The Damn Quails "Fifty Billion" (598 Recordings, 2011)

The Damn Quails "The Damn Quails" (598 Recordings, 2011)
A strong alt-country album that works both as rock and as twang. The music was consistently surprising and fresh, the lyrics were sometimes weird or elusive but always compelling. I'm kind of jaded and "over" most indierock-meets-country stuff, but this record was a pleasant surprise. Definitely worth checking out!

Danny & Dusty "The Lost Weekend" (A&M Records, 1985)
(Produced by Paul B. Cutler)
Back when LA had enough punk for it to become cow-ed, a semi-supergroup drawn from the pop-oriented "Paisley Underground" recorded this eclectic set of twangy rock. Green On Red's Dan Stuart, Steve Wynn from Dream Syndicate and Sid Griffin of the Long Ryders were among the SoCal rockers who crafted this sometimes-edgy, sometimes-sublime album, giving explicit nods to a variety of artists, such as The Byrds, Johnny Cash and, of course, Bob Dylan, whose pedal-steel drenched "Knocking On Heaven's Door" closes out the album. Sometimes they get into an overly boho mode, echoing -- I suppose -- the Waits/Bukowski undercurrent in LA culture, but mostly this is a pleasantly soulful, joyous collaboration that in many ways anticipates the "Americana" sound of bands such as the Jayhawks, Uncle Tupelo and Son Volt who were just around the corner on the American rock scene. Fans of Tom Petty might also dig this one... definitely worth a spin!

The Dave & Deke Combo - see artist discography

Jon Christopher Davis "Jon Christopher Davis" (Palo Duro Records, 2006)
Twangy Texas country-rock with a heavy debt to early Steve Earle... The themes are familiar, as are the riffs, but if you're into the style, this guy sounds fine. The outlaw novelty tune, "Lone Star Attitude," was a standout for me, but I'm a sucker for that kinda stuff. Strong set of all-original material.

Jon Christopher Davis "Live" (Misfit Town Records, 2008)

Moot Davis "Man About Town" (Highway Kind Records, 2012)
(Produced by Kenny Vaughan)
Singer Moot Davis has been knocking around the indie-twang scene for a decade or so, and on his previous albums he's dabbled in a variety of styles. Here, he narrows it down to a couple of strong influences: this album echoes with the roadhouse twang of Gary Stewart and the epic Panhandle poetry of Joe Ely. There's a little dose of Dwight Yoakam in there as well, but most all there's plenty of twang. Davis is backed by some of the best in the business: guitarist Kenny Vaughan and his bandmates from Marty Stuart's group, the Fabulous Superlatives anchor an ensemble that also features exquisite pedal steel from Chris Scruggs... With a band like this behind him, Davis delivers a rock-solid set -- he's had some nuggets on earlier albums, but here he's got a gem.

Moot Davis "Goin' In Hot" (Crow Town Records, 2014)

Orville Davis "Howl At The Moon" (Fountainbleu Records, 1996)

Orville Davis "Barn Burner" (Fountainbleu Records, 2005)

Ronnie Dawson "Rockin' Bones: The Legendary Masters" (Crystal Clear Sound, 1996)
Sizzling early works from this teenaged terror, one of the most powerful of the original rockabilly kids... This awesome 2-CD set shows why Texas-born Ronnie Dawson (1939-2003) deserves permanent status as part of the hillbilly elite, a mix of rare singles and fiery demos that explode like pure nitro in your sound system. Even when he sang ballads, Dawson sang with a sneer -- this is pure teenaged testosterone music, with impish, snotty energy and lots of great, gritty guitars. Includes such scorchers as "Rockin' Bones," "Fire, Fire, Fire" and "Ain't That a Kick in the Head." If you like your rockabilly raw, fast and full of life, this collection is not to be missed!

Ronnie Dawson "Monkey Beat" (Crystal Clear Sound, 1994)

Ronnie Dawson "Rockinitis" (Crystal Clear Sound, 1996)

Ronnie Dawson "Just Rockin' And Rollin' " (Upstart Records, 1996)
A great record, mixing thumping, powerful rockabilly with a killer hard-country sensibility, kinda like a mix of Joe Ely, Link Wray and Chuck Berry. Great production -- very muscular and loud, but in a very, very good way! And what a cool set of new, original tunes...! Highly recommended.

Ronnie Dawson "More Bad Habits" (Yep Roc Records, 1999)
A somewhat softer album, but still purty darn good. What can ya say? Dawson was the real deal -- a country boy with a rock'n'roll heart.

Jesse Dayton "Raisin' Cain" (Justice Records, 1995)

Jesse Dayton "Tall Texas Tales" (Bullet Records, 2000)
I came at Dayton's work backwards, having been wowed by the title track of his Hey Nashvegas album, and then checking this disc out sometime later. It's pretty solid musically, a hard country/retrobilly mix that works well, in a hard-driving kinda way. His lyrics seem a bit forced, though... Not bad or awkward in any way, but stilted in certain ways.... It just feels like he's working too hard at it... It's better when he eases up and relaxes a bit.

Jesse Dayton "Hey, Nashvegas" (Stag Records, 2002)
The title track really knocked my socks off, with an irresistible honkytonk-meets-rockabilly-powerpop melodic bounce, although the rest of the album seemed more indistinct, in a Butch Hancock-ish cowboy poet kinda way. Definitely worth checking out, though!

Jesse Dayton "Country Soul Brother" (Stag Records, 2004)
(Produced by Jesse Dayton)
Prodigious amounts of twang and Bakersfield backbeat buoy up these bouncy tunes, with plenty of pedal steel and a persistent Sir Douglas-style Tex-Mex accordion, as well as lots of heartfelt songwriting... Fun, upbeat indiebilly, with a real West Coast feel... Includes a loping, honkytonk cover of The Cars' "Just What I Needed" that's actually pretty darn good.

Jesse Dayton "South Austin Sessions" (Stag Records, 2006)

Jesse Dayton & Brennen Leigh "Holdin' Our Own & Other Golden Country Duets" (Stag Records, 2007)
A fun, funky set of hard-country duets, done up right by twangster Jesse Dayton and Austinite hillbilly filly Brennen Leigh, a husky voiced cow-gal with an obvious love of old-school country. (In an interview, Ms. Leigh pays allegiance to Melba Montgomery, which gets her plenty of brownie points in my book...!) A couple of the songs come from the George Jones canon, including Leon Payne's "Take Me" and Bobby Braddock's "Something To Brag About," along with a slew of groovy originals co-written by Brennen and Dayton. Highlights include "Let's Run Away," "Everything Looks Good On The Outside" and "Two-Step Program," a punny country novelty song in the classic tradition. Originally a brash, twangy guitar hero, Dayton has come on a little strong on previous albums -- here, he plays with a restraint and thoughtful soulfulness that should make old-schoolers sit up and take notice. This is a nice, classy record, well worth checking out!

Dead Man Winter "Bright Lights" (Banjodad/Thirty Tigers Records, 2011)
(Produced by Lucy Simonett & Jack Davenport)
Twang-laced power-pop and indiepop from Minnesota with a very low-key vibe... I'd place this more in the "rock" landscape, but the swampy guitars and squeaky fiddle licks are nice. If you enjoyed Thad Cockrell's solo stuff, you might like this as well. Sweet stuff.

The Dead Reckoners "A Night Of Reckoning" (Dead Reckoning Records, 1996)
Label owners Kieran Kane and Kevin Welch lead this ensemble, which also features fiddler Tammy Rogers, on a mostly cluttered, rock-meets-acoustic outing. The louder numbers I can live without, but smooth Mavericks-y tunes like Crying For Nothing" and the harmony-laden "Rocky Road" are pretty nice. Rogers is one of the band's main assets; she seldom succumbs to the dorky rock leanings that obscure many of these songs. Didn't wow me overall, but it has some nice moments.

Dead Rock West "Bright Morning Star" (Red River Records, 2011)
(Produced by Peter Case)
A fascinating blend of deep gospel and weirdo jam-band rock, with a modern California crew covering several old gospel standards -- the eerie, soulful stuff that makes goosebumps rise on your arms -- songs like "This May Be The Last Time," "God Don't Never Change" and "God Moves On The Water" with lyrics that confront the crushing qualities of life and present an eternal latticework above that contrasts a bright, holy heaven with the dust and sorrow on Earth. Singer Cindy Wasserman, along with her partner Frank Lee Drennen, taps into this bleak, old-school vibe and reappropriates it into an indie-rock context without seeming trite or coy. The first couple of tracks were a little too crunchy and abrasive for me, but the rest of the record added texture and ambience, including reverb-y guitars reminiscent of the oldest Staples Singers albums, and Wasserman in particular connects with the lyrics to bring out the spooky side of the music. Lots of high-powered guests on here as well, including D.J. Bonebreak, Exene Cervenka and John Doe (of X), producer Peter Case on guitar, and folk-freakster Mark Olson, whose old albums with Victoria Williams share a lot in common with this disc. It might be a very particular subset of listeners who will really be attuned to this one, but if you're into it, this is pretty cool.

Kevin Deal "Honky Tonks 'N' Churches" (Blind Nello Records, 2003)

Kevin Deal "Kiss On The Breeze" (Blind Nello Records, 2001)

Kevin Deal "The Lawless" (Blind Nello Records, 2003)
Amiable alt.country from down Texas way... This is Deal's fourth album, with production assist by the esteemed Lloyd Maines, who also adds plenty of his trademark great pedal steel licks. The stylistic debts to Joe Ely and Steve Earle are pretty obvious, but if you like either of those two, Deal stacks up pretty favorably. My only complaint about this particular album is the whole desperado/outlaw theme, which I feel pretty "been there, done that" about. Too many dudes are into it, and it almost always rings hollow. But overall, this is a pretty nice album. His tune "You Ain't Nobody," about how hard it is to crack into the music industry is definitely an album highlight... Funny because it's true!

Kevin Deal "Raw Deal: The Real Deal Band -- Live" (Blind Nello Records, 2005)

Kevin Deal "Roll" (Blind Nello Records, 2006)

Kevin Deal "There Goes The Neighborhood" (Blindfellow Records, 2013)
(Produced by Lloyd Maines)
Looks like Kevin Deal's done got religion... This is a quirky but thoughtful and sincere alt-country gospel album, filled with all-original material (and one rugged, unruly cover of "Amazing Grace") as this indie-twang veteran joins company with folks such as Steve Earle and Eliza Gilkyson among the ranks of indie-Americana folkies who, in their middle age, have chosen to take a closer look at their mortality and their place in the presence of the eternal... whatever that may be. In the often-irreverent, rowdy world of twangcore, religious themes are usually played for laughs, as part of the whole white-trash stereotype thing that still plagues the genre (along with locusts, frogs and songs about stripper girlfriends...) It's much to Deal's credit that he takes it seriously, and is bold enough to put himself out there and express his inner spiritual yearnings, despite the likelihood that not many fans will want to hear about it... Nonetheless, he summons himself to stand humbly before his maker, and to ponder the meaning of existence and the small (and large) roles that humans play in the universe. Deal is more overtly Jesus-y and biblical than other Americana old-timers exploring these themes, but he comes at it from a modern, non-traditional perspective. One of the best songs on the album is "Just Another Poet," which starts with him remembering how once when he was a kid, he wrote a fan letter to Neil Young, and even though he never got a reply he "never stopped believing," succinctly connecting his faith with his art, serenely examining the romantic self-mytholizations of rock'n'roll dreamers. It's a mature look back at life -- and ahead as well -- and not the sort of stuff we often hear on records these days. This album won't be for everyone, but is does have meaning and real spiritual heft, and will probably resonate with listeners who have come to a similar point in their lives. Recommended, if you're in the mood.

Angel Dean & Sue Garner "Pot Liquor" (Diesel Only Records, 2004)
An interesting, modernized reworking of Carter Family-style harmonies and old-fashioned country murder ballads, along with some moody lo-fi introspection. Sounds a lot like Freakwater, with maybe less of a rough edge, and while the subject matter tends to be bleak, it suits the music well. Later in the album, they get into some uncommercial "pop" stuff with weird harmonies and aesthetic choices that reminded me quite a bit of the Roches. Nice stuff, though it might fit more into the "rock" side of the altie equation.

Ruby Dee & The Snakehandlers "North Of Bakersfield" (Dionysus Records, 2006)
A nice blast of honkytonk twang and retrobilly from the hip habitats of the Pacific Northwest... Ruby Dee and her Seattle-based rock'n'roll pals kick out the jams and deliver on of the most high-energy albums this side of Neko Case's old albums, or even an old Janis Martin platter or two. The songs all start to sound the same by the end of the album, but the first impressions are pretty strong and last a long time. A strong set of all-original material, too... Bet these folks are a lot of fun live!

Ruby Dee & The Snakehandlers "Miles From Home" (Dionysus Records, 2008)
(Produced by Conrad Uno & Jorge Harada)
Raspy, raucous, freewheeling and feisty indiebilly from up in the Pacific Northwest. This gal obviously has a major jones for 'Fifties-era Wanda Jackson (I'm with you there!) as well as a deep background in modern DIY indiephonics... It's a little chaotic for me at times, but on the more straightforward retrobilly tunes, this is a lot of fun. Bet they're fun live!

Deep Fried Squirrel "Southwest Missouri Home" (2012)
These Ozarkers tap into the old-timey vibe of the 1920s, but add a rock music insouciance, producing clattersome, bluegrass-tinged twangcore, roughly in the Split Lip Rayfield/Bad Livers/Gourds range... Nice, rough-edged picking and fiddling, and rather difficult vocals. Personally, I'd like to hear more of the traditional stuff, but maybe that's just me.

Grey DeLisle "The Small Time" (2000)

Grey DeLisle "The Graceful Ghost" (Sugar Hill Records, 2004)
Wow... talk about a shift of direction! After self-releasing a pair of semi-dismal rockabilly-retro albums, LA-based singer-songwriter Grey DeLisle has apparently found her metier, slowing things down and penning a brace of Carter Family/Dolly Parton-styled acoustic, old-timey ballads, material that fits her somewhat shaky voice much better than the uptempo bluesiness of the 'billy scene. Before this disc came out, she was firmly planted on my "danger sign" list -- now I'm kind of curious to see where she goes from here. Admittedly, this disc is still gimmicky and bandwagonesque in a different kind of way, but it has an atmospheric feel that works for me. Definitely worth checking out... Fans of Be Good Tanyas and Jolie Holland will probably like this as well.

Grey Delisle "Iron Flowers" (Sugar Hill Records, 2005)
Hmmm. I guess my love-hate relationship to Ms. Delisle is back on again... Her first albums of tepid, wannabee rockabilly retro soured me to her early on, but her last record, the moody, eerily moving Graceful Ghost, was a surprisingly strong album that really made me think twice. Here, she's delved too deep into the wellspring of oversculpted Americana uber-artsiness, with a slow, solemn, Gothically morose batch of tunes, the sort of densely produced, darkly poetic stuff that some folks really dig, but I find pretentious and impenetrable. There are wisps of Cowboy Junkies and various slowcore, indierock mopesters, but only a tune or two where the lyrics rose above the self-consciously artful presentation. I would have to say, in all honesty, I might not be the right person to ask about this album -- if it's the kind of thing you like, this might be a masterpiece.

Kris Delmhorst "Appetite" (Big Bean Music, 1998)

Kris Delmhorst "Five Stories" (Big Bean Music, 2001)
This Boston-area singer-songwriter drifts between folkie-confessional meanderings and more compelling melodic grace, mixing country, pop and folk sensibilities, after the manner of Dar Williams or the Be Good Tanyas. Sometimes I'd find myself drifting away from her, slightly irritated by seeming droniness, and then I'd be riveted by gemlike songs such as "Broken White Line," entranced by the mandolin and the firmly sculpted lyrics. Definitely worth checking out.

Kris Delmhorst "Songs For A Hurricane" (Signature Sounds, 2003)
Perhaps a bit more doleful than her first album, but still bridging the gaps between folk, adult pop and twangy Americana. When she gets behind a strong beat, Delmhorst really grabs my attention -- others may find her slower, more contemplative stuff intriguing as well: fans of Be Good Tanyas, take heed!

Kris Delmhorst "Redbird" (Signature Sounds, 2005)

Kris Delmhorst "Strange Conversation" (Signature Sounds, 2006)

Kris Delmhorst "Shotgun Singer" (Signature Sounds, 2008)

Iris Dement - see artist discography

Brigitte DeMeyer "Another Thousand Miles" (Brigitte DeMeyer Music, 2000)

Brigitte DeMeyer "Nothing Comes Free" (2003)

Brigitte DeMeyer "Something After All" (33rd Street Records, 2006)

Brigitte DeMeyer "Red River Flower" (Brigitte DeMeyer Music, 2007)
(Produced by Brady Blade)
An exquisite Americana offering from this California-based, bluesy roots crooner... Where earlier albums had a rougher edge, this is a languid, mellow set, with a healthy dose of the smoky, sultry vibe made famous by Norah Jones... Indeed, this sounds sort of like the country album many wish Jones would record, filled with deep, soulful pedal steel and unhurried acoustic guitar, and excellent songwriting. Each song is a gem, as the album flows from strength to strength. Several Alt-Americana luminaries pitch in, such as Buddy Miller and Brady Blade (bandmates in Emmylou Harris' Spyboy band) as well as pedal steel legend Al Perkins, contributing some sweet licks to an album that is sure to hold up well over the years. Recommended!

Brigitte DeMeyer "Rose Of Jericho" (Brigitte DeMeyer Music, 2011)
(Produced by Brigitte DeMeyer & Brady Blade)
On her fifth album, Ms. DeMeyer steps back from her earlier twang, and plunges into a funky, soulful gospel vibe, drawing more on the bluesy African-American gospel tradition than on the hillbilly/Southern style. Her immediacy and strong artistic presence still comes through, but the music has a much different feel from earlier records, bringing to mind those old Leon Russell albums, or the soul-tinged country-pop of Shelby Lynne... Some listeners might get turned off, others will be enraptured. Not my cup of tea, but I can hear the skill in her songcraft and the passion in her voice... Definitely worth checking out, particularly if you're into similar recent Americana-spiritual searches from Kasey Chambers, Steve Earle, Buddy Miller or Kate Campbell.

Brigette DeMeyer "Savannah Road" (Brigette DeMeyer Music, 2014)
(Produced by Brigette DeMeyer)
More soulful, sultry vocals mixed with the backwoods twang of steel guitar, mandolin and banjo, with sweet, precise arrangements and evocative, haunting lyrics... Her stylistic likeness to Shelby Lynne remains striking and strong, and as far as I'm concerned, that's a good thing, although there's also a bit of Rumours-era Fleetwood Mac in there as well, with the crisp, concise picking of multi-instrumentalists Will Kimbrough and Guthrie Trapp... Nice stuff that holds up to repeated spins.

Demolition String Band "Pulling Up Atlantis" (Okra-Tone Records, 2001)
(Produced by Eric Ambel)
This band from Hoboken, New Jersey blended Neil Young-ish bar-band twang, honky-tonk retro and a bit of bluegrass... There's an amateurish air to their performances, but they certainly sounded like an authentic, local indie band. They gained a little notoriety with a 'grassy cover of Madonna's "Like A Prayer," though a much stronger track is their self-penned heartsong, "Dress Of Roses," and to a llesser extent the Loretta Lynn-ish cheatin' song, "She Went Outta Town." Singer Elana Sky also recorded some stuff under her own name; this isn't the strongest stuff ever, but they had a diverse palatte and an ambitious vision.

Demolition String Band "Where The Wild, Wild Flowers Grow: The Songs Of Ola Belle Reed" (Okra-Tone, 2004)

Demolition String Band "Like A Prayer" (EP) (Breaking Records, 2007)
This 4-song EP includes a bluegrass-twang cover of Madonna's "Like A Prayer" and as well as an original tune, "Dress Of Roses," both of which were on the Atlantis album, as well two versions of "The Star Spangled Banner," one a vocal, and the other an instrumental, bluegrass style.

Demolition String Band "Different Kinds Of Love" (Breaking Records, 2007)

Demolition String Band "Gracious Days" (Varese Sarabande, 2012)

Jesse Denatale "Shangri-La West" (Jackpine Social Club, 2003)

Jesse Denatale "Soul Parade" (Jackpine Social Club, 2006)
Smoky, mystical folk-soul music from Northern California's Jesse Denatale, a guy with John Prine's voice and Van Morrison's rich sense of melody and harmony, as well as Morrison's faith in hypnotic, chantlike repetition, mysteriously anthemic songs that build and swell and remain in a state of exaltation for what seems an eternity. Folks who liked Denatale's previous album, Shangri-La West, will love this one as well; conversely, if you pick this one up and enjoy it, you'll want to track the first one down, too. Denatale is backed by a cadre of low-key Northern California twangsters, including bassist Greg Reeves, Tom Heyman, the Loretta Lynch singers and avant-soulster Nino Moschella on drums. They summon up a deep, mellow, evocative groove that brings to mind the classic albums Van Morrison cut during his years in Marin County (Tupelo Honey, and the like...) If that sounds interesting to you, you'll definitely want to pick this one up...

The Derailers - see artist discography

Deke Dickerson - see Dave & Deke

Jim Dickinson - see artist profile

Dick Smith "Swill" (Clayhead Records, 2000)

Dick Smith "Smoke Damage" (Clayhead Records, 2002)
These Illinois boys work the same general territory as smartass, latter-day jugband cowpunks such as the Gourds or Dirtball, but somehow I found this album more engaging than other, similar efforts. They take a few liberties while plunking the banjo or twanging the dobro, adding nuance and variety to their repertoire. Although addicted to novelty songs and appearing "weird," Dick Smith seems to have a center to their songwriting, particularly on tunes such as "Box O' Bones" and the Steve Earle-ish "Trouble Bound." Maybe a few too many gratuitous cuss words and songs about the outlaw life (sorry, I don't buy it), but overall this is worth checking out. And if you're drawn to the so-called "insurgent" joke-a-billy sound to begin with, then these guys are definitely for you!

Dick Smith "Woozy" (Clayhead Records, 2005)

Amber Digby "Here Come The Teardrops" (Heart Of Texas Records, 2004)

Amber Digby "Music From The Honky Tonks" (Heart Of Texas Records, 2007)

Amber Digby & Justin Trevino "Keeping Up Appearances" (Heart Of Texas Records, 2010)

Johnny Dilks And His Visitacion Valley Boys "Acres Of Heartache" (Hightone Records, 1999)
A strong debut from this San Francisco Bay Area honkytonker. The most obvious comparison is with Wayne Hancock, whose Hank Williams-y whine is nearly identical, though Hancock is a more powerful and consistent singer. Thematically, Dilks is prone to novelty songs, and he zaps off some doozies, such as the hilarious barfight anthem, "Comin' On Thru," which opens the record. Almost all the tracks are Dilks originals, and range from good old-fashioned romp'n'stomps to softer, Louvins/Everly style weepers. The latter style would work better if Dilks had lined up more sympathetic harmony singers, but all in all, this is a top-notch album. Check it out.

Dime Box "Five And Dime Waltz" (Avebury Records, 2008)
Independently-produced, pleasantly twangy, bluegrassy folk-rock-twang from Los Angeles... This all-gal five-piece ensemble wrote all but one of the songs on here, and their pride of ownership comes through loud and clear... They sing with pleasure and harmonize with joy, sort of like a 'grassier version of the Emmylou Harris/Dolly Parton/Linda Ronstadt Trio of yesteryear... The musicianship is solid, although you can hear the rough patches as well -- this doesn't sound like a big-budget Nashville album where every tic and quirk has been smoothed out in the studio... In short, this is real music made by real people: twangfans who cherish old-school folkies like the Any Old Time Stringband, Sally Van Meter or Laurie Lewis might wanna check these gals out as well. Nice to hear a little twang still coming out of SoCal. (For more information, check out www.aveburyrecords.com )

Dirtball "Hillbilly Soul" (Fundamental Records, 1996)
This Richmond, VA ensemble has an admirable breadth, mixing acoustic swing, hillbilly picking and dirty blues riffs with a pleasantly offhand insouciance. While lyrics flirt with the same-old white trash stereotypes of the "insurgent country" crowd, and the enforced goofiness of similarly eclectic bands such as The Gourds or Asylum Street Spankers, there's something pleasantly unassuming and welcomely unprofessional about their delivery. A sloppy freshness, if you will, that keeps this album from falling into an easy pigeonhole, and keeps things distinctive. Worth checking out!

Dirtball "Turn Up The Barn" (2000)

The Ditchdiggers "Cow Patty Bingo" (Ditchdigger Music, 1998)

The Ditchdiggers "Light And Salvation" (Ditchdigger Music, 1999)
Cowpunk and cowbilly, with a surf-y drag on some songs. Good, if you like the style.

Ditch Witch "Everywhere Nowhere" (Grass Records, 1995)

Ditch Witch "Starvation Box" (Grass Records, 1996)
Sorta-billy. A softened, slightly twangy version of the post-Nirvana, half-grunge, half-Green Day sound that was so prevalent in rock music at the time. Other than a little dobro action and an acoustic guitar on a song or two, I wouldn't necessarily class this as "alt-country," though there are some folks who do. Sounds like just another rock band to me, though.

The Dixons "Still Your Fool" (Cow Island Records, 2008)

Dr. Hook And The Medicine Show "The Essential..." (Sony Legacy, 2003)
A super-shaggy hippie-billy bar-band from the backwoods of New Jersey, Dr. Hook crossed funky boogie rock with tongue-in-cheek country riffs, while also acting as a front for the sometimes-twisted musical output of erstwhile children's book author and frequent Playboy contributor, Shel Silverstein. All but three of the songs on here are Silverstein originals, including the still-outrageous "Freakin' At The Freaker's Ball," the big hits "Cover Of The Rolling Stone," "Only Sixteen" and "Queen Of The Silver Dollar," as well as the faux "just say no" anthem, "Makin' It Natural," and the occasional for-real tearjerker, like "Things I Didn't Say." These guys seldom played things straight, though (yeah, I know that was the whole point...) and their unruly, eclectic, stoned-out, satirical approach may not hold up that well over the years. Still, it's a nice example of how experimental the rock scene could be in the Woodstock-ish era.

John Doe & The Sadies "Country Club" (Yep Roc Records, 2009)
The velvet-voiced punk icon, John Doe of X, teams up with the ultra-versatile Sadies for a heartfelt tribute to classic country songwriters such as Bobby Bare, Johnny Cash Waylon Jennings, Kris Kristofferson, Roger Miller, Mel Tillis and others. I love that this record isn't played for laughs -- there's no hint of indie-snob condescension towards these Nashville hitmakers, and the musicianship is consistently first-rate, played with conviction and depth. This is a nice lesson for all them alt-country rocker-types out there... This music doesn't have to be treated as a joke. In fact, it's usually much better when you don't, and John Doe really gets that.

John Doe "Keeper" (Yep Roc Records, 2011)

The Domino Kings "Lonesome Highway" (DK Tunes, 1999)
The long shadow of Johnny Cash hangs low over this slap-bass heavy, independent-as-hell, rockabilly-tinged alt-country outing. It's pretty ragged-sounding, but has its moments... The vocals are a little iffy, and the production is kinda threadbare, but they have the right attitude and a real feel for the music. Their later albums are better, but this might be worth tracking down for a spin or two.

The Domino Kings "Life & 20" (Slewfoot Records, 2001)
These fellas really shored up their sound on this album, firming up the instrumental end and writing music stronger, catchier songs that should keep your from the album's start to the finish. Clever lyrics, catchy choruses and pretty solid playing mark this album as one worth checking out. The vocals aren't that strong, but I think on this disc they're pretty effective. This is a band that can make a good claim to tout its imperfections as indie marks of honor: these ain't Nashville purty boys, just regular guys making music they believe in.

The Domino Kings "The Back Of Your Mind" (Slewfoot Records, 2002)

The Domino Kings "Some Kind Of Sign" (HighTone Records, 2005)

Casey Donahew "Lost Days" (Almost Country Records, 2006)

Casey Donahew "Casey Donahew Band" (Almost Country Records, 2006)

Casey Donahew "Live-Raw-Real In The Ville" (Almost Country Records, 2008)

Casey Donahew "Moving On" (Almost Country Records, 2009)

Casey Donahew "Double Wide Dream" (Almost Country Records, 2011)

Casey Donahew "Standoff" (Almost Country Records, 2013)
(Produced by Casey Donahew)
A romping, rocking set of electrified bar-band country -- a little too clangy and rock'n'roll for me, but good stuff nonetheless... Donahew is one of the new generation of "red dirt" Panhandle twangsters who are breathing new life into country music -- the vitality and kickass attitude of the '70s outlaws is back, and Donahew's sharp wit puts him at the lead to the pack. My favorite tracks off here are a pair of Brad Paisley-style novelty songs, "Loser" (which lampoons the neo-redneck crowd) and the album's hilarious closer, "Go To Hell," which is one of the best angry, vindictive drunken breakup songs ever recorded. Fun stuff!

Drag The River "Hobo's Demos" (Upland Records, 2000)

Drag The River "Live At The Starlight" (Mars Motors Records, 2002)

Drag The River "Closed" (Upland Records, 2002)

Drag The River "Hey Buddies..." (Suburban Home Records, 2004)

Drag The River "Chicken Demos" (Suburban Home Records, 2004)

Drag The River/The Dents "Found All The Parts" (Suburban Home Records, 2007)
Four songs, covered twice, back-to-back, by two different bands... Hmmmmm.... Sounds interesting!

The Drive-By Truckers "Gangstabilly" (Soul Dump Records, 1998)
(Produced by Alan Baker, Andy LeMaster & Drive-By Truckers)
Hah, hah, hah. Over the years, The Drive-By Truckers have acquired a large, loyal following, but even with my begrudging realization that they do have talent, I just can't get into it. Personally, I prefer country music that takes itself and its traditions seriously, and an album like this one, their debut, all full of teasing, hick-stereotype novelty tunes such as "Wife Beater," "Late For Church," and "Panties In Your Purse" is just lame and irritating, in my opinion. The grungy, purposefully sloppy pickin' and plunkin' is mirrored by the lazy, lame-o lyrics on songs such as "Demonic Possession" and Patterson Hood's raspy, bad-boy vocals. Okay, sure, great-grandpa Hasil Adkins would have been proud of these fellows, but who cares? I mean seriously: after the first couple of times you see them drunk at a bar and think they're a real hoot, would you really care enough to come back and listen to a record like this for fun? Does it really have that much to offer? Yeah, they're clever and they inject some vitality and raw, punkish force into a sometimes too-genteel genre, but who has time to listen to this stuff more than once? Not me. I'll take my twang straight-up instead.

The Drive-By Truckers "Alabama Ass-Whuppin' " (Terminus Records, 1999)

The Drive-By Truckers "Pizza Deliverance" (Soul Dump Records, 2000)
(Produced by Earl Hicks & Drive-By Truckers)
Same old crap. Songs full of booze and shotguns, trailer homes, prescription pills, poontang and police. Just a bunch more white-trash stereotypes, with better than usual musicianship. The fact that they can play their instruments (or don't believe that they have to mishandle their instruments in order to "sound country") doesn't quite redeem the paucity of their lyrics. Begrudgingly, I'll admit this is one of their better albums and probably the one most worth hanging onto, but the whole can't-take-country-seriously vibe is just something I've never been able to get into. If other people want to treat it like a joke, that's their business, but I think it gets tiresome really, really fast.

The Drive-By Truckers "Southern Rock Opera" (Lost Highway Records, 2002)
This really is not my kind of music... A twangcore/white trash stereotypes outfit that's gone for an even louder, more balls-out southern-fried sound, these guys lack the subtlety and songwriting skill that I personally look for in my hick music. This is, apparently, a song-cycle about Lynryd Skynyrd and the '70s glory days of Southern rock... It would help, though, if the Truckers could play half as well as their idols. Still, if you dig bands that are all about attitude, and little else, then this might be just your speed.

The Drive-By Truckers "Decoration Day" (Lost Highway Records, 2003)
These guys really do nothing for me. Nada. Zip, Zilch. Zero. They're really more of a rock band than anything else, and to the extent they are hick-centric, they keep treading back over the same old tiresome white-trash stereotypes and "made ya look!" attention-getting ploys. To be fair, this disc is much more cohesive and accomplished than their previous disc, with lots of grimy Neil Young-ish fuzz and a bit of Marshall Tucker on the side. The vocals are irritating and overly contrived, so I guess that's where I tune out. Kooky, though, how baldly their song "Marry Me" rips off the Eagles hit, "Already Gone..." It's almost note for note: were they hoping for a lawsuit that would elevate their name into the news, or something?

Drive By Truckers "The Dirty South" (New West Records, 2004)
Well, I still think these guys suck, overall, but I will reluctantly admit that this album shows a remarkable improvement from their previous clunky, ugly-sounding outings. The lyrics aren't as stereotype-laden and the guitars actually seem to be carrying a melody, rather than trying to cleave the listener's ears off. Could they be learning to --gasp! -- use subtlety in their music? Shocking! Anyway, I am forced to admit that they might be listenable, after all. Their other albums still mostly don't do much for me, though.

Drive By Truckers "Dirty South - Live At The 40 Watt" (DVD) (New West Records, 2005)

Drive By Truckers "A Blessing And A Curse" (New West Records, 2006)

Drive By Truckers "Brighter Than Creation's Dark" (New West Records, 2008)

Drive-By Truckers "The Fine Print -- A Collection Of Oddities & Rarities: 2003-2008" (New West Records, 2009)

Drive-By Truckers "Live From Austin Texas" (CD/DVD) (New West Records, 2009)

Drive-By Truckers "Go-Go Boots" (ATO Records, 2011)
Raunchy, swampy, rootsy, jam-bandy, though now with an increasingly prominent dose of indie-pop. Are they still considered alt-country? Do I care? Nah... not really, not so much. These guys never really grabbed my imagination.

Drive By Truckers "Ugly Buildings, Whores & Politicians -- Greatest Hits: 1998-2009" (New West Records, 2011)

Drive By Truckers "English Oceans" (ATO Records, 2014)

The Drive-By Truckers "It's Great To Be Alive" (New West Records, 2015)
A 3-CD live set, recorded over three nights at the Fillmore auditorium in San Francisco...

The Duhks "Your Daughters And Your Sons" (Sugar Hill Records, 2002/2006)
A much-welcome reissue of the 2002 debut album by this fine, young neo-bluegrass band. In addition to some lively, smile-inducing truegrass pickin', there's a heavy dose of Celtic music in the mix, as well as a modern Americana folk/pop feel. Fans of artists such as Dar Williams, Be Good Tanyas and Jolie Holland may find a kindred spirit in singer Jessica Havey, who gives a sultry, modern twist to several songs. And folks who dug good, ole John Hartford might also like this band: they have a similar joyous, freewheeling style, clearly having fun with each song they play. And, yes, the title track is a cover of that old Dick Gaughan folk song... Like I said, this is a class act! (Oh, yeah... by the way, their name is pronounced "ducks," like the little critters that go "quack, quack.") Recommended.

The Duhks "The Duhks" (Sugar Hill Records, 2005)

The Duhks "Migrations" (Sugar Hill Records, 2006)
(Produced by Tim O'Brien & Gary Paczosa)
Yeesh. From a lively, innovative Celtic/'grass crossover band, the Duhks has transformed themselves into a dreadfully self-important contemporary folk band, showily diverse and overstuffed with lofty lyrical ideals. The Celtic tinge still provides some savings grace, but most of the songs on here I found utterly insufferable. I guess the mellower Be Good Tanyas/Jolie Holland moments are okay, but the bluesy soul-folk growling slips all too easily into Odetta-ish territory, and it just doesn't sound right. I'm sure there's a big chunk of their fan base that will love this evolution, but I found very little on here I'd want to come back to, especially the tracks with Jessee Havey's pulled-out-a-plum, aren't-I-the-greatest, hey-look-at-me vocals on 'em... Sorry, but it drove me buggy!

The Duhks "Live At Merlefest, NC 4/24/09" (FestivaLink.net, 2007)

The Duhks "Live At The Backdoor Theater -- Nederland, CO: 4/29/08" (FestivaLink.net, 2007)

The Duhks "Fast Paced World" (Sugar Hill Records, 2008)

Jakob Dylan "Women And Country" (Sony Records, 2010)
(Produced by T Bone Burnett)

---

Hick Music Index

---