Shawn Camp - see artist discography

Kate Campbell - see artist discography

Jim Campilongo & The Ten-Gallon Cats "Loose" (Blue Hen Records, 1997)
One of the most riveting and upbeat albums by this inventive instrumental combo. Guitarist Jim Campilongo and his pedal steel-plunkin' cohort, Joe Goldmark, pick up where Nashville studio legends Jimmy Bryant and Speedy West left off... This disc is packed with dazzling drag-racing guitar duets, many with a country twang but also an experimental jazzy edge. Percussionist Ken Owen and bassist Chris Kee are right there, alongside the string kings, providing spare, punchy accompaniment. A nice record, midway between the poppy tunes of Martin Medeski & Wood and the old-school hillbilly hot pickers.

Laura Cantrell - see artist discography

Cap Gun Cowboys "Girls, Cars And Smoke-Filled Bars" (Rust Belt Records, 2003)
Cowpunkish Ohio rockers playing at the alt.country game, with songs with titles like "Wal Mart Wedding," "Full Tank," and "Phone Call From Texas." I actually didn't find these fellas as offensive or as stereotype-laden as many of their altie compatriots -- they're actually kind of likeable in a rooting-for-the-nonprofessionals kinda way. But they're also really limited musically and many of the songs lack focus. Still, if you like some of the Bloodshot bands, you might enjoy checking these guys out as well.

Cap Gun Cowboys "Atomic Horsepower" (Rust Belt Records, 2005)
Although they've toned down the cowpunkish elements somewhat, these Ohioans still sound kinda clunky to me. Their hearts are in the right place, but their pickin' is pretty rough, and them thar twangy accents sound a bit too forced. This disc is okay, I suppose, but it didn't really wow me. Folks who are more into the whole twangcore thing might like it more that I did, though, so take what I say with a grain of salt...

Brian Capps "Walk Through Walls" (HighTone Records, 2005)
Nice, understated roots'n'rock in the style of Dave Alvin and the Blasters... Strong original material and a few well-chosen covers, most notably a funky version of the Merle Travis oldie, "Dark As A Dungeon," which sounds like the song is being covered by Marc Bolan and T.Rex... Capps comes from the Midwestern roots band the Domino Kings, and does a nice job here on his first solo outing... Worth checking out!

Grayson Capps & The Stumpknockers "Rott'n'Roll" (Hyena Records, 2008)
(Produced by Grayson Capps & Trina Shoemaker)
Murky, greasy blues-and-rock-drenched Americana, with a sleazy, sludgy, weary edge -- sort of like Robert Earl Keen with a really bad, really big hangover. The smell of whiskey-soured, days-old sweat oozes out of these clompy, thumping tunes -- fans of Drive By Truckers and more rock-oriented alt-twangsters might dig these guys, too. Highlights include "Arrowhead" and "Big Ole Woman"

Brandi Carlile - see artist discography

Hayes Carll "Flowers And Liquor" (Compadre Records, 2002)

Hayes Carll "Little Rock" (Highway 87 Records, 2004)
The album's title is, of course, a pun... While there is a "little rock" in the mix here, this album is mainly a brash blast of pointedly twangy, bouncy alt-twang. It's also the coming-out party for a major new talent on the alt-country scene. While Carll's debut disc, Flowers And Liquor introduced us to a young songwriter with a knack for nabbing memorable melodic hooks, it was an uneven album -- a few songs stood out as gems, others seemed less well-formed. Here, however, is an album where every song is forcefully bright and passionately presented, a sustained showcase for a guy who has taken the songcraft of Texas indie icons like Guy Clark and melded it to a chunky, bluesy, upbeat full-band sound that suggests a lot of fun, loud nights playing at all the right bars. In his lyrics, Carll namechecks Ray Wylie Hubbard and the Texas alt-billy scene, but now it's clear he's not just some kid looking in the window, he's a newly-arrived peer, a guy whose new records we should look forward to for years to come. Indeed, Hubbard and Clark have cowritten a few songs with Carll, and if that's who he's hanging out with, the guy's alright with me. There's a bit of an overly-aggressive edge to some of this album, but overall it's a pretty compelling release. You should definitely check it out. It's the real deal.

Hayes Carll "Live At Bend Studio: 10/21/06" (Bend Studio Records, 2006)

Hayes Carll "Trouble In Mind" (Lost Highway Records, 2008)
(Produced by Brad Jones)
A loud, lusty, robust dose of hard-rockin' alt-country, pure pop pleasure for folks who like their Americana to sound booze-soaked, smoke-stained and twangy. Carll sings about barmaids and sweaty nightclubs, booze, pills, wild sex and never looking back. He might be laying it on a bit thick, but he's got lots of good licks and a killer band backing him up: this is what outlaw country should sound like, and if you're into it, this is a pretty fun album. Carll is also a superior country craftsman, both as a lyricist and tunesmith -- his lyrics don't run down poetic rabbitholes or trot out bloodless stereotypes. The subject matter is raw, but believable, and the music packs enough wallop that you can easily imagine yourself pounding back a few in an old-fashioned honkytonk, nodding along and thinking, hey, this kid knows his stuff. One of the strongest alt-country albums of the year, and another strong offering from an artist who's really hit his stride. Check it out.

Hayes Carll "KMAG YOYO" (Lost Highway Records, 2011)

Hayes Carll/Various Artists "Country Strong: More Music From The Motion Picture" (Madison Gate Records, 2011)

Carolina Chocolate Drops "Dona Got A Ramblin' Mind" (Music Maker Records, 2006)

Carolina Chocolate Drops "Heritage" (Dixiefrog Records, 2006)

Carolina Chocolate Drops & Joe Thompson "Carolina Chocolate Drops & Joe Thompson" (Music Maker Records, 2006)
Live at Merlefest...

Carolina Chocolate Drops "Genuine Negro Jig" (Nonesuch Records, 2006)

Carolina Chocolate Drops "Leaving Eden" (Nonesuch Records, 2012)
(Produced by Buddy Miller)
A wily mix of old-timey music and backwoods blues from a contemporary band that mines the more obscure corners of the African-American musical heritage, hearkening back to the minstrel show days and jug bands of yesteryear. Their fourth album pushes the group into more self-consciously modern terrain, with songs such as "Country Girl" and "Leaving Eden" that stray from their more traditional roots, and bring them closer to the style of Americana groups such as the Be-Good Tanyas, et.al.. You gotta love their unruly sound, though, with the squeaky fiddle and super-plunky, thrashed-out banjo, particularly when paired up with now-arcane, old-school instruments such as the hambones, as heard on their version of "Ruby, Are You Mad At Your Man." I have to confess, sometimes Rhiannon Giddens' vocals get on my nerves, though it depends on the material: "Boodle-De-Bum-Bum" is a great jugband tune, but the funky, overwritten "Country Girl" is kind of a drag by comparison. Still, I suppose you gotta mix things up... not everyone's going to want to hear a whole album's worth of uptempo, Grandpa Jones-ish tunes like "Run Mountain" and keeping it eclectic will keep modern listeners tuned in. A richly diverse, challenging record from a vigorous, intelligent band... Definitely worth checking out!

Carolina Story "Chapter One" (Stitched Together, 2013)
(Produced by Blake Chancey)
The husband-wife duo of Ben and Emily Roberts have crafted an elegant 6-song EP of classic country-flavored, folk-tinged melodic Americana, rich and resonant with banjo, mandolin, lots of pedal steel guitar and -- most importantly -- the kind of tightly meshed vocal harmonies that musicians in love with each other seem to excel at. Fans of the Bruce Robison/Kelly Willis team will find a lot to cheer about here, with catchy, twangy hooks and yearning, heartfelt lyrics. The first time around you may be surprised this album's so short, but there's something to be said for concision: this is a fine record, and every song's worth a whirl. Recommended!

Carolina Story "Chapter Two" (Stitched Together, 2014)
(Produced by Blake Chancey)
The husband-wife duo of Ben and Emily Roberts join numerous skillful masters of rootsy country duet singing -- notably contemporaries such as Joey + Rory, or Bruce Robison and Kelly Willis -- with vocals whose resonance is as rooted in their emotional connection as in technical skill. This 2-song set is Carolina Story's second EP and like the first, it's a strong dose of well-crafted, compelling country-pop tunes with sleek but traditionally-rooted production -- plenty of pedal steel providing sweet counterpoint to their vocals. With veteran Nashville producer Blake Chancey at the helm, the pair is clearly open to contemporary country sounds (with mainstream success a distinct possibility) though still willing to write more personal material and skirt the edges of the mainstream. In short, this is a pleasant set which can appeal to Nashville and Americana fans alike... Definitely worth a spin!

Joe "King" Carrasco & The Crowns "Tales From The Crypt" (ROIR, 1984/2000)
Picking up where Doug Sahm and Peter Rowan left off, garage popster Joe Carrasco hailed from Austin, Texas, where late in 1979 he corralled together the raggedy band that plays on this CD... Originally a cassette-only release, this features a healthy batch of lighthearted romps through brown-eyed soul and Tex-Mex rock, all handled at a clip that tips you off that you don't have to take this too seriously... just settle back and enjoy. It's fun stuff; the punk era DIY ethos spun off into an entirely new direction, and the pull of these recordings is fairly irresistible. Fun stuff! All this and liner notes from John Morthland... how can you go wrong?

Joe "King" Carrasco "Tex-Mex Rock-Roll" (ROIR Records, 1989)

Joe "King" Carrasco "Bandido Rock" (Rounder Records, 1990)

Joe "King" Carrasco "Anthology" (One Way Records, 1995)

Joe "King" Carrasco "Royal, Loyal & Live" (Crystal Clear Sound, 1999)

Joe "King" Carrasco "Joe "King" Carrasco" (Tornado Records, 2002)

Carrie Ann Carroll "You Should Know" (Treehouse Productions, 2014)
(Produced by Joe Carroll)
An enthusiastic though uneven set by a newcomer from Austin... Carroll sings poppy twang with angst-y, confessional lyrics, sort of spiral notebook/lonely diary type stuff. She gets strong backing from her band, particularly the delicate pedal steel and driving electric lead... The song that's designed to get the most notoriety, an jilted-lover-watching-her-ex-get-married anthem called "You Know What's Really F*cked Up?," is too loosely structured for me, but others, like "Call Me Darling," are a little subtler and more evocative. This set rides the edges of alt-country and confessional folk, and while she could probably have used a little more seasoning, Ms. Carroll may emerge as a potent force on the twang scene.

Caitlin Cary - see artist discography

Neko Case - see artist discography

Laura Cash "Awake But Dreaming" (Cash House Records, 2010)
(Produced by Laura Cash)
The debut album of singer Laura Cash, wife of John Carter Cash, a gal who pays allegiance to old-school country heartsongs and western swing. Backing her are several top-flight studio pickers, including steel legend Lloyd Green, fiddler Bobby Flores, Pig Robbins on piano and Pete Wade on guitar. The songs are classics from the likes of Harlan Howard, Hank Snow, Bob Wills and other hillbilly composers... Cash herself contributes one original tune, a tribute to Appalachian impresario Roy Acuff -- "Song For Roy (Country Music's King)" -- which is one of the album's highlights. Can't say I'm actually that wild about Cash's vocals, but her heart is definitely in the right place, and she knows her hillbilly history -- a very sincere and thoughtful set of traditionalist twang.

Buzz Cason - see artist discography

Cattletruck "Bourbon And Black Crepe" (2007)

Kasey Chambers - see artist discography

Marshall Chapman - see artist discography

Chatham County Line "Chatham County Line" (Bonfire Records, 2003)
Indiebilly types who bend their hands at bluegrass, these Chatham boys seem dutiful and earnest, maybe a little too on-their-sleeve-y at times, but with their hearts in the right place. Highlights include a whiz-bang instrumental, ("Butterwheel") and a goofy, loopy tribute to John Hartford (called, appropriately enough, "Song For John Hartford") which has the same sort of imitative oddness as, say, Don Bowman's word-for-word cover version of "Alice's Restaurant… Bluegrass purists may scorn these guys but they're certainly worth checking out, regardless. What with schedule conflicts playing in Tift Merritt's band and all, it seems doubtful they'll really stick it out as bluegrassers, but as genre-straddling albums go, this one's worth checking out.

Chatham County Line "Route 23" (Yep Roc Records, 2005)

Chatham County Line "Speed Of The Whippoorwill" (Yep Roc Records, 2006)
Wow. These guys have grown up... a lot since their first album... Not that they weren't good before, but this album really hits the nail on the head... Some really soulful, richly inventive space folk/Americana, with a dash of the bluegrass twang they previously specialized in. There are several songs on here that are simply enthralling -- maybe not "great" songs or classics that I'd find myself singing along to for years to come, but there's something arresting about them -- the skillful, assured musicianship along with the thin, urgent, intelligent vocals -- that lets you know these are real country fans, fully committed to their music, and capable of taking it in new directions. We need more records like this -- musically mature, culturally adept and full of sly, sensual depth. I'm impressed!

Chatham County Line "IV" (Yep Roc Records, 2008)
(Produced by Chris Stamey)
There are some artists that hone and perfect their sound, then keep fans happy by doing the same durn thing, year after year; then there are others that are more restless and keep experimenting and evolving, driven by forces that only they can understand... North Carolina's up-and-coming Chatham County Line seem to be one of the second kind of bands, moving from strength to strength until they arrive someplace entirely new. And here we are, on their fourth album, IV, which is an elegant bluegrass-newgrass album that crosses over in ways that seem fresh and entirely new... Several songs have pop-tinged arrangements that are surprisingly unique, with sound combinations that I simply haven't heard yet from the decades-old "progressive bluegrass" scene... The results are exhilarating and enchanting. "Chip Of A Star," "The Carolina," "One More Minute..." The album unfolds with one memorable song after another, and while a tune or two seem out of place -- the protest lyrics of "Birmingham Jail," the Bela Fleck-ish hippie-funk of "Let It Rock" -- the album as a whole is admirably diverse and adventurous. Striking a fine balance between tradition and innovation, Chatham County Line have marked out a new path for bluegrass fusion that is a refreshing change of pace, avoiding both the gooey romanticism of Alison Krauss and the note-heavy jazz-fusion of the newgrass elders. CCL are closer to the indie-rock camp, but whereas a banjo lick or pedal steel dropped into a rock record has become commonplace, a truegrass band that has a truly alt-y sensibility is a more precious thing altogether. These folks elegantly straddle the line, and while I'll be enjoying this album for quite a while, I'm also looking forward to what comes next. Definitely worth checking out.

Chatham County Line "Wildwood" (Yep Roc Records, 2010)

Chatham County Line "Sight And Sound" (Yep Roc Records, 2012)

Dave Childers & The Modern Don Juans "Jailhouse Religion" (Little King Records, 2006)
Gritty, earnest, energetic, blues'n'billy-tinged barband rock, from the Blasters/Dave Alvin side of the street. Packed with original material, this is a nice addition to the genre... Pretty good, if you like the style!

Chuck Wagon & The Wheels - see artist discography

Bryan Clark & The New Lyceum Players "Southern Intermission" (Rainfeather Records, 2012)
Brash, powerful, bluesy roadhouse roots tunes, with lots of electric guitar and impassioned vocals... Personally, I'm gettin' kind of old for this kind of high-energy record, but fans of Two Tons Of Steel, The Blasters or various "red dirt" bands should give this a shot... Strong stuff!

Guy Clark - see artist discography

Mickey Clark "Winding Highway" (Ear-X-Tacy Records, 2009)
(Produced by Jim Rooney)
A thoroughly charming Americana outing from songwriter Mickey Clark, who composed several tunes recorded by others, and who is a true American troubadour, having plugged away on the folk and indie circuits for many a year. This is a nice record, with a warts-and-all cragginess, with plenty of dusty country wit and grit, and a slew of high-power guest performers. Swapping verses with Clark on the delightful "Don't Piss On My Boots (And Tell Me It's Raining)" are three alt-twang luminaries: Kinky Friedman, John Prine and Jerry Jeff Walker, who all take great and obvious delight in the song's raunchy good humor. Walker also sings on "Goodnight Loving Trail," which was written by the late, great U. Utah Phillips, and is one of the few songs on the album not written or co-written by Clark. Other highlights include the bittersweet "Sarah," and the robust "Tijuana Tequila." Another nice record for those who are looking for an earthier alternative to the pop slickness of the Nashville charts, particularly those country fans who enjoy Jerry Jeff's brand of relaxed, ribald tunesmithing.

Neil Cleary "Numbers Add Up" (Diesel Only Records, 2004)
Another mellow, brainy East Coast power-popper who's slowed down a bit and delved into the country vibe... A Vermonter now living in Brooklyn, Cleary crafts low-key, unpretentious, slice-of-life songs that have a lulling, inviting effect. This is a nice, listenable record, laced with a lazy, pleasant, plausible pedal steel... The songs don't blow you away, but they aren't bombastic and over the top, either. Pretty nice, actually... worth checking out!

Neil Cleary "I Was Thinking Of You The Whole Time" (Doozy Records, 2007)

Slaid Cleaves "Promise" (Broken White Records, 1990)
Late 1980s recordings....

Slaid Cleaves "For The Brave And Free" (Broken White Records, 1993)

Slaid Cleaves "Life's Other Side" (Broken White Records, 1993)
This set of early works, songs from 1989-93, is heavily rooted in the coffeehouse folk scene tradition. For the most part, the songs are pretty mannered and derivative and, if truth be told, not that distinctive. Part of it is the thin-sounding arrangements -- mostly strummy-twangy acoustic guitar and maybe a tambourine or two -- and in such a sparse setting, Cleaves' voice sounds plaintive and thin. The lyrics are often overly clever and self-consciously clever; many feel like writing exercises, attempts to capture the magic of singer-songwriters gone before, with whiffs of Dylan, Loudon Wainwright III and others coming to the fore, and socially themed songs like The Gun Song," "Justice" and "Live Free" seem particularly strained. He also dabbles a bit in country and blues, but again, the songs don't really resonate. Fans will definitely want to check this out -- it's always fun to check out an artist's juvenilia, but it's not really that meaty of an album.

Slaid Cleaves "No Angel Knows" (Rounder-Philo Records, 1997)

Slaid Cleaves "Broke Down" (Rounder-Philo Records, 2000)
This guy was born to have an pedal steel back him up...! Indiebilly producer Gurf Morlix plays guitar and lends a full, smooth sound to this fine album, performed at a slow, lazy pace with a laid-back band. Some of Cleaves' best vocal work and most compact compositions to date. There's still a measured, craftsmanlike aspect to his writing, but he's also learned how to frame a chorus well, and most of these songs are quite seductive and memorable, particularly the hook-laden title track and the languid "Horseshoe Lounge." His continued inclination towards penning old-fashioned topical folk tunes (like the John Henry-ish "Breakfast In Hell") is admirable for the nod towards tradition, but I have to admit my attention starts to wander. This disc is about 50-50 for me, but all things considered, that ain't bad!

Slaid Cleaves "Holiday Sampler (EP)" (Rounder-Philo Records, 1990)

Slaid Cleaves "Wishbones" (Rounder-Philo Records, 2004)
(Produced by Gurf Morlix)
A well-crafted, emotionally resonant set of modern-day earnest folk music... Cleaves settles into a Woody Guthrie-ish mode, concentrating his fire on longer story-songs about immigrant workers, doomed horse jockeys and others bit by the hard-luck bug. As a rule, I'm not terribly drawn to coffeehouse folk tunes like this, but as the genre goes, this is one dang fine record. Credit is due in part to the fine backing band, which includes Austin scenemaker Gurf Morlix, who once again produces and plays guitar, and a sharp rhythm section that never flags or hits a false note. Pretty good stuff... definitely worth checking out!

Slaid Cleaves "Unsung" (Rounder Records, 2006)
Finding himself at the top of the heap in the contemporary American folk scene, the melodically gifted Slaid Cleaves decided to spread the wealth and record an album entirely made up of other people's compositions, focussing mainly on small-fry songwriters who few people have heard of. It's funny how "folk" music, once the domain of traditional material has so closely followed pop/rock into the era of the singer-songwriter, so that a project like this stands out as such an anomaly. Regardless, this is a swell record, maybe not as magical or cohesive as Cleaves' last two records (which featured his own original material), but it's still a great collection of songs, each brought to life with his passionate, intimate vocal style and keen vocal phrasing. Various off-the-radar Austinites get a lion's share of the playtime here, and it's pretty cool of Cleaves to shine a light on their work... If you like contemporary folk music (or are a Slaid cleaves fan), you'll definitely want to check this one out.

Slaid Cleaves "Live At Blue Highways" (EP) (Continental Record Services, 2009)

Slaid Cleaves "Everything You Love Will Be Taken Away" (Music Road Records, 2009)

Slaid Cleaves "Sorrow And Smoke: Live At The Horseshoe Lounge" (Music Road Records, 2011)
A 2-CD live set...

Slaid Cleaves "Still Fighting The War" (Music Road Records, 2013)

Clothesline Revival "Of My Native Land" (Paleo Music, 2002)
An unusual roots album that blends old-timey themes (and even some remixed archival recordings from the Library of Congress, such as the original Leadbelly vocals on "Cow Cow Yicky Yicky Yea...") with oddball, modernized sonic backgrounds. Arrangers Conrad Praetzel and Robert Powell use a few electronic "beats," although many tunes seem more ambient or even world music-ish. It's certainly a novel approach to the material, reverential yet strikingly innovative. The opening tracks, particularly those featuring vocals by Bay Area honkytonker Tom Armstrong, are pretty cool, though the second half of the album seems to meander and lose focus. Still, this album opens up some really interesting possibilities for a new approach to this old-fashioned American music.

Clothesline Revival "Long Gone" (Paleo Music, 2005)
Praetzel and Powell refine their formula, adding electronic-ambient layering over old folk and blues field recordings. This could easily be a hippie-folkie cultural trainwreck, but it's not... it's actually pretty engaging and intelligently constructed. Familiar old folk/blues/gospel themes like "Shortening Bread" and "Strange Things Happening" float to the fore, while the newfangled production techniques don't call too much attention to themselves. More consistent and solid than the first album, with some intriguing aural surprises... It's not for everyone, sure, but it may be worth checking out!

Clothesline Revival "They Came From Somewhere" (Paleo Music, 2010)

The Clumsy Lovers "After The Flood" (Nettwerk Records, 2004)
An aggressively upbeat mix of Celtic folk, bluegrass and spazzy, They Might Be Giants-ish indie dorkpop... It's a little too gimmicky and punchily bright for me, but I could certainly see the appeal. Fans of Ben Folds or Camper Van Beethoven might also like this.... I think this is actually the fifth album(?) by this Vancouver-based ensemble.

The Clumsy Lovers "Smart Kid" (Nettwerk Records, 2005)

The Coal Men "Nowhere's Too Far" (Vazkaleedez Records, 2004)
This three-piece Nashville-area band crafts thoughtful, mid-tempo roots-rock, mainly written by singer-guitarist Dave Coleman. If you liked the old, twangy version of Wilco, or other alt-roots types like Dave Alvin, then this disc might really get ya going, too. No flashy monster guitar riffs or dumb fake-hick lyrics, but lots of sorrowful, soulful and sincere songwriting... Give 'er a spin!

The Coal Men "Beauty Is A Moment" (Vazkaleedez Records, 2007)

The Coal Men "Kids With Songs" (Vazkaleedez Records, 2007)

The Coal Men "Escalator" (Vazkaleedez Records, 2013)

The Coal Porters "The Gram Parsons Tribute Concert" (Prima Records, 1999)
A concert tribute album released as a side project of Sid Griffin (from the Long Ryders...) A little too ragged-edged for me, but it does seem like a very earnest effort.

The Coals "Bring Your Love On Back" (Self-released, 2010)

The Coals "A Happy Animal" (Self-released, 2013)

Bruce Cockburn "Speechless" (Rounder Records, 2005)
This all-instrumental album is a real treat, especially for those of us who have treasured the musical side of Canadian folk-pop poet Bruce Cockburn's as much as his lyrical strengths... Gathering instrumental tracks from numerous albums (including one from a Japan-only release that came out a while ago), this disc is eminently listenable, and surprisingly shies away from the occasionally florid aspects of Cockburn's music... I was particularly pleased to hear "Train In The Rain" and "Sunrise On The Mississippi," two bright gems that were highlights of his 1994 Dart To The Heart album... They also serve as centerpieces here, with chiming, sprightly warmth and a crystalline tone. Although there is some experimentation, Cockburn's approach on most of these tracks is acoustic and direct, hewing to simple melodies that reflect the same life-affirming warmth as the rest of his work. Recommended!

Thad Cockrell "Stack Of Dreams" (Miles Of Music, 2001)
(Produced by Chris Stamey)

Thad Cockrell "Warmth & Beauty" (Yep Roc Records, 2003)
(Produced by Chris Stamey)

Thad Cockrell & Caitlin Cary "Begonias" (Yep Roc Records, 2005)

Thad Cockrell "To Be Loved" (EP) (Dualtone Records, 2008)

Ray Condo & The Ricochets "Condo Country" (1991)
A roots-rock revivalist from Canada's great white North, the late bandleader Ray Condo was one of the hardest working, most tireless road warriors in the Americana scene... Condo and his crew mixed hard country, rockabilly and old-fashioned R&B with some of the most authentic sounding hillbilly boogie this side of Sid King or the Delmore Brothers. Condo showed he knew his history, but also popped out some great original material... And he will be sorely missed...!

Ray Condo & The Hardrock Goners "Hillbilly Holiday" (Fury Records, 1993)
A scrappy, silly, sometimes sinister set of rock-and-billy hybrids from this esteemed Canadian crew. The production, particularly the vocal mix, is sometimes rickety, but the music is vibrant and alive. The use of the violin in a rockabilly/hillbilly boogie context is interesting and unusual; might not make the snobbier, purist elements of the rockabilly scene happy, but it's kinda cool from an alt-country perspective.

Ray Condo & The Hardrock Goners "Come On!" (Fury Records, 1994)
Condo's best...!! A must-have for alt-country fans. Guitarist Jimmy Roy, of the 5 Star Hillbillys, sits in on several tunes and the disc kicks off with a rollicking version of one of Wynn Stewart's best teen-themed tunes, "Come On," slathered with a richly textured mix of alt-country & hillbilly goodness... The song selection lingers in the early 'Fifties range, includes some old Wayne Raney, Harmonica Frank Floyd and Webb Pierce tunes... While Condo plays the stump-the-obscuro-lovin'-collector-nerd retro game, he does it with great aplomb -- this is one of the musically richest of all his albums... a real keeper!

Ray Condo & The Ricochets "Swing Brother Swing!" (Joaquin Records, 1996)
These Canadian cut-ups lead the '90s retrobilly dance scene, where ducktailed, sideburned rockabilly enthusiasts (and their gingham-clad galfriends) tore up the dancefloors until the yuppies spoiled the fun. On this disc, they dip deep into the R&B traditions of the 1940s and '50s, drawing the connections to western swing and hillbilly boogie, all laced together with nice, mellow steel and guitar work... There are also several direct nods towards Cab Calloway's Depression-era heyday, bringing that expansive, hi-de-ho showmanship into play as well... The vocals are a little on the goofy side, though, which both signals their unpretentiousness, yet also undercuts the accomplished feel of the band itself. But as a seminal, indie-as-all-heck release that helped fuel the "Americana" scene of the '90s, this disc still holds its own all these years later. Definitely worth a spin!

Ray Condo & The Ricochets "Wall To Wall Maniac" (Joaquin Records, 1997)
Snazzy, ragged retrobilly, with a healthy dose of pre-rock country boogie and a few jazz/swing standards thrown in for good measure... I'm not so big on the rockabilly revival tip myself, but the loopy pedal steel riffs and Les Paul licks keep my attention if it starts to wander, and Condo and his crew certainly hold their own next to compatriots such as Big Sandy & The Fly-Rite Boys. What with all the rough edges and stuff, I think this might be my second-favorite Condo album... At least it seems like the most hick-alicous.

Ray Condo & The Ricochets "High & Wild" (Joaquin Records, 2000)
Although there's still plenty of chicken-pickin' country on here, the influence of the swing cance revival is pretty apparent... The band is still diverse, but much slicker and more professional sounding. Ray kind of addresses the faddishness of the swing thing on "Whatcha Gonna Do When There Ain't No Swing," but I guess in the end I prefer hearing the band be a little raspier and twangier... Still, this is a pretty fine record, and despite the silly name, Condo took roots music more seriously than the twangcore crowd... Worth checkin' out!

Cooder Graw "Cooder Graw" (Three-To-One Records, 2000)
Some Texas fellas who have a good rowdy streak, though at times it's tempered by a slick, maybe-we-can-make-it-big, poppy side. Still, as heirs to the long Lone Star state tradition of great, funny, under-the-radar bar bands, these guys sound pretty good. Highlights include the rompin', stompin' trucker tune, "18 Wheels Of Lovin'," "Two More Tears For Texas," and the deliciously snarky "My Give A Damn Is Broken." Fans of Jerry Jeff, Pat Green, or Cornell Hurd may find similar comfort here.

Cooder Graw "Segundo" (Three-To-One Records, 2001)
Oh, now I finally "get" their band name! Duh. On this live outing, these Texas smart-alecks prove themselves as fine a country bar band as you could ever require... There's about a 50% overlap between this disc and their first studio album... and in many ways, the live versions are a lot more fun!

Cooder Graw "Shifting Gears" (Three-To-One Records, 2001)

Cooder Graw "Live At Billy Bob's" (Smith Music Group, 2002)

Cooder Graw "Wake Up" (Emergent Records, 2004)

Ry Cooder - see artist profile

Elizabeth Cook - see artist profile

Peter Cooper & Eric Brace "You Don't Have To Like Them Both" (Red Beet Records, 2008)
(Produced by Eric Brace & Peter Cooper)
A nice folkie/twangy outing from two fellas from the band Last Train Home... A rewarding blend of laid-back honkytonk and strummy folk musings, including a piercing foray into topical material ("The Man Who Loved To Hate"). There's a wide variety of styles, with some songs that are essentially solo works alongside fine duets with Everly-esque harmonies. And of course it never hurts having the ever-reliable Lloyd Green playing pedal steel... he always hits just the notes, literally and figuratively. The songs are a mix of strong originals with well-chosen covers of Jim Lauderdale, Paul Kennerley, Kris Kristofferson and others, all material that Brace and Cooper hold close to their hearts. In every song, they sing with feeling and conviction -- a nice, low-key DIY Americana disc, well worth checking out.

Peter Cooper "Mission Door" (Red Beet Records, 2008)

Peter Cooper "The Lloyd Green Album" (Red Beet Records, 2010)
(Produced by Peter Cooper & Lloyd Green)
Sort of an odd album... Alt-twangster Peter Cooper is a core member of the band Last Train Home, though here he does a solo set without his usual collaborator Eric Brace on the marquee. Instead, he shares the spotlight with pedal steel whiz Lloyd Green, one of the most venerable Nashville studio pros of the 20th Century... What's odd is the discursive, confessional folkie feel of many of the songs; Green provides thoughtful, multi-textured accompaniment, beautiful coloring to songs that nonetheless seem a little out of his usual field of endeavor. The songs themselves are often compelling, with Cooper musing on the pathways of his life ("Dumb Luck" and other tunes) and while the pace is generally downtempo, the sentiments are sweet, and several songs are quite resonant. A nice set for the folkily inclined, with plenty of lacy steel guitar riffs dripping through the verses...

Peter Cooper & Eric Brace "Master Sessions" (Red Beet Records, 2010)
(Produced by Eric Brace & Peter Cooper)
Rockin' folkies Eric Brace and Peter Cooper bring in a couple of old pros from the Nashville and bluegrass worlds to back them up, including steel guitar master Lloyd Green and dobro whiz Mike Auldridge, who are musicians of the highest calibre and regard. Although they have two roots music legends on hand, the album has a more rock-ish feel to it, and Auldridge and Green seem more like hired hands than deep collaborators. Still, if you're gonna bring in ringers, you might as well pick from the best. Certainly worth checking out, if you like Cooper & Brace's other stuff.

Peter Cooper & Eric Brace "The Comeback Album" (Red Beet Records, 2013)

Peter Cooper "Opening Day" (Red Beet Records, 2013)

Tim Cooper "On The Road To Nashville" (Tate Music Group, 2012)

John Corbett "John Corbett" (Fun Bone Records, 2006)
The guitar-god pose on the cover may be a little embarrassing, but the music within is surprisingly solid, in a journeymanlike way... Actor John Corbett is best known as "Chris the DJ," the smarmy, omniscient narrator on TV's long-gone cult classic, Northern Exposure... Apparently, he also had a long-running romantic role in Sex In The City, but I would deny knowing anything about that until my dying day. Anyhoo, here he plies himself to roots music and Nashville-styled twang, getting funky on some tunes and playing it straight-up Top 40 on others. Is he making a serious play for mainstream success, or at least putting this disc out there as a Music City demo? Sure, why not? He's got that voice, after all, and it lends itself well to the deep, velvety growl that's so popular among the current crop of Nashville purty boys... He might fit right in... Then again, maybe he's just having some fun. Either way, lots of folks might be surprised by this one... Yeah, it's formulaic and sometimes even a bit forced, but he hits the right tone on a few tunes.

The Corn Sisters "The Other Woman" (Mint Records, 2001)
Pacific Northwest lo-fi collides with alt.country DIY as Neko Case and Canadian rocker Carolyn Marks joins forces for a rowdy live performance at a Seattle venue... They play the hick schtick a little bit broadly for my tastes: echoing some aspects of her Maow days, this disc is full of exaggerated accents, clattering Loretta Lynn covers and various white trash stereotypes... Still, their performance is undeniably high-energy and the crowd seems into it. This is actually an older performance, from a gig in 1998, and in many ways it's mainly Mark's show -- most of the original material is hers, only one song is by Case. Not my cup of tea, but it's got a scrappy DIY vibe that may resonate with the cowpunk crowd.

Elvis Costello "Almost Blue" (Columbia Records, 1981)
At the peak of his powers as an angry young punk/wave icon, UK rocker Elvis Costello turned his image on its head and delivered this fine set of countrypolitan ballads. He pays homage to the lush Nashville Sound production style of great producers such as Owen Bradley and Billy Sherrill, and throws himself with surprising sincerity into the milky pathos of country music. Costello went to Nashville and hired Sherrill himself to produce the album (although he used his own backing band, the Attractions, rather than a battery of Nashville studio vets...) The song selection is flawless: Hank Williams, Gram Parsons, Merle Haggard, Charlie Rich, even a stellar cover of the old George Jones hit, "A Good Year For The Roses." While some of Costello's rock-oriented fans saw this as a disappointment, a betrayal, or merely as the first instance of Costello slumming in other musical styles, as a diehard, lifelong country music fan, I gotta tell you guys, this record stands up over the years. It was really good when it first came out, and it's really good now. Elvis knew what he was doing. There are several versions of this record that have come out over the years -- the original 12-songs LP, the Rykodisc expanded version of the late '80s and the re-expanded reissue on Rhino years later -- they are all good, and the core of the album remains the original Sherrill-produced sessions. Recommended!

Elvis Costello "The Delivery Man" (Lost Highway Records, 2004)
Hailed as a back-to-basics roots-rock album, this is less a country-rock outing than a return to Costello's old fondness for tortured, James Carr-ish soul wailing... There's some slap-happy electric blues and Memphis-styled reverb-a-billy, but little in the way of the countrypolitan twang of the Almost Blue variety. Frankly, as an old Costello fan from the '70s and '80s, I now find his ceaseless, by-rote wordsmithing mildly impenetrable, not because I can't understand what he's saying, but because I don't really want to... This album sounds okay, but it doesn't seem to be saying anything new, and Elvis mostly appears to be going through the motions. It's not like he actually needs to express deep feelings anymore, it's just that that's what you do when you make records, so let's crank up the irony machine again and see what comes out. Aurally, this is a perfectly adequate, listenable album... It's just that nothing really stands out as particularly new or emotionally resonant. There are a couple of notable duets: Lucinda Williams delivers a remarkably insincere vocal performance on the negligible "There's A Story In Your Voice," while Emmylou Harris brings gravity and heartbreak to "Nothing Clings Like Ivy," a song that may be the album's highlight. I suppose this record is good enough, but it's not an album I'd see myself revisiting over the years.

Elvis Costello "Secret, Profane & Sugarcane" (Hear Music, 2009)
(Produced by T Bone Burnett)

Elvis Costello "National Ransom" (Concord Music Group, 2010)
(Produced by T Bone Burnett)
The second set of Costello's country-roots explorations with his amorphous new twangband, The Sugarcanes, which includes Americana icons Jim Lauderdale and Buddy Miller, bluegrassers such as Mike Compton, Jerry Douglas and Stuart Duncan, as well as rootsy rockers like album producer T Bone Burnett, guitarist Marc Ribot, and a guy named Steve Nieve who used to be in a rock band called the Attractions. This disc has a more relaxed, simpler, less self-consciously "country" vibe than the last one, and feels much mellower and more listenable (at least for me...) I still have absolutely no idea what Costello is singing about (haven't for years) but I did enjoy this album. Definitely worth checking out!

Cowboy Junkies "The Trinity Sessions" (1988)

Cowboy Nation "Cowboy Nation" (Demon Records, 1997)

Cowboy Nation "A Journey Out of Time" (Shanachie/Western Jubilee Records, 2000)

Cowboy Nation "We Do As We Please" (Paras Records, 2001)

Cowboy Nation "Cowgirl A-Go-Go" (Paras Records, 2002)
Alt.country-ish slowcore from some longtime SoCal musical bad boys The actual "cowboyness" of this latest offering by Tony & Chip Kinman (formerly of Dils/Rank&File/Blackbird punk/indie infamy...) is fairly obscure. Twang-tinged, droning, drifting tunes in which their vocals sound remarkably like Hoyt Axton. A few songs are too repetitive, though on the whole this has a lulling, narcotic feel.

The Cowlicks "Hey, Hey We're The Cowlicks" (Tres Payasos Records, 2009)
Fun, funny, electrified hippie-novelty twang, with a great goofy sense of humor. These Northern California nutballs obviously have a strong grasp on the country and classic rock repertoires, and remind me a bit of Commander Cody Or Bill Kirchen, that sort of vibe. There's a little too much guitar-hero electric leads for my tastes, but I bet it's fun to hear live... Highlights include a hippie-era tall-tale ("Jimi Hendrix Owes Me $10") and the go-off-the-grid anthem, "Store No More," which is a hoot. Rock fans might also get a kick out of their bluegrassy cover of Aerosmith's "Sweet Emotion": I love that song, but I gotta admit this is the first time I actually heard all the lyrics!

The Cowslingers "Americana-A-Go-Go" (Shake It Records, 1999)
Loud, garage-y punkabilly. Too clangorous for me, but not bad for the style.

Samantha Crain & The Midnight Shivers "Songs In The Night" (Ramseur Records, 2008)
(Produced by Danny Kadar)
This one's best suited for the indie-rock/folk-freak crowd, although there is an undeniable element of twang, 'billy and blues in there as well. Not quite my cup of tea: the music is original and compelling, but I can't get past Crain's vocals, which seem a bit too mannered and slurry, reminiscent of the whole Be Good Tanyas/Jolie Holland vortex. Interesting as they are, I find it hard to concentrate on the lyrics, and the overall effect is mildly frustrating. Of course, artsier music fans might go ga-ga over this one -- I think Crain is a unique and compelling artist and, at the tender age of twenty-two, she'll continue to have a lot to offer the indie scene. Worth checking out.

Crazy Joe & The Mad River Outlaws "Chopped, Slammed, & Twangin' " (Atom Records, 2004)

Crazy Joe & The Mad River Outlaws "Sweatin' Bullets Over You" (Atom Records, 2005)

Crazy Joe & His Mad River Outlaws "The King of Nerd-A-Billy" (Atom Records, 2006)

Roger Creager "Having Fun All Wrong" (Dualtone/Crystal Clear Records, 1998)
(Produced by Lloyd Maines)
At the forefront of latest crop of Texas indiebillies, songwriter Roger Creager bears more than a passing musical resemblance to Robert Earl Keen, Jr., matching wordy writing and craggy, uneven vocals with a rich hard country sound. Creager shies away from overly-introspective or poetic songsmithing, though, in favor of booze-soaked loser lyrics, ala Jerry Jeff Walker. At the more playful, rowdy end of this spectrum there's "The Everclear Song," a paean in praise of that most frat-boyish of drinks -- on the more reflective sides, there's the softer "Until The Thought Of You" and the album's bouncy title track, in which his debt to Jerry Jeff becomes more clear. Overall, a fine debut from one of the Lone Star State's most promising newcomers! (Produced by Lloyd Maines, who also plays on the album.)

Roger Creager "I Got The Guns" (Creager Music, 2000)
(Produced by Lloyd Maines)
Despite the rowdy-sounding album title, this disc is much mellower and more poetically inclined than Having Fun was. Oh, sure, there's a duet with John Evans on "Mother Was A Redneck, Too," but other than that, the main preoccupation on this album seems to be romantic (as in broken-hearted and forlorn), with an on-the-road song or two thrown in for good measure. It wasn't as much fun, if you ask me, but it's still nice stuff, in an Americana-y kinda way. Lloyd Maines produces and plays again...

Roger Creager "Long Way To Mexico" (Dualtone Records, 2003)
(Produced by Lloyd Maines)
His best album, at least in musical terms. The outlaw angle is still kinda tined down, but his vocals are the best they've been, both in terms of delivery and how they fit into the sound mix. Producer Lloyd Maines sculpts a fine, full sound, and nestles Creager's rugged voice into the environs. It sounds pretty nice, and the songwriting is pf a higher calibre as well. Radney Foster duets on one of the few rowdy tunes here, "I Say When I Drink What I Think When I'm Sober," (which would have been pretty funny if it weren't so sadly offensive...) and Maines plays, of course, throughout. If you like Robert Earl Keen, Jr., then you'll want to check this one out!

Roger Creager "Live Across Texas" (Dualtone Records, 2004)

Roger Creager "Here It Is" (Fun All Wrong Records, 2008)

Roger Creager "Surrender" (Thirty Tigers Records, 2012)

The Crickets "...And Their Buddies" (Sovereign Records, 2004)
Hey, everybody loves Buddy Holly, right? What's not to like? So when Holly's old bandmates -- who've still been playing together off and on for years since his untimely death -- asked various rootsy types to guest star on their record, you can bet a bunch of them leapt at the chance. Thus country dudes like Rodney Crowell and dino-rock guitar god Eric Clapton rub shoulders with indie-altie types such as Nanci Griffith and John Prine, as well as many names from the past, such as Peter Case, Johnny Rivers, J.D. Souther and Bobby Vee... Albert Lee delivers a gemlike version of "Learning The Game" and the late Waylon Jennings (who was also briefly in Buddy Holly's employ) rasps out an earthy rendition of "Well... All Right." (And isn't that Lucinda Williams, singing uncredited on a fine version of "Love You More Than I Can Say"?) All in all, this is a pretty nice, heartfelt, almost DIY-ish tribute album that also highlights the undiminished talent of some 'Fifties pickers who never stopped rocking. Worth checking out!

The Crooked Jades - see artist profile

The Bart Crow Band "Finally..." (Smith Music Group, 2007)

The Bart Crow Band "Desperate Hearts" (Smith Music Group, 2008)

The Bart Crow Band "Heartworn Tragedy" (Smith Music Group, 2009)

The Bart Crow Band "Brewster Street Live" (Drift-Ring Records, 2011)
A live album of impassioned "red dirt" country-rock, recorded live at one of those fab, fabled venues in Texas. This disc was a little too bar-band and rock'n'roll for me, with tons of ringing guitar and a nonstop driving tempo that ran from song to song... But Mr. Crow really seems into it, earnest and imploring, and the crowd sounded like they were right there with him... So what do I know? This guy's been around for a while; looks like this is his fourth album... You can pick this record up through his website at www.bartcrowband.com... Tell 'em Joe sent you!

Rodney Crowell -- see artist profile

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Hick Music Index

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