come Home", a
mercy plea for a woman he knows who's stationed in Iraq. Rooted also boasts
a nakedly emotional "I Want You", one of the best Dylan covers you'll ever
hear. This is intelligent and genuine Americana music by a man who's tamed
wild horses the world over, spent many nights around the fire at cowboy
gatherings. When Mike Beck shakes the pucky off his boots and plugs in his
B-bender guitar to sing his song, he's got something to say… and his new album captures his evolving artistry very, very well. |
| Mike's site (including horsemanship clinics) has CD ordering. Released Sept. '06, reviewed by Doug Lang. |
 THE
BE GOOD TANYAS
Chinatown… (Netwerk) | | The Be Good
Tanya are a trio of young women from Vancouver, B.C. They have hip thrift store
look and their musical style carefully straddles the line between folk and old-timey
music. Featuring the whispery lead vocals of Frazey Ford and "plucked not picked"
banjo, many of their tunes percolate along at a gentle pace with some soft drums
in the background. Their production and songwriting have improved from their first
effort Blue Horse, yet it’s thankfully not over-produced with too many instruments.
They mix in some well-chosen cover songs with their own compositions, which occasionally
remind me of Gillian Welch’s style. They honor the past forefathers like The Carter
Family and Hazel & Alice, while not imitating them. I could see them breaking
out to the "big time", appealing to everyone from young acoustically aware Phish-heads
to boomer "O’ Brother" fans. Check it out, buy one for yourself and one for your
girlfriend! | | BeGoodTanyas.com
Buy
from amazon Released March, 2003. Reviewed by Bill
Frater |
 THE
BELIEVERS
Row... (Baptism By Fire) | | A recent trend
in the world of alt.country is to have a group featuring dual lead singers, one
male one female. Obviously, these groups are seeking the same type of magic that
made Gram Parsons and Emmylou Harris such a heart-rending, sweet-sounding team.
While I've never heard anyone equal the amazing sound Gram and Emmy got, I like
what The Believers do on this new CD. Some groups make the male/female pairings
seem like a gimmick, but something intangible about the Believers makes the pairing
sound natural, as if the male and female voices were sometimes two sides of the
same person and sometimes two different souls having a passionate dialogue. The
voices in question, Cynthia Frazzini and Craig Aspen, also are responsible for
writing all of the songs. The relationship between them is never really specified
in the liner notes but it is clear from the songs they have a special, tender
bond that allows them to write and perform some solidly heartfelt and honest country
music. | | The
Believers site. Order from Miles
Of Music or CD
Baby. Reviewed by Scott
Homewood |
 THE BELIEVERS
Crashyertown... (Bonafide) |
| Cynthia Frazzini and Craig Aspen, joined by serendipity, come out of the Pacific Northwest by way of Denver and New York respectively. Their sound – what one writer called “American Gothic meets Amazing Grace” – draws on the Buddy & Julie Miller model most strongly. Danny Barnes, formerly of the Bad Livers, adds deftly to the mania with banjo and tuba fluorishes. Self-penned with a cover of Dylan's original rap number, Subterranean Homesick Blues, Crashyertown may not set itself apart from the crowd in originality, but it's in with a good crowd all the same. A consistently listenable set. |
| The Believers site. Order
from amazon. Released April, 2005. Reviewed by Doug Lang. |
 GLENNA BELL
Face This World... (self-released) |
| This is one hard lady to track down; all that I can find out about her is that she's from Texas, and that came from a Google search that describes her as a “Texas/goth country artist”. I shit thee not, that's an exact quote, but I'll be go to hell if I can figure that one out. Goth? Oy vay!…, and who writes that stuff, anyhow? Fortunately, I listened before I read that off-turning label, because this is a nice piece of work by a young singer/songwriter that runs in the vein of a pensive Mary Chapin-Carpenter, with two duets, “Moving On”, and “Tumbling Down”, with John Evans, that are almost more Ian and Sylvia than the originals. There's a minimum of backing to Bell's acoustic guitar and vocals, which are more than capable of standing on their own, thank you. When the band kicks in, as on the bluegrass flavoured “Here In Texas”, and “Cosmos Café”, it's toe-tapping time. Self-effacement is an admirable trait, but Bell needs someone to toot her horn, fly her flag a bit more, as it were. She's worthy of the attention. Goth? Sheesh! |
| We found Glenna's website. Order from CD Baby. Released Feb. 2005, reviewed by Don Grant. |
 BELLE
STARR
Nobody You'd Know... (Hayden's Ferry) | |
Belle Starr come out of St. Louis, sounding confident, mature and great.
Fronted by two principal singers and songwriters, Kip Loui, who writes most of
the songs and has a knack for both memorable words and a good sense of melody, and
Lynne Reif, who handles most of the lead vocals with a commanding and expressive
alto voice. Together, their singing is frequently spectacular without being too
showy. Their songs go from twangy guitar-led rock to spare acoustic ballads with
no shortage of melodic hooks. Hayden's Ferry is a small Americana label
that believes in quality over quantity. They know how to pick 'em and this
band is a good example. Freight Train sez check 'em out! |
| The band has their own site,
with bio, tour and FAQ's... Hayden's
Ferry's site. Released March, 2000, reviewed by Bill
Frater. |
 BELLEVILLE
My Friends Are My Estate... (Del-Tona) | | Opening
this CD off with an almost perfect slice of late-60's Byrdsian folk-pop (Light)
bodes well for Belleville (at least for me, your humble and country-rock loving
reviewer). If all bands would open their discs with powerful, grabbing songs such
as this my job would be so much easier. In Belleville's case, thank God, my job
IS easy because that wonderful first song is just the tip of the iceberg as this
CD is chock full of perfect rock/country amalgamations that will make fans of
Byrds/Gram Parsons and other artists of that ilk just swoon. Great harmonies,
wonderful arrangements and songwriting to die for are the lynchpins to this magnificent
CD. Vocals are shared just about equally between band members Robert Zapata and
Bruce Drake and all songwriting is credited to the band, underscoring the total
band effort on display here. For all the alt.country bands trying to hop on the
classic pop bandwagon, along comes Belleville out of relative nowhere to show
the rest how to do it properly. Jeff Tweedy dreams of making a record this good.
There is not a bad song on here and I say that in all seriousness and pure awe.
The best record of the year so far. Fans of Perniece Brothers, Gram, The Band,
Byrds, and even late ‘60's psyche-rock need to check this out. Immediately! | | Order
from amazon
Released Oct, 2002. Reviewed by Scott
Homewood |
 THE
BELLFURIES
Just Plain Lonesome... (ASP) | |
Johnny Cash's original back up band, The Tennessee Two, was just lead guitar and
stand up bass. Similarly, the Bellfuries led by the fine, Elvis-inspired vocals
of Joey Simeone, have guitar, slap bass, lead guitar and a fifties sounding
steel guitar by "guest" Billy Horton. Great stuff, no doubt about it.
Extra points for their choice three cover songs- written by Webb Pierce,
Dion DiMucci and Sam Cooke. The rest Simeone wrote, but they sound as if
they could have been written 50 years ago and that spells rockabilly to me. Get
your pomade out, hit the dance floor and take this record to your next party.
| | The bands
site has tour date and ordering info, and their label's
site has MP3 song samples. Released March, '01, reviewed by
Bill Frater & Kay Clements.
|
 THE
BELLYACHERS
Bottoms Up... (Gut) | |
This young quartet from San Francisco which features the plaintive lead vocals
and songs of Sandra Mello, has a sound which seems to alternate between the guitar
twang of Lone Justice and classic country torch ballads. Mello is aided by rhythm
guitarist Melody Baldwin-Baroz, whose harmonies are pleasant and subtle and Jon
Stern on lead guitar. David Phillips also adds some fine pedal steel. The band
looks punk-country cool and for a debut CD, it's quite promising. |
| Check out the band's website, Bellyachers.com.
Released Nov. 2000, reviewed by Bill
Frater. Order the CD from Miles
Of Music. |
 BELLYACHERS
Heavy In My Hands... (Gut) | | Despite
the presence of pedal steel player David Phillips and accordion master Rico Bell,
this album lands more in the realm of rockabilly-laden pop than country. It does
have plenty of roots/country influences, though, most notably in the folk-tinged
voices of singers/bandleaders/songwriters Sandra Mello and Melody Baldwin-Baroz.
Their sweet harmonies propel this album and give it an honest, rootsy feel much
like the Everly Brothers' voices gave to their own special brand of rock music.
And much like their thankfully unadorned voices, the Bellyachers' music eschews
effects and the usual heavy doses of reverb, instead relying on pure, sweet musicality
to bring their often pain-filled, passionate songs to life. A deliciously swaggering
cover of the Van Halen hit "Jamie's Cryin'" is not to be missed. Thankfully, in
a year filled with some other great albums from female roots artists, this is
not your standard Nashville cookie-cutter female country album. This CD is filled
with soul, life, wholesomeness and passion. Take that, Trisha - the country scene's
starting to pass you by, baby. | | The
Bellyachers site. Order from amazon
Released Aug, 2002. Reviewed by Scott
Homewood |
 RIDLEY BENT
Buckles & Boots... (Open Road Music)
|
Thematically speaking, Canadian Bent's sophomore release doesn't chart any new waters for the genre. It's a country disc through and through. All of the usual suspects are present in force, the rodeo rider, the disappearing ex, (in guess who's truck?), there's a dog in there somewhere, and an ode to mama, all delivered in styles that change up through swing, straight ahead new country rock, and the closer's dialogue laden “Apache Hairlifter” about an aging cowboy of questionable character. While the content of Buckles & Boots may have been explored before, it's not that often that they have been so well presented. Producer John MacArthur Ellis, with a crew of skilled musicians, has done a stellar turn here. Stylistically it might not be everyone's preferred cup of tea, but it's nonetheless a pretty skookum brew. |
| Ridley's site. Buy from amazon. Released Nov. '07, reviewed by Don Grant. |
| |
| This is an impressive CD
put out by a lady mostly known for writing songs for more "established"
Nashville artists. Berg exhibits a maturity and a debth of style far beyond the
other "girls", and she has a great voice to boot. Producer Emory Gordy,
Jr. was Emmylou's original bassist, and his experience shows both in his arrangements
and his cautious use of the many guest stars. What I also like is the sense of
playfulness that Matraca has. She doesn't take herself too seriously. Fans of
Mary Chapin Carpenter or Shawn Colvin would probably enjoy this CD. |
Best tracks: Along For The Ride, That Train Don't Run, Back In The Saddle, Back
When We Were Beautiful, Sun. Morning To Sat. Night. Buy
from Amazon.com. |
 DAN
BERN
New American Language... (Messenger) | |
If this CD truly has the New American Language, then every rock and alt.country
band needs to pick this up and study it. From his opening burst Tom Petty-with-tons-of-twang
vocals on the song Sweetness and throughout this disc, Bern has crafted an incredible
blueprint for a near-flawless roots record. Besides the insightful, engaging,
witty stories he tells with deft and skill, he manages to surround them with a
perfect framework consisting of equal parts rock passion, country cool, and folk
defiance. Yeah, hard times are just around the corner, but so what? Pick up a
guitar, tell your story, and get over it. Bern's figured out a way to do it, why
do other artists have such a rough time? Congratulations, Bern...after four great
discs you've released a career-maker. To you roots fans - get this now and don't
be surprised if it turns out to be your favorite disc of 2001. |
| Check out DanBern.com
Buy
from Amazon.com Released Oct. 2001. Reviewed by Scott
Homewood . |
| | |
At first I wasn't sure if these guys were a rock band or a country-roots band,
and I'm still not sure, which is fine. Like Del Amitri or maybe Dire Straits,
Big Back Forty do what works for each song and to hell with labels. They're from
Columbus, Ohio and they played and wrote the whole thing themselves. No gimmicks,
just great songs and arrangements. Has anyone else bought this CD besides me?
|
Best tracks: Blood, 8 Miles Down, Move It Over, Big Man. Big
Back 40 Home Page Nice site w/tour info, song samples and lyrics. Released
July, '97, reviewed by Bill Frater. |
| |
| These young guys hail from San Francisco
and have a distinctive sound featuring the haunting tenor of songwriter David
Fisher. Add lots of reverb guitar and you can't stop thinking Chris Isaak must
have a new band. The songs are mostly mid-tempo to slow, the melodies will eventually
grow on you and you find yourself forgetting all about Isaak, and you realize
he got most of his sound from Roy Orbison. So who knows who they sound like, there's
definitely a 50's retro thing going, with enough pedal steel from guest Greg Leitz
to give it some country feel. The Mavericks, maybe that's who they sound like!
Oh well, they don't have the most original sound, but who does anyway. The CD
has a "hidden" last track that really rocks like "Sun Sessions"
Elvis, which I wish they did more of. I like these guys and if you like any of
the above artists, then you'll enjoy Big Blue Hearts too. |
Best Tracks: Live
Without Your Love, Nobody Wants Her, Don't Mind Messin'. Official
Band Site with tour info, mailing lists, pix, etc. Released June, 97, reviewed
by Bill Frater. |
 THE
BIG GALOOTS
One Thing Right... (GIP) | |
Their biography says that this New Jersey band embraces country music's greatest
period, the 1950's and 60's. That works pretty well for me too. They compare quite
favorably to the Derailers, original songs done in honky tonk, rockabilly and
pre-Beatles rock 'n' roll styles. Despite the band's name, they take their music
quite seriously. This debut CD is a fun ride. | |
Order from amazon,
or from the band's website, BigGaloots.com
Release date: June, 2000. Reviewed by Bill
Frater. |
| | |
This California band has a real smooth blues-based
country sound. Lead singer Monty Byron has a good, smokey voice and has a hand
in most of the songwriting, which is solid throughout. They play it fairly safe,
but at least they haven't "sold their souls" to have a country hit.
I was prepared to say that this CD gives me hope that the Nashville establishment
is finding a place for young bands to develop. Then I just heard that MCA has
dumped them from their roster after only 2 releases. MCA also recently sent the
great George Jones out to pasture too. So much for good intentions. I like these
guys even more now, and I wish them luck. |
 BIG
HOUSE
Woodstock Nation... (Dead Reckoning) | |
Failing to hit the big time via MCA's major label machine, Big House comes back
with a new release on the well-respected Nashville songwriter label, Dead Reckoning.
This time through, they are short four of their original members, sacrificing
some of the Bakersfield Sound which characterized them. But led by the strong,
bluesy voice of Monty Byron, the band sounds relaxed and loose and even pretty
funky at times. It ain't very Country and it ain't very R & B either,
but I like 'em. My only question is ... why'd they name it Woodstock
Nation? The title has nothing to do with the band or their music.
| | Dead
Reckoning has a nice site. Buy
from Amazon.com. Released May, 2000, reviewed by Bill
Frater. |
 BIG
IN IOWA
Bangin' 'n' Knockin'... (self released) | |
I guess you'd call this heartland Roots Rock or possibly Boogie Blues. It
seemed like their first CD was more twangy sounding whereas this one is more derivative
and even sometimes mocking of the 70's Southern Rock excesses. Lead singer
Bob Burns has a classic rock voice that reminds me of the guy in Lynard Skynard
(or is it Marshall Tucker Band?). They're obviously a good band with good songs
and there's nothing wrong with Southern Rock, but it sounds somewhat dated to
me. However, I give 'em extra points for covering Pure Prairie League's
"Two Lane Highway". | |
You can order the album from Miles
of Music. Released March 2000, reviewed by Bill
Frater. |
 BIG
SANDY & HIS FLY-RITE BOYS
Night Tide... (HighTone) | |
This is an especially good collection of original tunes played by a band that
has remained true to the hillbilly swing thang since their first CD. With the
talented guitar and steel of Ashley Kingman and Lee Jeffries and up front, the
remarkable songs and vocals of Big Sandy, this is a band that is becoming smoother
and tighter as they age without losing any of the skirt swingin' fun that has
marked them as one of the premier goodtime dance bands on the touring circuit.
Check it out and check them out next time they come to your town. They not only
play good but they dress good too, and they have cool vintage equipment. |
| HighTone
Records Released August, 2000, reviewed by
Bill Frater and Kay Clements. |
 BIG SANDY & HIS FLY-RITE BOYS
Turntable Matinee… (Yep Roc) |
You know what you're getting when you buy a Big Sandy album. A seamless and swingin' combination of early rock ‘n roll, vintage country and rockabilly, with Sandy's versatile wispy tenor above the mix. They've been together in one form or another for over 15 years now, outlasting the swing trends and numerous other similar bands. They still tour a lot with their vintage clothes, guitars and amps. The songs here are mostly originals, steeped in the tradition of the late 50's to early 60's. No Politics here, just tunes about playin' ‘45's, first kisses, heartaches and one about a pair of “Haunted Heels”. It's all about those sweet and innocent times some 50 years ago. And perhaps that's a nice place to be, like in the movie “Pleasantville”, it'd be nice to stay there. |
| Big Sandy's Yep Roc page. Buy from Amazon.com. Released July, '06, reviewed by Bill Frater. |
 BIG
SILVER
Big Silver... (self-released) | |
While I notice many other reviewers are calling this power-pop, I consider it
power pop only if the V-Roys were considered power pop. This is indeed heavy on
melody and punch, but the vocals still retain a huge helping of twang and the
band's rural roots are evident when listening to their songs. What I do like is
the lead singer's tendency to sound like Dave Edmunds. This is never a bad thing
and I can see a younger version of Edmunds doing songs like this. Think V-Roys
and the poppier sides of Wilco and Wallflowers. Oh yeah, Big Star creeps in too.
Definitely a keeper. | | The
band has a nice website.
Order the CD from Miles
Of Music. Reviewed by Scott Homewood
|
 BIG
SILVER
Love Note... (Spin South) | | Just
so you know I'm being honest, I'll say it right up front - I love power pop. There,
I've said it. You know what, though? I love me some well-played swinging country
music just as much. While the original slate of acts that helped form the original
No Depression movement back in the mid-90's are drifting away from their roots
and original focus to play more pop-oriented stuff, I can't begrudge them. For
the most part, they do a good job. For example Wilco and the Old ‘97's. Although
I loved their first few albums, I don't mind the direction they've taken away
from the kind of music they started out with. I also don't mind when an artist
like Robbie Fulks decides to make whole albums full of Bakersfield country songs.
I like both styles equally, and as long as it isn't done to just gather money
and press (hello Marah, you stinking sell-outs) I am fine with it. Perhaps the
best of both worlds is a band doing an album of songs of which half would be country
and half would be rock/pop with some catchy melodies. Well, damn if Big Silver
didn't read my mind and go ahead and do just that. The country songs swing, the
rock songs have some crunchy guitars and some highly catchy melodies and I am
one of the happiest men on the planet! It's a love note alright - a love note
to anyone who likes great country and bristling crunch-pop. Everyone will find
something to like here and this CD shouldn't be neglected. Pick this up as soon
as possible. You'll be glad you did. | | Big
Silver website. CD's available at Miles
of Music. Reviewed by Scott
Homewood |
 THE
BIGGER LOVERS
How I Learned to Stop Worrying... (Black Dog) | |
The Lovers got the title perfect because I wouldn't worry either if I had a band
this good. Think equal parts Who/Jam power thrust, Wilco's country-pop experimentalism
and Brian Wilson's arranging genius mixed together and left to fester in a heart-rending
emotional battle zone and you just about got it. While seemingly lo-fi and a little
under produced there are a lot of beautiful orchestrations and filigrees that
are way beyond the scope of most roots rockers. Theremin, piano, plaintive pedal
steel - everything plus the kitchen sink but put together so the song shines brightest.
A very good album that makes me eager to hear what they can do next. |
| The Bigger Lovers website
has tour info and more. Release date: March, '01. Reviewed
by Scott Homewood |
 BIGGER
THAN DALLAS
Hard Floor and Thought of Sin and Grace... (self-released) |
| While I love the band name and the quite
gothic-sounding title of this four-song EP release from the band, I like the music
even more. All acoustic and folky, the music rolls like the tundra and carries
the resonance of a thunderstorm. I'm talking great dynamics here, something most
bands forget about. Each song is life-and-death and there are no winners. No winners
except the listener, who gets to check out a relatively new band, one who I hope
comes out with a full-length CD very soon. A very good EP, let's hope the next
release continues this fine start. | |
The band's euphonious website. Reviewed
by Scott Homewood |
 THE
BILLYGOATS
Huevos Rancheros!... (BGR) | |
The Billygoats, a four-piece band out of Nashville, celebrate that timeless era
of Rock 'n' Roll, the '50's. They write their own tunes, most with a mid-tempo
Rockabilly feel with a sprinkle of vintage Country. The title track is a Spaghetti-Western
flavored instrumental. One song features violinist Andy Stein, who I haven't heard
of since his days with Commander Cody's Lost Planet Airmen. Great for bowling
shirt wearing fans of the Palladins or the Hollisters. | |
Released July, '00. Song samples, bio and CD ordering from Groovetone.com. |
 JEFF
BISCH
40-Watt Stars... (Pocket Knife) | |
A strange little album this. It's not really "country" music and the
Americana term doesn't fit either, although it's exactly that. I guess I would
call it "roadhouse" if I had to distill it down to one term. It's an
almost even mix of jazzy blues and country - a mix that only Gatemouth Brown and
Willie Nelson seem able to pull off. Until now, that is. Bisch does a fine job
of mixing the two, although I wonder what blurring the lines this much will do
to help him build an audience. No matter, country fans may find it too bluesy
and blues fans may find it too countryish but music fans, those interested in
true quality songs and performances, will like it just fine. | |
Pocket Knife Music is his own
label. Order from CD Baby.
Reviewed by Scott Homewood . |
 BLACK
EYED DOG
Distance Inbetween... (Hero) | |
Anyone who doubts that North Carolina is quickly becoming a hotbed of alt.country
musical bliss needs to listen to recent albums by Lou Ford, Jolene and this great
band to realize the state is starting to kick-ass in turns of quality country
music. To my ears, Black Eyed Dog sounds like the rockier side of the Bottle Rockets
mellowed slightly by the more introspective side of Counting Crows. In other words,
rural roots rock with catchy melodies and a decent studio sheen that is noticeable
but doesn't take away from the song. In what may be noted producer Mitch Easter's
first foray into country-rock music, he mixed this album and did a damn fine job
of it too! His involvement could definitely be the source of the albums' radio-ready
sound. Of course, Easter is a noted pop fan and this album does have a touch of
that as well. It's buried so the songs can come to the fore but it's there in
the melodies and a few of the bells and whistles that seem country but also seem
perfectly placed as well. Another ringer is singer Jeffrey Dean Foster, who does
background vocals on this album. While this might not appeal to the country purists
it sure would sound great on the radio and would definitely lead to some more
exploration of the country idiom. Crows, Slobberbone, and B-Rox fans will all
like this record. | |
Black Eyed Dog's website.
Order the CD from Paste
Music. Reviewed by Scott Homewood. |
 BLACKIE & THE RODEO KINGS
Let's Frolic... (True North) |
As can be seen by the release date below, this one has been around for a while now. At this writing, their fifth has been available since last May. Oh well, better late than never. Let's Frolic is a pleasing meld of folk, country, and a dash of rock, as in the title track, from three talented Canadians, Stephen Fearing, Colin Linden, and Tom Wilson, the Rodeo Kings' core. While the composition of the backbone section varies from disc to disc, the caliber of the musicianship never wavers. Writing credits are fairly equally shared but you'd never know it just from listening, as the lead vocals alternate, even within a single song. The tracks are so complimentary they could have all come from one pen, that's how finely attuned to each other they are. Nevertheless, minor detail; you get fourteen bangs here for your buck, no misfires. For a taste of country rock, check out “That's What I Like”, for a beautiful ballad, “Loving Cup”. Next order of business: check out Let's Frolic Again. |
| Rodeo King's site. Buy from amazon Released Sept. '06, reviewed by Don Grant. |
 THE
BLASTERS
Live:
Going Home...( Shout) | | I love the Blasters.
This band says LA like the Beach Boys said Malibu. Maybe I'm not the most objective
person to write this review but I put this CD on after a bad day,( a bad week
really) and suddenly, I'm dancing around the room feeling proud to be an American,
proud to be from LA (no easy sell, believe me). How does this compare to the live
CD recorded in 2002 and released on Hightone? There is live and then there is
really live, excitingly live. The Blasters upped the ante when they invited some
of their heroes onstage and made this as much a tribute to them as a lesson in
what influenced the band from the gitgo. You can hear the energy that happened
that night at the Galaxy Theater when members of the Calvanes and the Medallions
as well as Sonny Burgess and Billy Boy Arnold stepped onstage to play together
with the Blasters, really laying out the blues, rock and r&b that was their inspiration.They
are still a kickass band, make no mistake and time has only enhanced their talent.
| | Buy
from amazon. Released Feb. '04. Reviewed by Kay
Clements. |
| | |
From the other band from East LA,
this new one doesn't really break any new ground, but that's okay, they're a solid
band with a consistent rootsy blues sound. Production is by Pete Anderson, which
is always good, and he adds some slide here and there too, also good. I can't
fault the vocals or the tunes, I just don't find myself going back to listen to
the CD much. That's just me, if you liked either of their earlier CDs then you're
sure to like this one. | |
|
 BLIND
BOYS OF ALABAMA
Spirit of the Century... (Real World) |
| Let’s temporarily
suspend the usual FTB star rating and give this one a “praise the lord”
a couple of “hallelujah’s” and a “good god almighty”.
By my reckoning, the guys that made this recording have a combined total of about
500 years experience in the music business.
They put every last one of them to good use on this disk.
A seamless mixture of songs by secular artists (Tom Waits, Ben Harper,
Jagger/Richards) and traditional/gospel tunes, the 70 plus year-old Blind Boys
are backed by an all-star band that includes David Lindley, Charlie Musslewhite
and Danny Thompson. Producer John Chelew, (who produced John Hiatt's classic Bring
The Family), is content to lay down a groove and let the voices shine.
Lord, have mercy! | |
Buy
from Amazon.com Released: April, 2001. Reviewed by Marty
Harper. |
 THE BLIND ROBINS
Panorama Valley... (Rolling Blackout)
|
Based in Rockford, Illinois, the Blind Robins are a quartet, that, from the evidence here on their second release for Rolling Thunder, should really be a sextet. They've produced a pleasing collection of alt.country, bluegrass, and even a waltz from the pen of vocalist Michael Whyte, and, to these ears, much of the pleasantry comes from the contributions of Jessica Billey on violin and vocals, and the pedal steel and banjo of Bud Melvin. Those two should be press-ganged into permanent member status. Standout tunes include the chicken scratch bluegrass of “Cash and the Carters”, the title track “Panorama Valley”, and the afore-mentioned “Skelton Waltz”, which brings back memories of parts of Neil Young's Everybody Knows This Is Nowhere. Rumour has it that the Robins' first release had a Ramoneish punk flavour to it, and there is a definite vestige of angst in “Two Good Eyes”. This time around the country predominates, and that's a good thing. Now guys, just get your two wingers to quit their day jobs, and release number three should be a winner. |
| The Robin's site. Order from CD Baby. Released June, '06, reviewed by Don Grant. |
 JILL
BLOCK
Tang The Hump... (Western Beat) | |
For those of you who recognize the last name, Jill Block is the wife of Nashville
alt.country music promoter and visionary Billy Block. For those of you who don't
recognize the slightly provocative title of her new album, it is a quote from
the genius of soul James Brown, who used to cajole his drummers to hit the bell
of the cymbal by asking them to ‘Tang The Hump'. One notable aspect about this
CD is that Block, who used to use the name Porkchop Kelly when performing, has
finally decided to drop all artifice and make her official ‘big time' debut under
her real name. If this heralds a new honesty in her songs and performance style,
then this is indeed a good thing, as her was always great before - and her new
album kicks ass. Not only does she call in a bunch of Nashville songwriting mavericks
like Kostas to help her co-write some cool tunes, but she also has some fine musicians
in her backing band, complete with Mr. Block himself on drums,.Most importantly,
however, the honey-voiced songstress uses all of these great musical allegiances
to augment what she already does so well: sing some wonderful country songs featuring
all the twangy guitar noise and great rowdy rootsy rock you'd ever want from a
country filly. All without shifting the focus away from her great voice. A swell
debut from a promising new artist. | |
WesternBeat.com
has a bio and CD ordering. Reviewed by Scott
Homewood . |
| |
| This young band from San Francisco has
been together for three years and they have developed a great sound. Featuring
the fine vocals and songwriting of Michelle Muldrow. They move from slow,
waltz-style folk /rock songs to upbeat jumpers, all with a bit O' twang and some
tasty slide guitar. The album credits mention 2 lead guitarists, one "sloppy"
and the other "slick" and that pretty well describes their overall sound. Fans of Bloodshot artists should like this, though Bloodroses are more melodic
and polished then most of the Bloodshot bands. This CD is definitely worth
looking for. | | E-mail
the band for CD info. Their website
has some live pix and bio stuff but no updates on this album. |
 PATRICK BLOOM
Moses... (Mud Dauber) |
| Patrick Bloom is a member of the new generation of wandering minstrels, having pinballed himself between both American coasts and coming to rest, (permanently?), in the heart of the Midwest, Iowa. You can’t get much closer than that to the soil, which coincidentally makes a good reference point for describing his music. No rhinestone cowboy, Bloom captures the essence of everyday life with a poignancy that evades the pitfall of becoming maudlin. He can tap into a religious vein, as in the title track, and in “Jerusalem”, without that suffocating oppression that appears all too frequently in that particular subject. That same ability is evident in his homage to his new digs titled, what else, “Iowa”. Does the man have a sense of humour to boot? A nice little ditty about the mythical “Green Lantern” answers that one. With a CD like Bloom’s, there’s no surprise there. |
| Bloom's homepage and MySpace. Order from CD
Baby. Released Feb. '08, reviewed by Don Grant. |
 BLUE
DIAMOND SHINE
That Godforsaken Road... (Entwine)
| |
Besides taking their name from one of Blue Rodeo's best records, the band has
also seemingly stolen something else from that much-loved band: a gift for well-written
songs and a sparse, compressed country-rock sound that somehow allows the music
to breathe without making it seem something is lacking. This band favors an old-fashioned
(classic) sound resembling '50s country artists while incorporating some of that
era's rock riffs as well. This is an album for those that feel most at home with
the classic country sound that wouldn't mind a smidgen of rock added to it. A
very pleasant record. | |
Check out BlueDiamondShine.com for
CD ordering. Reviewed by Scott Homewood
|
 THE
BLUE DOGS
Halos
and Good Buys... (Black River)
| | Some
CD's grow on you. You have to listen to them a few times to really grasp what
the artist is doing. At some point you find yourself humming the song as you're
driving to work. Halos and Good Buys, the new release from The Blue Dogs
out of South Carolina, is not one of those CD's. From the opening track, "What's
Wrong With Love Songs?" to the soon to be ubiquitous "Wrong Love At The Right
Time" and "Make Your Mama Proud" to the rest of the really well-crafted songs
on the CD, it hits you right between the eyes with a sledgehammer. Over and over.
By the third or fourth time listening through, the magic is gone, and this CD
starts to wear thin. Yes, the musicianship is truly outstanding from both the
vocals of Bobby Houck and the instrumentalists. Yes, the songs are clever, and
hooky. Yes, Don Gehman's production work is world-class. And that's the problem
with Halos and Good Buys. It's too slick, too polished, too formulaic.
This could be a really great CD by any really good band from "the new Nashville."
No one can doubt the quality of the work on this CD, but there isn't much to set
it apart from a lot of other CD's by a lot of other bands. It sounds like Pat
Green or The Wallflowers or Counting Crows or even heaven forbid, Hootie & The
Blowfish. You'll be able to judge for yourself, whether you buy the CD or not.
Soon enough The Blue Dogs will be all over US radio and CMT and there will be
little chance of avoiding them. | The
Blue Dogs online. Buy
from amazon. Released March, '04. Reviewed by Clint
Weathers. |
| | |
This young trio from Mississippi have a delightful
sound. Sometimes upbeat-folky, other times loud Neil Young-ish guitar, then they'll
bring it way down and make your heart ache with a soft ballad. Cary Hudson writes,
sings, plays guitar, banjo, mandolin, etc. and his wife Laurie Stirratt plays
bass and sing great harmonies, and ya got Frank Coutch on drum. Great songs with
memorable melodies. If you like Whiskeytown, try Blue Mountain, a little more
rootsy-sounding, they prove that keeping it simple is the way to go if the songs
are there. | |
|
| |
| This Canadian six-piece band has a signature
sound after 10 years together. The harmonies of the two singers/guitarists remind
me of The Jayhawks a few albums back, or even The Burritos at their best. All
original tunes, a few of the longer ones seem to drag on and on. No new ground
broken here but their solid Americana sound is consistant and tight. I wished
they let loose a little more like on the final song. I bet they're a great band
live. | | |
 BLUE RODEO 
Are You Ready... (Rounder)
|
This one gives me some pain, and not because it's a dud, but, rather, because it doesn't meet the standard of some the band's earlier efforts. Make no mistake, I admire these guys for their ability to craft intelligent and melodic music that reaches far beyond the inanity of “ my truck ran off with my best friend, my girlfriend broke, and my dog got drunk” lyrics of a lot of mainstream country. After Outskirts and Diamond Mine , maybe I'm expecting too much? I dunno. In all honesty, this CD is pretty good stuff, but, and here's the rub, it skates dangerously close to being department store/elevator country muzak. It is too easily relegated to the background. Nothing stands out, unless you force yourself to sit down and really pay attention to what is happening on your audio system. That wasn't the case with the afore-mentioned predecessors; those albums burned with a passion that sizzled your ears. Is complacency setting in, the old nemesis of far too many talents? God forbid that the guys are going middle-class on us! I think that it's time to re-connect with those leaner, meaner, and hungrier times; c'mon Jim, Greg,… most of the Canadian ‘icons' that I know of are dead, or have one foot in the grave and the other on a banana peel. You're not ready for the garden yet. |
| The official band site. Buy from Amazon.com. Released Sept. 2005, reviewed by Don Grant. |
 THE BLUERUNNERS
Honey Slides... (Bayou Vista) |
|
The opening cut on this very enjoyable disc is "Working Man's Zydeco", which perfectly describes one aspect of this veteran Lafayette, Louisiana band. But as you listen on, you'll find they're just as comfortable presenting a swampy blues groove (The Grave Digger, King Snake Crawl) or mandolin driven, haunting country ballads (Ghost of a Girl, Big Head.)
What ties this regional music together is rousing accordion and slide guitar licks (evoking local favorite Sonny Landreth). With rock and roll attitude and strong cultural roots, French Cajun tunes and rolling instrumentals, this release is just in time for Mardi Gras but will sound great year round. |
| The Bluerunners website has CD ordering, or buy from Amazon.com. Released Jan. '05, reviewed by Michael Meehan. |
 KIP
BOARDMAN
Upon
The Stars... (Ridisculous) |
| At a time when
most bands (not so much in the alt.country world but there are plenty of examples
there as well) are more concerned with adding as many production and instrumental
gee-gaws as possible than turning out good, quality songs, comes Kip Boardman
and his new CD filled with gentle country rocking gems. Recorded at Boardman's
house (at least according to the CD's liner notes) and featuring a core band made
up of only three players (Boardman (vocals, bass, piano and extras), Tony Gilkyson
(guitars), and Don Heffington (drums, percussion) this CD is a testament to the
power of good songwriting. Although some background vocals and instrumental enhancements
are added, they are kept very minimal and it is the songs which stand out, whether
they be on the country side (Upon The Stars) or 70's AM pop on a Paul McCartney
Ram-ish scale (Bottom Line). This should appeal to fans of both country and light
pop/rock and is a wonderful record for a summer day. Great stuff. |
| KipBoardman.com
has CD ordering, or order from Miles
Of Music. Reviewed by Scott Homewood
|
 BOB
AND WENDY
Behind the Blue... (self-released) | |
An interesting concept in alt.country land. A male/female team (maybe husband
and wife, maybe sister and brother) that is not based on guitar and vocals, instead
based on guitar, vocals, and stringed instruments (cello, violin). What strikes
you at first is the fragile, crystalline beauty of Wendy's voice - a surprising
tone that, to me, could sound just as good accapella. Next up are the wonderful
harmonies produced by both of them, harmonies that rival Buddy and Julie Miller
and even the Everlys. Even more remarkable are the songs. Timeless and classic,
these songs have the feeling of being familiar yet new, like classics just written.
This is a winner to me in all respects and it's hard to pick a standout but I
would say the song Bed You Made is my personal fave. A delightful album that makes
me anticipate their next one. | |
Their website. Order from CD
Baby Reviewed by Scott Homewood
. |
 PONTY
BONE
Fantasize... (Loudhouse) | |
While the phrase "Enjoying the Bone" can mean a lot of things (most
of them X-rated probably) to a lot of people, to Texans, well....let's just say
to music savvy Texans it means enjoying one of their treasures - master accordionist
Ponty Bone. Bone has played on so many albums as a sideman that it would no doubt
be nearly impossible to count them all but his masterful accordion work has graced
more of your | |
