Hacienda Brothers "Hacienda Brothers" (Koch Records, 2005)
Hands down, one of the finest, funnest alt-country/Americana albums of recent years... Mixings bits and pieces of Merle Haggard, Waylon Jennings and Dave Dudley, with a hint of Link Wray and Deke Dickerson as well, this duo of songwriter Chris Gaffney and guitarist Dave Gonzalez (of the Paladins) crank out some first-rate honkytonk heartbreak and surfy twang, covering classics like Mel Tillis' "Mental Revenge" while introducing a bunch of swell new tunes into the alt-country canon. Some of the slower, more lethargic singer/songwriter-y material in the second half -- songs such as "The Years Got Away" -- starts to drag a little bit, leading into the album's slowed-down, sedate end, where Gaffney starts to sound like Tim Hardin or Fred McNeil.. But, hey, who am I to begrudge a band that kicks up a wicked little dust storm like the start of this album? All in all, this is mighty nice stuff -- definitely worth checking out!

Hacienda Brothers "What's Wrong With Right" (Proper Records, 2006)

Hacienda Brothers "Arizona Motel" (Proper Records, 2008)

Hadacol "Better Than This" (Checkered Past Records, 1998)
It took me a while to track this one down (having heard their second album first) but I'm glad I found it. These Missouri lads play really clever, catchy, smartass alt.country tunes with real emotional depth and a slight cowpunky edge that doesn't drag down or demean their funny, thoughtful lyrics. Recommended!

Hadacol "All In Your Head" (Slewfoot Records, 2001)
For a '90s-style alt.country band whose name pays homage to an antique, lethally stupefying patent medicine, these guys show an admirable devotion to solid musicianship and catchy songwriting. There's an exaggerated devotion to twangy, forceful guitars, almost southern rock-ish in its simplistic appeal, combined with a deftness with melody that has become a bit too rare in the current twangcore scene. No lame white trash stereotypes here, just one good song after another, all written by the Kansas City-area Wickham Brothers, who also plug away admirably on piano and guitar. Next time I'm in the Midwest, I'll be sure to catch one of their shows... in the meantime, I'm sure I'll listen to the disc a time or two! Recommended.

Charlie Haden "Ramblin' Boy" (Decca Records, 2008)
(Produced by Charlie Haden & Ruth Cameron)
Now here's a record with a real story behind it! It seems that Charlie Haden, one of modern jazz's best known bassists, got his start in the music business as a child performer in a Carter Family-style harmony-oriented country-bluegrass band, playing old-time country and gospel. Yep -- it turns out that this icon of the free jazz and post-bop scenes has country roots that run miles deep. Haden returns to those roots here, with a joyful, classy homage to the music he grew up on, with plenty of friends and family to help out. Haden himself rarely sings because of throat damage from a childhood bout with polio, but the harmony tradition lives on in his children, who sing several songs here as The Haden Triplets... Other guest performers include Rosanne Cash, Elvis Costello, Vince Gill, Ricky Skaggs and Dan Tyminski, as well as Haden's old cohort, Pat Metheny and actor Jack Black who, as it turns out, is married to one of Haden's daughters... Black wails away on a wild, wonderful version of "Old Joe Clark," which perfectly captures the unruly spirit of true, blue old-timey music. The album even includes a brief archival recording of Haden singing onstage -- in 1939, at the age of two -- as part of the Old Haden Family Show, and ends with the present-day Haden singing a warm version of "Oh Shenandoah." This track, like the whole project, evokes a warmth and sincerity that makes plain Haden's love of the material and taps into the emotional depths and nostalgia that made this old folk music so compelling to begin with. It's really pretty nice! Check it out.

Hail The Size "I Can't Die In LA" (Good Drummer Records, 2009)
(Produced by Matt North)
An odd, idiosyncratic indie-twang album, featuring ex-Lone Justice lead singer Maria McKee, mostly singing harmony alongside guitarist Charles Ezell and drummer Matt North. I'm not sure which of the boys sings lead, but regardless, this is a nice album. Gotta love that title track: sweet melody in addition to a theme I can get behind. There's sort of a Mark Olson/Steve Forbert vibe at work here -- clever, a little kooky, buoyed by some sweet picking... This is pretty far off the radar, but worth giving a spin!

Murry Hammond "I Don't Know Where I'm Going But I'm On My Way" (Humminbird Records, 2008)
Solo album from a member of the Old 97s...

Butch Hancock- see artist discography

Wayne Hancock- see artist discography

James Hand "Evil Things" (Cold Spring Records, 1999)
Throaty, hiccupping, and sandpaper rough, Texan James Hand taps into the deep tradition of for-real hard-country hick crooners with hearts of gold and voices of lead... This disc is a treat for those of us who have dug through stacks of raspy hillbilly music from the late 1940s and early '50s, listening to fellas who wrote great songs while working at tough jobs, and sang with all their heart when they finally got the chance. Hand is definitely in that category: his voice isn't pretty, but his songs are pure country, and with guitar whiz/album producer Dave Biller playing lead, and Dale Watson picking on about half the tunes, this album has a real thump and twang to it that's sweet to hear. Not everyone's gonna be able to sit through this one, but for folks who like great heartfelt heartbreak songs, this is a goldmine.

James Hand "The Truth Will Set You Free" (Rounder Records, 2006)
Yeah, hoss, this is an album you oughta pick up. As on his previous recordings, Texas old-timer James Hand taps into the deep tradition of for-real, hard-country hick crooners with hearts of gold and voices of lead... and a bottomless supply of beer-soaked misery and self-pity. Largely due to the tenuous vocals, not everyone's gonna be able to sit through this one, but for folks who appreciate heartfelt heartbreak songs, this disc is a goldmine. There's a rueful tone and deep sense of defeat that makes every song on here ring true, particularly on stingers like "Just An Old Man (With An Old Song)" and "When You Stopped Loving Me, So Did I." Then there's the musical backup -- tight and compact, a no-nonsense dose of good, old-fashioned honkytonk, courtesy of picker Redd Volkaert, steel player Lloyd Maines (who also produced the album) and fiddler Jason Roberts... Pure twang, distilled down into a Dixie cup and ready for you to take a swig. If you like folks like Guy Clark, Tom T. Hall and Floyd Tillman, you might wanna check this guy out, too.

Pat Haney "Wrong Rite Of Passage" (Freefalls Records, 2000)

Pat Haney "Ghost Of Things To Come" (Freefalls Records, 2001)
Gruff, grizzled, grinding roots-rock that fans of Dave Alvin, Steve Earle or Robert Earl Keen might really enjoy. Haney does have a nice way with a melody and though sometimes he lays it on a bit thick with all the profundity-laden stories of hard times, heartbreak and brooding, outlaw-ish violence, it's still a cut above your average Americana album, particularly on the musical end... Worth checking out!

Jim Hanft "Weddings Or Funerals" (Veranda Records, 2012)
(Produced by Lasse Martin)
A classic "Americana" blend of roots-rock and introspective indiepop, with some twang but perhaps a bit more of moody soundscapes and oblique lyrics, tempered by bouncy beats and bright melodies that tug against the doleful lyrics. If you like stuff by folks like Paul Burch Justin Earle, or maybe some early Lambchop, you might dig this as well...

Hank Flamingo "Hank Flamingo" (Warner Brothers, 1994)
(Produced by James Stroud & Byron Gallimore)
Trent Summar's old band... I haven't heard this one yet, but some folks swear by it and I look forward to checking it out...

John Wesley Harding "It Happened One Night/It Never Happened At All" (Appleseed Records, 2004)
English alt-rock folkie John Wesley Harding made his 1989 debut with a live album, of all things, and followed up with a studio session that recaptured many of the fresh new songs-in-progress that had been heard in the concert... and which was never released. Time has been kinder, perhaps, to the live album, which has its shared of rushed moments and flubs, as well as a charming brashness and DIY fervor that still comes through all thee years later... The earnest/ironic, singer-songwriter coffeehouse folk-poet thing was well beyond old hat in '89, but Harding went for it anyway, and by sheer force of will (and that twinkle in his eye), went out and made a name for himself... The shelved studio album, on the other hand, remained largely unmixed and the surviving tracks sound as if they may have been improperly stored in someone's dusty basement for a decade or two... Still, it's a nice glimpse at his early ouvre, and an illuminating look at how he's grown over the years... Back then, he balderdashed his way into the spotlight, and while you can hear the callowness in many performances, it's also this clear humanity that gives him credibility and the benefit of the doubt... Fans will dig this album, and newcomers may find themselves beguiled as well...

Hank Hardwood "Ready Or Knot" (Kinda Kindlin' Music, 2009)
(Produced by Christopher Earl)
The gag is that this is (supposedly) country music sung by a ventriloquist's dummy. A-cord-ingly (get it? "cord"? hah-hah.) the songs are all full of dopey, wood-related puns ("Don't Wanna Be Sawdust On A Honky-Tonk Floor," etc.) and the like. The liner notes claim allegiance to the yesteryears of true-blue hillbilly music and crudely curse Nashville for losing its soul, but this would all be easier to buy into if there was anything on here that sounded remotely sincere or soulfully twangy. Even "Hank's" voice is a letdown: a Howdy Doody-style whine would be preferable to the lazy croaks within. I dunno. I guess they were having fun, but I'm knot that into it. (Hank has a myspace page and is also on Facebook: maybe he went to high school with you?)

Hard Working Americans "Hard Working Americans" (Melvin Records, 2014)
(Produced by Dave Schools & Todd Snider)
Agit-folkie Todd Snider teams up with a bunch of roots-oriented rockers for a greasy, funky blues-rock outing, covering songs by some of the best composers the Americana genre has to offer: tunes by Hayes Caryll, Kevin Gordon, Kieran Kane, David Rawlings as well as oldies from Randy Newman and '50s hillbilly icon Frankie Miller. Sounds like they were having a good old time, injecting a little grit, sweat and big, fat, jam-band power chords into the comfy confines of the country-folkie-roots music scene. Sounds pretty sweet!

(Original) Harmony Ridge Creek Dippers - see: Mark Olsen and Victoria Williams

Joni Harms- see artist discography

Corey Harris "Downhome Sophisticate" (Rounder Records, 2002)
Fans of Harris's sublime acoustic blues work may be a bit surprised to hear him cutting loose on this rollicking set of loudly amplified funk, electric blues and outright psychedelic guitar tunes (!) To call it a change of pace is definitely an understatement, but Harris is clearly doing a big "artistic growth" move. How much you like or dislike it is entirely a matter of taste -- the album is well produced, albeit often quite self-indulgent and excessive. But it may capture the ears of many modern blues and roots-oriented pop fans. An interesting career shift, to be sure!

Corey Harris "Daily Bread" (Rounder Records, 2005)
Acoustic bluesman Corey Harris delves deeper into pop, reggae and other musical styles, including African music and a dose of off-kilter jazz, courtesy of avant trumpeter Olu Dara, who plays on several tracks. Some songs recall the softer approach of his earlier work, but for the most part this is a fairly challenging, eclectic album, and pushes at the boundaries of our expectations... It didn't really work for me, but at least he's not just another folkie doing the same stuff over and over. Those of us who favor artistic growth for its own sake will applaud Harris's efforts here...

Emmylou Harris- see artist discography

J. P. Harris & The Tough Choices "I'll Keep Calling" (Cow Island Music, 2012)
(Produced by J. P. Harris & Joel Savoy)
Nice old-fashioned honkytonk, with a serious George Jones/Hank Thompson vibe... Harris is an Alabamian songwriter currently lurking around Nashville and clearly he's into the classic '50s/'60s hard country sound. Backing him on this album of all-original material are a couple of guys from the Red Stick Ramblers, as well as a couple of other rootsy bands; the pedal steel playing (courtesy of Asa Brosius) is particularly sweet... I can listen to that stuff for days on end. Harris explores classic themes of lovable losers, gear-jamming daddies and downcast drunkards, showing a knack for pun-filled, novelty lyrics with singalong choruses. Kind of reminds me of old Asleep At The Wheel or Chuck Wagon & The Wheels... If you love those old country formulae, you'll dig this one. I did!

John Hartford- see artist discography

Rodney Hayden "The Real Thing" (Rosetta Records, 2002)
An outstanding true-country debut, with a first-rate song selection that ranges from Tom Waits' "I Hope That I Don't Fall In Love With You," Chip Taylor's "Real Thing," "Tears Only Run One Way," from the Robbie Fulks catalogue, and a slew of original tunes that match the elegance and power of these classics (all of which are longtime favorites of mine, by the way...) Hayden lapses into some overly-poetic material on a few tracks -- not too surprising, since label owner Robert Earl Keen is one of his patrons -- but he sure can nail it when he sings plain old twangy country. This is a pretty impressive album; definitely worth tracking down!

Rodney Hayden "Living The Good Life" (Audium Records, 2003)
A really swell new country album. Although he's still solidly on the "real hicks" side of the equation, this 23-year old Texas native could easily cross over into mainstream success. He's got a rich, deep, Merle Haggard-style voice, paired with a subtle melodic touch that places him closer to veteran Nashvillers like Randy Travis or Gene Watson, rather than to his indie-aligned patron, Robert Earl Keen (who many folks have compared him to...) At any rate, if you like real-deal, musically rich, emotionally resonant hard country music, then check this guy out. -- you'll be blown away. Not only does he craft dust-caked Americana romps like "Goodbye To My Hometown" and "Living The Good Life," he also has an amazing touch for recreating country styles of years gone by, such as the elegant "Mr. Mockingbird," which would've sounded right at home on some late-'60s Decca LP, or tunes like "Can't Wait To Get Back Home," which has a more modern, '80s-ish neotrad feel. Besides, anyone who covers Russell Smith (of Amazing Rhythm Aces fame), and does it so well ("Delia's Long Brown Hair") is alright by me. A rich, mature, and very promising second record.

Rodney Hayden "Down The Road" (Palomino Records, 2007)

Rodney Hayden "12 Ounce World" (Palomino Records, 2008)

Hayshaker "Black Holiday In Mexico City" (Self-released, 2007)
A mixed bag, with a few banging, loud rock tunes balanced by some pretty nice indie country. The rock songs didn't wow me, but I did enjoy the rockabilly-flavored duet, "Laurie's Song" and the Fahey-esque slide on "Mexico City." (Also released as the Dirtkick EP, with the songs in a different order...)

The Reverend Horton Heat "Smoke 'Em If You Got 'Em" (SubPop Records, 1990)

The Reverend Horton Heat "The Full Custom Gospel Sounds" (SubPop Records, 1993)

The Reverend Horton Heat "Liquor In The Front" (SubPop Records, 1994)

The Reverend Horton Heat "It's Martini Time" (Interscope Records, 1996)

The Reverend Horton Heat "Space Heater" (Interscope Records, 1998)

The Reverend Horton Heat "Holy Roller" (SubPop Records, 1999)

The Reverend Horton Heat "Spend A Night In The Box" (Time Bomb Records, 2000)

The Reverend Horton Heat "Lucky 7" (Indieblue Records, 2002)

The Reverend Horton Heat "Revival" (Yep Roc Records, 2004)

The Reverend Horton Heat "We Three Kings: Christmas Favorites" (Yep Roc Records, 2005)
The righteous, rowdy Rev and his trio are well-known for their barn-busting, rip-snorting wild live antics, which is one of the things that makes this Christmas album so surprising... While, yes, it is a solid rockabilly set, the song selection is pretty conservative, ranging from old standards such as "We Three Kings" "What Child Is This" and "Winter Wonderland" to beloved pop hits such as "Frosty The Snowman," "Jingle Bells" and "Santa Looked A Lot Like Daddy." Heat & Co. play these songs completely straight, and with a refreshing simplicity -- whereas many retrobilly/rawk acts tend to ham it up, these fellas really seem to have an earnest affection for the songs, and don't feel obliged to make ironic gestures or undercut their own sincerity. Yeah, they're playing it loud... but not too loud... and though some fans may wish they'd gotten rowdier, others may find this disc to be a new seasonal favorite.

The Reverend Horton Heat "Laughin' And Cryin' With..." (Yep Roc Records, 2009)

The Reverend Horton Heat "The Millennium Collection" (Interscope Records, 2006)

Robby Hecht "Late Last Night" (2008)
An extraordinary contemporary folk debut, with one great, groovy, leaps-out-at-you song after another. Hecht has an immensely appealing vocal presence, and adult/alt/folkie fans will hear echoes of some big heroes in this new work. Greg Brown comes to mind right off the bat, there's a similar sense of masculine virility mixed with emotional fragility and enticement; Hecht also bears more than a passing resemblance to James Taylor, not just in his vocal tone, but also in his interpretive power and his ability to connect with the lyrics, and to craft a memorable melody. He's joined here by several other new bright lights on the folk scene, including the incandescent Thad Cockrell and Mindy Smith, as well as fiddler Andrea Zonn. If you're on the prowl for a great new folk-pop album, this is your baby. It's the kind of record you can listen to for weeks on end... I did, and I've still got in in the stereo now.

The Heel Draggers "Out My Door" (2011)

Levon Helm -- see artist profile

Terri Hendrix "The Spiritual Kind" (Wilory Records, 2007)
(Produced by Lloyd Maines)
A sweet, goofy set of twangy/folkie tunes that ponder the questions of life and find comfort in the simpler things, such as planting a garden and kicking back on your porch on hot summer days. Ms. Hendrix has a lot in common with Victoria Williams, who also extolled the joys of simple, rural living, although Hendrix is more direct and way less daffy. But if you like that kind of unhurried, un-rock star vibe, this album may have a lot to offer you.

Hank Henry "Rainy Nights" (Tall Dog, 1984)
(Produced by Simon Shrimpton-Smith & H. Hank Henry)
Well-meaning but ultimately underwhelming honky-tonk retro from Belgian country singer going by the name of H. Hank Henry. All the songs are Henry originals, with a couple co-written by others, including a tinkly ballad sung with Jeanne Henry, a vaguely Emmylou-esque singer who I assume is his wife(?)... He gets the American rural accent mostly right (reminds me of Terry Allen at times) but the band's a little sluggish and they never get loose enough to really draw you in. Technically accomplished, but the gritty feel and hillbilly swagger isn't really there. Worth checking out if you're into Euro-twang, but don't get your hopes too high.

Ray Herndon "Livin' The Dream" (Compendia/Rayman Records, 2004)
(Produced by Matt Hollings & Ray Herndon)
Guitarist-songwriter Ray Herndon sure has a rich back story... He grew up in Scottsdale Arizona, where his folks owned a country bar and western-themed steakhouse called the Handlebar-J. Ray's dad, Brick Herndon, played bass in the house band, The Country Score, and purchased the steakhouse from a fellow bandmember, back in 1975. As Ray and his brothers came of age, they played shows together on local TV and onstage at the Handlebar-J. A talented guitarist, Ray eventually set out on his own in the early '80s. After a gig with the popular local band, J. David Sloan & The Rogues, he went on tour as part of Lyle Lovett's backing band, working with Lovett for much of the decade, as well as on and off over the years. In 1989 he was recruited to join the Nashville-based top forty vocal trio McBride & The Ride, in an original lineup that stayed together from 1989-1994. (Ray Herndon and drummer Billy Thomas rejoined Terry McBride for a brief reunion starting in 2000, recording one more album that came out in 2002.) Here, on his first solo album, Herdon proves himself a smooth, amiable twangster, straddling the local and the national styles. The disc is packed with guest artists: Lyle Lovett, Clint Black, Sonya Isaacs and Jesse Colter each sing duets with Herndon, with the Clint Black collaboration, "A Grain Of Salt (And A Shot Of Tequila)," being an album highlight. This disc didn't really catch fire as far as I was concerned, but it sure has its moments, and a strong down home, underdog appeal. In recent years, the Herndon Brothers Band has been holding down the fort at the Handlebar-J, which the family still owns. As far as I know, though, they haven't put out a record together... though time will tell.

Caroline Herring "Twilight" (Blue Corn Records, 2001)
A nice mix of Judy Collins-ish singer-songwriter folk, and more countrylike leanings. This Austin-area transplant has assembled plenty of high-powered pals to back her up, including pedal steel stalwart Lloyd Maines and bluegrass hippiebilly Peter Rowan. Nice understated album, gets a little drippy at times, but she definitely has a way with a melody, and a certain spark that gets your attention. Kate Wolf's fans should check this gal out; there's a similar feel that might be appealing.

Caroline Herring "Wellspring" (Blue Corn Records, 2003)
This Austin-by-way-of-Mississippi singer-songwriter gets growly and throaty enough to garner the inevitable simplistic comparisons to Lucinda Williams, but has a good, strong, listenable sound that will hold your attention through the length of the album. The first half of the disc is "tougher" and more country sounding; midway through a more overtly folkie sensibility takes hold, particularly on the topical political tune, "Mistress." Herring's vocals are a bit mumbly and her music seems rather familiar, but the tone and feel are quite nice. Her previous album had a ton of big-name guest stars; this time around it's Kelly Willis who sits in to add some glamour, throwing on some nice harmony on "Jewels," early in the album. Nice record -- definitely worth checking out!

Caroline Herring "Lantana" (Signature Sounds, 2007)
(Produced by Caroline Herring & Rich Brotherton)
A fine contemporary folk album from one of the rising stars of the scene... I didn't find this quite as striking as her last couple of records (which I really loved!), but it is a very solid set, perfect for the coffee-house folk fan faithful. One song really stands out, "Song For Fay," a song about faith and resignation that I had heard earlier on a compilation I reviewed a while ago -- that song is a real dazzler!

Caroline Herring "Camilla" (Signature Sounds, 2012)

Hey Bale "The Last Country Record" (Shuffle 5 Records, 2008)

Hey Bale "Live From 1-A" (Shuffle 5 Records, 2008)

Tom Heyman "Boarding House Rules" (Innerstate Records, 2000)
Rockified country with stream-of-consciousness lyrics which call Victoria Williams to mind. Mostly this is pretty nice -- one track with lead guitar by Chuck Prophet is a bit too bombastic, but otherwise this works for me. Sure, if you put a gun to my head and demanded that I tell you what Heyman's songs were about, I'd have a pretty hard time... but his delivery is nice.

Tom Heyman "Deliver Me" (Jackpine Social Club, 2005)

John Hiatt - see artist discography

Arty Hill "Baltimore Reasons" (Self-released, 2003)

Arty Hill "Back On The Rail" (Self-released, 2005)

Arty Hill "Bar Of Gold" (Cow Island Records, 2008)

Arty Hill & The Long Gone Daddys "Back On The Rail" (Cow Island Records, 2009)
(Produced by Arty Hill & Dave Nachodsky)
This is a reissue of Hill's second album, with a bonus track added... Lively, rugged DIY twang, blending honkytonk and rockabilly influences, banged out by a compact trio of guitar-guitar-drums, with electric leads that often have a Junior Brown-ish feel. Hill's obviously into old-school twang, though unafraid to let his East Coast accent come through. In keeping with tradition, the lyrics are all pretty glum and fatalistic, with the more anthemic numbers falling more inside the rockabilly side of things. The highlight track for me would be the slower-tempo, Steve Earle-ish "I Left Highlandtown," an unrepentant self-portrait of an unsympathetic character, a guy who steals from his ex and gloats about his getaway... This album is rougher-sounding than Hill's later stuff, where he started using a wider palate (pedal steel and all...) but fans of true twang will recognize a kindred spirit here... Definitely worth a spin.

Arty Hill "Montgomery On My Mind: The Hank EP" (Cow Island Records, 2009)
(Produced by Arty Hill & Dave Nachodsky)
A swell tribute to Hank Williams, mixing original tribute songs by Hill with strong covers of Hank Williams classics... Plenty of twang, soul, and solid musicianship. Hard to argue with Hank, and the new tunes are fun, too.

Arty Hill "Pie For Breakfast: Riffs, Roughs, And Radio" (Self-released, 2010)

Arty Hill "Another Lost Highway" (Self-released, 2010)

Arty Hill "Heart On My Dirty Sleeve" (2014)

Hillbilly Idol "Town & Country" (Egg Records, 1999)
Although the production is a bit thin, this is a pretty charming indiebilly album from an earnest band hailing from Cleveland, Ohio... Mostly it's the quality of the songwriting that makes this album noteworthy, with strong tunes penned by bandmates Dave Huddleston, Paul Kovac and Al Moss, each skillfully delving into the western swing, honkytonk and country-rock traditions... The actual delivery is kinda clunky, but their hearts are obviously in the right place. Worth checking out, though their later records are much stronger.

Hillbilly Idol "Hillbilly Idol" (Slewfoot Records, 2002)

Hillbilly Idol "Lights Of Town" (Yodel-Ay-Hee Records, 2006)

Chris Hillman - see artist discography

Donal Hinely "Midwinter Carols" (Scuffletown Records, 2000)

Donal Hinely "Ghost Fiddle Suite" (Scuffletown Records, 2000)

Donal Hinely "We Built A Fire" (Scuffletown Records, 2002)
Literate, well-sculpted singer-songwriter Americana; countrified poetics, along the lines of Robert Earl Keen, Jr.'s work, music that may be too mannered for old-school country fans, or a breath of fresh air, for folks looking for the artform to expand. Kim Richey sings on several songs, and one or two erstwhile Wilco members also play throughout. Overall, this is a little too restrained for my tastes, but I'm sure there are plenty of folks out there -- folks who liked Emmylou Harris's Wrecking Ball, for example -- who would love to hear this disc. For an indie album, it's very well realized and thoughtfully made.

Donal Hinely "Glass Stories" (Scuffletown Records, 2004)

Donal Hinely "Giants" (Scuffletown Records, 2005)
Singer-songwriter Donal Hinely has a refreshingly naive faith in simple, satisfying melodic hooks, lyrics that rhyme and close up nicely, and words that mean what they say. The album opens with the title track, "Giants," a catchy, heartfelt elegy to the cultural titans of the 'Sixties -- Kennedy, Martin Luther King, Phil Ochs -- and bemoans the vacuum left in today's America, a gap that is filled by small-minded and venal strivers. It's just the kind of subject matter that anti-folkies would love to latch onto and sneer at as stuck-in-the-'Sixties navelgazing, except that the song is just so damn effective, and the contrast between that era and ours really is so stark and disheartening... It's a great opening to a good album; on the next track, Hinely laments a mythic time "Before Music Was A Product," while on "Shock And Awe" he joins the ranks of modern folkies who condemn the war in Iraq. He also sculpts some nice slice-of-life scenarios, singing of new parents adjusting to an amped-up level of adulthood, and the nostalgia of lost true love ("Adelaide," also one of the album's catchier tunes). Fans of Freedy Johnston will find a similar spirit here, with Hinely's open embrace of soft, melodic electric guitars and clean, catchy couplets. A few songs go adrift, but overall this is a really nice record!

Donal Hinely "Blue State Boy" (Scuffletown/Atom Records, 2008)
(Produced by Donal Hinely)
A fine modern folk troubadour, Texas boy Donal Hinely has a keen sense of humor and a good sense of melody, crafting catchy songs that touch unexpected human depths... This album begins with a lighthearted tribute to Dylan ("Song For Bob") and a particularly tuneful love song ("Mona, Mona") along with another strong entry, "Shattered Glass," that rounds out the album's strong start. Then it coasts back into more standard folkie fare, including some political tunes such as his unexpectedly ardent declaration of love for US Senator Barbara Boxer ("Dear Mrs. Boxer") and the album's title track, "Blue State Boy," which describes the frustrations of liberals living in the supposedly conservative American heartland. It's here where I start to have problems with this set - on previous albums, Hinely approached political material with a subtle touch and firm conviction that was particularly keen and effective. "Blue State Boy," despite having a sentiment that I strongly share (having grown up in the Midwest) is a bit of a clunker, aesthetically speaking. Still, Hinely is a skilled songwriter and sings to and from the heart -- fans of artists such as Greg Brown, Slaid Cleaves and Eliza Gilkyson will find a lot to like here, as well. (Check out Hinely's website www.donalhinely.com for more info.)

Tish Hinojosa- see artist discography

Rex Hobart & The Misery Boys "Forever Always Ends" (Bloodshot Records, 1999)
This guy so totally, completely rocks! Two things drew me to Midwesterner Rex Hobart's debut album, Forever Always Ends... His wry, tongue-in-cheek overstatements of traditional country "hard luck" themes -- going to your ex-lover's wedding, etc. -- were handled as skillfully as on Dwight Yoakam's A Long Way Home album, and with nearly as much musical panache. Also, Hobart's genre satire is helped tremendously by the fact that his band kicks ass, playing hard country music at a level far above your average rockers-gone-hick twangcore crew. The simple, bright production and Hobart's adenoidal voice bring to mind numerous freewheeling, laissez faire hippie-billy bands from the '70s, particularly folks who were well off the radar, such as Greezy Wheels, Robb Strandlund, or Deadly Earnest. However, Hobart's output is way more consistent than any of those no-hit wonders -- if the truth be told, there isn't a bad song on this album. Thematically, it's a little repetitive (one big, "I can't win, and boy do I know it..." country self-parody...), but the music is super-solid, and so are his normal-guy, nebbish vocals, and his lyrics are uniformly hilarious and witty. If you're among the ranks of those disappointed by Robbie Fulks' last few albums, give this guy a try -- he's not as bluesy, but he's just as brash.

Rex Hobart & The Misery Boys "The Spectacular Sadness Of..." (Bloodshot Records, 2000)
Hobart doesn't disappoint on this follow-up, although he does come a bit closer to overplaying his hand lyrically; the balancing act is made more precarious by his embrace of Glen Campbell-derived folk-countrypolitan stylings, as opposed to the bottle-busting, galloping honkytonk of his last album. By slowing the music down, he gives the listener more time to weigh the relative merits of sincerity vs. wit in lyrics like "I'm Not Drunk Enough To Say I Love You" and "The One And Lonely You"... Still, these Misery Boys take their picking and plunking very seriously, and just the sound of that pedal steel alone is worth the price of admission. This is one of the best country bands in America today! Check 'em out.

Rex Hobart & The Misery Boys "Your Favorite Fool" (Bloodshot Records, 2002)
Rex Hobart is one of the most seriously underrated country artists around today, and this may be his single best album to date. This is solid, well-crafted honkytonk music like they used to make in the late 1950s, with instrumental and vocal performances that are all simply top-rate. Hobart is too indie for the Nashville studios, and probably too serious and too straightforward a musician to be embraced by the irony-addicted alt-country hipster crowd... which is a real shame, 'cause he is really, really talented. (I played a bunch of these songs on the Spinner.com Americana channel and they got terrible ratings from the listeners, so there's some sort of disconnect between what people read about in No Depression and what they like to hear on the radio... Of course, I left all the songs on there anyway, 'cause I was right and they were wrong...) Kudos to Bloodshot Records for giving this guy a chance to grow... all of his albums are good, this one is the best.

Rex Hobart & The Misery Boys "Empty House" (Bloodshot Records, 2005)
Man, the Misery Boys have sure been working overtime to live up to their name... It's been a few years since their last record came out, and I guess Rex Hobart has spent the time plumbing the depths of bitterness and abject desolation. This disc opens with four songs that document with painful clarity the death of a romance, each tune ratcheting upwards from bickering and recrimination to outright hatred and hostility. (Hobart's cover of Johnny Paycheck's "It Won't Be Long (And I'll Be Hating You)" is an album highlight...) It's a pretty grueling progression, and if you're like me, by the time you get through that introduction, you'll want to call Hobart and ask if you can buy him a beer. From there, the lovers go splitsville and our hero -- still addressing all the lyrics to his ex -- bottoms out, singing of bar-side binges and late-night self-loathing -- Lefty Frizzell's "I Never Go Around Mirrors," writ large. The album's real payoff comes on "The Tear I Left Behind," where he suggests they try maybe just a little bit of fooling around, just for old time's sake. Ouch. Some people never learn. Musically, this album isn't as catchy or melodic as his past two, but the picking is pretty solid, even if the lyrics hijack the show. If you enjoy those old, exaggerated, gloom'n'doom tunes by Johnny Paycheck sang in the 1960s, you might find a kindred spirit here with Hobart & Co... But seriously, Rex... You okay, dude? Can I buy a beer or something?

Louise Hoffsten "Knackebrod Blues" (Memphis International Records, 2002)
For decades, the blues have become so tame and tradition-bound that hearing a new artist come along and make the style sound rough and dirty again is almost like a divine revelation: Oh, so you mean modern blues don't have to be so goddamn boring?? Wow!! So let's welcome Louise Hoffsten, a slight, plain-featured blonde whose tiny voice expands to fill in the spaces left by her a remarkably muscular electric combo. Knackebrod Blues may be the most dynamic, energizing blues album of the last ten years. More remarkable still is that Hoffsten is actually from Sweden, and that her previous albums were more in a quiet, offkilter indierock-ish mode... Here she brings a sexy, slightly trashy, jagged-edged Joan Jett-like feel to these songs that is at once electrifying and alluring. Recommended!

Kelly Hogan "The Whistle Only Dogs Can Hear" (Long Play Records, 1996)

Kelly Hogan & The Pine Valley Cosmonauts "Beneath The Country Underdog" (Bloodshot Records, 2000)

Kelly Hogan "Because It Feels Good" (Bloodshot Records, 2001)
This didn't blow me away... Hogan mellows down into a crooning mode. I think she's aiming for an alt-y Patsy Cline vibe, but winds up being a bit more Vonda Shepard. I suppose if I had a more intense interest in irony and postmodern, satirical blah-blah-blah, this would have more appeal, but I'm still just looking for a strong melody to sing along to... Just not country enough for me.

Hog Mawl "Hank Williams Jr. High" (Broken White Records, 2001)
I was pretty surprised by this album... I had low expectations, based mostly on the band name and album title, but figured, what the heck... I'll check it out... Instead of the twangcore slopfest I'd anticipated, this is actually a pretty sincere effort to write and play real hard country honkytonk. Songwriter Cliff Murphy has a good ear for his material -- several songs are close to top-notch, held back mainly by the amateur musicianship, and the occasional loosely-strung lyric. But where most of today's raised-on-rock twangcore bands simply play louder and sloppier to compensate for their lack of country chops, Hog Mawl -- much to their credit -- stick it out and try to play the stuff they way it really should be played. The album's opener, "If You Don't Love Me (I'm Leavin')" could have been a '40s classic, and other tracks, such as "Who Do You Dream Of?" are similarly well-written. "Jasper," an updated version of a Porter Wagoner-style small-town-tale, is also pretty good, and could be better with a few little tweaks. Mostly, this band just needs to stick with it, and get much tighter musically than they are now -- if they can stick it out, they could become one of the best country bands of this decade.

Derek Hoke "Goodbye Rock 'N' Roll" (Electric Western Records, 2010)
(Produced by Dexter Green)
On the title track Derek Hoke, smitten by the twangy charms of country music, sings to rock'n'roll as though it were an abandoned lover, being thrown over for the slinky sensuality of a pedal steel guitar. Now, of course, rock-vs-country is a false dichotomy, but it's a clever premise for a novelty song, and it sounds sweet when Hoke and his band twang it out. He follows up with the equally rewarding, equally countrified "Finer Things In Life," which extols the virtues of longneck beers and rusty old trucks. But rock is a hard lover to dump: sneaking in behind Hoke's Hank Williams-y honkytonk comes the gentle power-pop of "Hot On The Heels Of Love," striking a delicate balance that is sustained through rest of the album. I'm reminded of the eclectic approach of '70s-era country-folksters such as Jonathan Edwards and J. D. Souther, which is to say that this guy has deep roots in both styles and he makes the most of mixing them together. A nice record with many hummable, toe-tappable melodies... Worth checking out!

Malcolm Holcombe "Gamblin' House" (Echo Mountain Records, 2008)
Fans of Guy Clark might also enjoy this fellow... The Clark comparison is particularly strong on tracks like the album's opener, "My Ol' Radio," where the debt would almost be embarrassing if the song didn't sound so darn good. Over the course of the album, Holcombe may overplay his hand a bit with the don't-I-sound-gruff-and-world-weary schtick, but the record's acoustic folkie/bluesy vibe is quite pleasant and makes up for a lot of the weary-old-soul mannerisms. Worth checking out!

Gal Holiday "...The Honky Tonk Revue" (Honky Tonk Revue Music, 2006)
The debut album from an awesome retro-honkytonker from New Orleans...

Gal Holiday & The Honky Tonk Revue "Set Two" (HTRP Music, 2010)
Includes "Jones On The Jukebox," one to add to your list of George Jones tribute songs, as well as a version of "Sixpack To Go," which I always appreciate.

Gal Holiday & The Honky Tonk Revue "Last To Leave" (HTRP Music, 2014)
(Produced by Gal Holiday & Misha Kachkachishvili)

Jolie Holland "Catalpa" (Self-Released, 2003)
This is one of the most distinctive, defiantly genre-bending albums to come down the pike in quite some time... Generally speaking, it's in the "Americana" realm, but with odd, insistent jags of torchy jazz, blues and indefinable world music influences. It's not surprising since Holland, who has become a fixture on the Northern California/SF Bay Area scene, was a founding member of the equally eclectic Be Good Tanyas, and carries much of their searching moodiness with her. There's also an art-school diary aspect to this disc, with elusive impenetrable lyrics that are matched by the amorphousness of the music. This album certainly has a unique feel to it... whether she'll be able to sustain the mystique, or sharpen her focus, remains to be seen, but for now Holland has struck a remarkable balance between the pretentious and the sublime... If you're looking for something substantive and off the beaten track, this disc is certainly worth checking out.

Jolie Holland "Escondida" (Anti Records, 2004)
Less nebulous and more rooted in jazz and blues than her previous, self-released album... Holland seems to be staking out some turf in the same general neighborhood as Tom Waits and Norah Jones... Sounds pretty nice, with a few songs that sort of float about, and others that glisten like gems. It's pretentious, sure, alluring at times, irritating at others. On the whole, I'm sure folks will find her a refreshing new voice on the Americana/indie scene, although now I'm starting to feel more like I've got her number down -- seems like she could go either way, and push into more challenging terrain, or she could just keep wowing the rubes with odd, offbeat noodly ditties whose laid-back "weirdness" is their main selling point.

Jolie Holland "Springtime Can Kill You" (Anti Records, 2006)

Jolie Holland "The Living And The Dead" (Anti Records, 2008)

Jolie Holland "Pint Of Blood" (Signature Sounds, 2011)

The Hollyfelds "Saratoga" (Self-Released, 2008)
(Produced by Ric Hordinski)
A fine set of ragged-edged, buoyant DIY-billy, with a bouncy rock backbeat behind a mostly-acoustic band and twin gal-harmony vocals. Singers Eryn Hoerig and Kate Grigsby split the songwriting chores equally, and each taps into the misery-and-drinkin' country tradition, singing novelty lyrics with a rough, modern edge. I have to confess, I'm not really fond of their vocals, but fans of Freakwater and Lone Justice will recognize kindred spirits in this clattersome quintet, and open-minded listeners will find this low-budget offering full of plenty of pleasant surprises. Highlights include Hoerig's hangover ballad, "I'm Gonna Feel Tonight Tomorrow" and the more poetic "Stars At Night." There's an abundance of songs about broken hearts and late-night, lonely drinking, and yet they avoid the forced feel of many of their alt-twang contemporaries. The Hollyfelds sing and play with a conviction and sincerity that's refreshing to hear. Worth checking out...! (Available through the band's website: www.thehollyfelds.com )

The Hollyfelds "Black Heart Blue" (Thirty Tigers, 2009)
A nice, bouncy five-song EP, with twin female vocals and lots and lots of high-energy twang. This retro-riffic Denver-based band has a deep allegiance to the rockabilly and hillbilly hard country of the past, with propulsive rhythm that's matched by the enthusiasm of singers and pickers alike... In the future, they may slow down a little and shoot for more emotional resonance, but for folks who like passion and power -- and lots of twang -- this'll be a pretty fun outing. Nice mix of original material with a well-chosen cover of Hank Cochran's "She's Got You" (best known from Patsy Cline's fab, classic original...)

Honky Tonk Disciples "Honky Tonk Disciples" (EP) (Self-released, 2005)
An OK 5-song honky-tonk EP from an indie band out of Louisiana... The main creative force here seems to be songwriter Michael Howes, who wrote all these songs. Decent picking and singing; they have since renamed themselves The Way-Goners.

Honky Tonk Disciples "Kickin' Up Dust" (Self-released, 2006)
This full-length album includes three of the five songs from the EP above...

Adam Hood "Different Groove" (Saguaro Road Records, 2009)
(Produced by Pete Anderson)
Good retro-honkytonk with a pinch of roadhouse roots-rock in the mix. The album opens with a flurry of catchy country tunes, full of strong hooks and catchy choruses: if you like 'em there are several acoustic versions added as bonus tracks at the album's end. In the middle, the record loses a little steam, but not much, and the opening salvo is pretty impressive. Definitely worth checking out, particularly if you enjoy the clean, punchy production by Dwight Yoakam's old main man, Pete Anderson.

Patterson Hood "Killers And Stars" (New West Records, 2004)
A self-produced, lo-fi kitchen-recording solo album from one of the honchos in the Drive-By Truckers. Solo acoustic, he's every bit as boring and pretentious as when he's plugged in and grungy. He's just not a very interesting songwriter, and when he goes all navel-gazey, he loses what little novelty the Truckers garner when they go all Southern rock and wow the rubes. I'll pass on this one.

Patterson Hood "Murdering Oscar (And Other Love Songs)" (Ruth Street Records, 2009)

Horse Opera "Sounds Of The Desert" (Telewreck Records, 2011)
(Produced by Jimmy Deveney & Ben Sparks)
A swell set of satisfying DIY twang from Austin, TX... Lots of original songs written in the classic honkytonk-novelty tradition, with solid, unassuming real-country accompaniment -- twangy guitar, thumping drums, loping bass and Bakersfield-y pedal steel. Your basic lo-fi indiebilly retro... nice stuff!

J-Bird Hosch & The Kountry Kays "Cat O' Nine Tails" (Dirty Bird Music, 1999)
I gotta say, that as far as the current local scene goes, these folks rank pretty high as far as the picking and twanging goes! Driving, upbeat material with themes both timeless and contemporary. Hosch has a wildly exaggerated Minnie Pearl-ish drawl, but it works pretty well for her material. The songwriting is strong, too -- where she could've quite easily fallen prey to the temptations of kitsch and stereotype, instead J-Bird keeps things pretty straight-ahead and above board. Definitely worth checking out.

Hot Club Of Cowtown "Swingin' Stampede" (Hightone Records, 1998)
A sweet three-piece swing stringband which draws evenly on Tin Pan Alley and western swing standards (Gershwin, Bob Wills and the usual suspects). Their approach to the standards is brisk and bouncy, with nods towards Django Rinehardt, Chet Atkins and Wills himself, as well as Depression-era outfits like the Prairie Ramblers. The lead singers - guitarist Whit Smith and fiddle player Elana Fremerman - are limited as vocalists -- but they nonchalantly shrug it off, with the sort of just-plain-folks, come-and-hear-us-play-at-the-cafe attitude which reminds us that you don't have to be a rock god to make good music. For an extra dose of authenticity country/swing veteran Johnny Gimble pitches in on several tunes. Sweet, swinging, and fun to listen to. They're also pretty awesome live.

Hot Club Of Cowtown "Tall Tales" (Hightone Records, 1999)
(Produced by Dave Stuckey)
Their debut was so sharp and so accomplished, it was hard to envision them topping themselves (and not mucking it up) but ... surprise! This album is a real stunner. One big, BIG reason is that this time the trio had Dave Stuckey of the Dave and Deke Combo in tow as the album's producer. Dave has perfect pitch when it comes to reclaiming old-time western swing and hillbilly material, and as a producer he is so faultlessly sympathetic to the goals and passions of the Hot Club, that this album is one of the best of it's kind you're likely to hear. He also adds a punchy, slightly manic energy that is a nice balance to the band's somewhat cool natural demeanor. HIGHLY recommended!

Hot Club Of Cowtown "Dev'lish Mary" (Hightone Records, 2000)
(Produced by Lloyd Maines)
Once again, amazingly enough, they seem to just get better and better... In the final balance, I do prefer Dave Stuckey's subliminal rowdiness as producer of the last album, but Texas fixture Lloyd Maines keeps things on a cool, even keel at the helm of this disc. More great old-time acoustic swing, with novelty songs and sweet licks galore. Need I say it? Recommended!

Hot Club Of Cowtown "Ghost Train" (Hightone Records, 2002)
Whether bold or foolhardy, these innovative Austinites have penned a slew of new acoustic swing tunes with a heavier-than-usual dose of Tin Pan Alley jazziness, much of it almost Brecht-ian in its thickness and lyrical density. I gotta say, even though it makes me feel smallminded to admit it, most of this doesn't really work for me -- it feels belabored and the band sounds overly-conscious of its own efforts. Besides lacking the spontaneous-sounding bounce of earlier efforts, it also feels like each of the bandmembers are trying to prove themselves as individuals, with Elana Fremerman and Whit Smith competing to sound more "original" than each other, rather than working as an ensemble. Dave Stuckey (of Dave & Deke fame) cowrote a few tunes, although this time they asked Gurf Morlix to produce the album. Still, ya gotta give 'em credit for trying something new, and for pushing themselves as artists... I just wish they could sound a little more relaxed about it. Worth checking out, though!

Hot Club Of Cowtown "Continental Stomp" (Hightone Records, 2003)
A sweet live set, featuring this retro-rific swing trio at a hometown venue, Austin's Continental Club, in May of 2003. They get a little risque with a version of the old Light Crust Doughboys ditty, "Here Pussy Pussy Pussy" (on a hidden bonus track), but otherwise this is pretty much par for the course for these folks -- old standards and western tunes from the 1930s and '40s, and plenty of bouncy fiddling and smooth geetar work. It's nice, classy stuff, and a nice chance to hear how they sound in front of a crowd.

Hot Club Of Cowtown/Whit Smith's Hot Jazz Caravan "Four Dead Batteries" (Soundtrack) (Hightone Records, 2005)
I don't know anything about the movie this soundtrack is from, but the music sure is sweet! An album full of music from one of the finest western swing/stringband revival bands, the now-defunct Hot Club Of Cowtown, with five new tracks from HCCT co-founder Whit Smith's new group. It's fine stuff from start to finish, a very listenable, very pleasant set, roaming through various acoustic jazz, blues and country styles, with a healthy dose of classic western swing tunes. This is a well-programmed album, and a fine testament to the Hot Club's freewheeling, joyful style. Recommended!

The Hot Club Of Cowtown "Wishful Thinking" (Gold Strike Records, 2009)
After totally calling it quits and forevers-ville a few years back, the Hot Club of Cowtown are back together... And thank goodness! One of the all-time great bands of the contemporary Americana scene... and pretty dazzling live, if you get the chance. Welcome back!

Hot Club Of Cowtown "Rendezvous In Rhythm" (Proper Records, 2012)
(Produced by Lloyd Maines)
Reunited and still swinging, the three-member Hot Club Of Cowtown stick strictly to jazz oldies on this one, setting the country stuff aside. Oh, sure, there's still some twang in their delivery, but the repertoire is all gypsy jazz and old swing standards -- "Crazy Rhythm," "Avalon," "Melancholy Baby" -- in a style that fans of Django Rinehardt or Joe Venuti can enjoy. Violinist Elana James (nee Fremerman) takes center stage with her melodic leads, though guitarist Whit Smith and bassist Jake Irwin are solid throughout, providing the kind of subtle-yet-dazzling accompaniment heard with old-time artists such as Hugh and Karl Farr, and get in plenty of hot licks themselves. A few fans may miss the country roots, but they'll still have fun with this scintillating set.

Randy Howard "The Best Of Randy Howard" (Utopian Records, 2004)

Danielle Howle "Thank You, Mark" (Valley Entertainment, 2006)
I first discovered Danielle Howle at a live show (a Kill Rock Stars showcase that also featured Elliot Smith) and was not terribly impressed. I thought her set was both raspy and self-indulgent, and was glad when the next act came onstage. That impression remains with her recorded work, although the feel of this album is calmer and more measured than her live act, it's still over-written and shambolic, unfocussed and hard to focus on... I prefer more tightly-crafted songs, and while I appreciate that Howle might be working out of a Southern literary tradition that affords more latitude for introspection and digression, I'm just not that into it. Includes a bluesy duet with Darius Rucker that may be of interest to some... But overall, I feel I have other music I'd rather hear instead.

Ray Wiley Hubbard - see artist discography

The Cornell Hurd Band - see artist discography

Walter Hyatt "Music Town" (Sugar Hill Records, 1993)

Walter Hyatt "King Tears" (MCA Records, 1995)

Walter Hyatt "Some Unfinished Business, v.1" (King Tears Records, 2008)
(Various Producers)
For a set of unfinished tracks, this sure is sweet. The late Walter Hyatt, a founding member of the Austin roots-outlaw scene, died in a 1996 plane crash, but fans will take comfort that a dozen years later his family has finally put out this sweet set of slinky-twangy acoustic R&B tunes, all written or cowritten by Hyatt, in a glorious mix of Memphis-style soul and mature, moving Americana. It's a great sound, ably framing Hyatt's richly layered vocals. I'm struck by the similarity of his voice to that of Ron Sexsmith -- and I'll bet that many of Sexsmith's fans will like this album as well. Definitely recommended!

James Hyland "Place I Call Home" (Records Al Pastor, 2000)
An early album by one of the members of the South Austin Jugband... A likeable, fun-enough, alt-country outing from this Austin trio and a bunch of their pals... The lowlife/white trash/slacker lyrics are a bit strained, but the music is solid enough that it smoothes the way... There's enough substance here that I don't mind the silly stuff, even a song or two I'd say are pretty darn good. Worth checking out...! (By the way, Hyland has recently resurfaced as part of the South Austin Jug Band, who are also kinda fun...!)

James Hyland & The Joint Chiefs "Celestial Navigation" (Ananaki Records, 2010)
(Produced by Stephen Doster)
A deliciously mellow, sweetly produced, stoner-ific acousto-country set, basically sounding like a multi-song remix of Neil Young's "Heart Of Gold," with gently chiming acoustic guitars, subtle drums, and lots of sweet, spacey pedal steel. The lyrics are kind of gauzy and carefree, which generally feels fine (although on a tune or two, it gets a bit twee...) All in all, this is a lovely record, one that's comfy and comforting... Another record that got stuck, pleasantly, in frequent rotation on the old home hi-fi... Highly recommended. (Available through James Hyland's website)

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Hick Music Index

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