The Maines Brothers Band - see artist discography

Raul Malo - see artist discography

Mark David Manders "People And Places" (Campfire Records, 1996)

Mark David Manders "Tales From The Couch Circuit" (Blind Nello Records, 2000)

Mark David Manders & Nuevo Tejas "Chili Pepper Sunset" (Blind Nello Records, 2000)
A throaty Texas outlaw crooner, following in the footsteps of Steve Fromholtz, Rusty Weir, Robert Earl Keen, Jr. and all them kinda fellers. There's some good songwriting here, but if the truth be told, he wasn't quite ready for prime time on this disc... Mostly it's in his phrasing: Manders rushes his lines and falls out of the tempo a little too often; still, it's an enthusiastic, cheerful performance, with a few good boozin'-losin' tunes. Worth checking out.

Mark David Manders "Highs And Lows" (Blind Nello Records, 2002)
Also kind of uneven, tho' the loopy talking-blues ramble, "Suicidal Pigeon" -- a surrealistic shaggy dog story starring a sad, speaking pigeon and a concerned good Samaritan hitchhiker -- is a kooky classic.

Stewart Mann & The Statesboro Revue "Stewart Mann And The Statesboro Revue" (2007)
An Austin-based rock band with an old-school Allmans-que feel... This was their first album, with later records released under the band name, Statesboro Revue.

Carolyn Mark "Party Girl" (Mint Records, 2000)

Carolyn Mark & The Room-Mates "Terrible Hostess" (Mint Records, 2003)
Meditations on social drinking, late night parties, dirty dishes, bad sex and the more intoxicating side of the night life. Downbeat, kinda depressing, material, but with a wicked sense of humor and a more accomplished feel than other Mark outings. It seems like these are subjects nearer to her heart than the trailer trash-isms of her alt.country work... She also veers into jazzish torch singing and a bit of melodic indiepop. The stylistic variety helps, as does the moodiness of the bummerific songwriting. Probably her strongest work to date.

Carolyn Mark & The New Best Friends "The Pros And Cons Of Collaboration" (Mint Records, 2004)

Carolyn Mark & The Room-Mates "Just Married: An Album Of Duets" (Mint Records, 2005)

Carolyn Mark "Nothing Is Free" (Mint Records, 2007)
Although I'm not a huge fan of Carolyn Mark as a vocalist, I certainly accept her as a paragon of the DIY ethos in its more mature phase: she writes the songs she wants to write, she makes the records she wants to make, she gets very talented people to play with her, and in pursuing some odd song topics, she doesn't write the same-old, same-old kind of songs. Purists can debate her bona fides as a "real" country singer, but she certainly has a pleasant little rasp, and knows her way around the twangier tones -- I suppose it's easier to think of her as an urban alt-folkie, mining a certain vein of acidly-observed interpersonal barbs and party-going vignettes that bring Joni Mitchell to mind, in a way. There are several noteworthy tracks on here, notably the tart, double-edged "Point O View" and the galloping, bluegrassy "Get Along," as well as the scathing, sinister "Pink Moon And All The Ladies," which may or may not be some sort of commentary on the late Nick Drake and his legions of fans, but is certainly one of the stronger tracks on the album... Mark's lyrics can be a bit uneven, though -- the song "The 1 That Got Away With It," for example, opens with a couplet, "There's two kinds of women you let in your life/exciting new mistress and boring old wife..." that holds a bitterness worthy of Linda Thompson's newer stuff, and a poetic economy that almost makes it sound like a grand, old honkytonk classic. She doesn't sustain it, though, and the song meanders into spacy, self-referential metaphors that detract from the promise of a song that could have really gone for the jugular. Most of her songs hew close to the insular self-expression of the Pacific Northwest's lo-fi scene -- if you value small-press poets and local legend musicians just for who they are, Mark is an undeniable hero, but if the glimmers of brilliant songwriting may make you wish for a more focussed, more craftsmanlike approach. Mark remains an intriguing, challenging artist, true to her indie roots, even if this means she sometimes shies away from the symmetry and concision that make pop songs so memorable.

Mars Arizona "Love Songs From The Apocalypse" (Big Barn Records, 2002)

Mars Arizona "All Over The Road" (Brown Bear Records, 2005)

Mars Arizona "Hello Cruel World" (Big Barn Records, 2008)
A nice, rambling hillbilly-folk-twangadelic album from a SF Bay Area duo with a lot of cool friends... Newgrass patriarch David Grisman adds some lively mandolin on the opening track (with his son, Sam, on bass!) while pedal steel player Al Perkins also guests on a tune or two. The presence of both these old pros is a good indicator of where Mars Arizona are headed: this album echoes the rambling, eclectic country-folk of the early 1970s, bringing to mind work by bands such as the Goose Creek and New Riders Of The Purple Sage, or even older, spacier bands such as Hearts & Flowers or Fat City... Although they're notably twangier than the current crop of "folk-freak" acoustic psychedelic artists, I'd imagine fans of the style could also enjoy this album a lot. Fine musicianship along with lots of lyrics that might make you scratch your head a bit... Worth checking out!

Mars Arizona "High Desert" (Big Barn Records, 2010)
(Produced by Ray Kennedy & Mars Arizona)
This album opens with a couple of rock-solid alt-country tracks, drenched in pedal steel and regret, and with a philosophical bent that made me think of it as "existential twang." Midway through, though, they slip into guitar solo-y jam-band rock that didn't really do it for me... Their cover of the Stones' "Sweet Virginia" was fun though -- very Sticky Fingers sounding -- and they tip their hat towards the elder gods with covers of the Dreadful Grate's "Must Have Been The Roses" and Neil Young's "For The Turnstiles." The band offers original material that, while lyrically dense, keeps the faith and takes up the torch. Hippie twang is alive and well in Berkeley, California!

Janis Martin "The Blanco Sessions" (Cow Island Music, 2012)
(Produced by Rosie Flores & Bobby Trimble)
Let's hear it for social media: A Kickstarter campaign brought this album to fruition, a sizzling set of bluesy rockabilly from 'Fifties firebrand Janis Martin, one of the wildest rockabilly singers of the original rock'n'roll era, who passed away in 2007, just months after completing these sessions. She was an old lady then, but also a total badass who threw herself into the songs, and infused them with vigor and soul. Backing her were several stalwarts of the Americana-indie scene, including guitarist Dave Biller (ripping it up on classic 'billy riffs), pianist T. Jarrod Bonta, and drummer/producer Bobby Trimble, who drove the band hard. Martin sounds great -- she's got a gruff granny voice, but the kind of granny voice you'd expect from a truck driver or the world's sweetest linebacker, with plenty of expressiveness and power. Joining her on a tune or two are hillbilly fillies Rosie Flores and Kelly Willis, who compliment Martin while never stealing focus from her powerful performances. If you loved Janis Martin's old stuff, you'll want to pick this up too: you'll really dig it.

Stan Martin "Wicked Heart" (EP) (Twangtone Records, 2001)

Stan Martin "Cigarettes And Cheap Whiskey" (Twangtone Records, 2002)
(Produced by Stan Martin & Ducky Carlisle)
A very strong indie-released honkytonk set, with a dozen original songs that delve deep into heartbreak, misery and regret, country style. There's a strong Dwight Yoakam influence, particularly on the vocals on the first half of the album, as well as on the musical end, which may not be too surprising since he thanks Pete Anderson for his help in the studio, as well as fiddler Scott Joss, who was also part of Yoakam's crew. There are some good uptempo numbers on here, though it's the weepers that really got me hooked... Good stuff... recommended!

Stan Martin "Distilled Influences" (Twangtone Records, 2012)

Stan Martin "Whiskey Morning" (Twangtone Records, 2014)

Steve Martin - see artist discography

The Mastersons "Birds Fly South" (New West Records, 2012)
(Produced by The Mastersons & Steve Christensen)
An intriguing collaboration here featuring lead singers Eleanor Whitmore and Chris Masterson, who have wildly different approaches to the Americana genre, but meld their efforts well and present a cohesive band vision. Whitmore is more anthemic rock/pop inflected, with echoes of Mindy Smith and Aimee Mann, while Masterson reveals an introspective folk and twang influence, hearkening back to the Uncle Tupelo/Jayhawks/Old 97s style of yesteryear. Both their lyrics have what I would consider a college-student bent to them, with sort of finger-pointy lyrics about what "you" (the person they're singing to) did to inspire the song, using songwriting as a way to explore emotional revelations and new life experiences. There's a strong spiral-notebook feel to a lot of the lyrics, but several songs will stand out. This is maybe a little more rock-oriented than I care for these days, but I'm still curious to see where these guys will go from here.

The Mavericks - see artist discography

Owen Mays "Red Wine And White Lines" (EP) (Self-Released, 2011)
Pretty minimalist alt-plunking, with guitar, banjo and plain-spoken vocals. Lots of old-school songs about drinking and heartbreak, though not a lot of flash and fire in the performances.

Owen Mays & The 80 Proof Boys "Nobody Loves You When You're Down" (Solitary Records, 2013)
Pretty minimalist alt-plunking, with guitar, banjo and plain-spoken vocals. Lots of old-school songs about drinking and heartbreak, though not a lot of flash and fire in the performances.

Kimberly M'Carver "Breathe The Moonlight" (Philo/Rounder Records, 1989)

Kimberly M'Carver "Inherited Road" (Philo/Rounder Records, 1994)

Kimberly M'Carver "Cross The Danger Line" (Prime CD, 2001)
The vocal (and stylistic) similarity to Dolly Parton is the very first thing you'll notice with this Houston gal... Debts to Nanci Griffith and Rosie Flores also seem likely. At any rate, even though her material is patently derivative, she has her moments. Tunes such as "Death and Texas" and "When I Hear Trains" may point to future greatness... who knows?

Delbert McClinton - see artist discography

James McMurtry "Too Long In The Wasteland" (Sony Records, 1989)

James McMurtry "Candyland" (Sony Records, 1992)

James McMurtry "Where'd You Hide The Body" (Sony Records, 1995)

James McMurtry "It Had To Happen" (Sugar Hill Records, 1997)

James McMurtry "Walk Between The Raindrops" (Sugar Hill Records, 2003)

James McMurtry "Saint Mary Of The Woods" (Sugar Hill Records, 2002)

James McMurtry "Live In Aught-Three" (Compadre Records, 2003)
I've never really "got" McMurty's vibe... His studio albums seem too controlled and cerebral for my tastes... But here on this fine live album, he lets his hair down and gets a little rough, playing several long, grungy Americana jams (the average song length here is about six minutes), suggesting a mix of Warren Zevon, Neil Young and Steve Earle... I gotta say, I liked it, and I didn't really expect to... Worth checking out!

James McMurtry "Childish Things" (Compadre Records, 2005)

James McMurtry "Just Us Kids" (Lightning Rod Records, 2008)

James McMurtry "Americana Masters Series: Best Of The Sugar Hill Years" (Sugar Hill Records, 2007)

James McMurtry "Live In Europe" (Lightning Rod Records, 2009)

Amy McCarley "Amy McCarley" (Self-released, 2011)

Amy McCarley "Jet Engines" (Self-released, 2014)
(Produced by Kenny Vaughn & George Bradfute)
At first, indiebilly auteur Amy McCarley might be a little hard to get into... She has a very atypical voice -- muddy, rugged, a bit brusque -- that defies conventional thinking about female singers. Also, her lyrical and melodic approach is notably downcast and depressing -- on her previous album it was hard to avoid comparisons to Lucinda Williams, both because of her rough, conversational delivery and because she seemed like another alt-country bummer-queen. That record also had an unfinished feel, very DIY production values, although here she finds much stronger framing, courtesy of producer-guitarist Kenny Vaughn, whose day job is anchoring Marty Stuart's band, the Fabulous Superlatives. The musical boost helps a lot: McCarley emerges as a powerful, laconic songwriter in the style of Guy Clark, and as a swampy Southern singer, almost in the tradition of Tony Joe White. This is a powerful, uncompromised set of hardcore country lo-fi -- difficult, rough-egged stuff that might appeal to fans of those old Freakwater albums, not easily categorized or digested, but quite rewarding if you give it the time.

Mary McCaslin - see artist discography

Antsy McClain "Time-Sweetened Lies" (DPR Records, 2005)

Antsy McClain & The Trailer Park Troubadours "Trailercana" (DPR Records, 2007)
Twang-ish novelty songs that purport to pander to white trash stereotypes (take the band name, for example...) but actually harken back to the goofball pop culture glibness of early Warren Zevon and old Jimmy Buffett. The prominence of a tootling horn section recalls the early 1970s when R&B-based boogie rock flirted with hippie twang, a style that was hard to get into back then and is still a tough sell today. A lot of folks seem to be diggin' Antsy's schtick, but I'm not totally feeling the love over here in Sixpackville. Some songs are just way too obvious and seem to have been done before, for example the panderdelic "I Was Just Flipped Off By A Silver Haired Old Lady With A 'Honk If You Love Jesus' Bumpersticker" certainly brings to mind Buffett's "God Don't Own A Car" and the Gold Coast Singers' "Plastic Jesus"; Cheech'n'Chong-ish stoner humor is reprised on "Prozac Made Me Stay," and "Joan Of Arkansas" is one in a long line of faux-heroic burn-the-trailer-down ballads. That being said, there are some standout tracks: "Dysfunktional," with the singer taking advantage of a mentally ill party girl, will raise a rueful smile; "I Wanna Live In A Billboard" is a perky send-up of consumer culture, and other songs have some zippy lines here and there, and "I Married Up" is almost tight enough to be a rednecky hit for Travis Tritt or someone like that. Without doubt there are legions of people who will love this album and no short supply of freeform radio DJs who will play it to death, although I find it way too on-the-nose and overly obvious for it to have a long shelf life... Folks who really dig Red Meat, Jimmy Buffett or the Austin Lounge Lizards will want to check this out.

Antsy McClain "Heroes Last Forever: The Sun Studio Sessions" (DPR Records, 2011)
(Produced by Antsy McClain)

Wes McGhee - see artist discography

The McGillicuddy Sisters "Hillbilly Hi-Jinx" (Lucky Ron Records, 2006)
Scrappy, old-school hillbilly music of the late-1940s variety, hearkening back to the glory days of folks like Webb Pierce, Kenny Roberts and -- more than anything else, the great Rose Maddox. The gals in this band (and not all the "sisters" are gals) clearly have a major Rose Maddox fixation, which is understandable since Maddox was one of the greatest hillbilly stars of the 20th Century, as well as one of the strongest female voices in country music history... Now, I gotta say upfront that this clattersome Ottawa-based ensemble are hardly top-flight talent, but they certainly have good taste in country music and their hearts are in the right place... If you like listening to way-off-the-radar recordings by bands with a super-indie, jes-plain-folks orientation, this might be a disc you'd like to check out. (For more information, check out the band's website at www.mcgillicuddysisters.com )

Beth McKee "I'm That Way" (Solo2 Records, 2009)

Beth McKee "Next To Nowhere" (Swampgirl Records, 2011)
(Produced by Mark Mason & Tony Battalgia)
Excellent! Exactly the sort of beautifully eclectic blues-Americana blend you'd expect from modern-day New Orleans... Singer-pianist Beth McKee hints at a rich variety of inspirations, with wisps of Bonnie Raitt, Tracy Nelson, Lou Ann Barton, Doug Sahm and Delbert McClinton, a loose, funky, sweetly soulful mix on an album packed with strong original material. If you're looking for the young blood that's reinvigorating American roots music, check out this album: this gal's the real deal!

Maria McKee - see artist discography

Shannon McNally "Small Town Talk: The Songs Of Bobby Charles" (Sacred Sumac Records, 2013)
(Produced by Shannon McNally & Mac Rebennack)
A funky, soulful tribute to Louisiana pop legend Bobby Charles, who penned classics of the early rock'n'roll era such as "See You Later, Alligator" and "Walking To New Orleans," and went on to mine the depths of various styles of roots music. Ms. McNally skips past the rock-oldies hits and taps deep into the Bobby Charles songbook, drawing particularly on his laid-back self-titled 1972 masterpiece. She has a strong patron with the album's co-producer, New Orleans luminary Mac (Dr. John) Rebennack, who was one of Charles' contemporaries and frequent collaborator. The Dr. John touch immediately roots this album in the world of New Orleans funk and soul, and McNally's raw, bluesy vocal style, reminiscent of young Bonnie Raitt, makes for an interesting counterpoint. Charles, who passed away in 2010, was also paid tribute on Beth McKee's I'm That Way, which covers more of the rock stuff, and makes a nice compliment to this album.

Chuck Mead "Journeyman's Wager" (Thirty Tigers, 2009)
Solo stuff from a founding member of BR-549... I haven't heard it yet, but I'm sure it's worth having on your radar...

Chuck Mead "Free State Serenade" (Plowboy Records, 2014)
(Produced by Joe Pisapia)
A native of Lawrence, Kansas, ex-BR549er Chuck Mead delves into his heartland roots, singing songs that refer to local landmarks such as the Neosho Valley, the Wakarusa River, various remote counties, and to the infamous raids of Confederate terrorist William Quantrill, who burned most of Lawrence to the ground in 1863. The album shifts between historical and contemporary settings, in a storytelling roots-rock mode that recalls Joe Ely at his best. Among the musicians joining Mead's Grassy Knoll Boys on this album are his old bandmate from BR549, Don Herron, along with Critter Fuqua of Old Crow Medicine Show -- an able, amiable crew of seasoned twangsters who give just the right vibe to Mead's personal tour through his old stomping grounds... This is a strong, focussed album with an intriguingly personal feel. Even if you're not from Kansas, you might wanna give her a spin!

Meat Purveyors "Sweet In The Pants" (Bloodshot Records, 1997)
Of all the would-be indiebillies who professed to take the punk rock DIY ethos into the alt-country realm, these scraggly Austinites are some of the best to deliver on the premise... The music is far from technically perfect, the sound mix is iffy at best, but there's plenty of pizzazz in the performances, and a nice song selection, with the band clearly opting to play music they like, rather than stuff they think sounds funny, or stereotypically "hick." This isn't the kind of album I would put on just to listen to at home, but I certainly appreciate it as a document of a lively, engaging, energetic band. Good stuff.

Meat Purveyors "More Songs About Buildings And Cows" (Bloodshot Records, 1999)
A nice set of scrappy acoustic urban indiebilly, with fast-paced, 'grassish breakdowns and, um, somewhat unconventional vocals. (Oh, alright -- she really can't sing that well... There, I've said it!! Are you happy now??) All in all, it's very coffeehouse-ish and open mic night-y, but in a very good, down-to-earth DIY way -- sort of like Freakwater, but with less of a "difficult listening" edge. Nice mix of original material and well chosen cover tunes... This is perhaps their strongest album... Definitely worth checking out.

The Meat Purveyors "All Relationships Are Doomed To Fail" (Bloodshot Records, 2002)
Hmmm, I dunno... I mean, yeah, with concerted effort I can tell that these folks have some good songwriting chops... a little too WTS-y for me, but often some clever turns of phrase. Yet the music is so clattersome and hurried, and their vocals so raggedy and uneven, that my predominant experience as a listener is one of irritation. As I've said elsewhere, the "I'm not singing in tune on purpose, because I'm so punk!" ethos doesn't translate well between the worlds of electric rock and acoustic country. I guess the raspy charm of their earlier albums didn't hold up for me through oh, so many albums.

The Meat Purveyors "Pain By Numbers" (Bloodshot Records, 2004)
These scrappy Austin alties are back, with another loose, lively and comparatively clunky set of original tunes and well-chosen covers. You really have to be on this band's wavelength to get into their albums; folks who want country musicians who "sound right" (ie. in tune and able to keep the beat) are probably better off avoiding this disc, while fans who like bands who are all plucky and punky and DIY and all that jazz will be heartened to hear that the Purvs have not "sold out" or anything... They're still as clattersome and shrill and full of piss'n'vinegar as ever, and they still sound like a slightly kinder, gentler Freakwater. They cover Fleetwood Mac and Johnny Paycheck with equal aplomb, and bend country conventions to their own devices; their winsome cover of the old Ronnie Milsap hit, "Daydreams About Night Things," is an album highlight. Personally, I can't imagine myself listening to this album more than once, although there are several songs on here that have involving, interesting lyrics. It's just the musical end of things that leave me a little underwhelmed; I like records that are pleasant to listen to, and pure 'tude doesn't do as much for me as it used to.

The Meat Purveyors "Someday Soon Things Will Be Much Worse!" (Bloodshot Records, 2006)

John Mellencamp "No Better Than This" (Rounder Records, 2010)
(Produced by T Bone Burnett)
I got nothing against the guy, but John Mellencamp -- and mainstream '80s rock in general -- were never that high on my cultural radar, so I find the man's recent re-creation of his image as a ragged, indie-ish, roots-music folk troubadour to be kinda fascinating. This album has a chunky, clunky vibe, aided by producer T Bone Burnett and a crew of cohorts that includes the ever-angular guitarist Marc Ribot, recording in mono, no less, with vintage instruments and old-school analog recording gear. They try really hard to rough up the sound, and they succeed admirably. Some of the lyrics are still too prophetic and profound for me (I generally don't go for that kind of thing) but the sonics are compelling and cool. Plus, recent interviews have given me a newfound appreciation of Mellencamp as a soulful, thoughtful middle-aged dude... I think fans and skeptics alike might really dig this scrappy new incarnation... Definitely worth checking out!

Tift Merritt "Bramble Rose" (Lost Highway Records, 2002)
(See also: Two Dollar Pistols)

Tift Merritt "Tambourine" (Lost Highway Records, 2004)
Following the lead of Whiskeytown's Caitlin Cary, Tift Merritt, the twangy, steel-tipped shell casing fired out of the Two Dollar Pistols has set her country roots aside and gone for a new soul diva sound. She's much better off sticking to the hillbilly stuff. Really, you gotta have great vocal chops to really sing R&B, and while her voice works okay in an alt-country context, it was slightly torturous here. Bigwig producer dude George Drakoulias (known for his work with the Jayhawks and Black Crowes) builds a sound that's simply too big for Merritt's voice, and the gap is too painfully apparent. But, judging from what I've read elsewhere, mine may be the minority opinion, so take what I say with a grain of salt. Still... I dunno...

Tift Merritt "Home Is Loud" (RCAM, 2005)

Tift Merritt "Live From Austin, TX" (DVD) (New West Records, 2007)

Tift Merritt "Another Country" (Fantasy Records, 2008)

Tift Merritt "Buckingham Solo" (Fantasy Records, 2009)
A stripped-down live set recorded in Buckingham, England, back in November, 2008...

Tift Merritt "See You On The Moon" (Concord/Fantasy Records, 2010)
(Produced by Tucker Martine)
Nice stuff. Yes, there is some twang in there, but on pop-soul songs like the album's opener, "Mixtape," it's pretty clear that Ms. Merritt has come a long way since her early days in the twangcore scene. Here we have a denser, arguably richer artistry, more of a confessional/impressionistic pop-folk vibe in line with the "adult alternative" brand, a record which should appeal to fans of Cowboy Junkies and other rock-Americana crossovers. Along for the ride are guest musicians including Bill Frisell's frequent collaborator Eyvind Kang, pedal steel player Greg Leisz and Yim Yanes, of the band My Morning Jacket, who sings harmony on the haunting "Feel Of The World." All in all, a rich, mature work that many will find compelling. (Due out: June 1, 2010)

Audrey Auld Mezera "Texas" (Restless Records, 2005)

Audrey Auld Mezera & Nina Gerber "In The House: Live In '05" (Restless Records, 2006)

Audrey Auld Mezera "Lost Men And Angry Girls" (Restless Records, 2006)
Top-flight contemporary folk from this Australian-born singer-songwriter. Mezera, who's settled in Northern California, is a protege of guitarist Nina Gerber, although this diverse album finds her pleasantly free of the coffeehouse limitations of the earnest-folkie/open mic night crowd. She dips into topically oriented material (the antiwar "We Cry"), but she isn't bound to it, and wends her way through smoky blues (on Bonnie Parker's "Morphine"), soft-shuffle honkytonk country and even a nod towards the Irish pubs. Mezera's humorous side gives us two standout tracks, the alt-country homage, "Looking For Luckenbach" -- which name-drops Jerry Jeff and his outlaw compatriots -- and "Self-Help Helped Me," an affectionate, insiderish skewering of the self-help/New Age scene with lyrics worth of Todd Snider of John Prine. The labor songs about coal miners ring a little less true, but throughout the album, Mezera's fluid, girlish voice is consistently compelling, and the musical backing is a delight. Fans of Be Good Tanyas, Jolie Holland or early Dar Williams will probably really dig this, too. Recommended!

Micky And The Motorcars "Naive" (Smith Entertainment, 2008)
Nice, tuneful, melodic roots-rock Americana from Austin, Texas... Brothers Micky and Gary Braun anchor this light-toned rock group, with Micky's semi-gravelly vocals framed by mild, jangle-twang guitars. All the songs sound the same, and none of the lyrics really stood out (to me, at least) but the effect is very pleasant. It's a nice, melodic sound, listenable and familiar, easy to settle into, although not particularly dynamic or challenging. Good for the style!

Midnight River Choir "Fresh Air" (Rambling Gypsy Records, 2014)
(Produced by Marty Byrom)
Although there are a couple of acoustic twang/Americana tunes on here, most of the album is loud, electric modern alt-blues/jam band type stuff... Not quite my cup of tea, though I'm sure it will resonate with fans of the style.

Buddy & Julie Miller - see artist discography

John Miller "Popping Pills" (Shoeshine Records, 2002)
On his solo "debut," Scottish honkytonker singer John Miller, of the Glaswegian band Radio Sweethearts wrote all the songs and delivers them with a simplicity and conviction that infuses each tune with a compelling sweetness and honesty that makes this disc hard to resist. This is particularly true on high-class weepers such as "We Don't Care Anymore" and "Once Too Often Now," that reveal Miller as both a knowledgable devotee of American country, and as a master of the style. His understated delivery, thankfully shorn of the empty brazenness and rowdy affectations that plague the alt.country scene here in the States, may cause his music to fall under the radar of more trendy twang fans, but hey, that's their loss. If you're looking for a well-written, finely crafted, soulful country music album that helps bring the genre forward, then guess what? You should own this album. Miller has a gorgeous voice and golden pen, and wields them both with admirable skill and restraint.

John Miller & His Country Casuals "One Excuse Too Many" (Shoeshine Records, 2007)
(Produced by David Scott & John Miller)

Rhett Miller "Mythologies" (Carpe Diem Records, 1994)
A rock-oriented early album from a founding member of the Old '97s...

Rhett Miller "The Instigator" (Elektra Records, 2002)
The second solo album by the lead singer of the Old '97s... As with that band's last few albums, there is precious little twang on much of this album; the first few tracks are pure, glib power-pop, with strong hints of Nick Lowe and the like. Of course, I mean that as a compliment, and Miller dazzles with the opener, "Our Love," a clever, delightful tune that is followed by the propulsive, Teen Fanclubbish "This Is What I Do." On a few tracks in, though, the wordplay and bright, easy melodies devolve into mere hookmaking, and Rhett seems to lose his focus -- "Come Around" and "Things That Disappear" are mere musical cotton candy; "Four Eyed Girl" feels like simplistic, cutesy filler. More evocative songs like "World Inside The World" lend a little depth to the album, but mostly Miller just skates along the surface, like a popsmith mostly just going through the motions. It's nice, but not great -- country-oriented fans will find a few cowpunky and quiet folk moments, but mostly this is a fairly vacuuous rock record.

Rhett Miller "Mythologies" (The Believer, 2006)

Rhett Miller "Rhett Miller" (Shout Factory, 2009)
(Produced by Salim Nourallah)
Mostly, this is straight-up, lovelorn indierock, with glib wordplay delivered in a fairly laid-back, mellow style... It's kind of interesting the level of restraint he shows on some songs that with a little more ooomph would have been fairly conventional power-pop but here have a more acoustic feel. Miller's country influences are heard only late in the album and are super-submerged, as on the vaguely Eagles-y/SoCal-ish chiming guitars of "I Need To Know Where I Stand" or more overtly on the novelty song "Another Girlfriend," which has a nice melody and some audible twang, but which I couldn't get into because of the weirdly languid sexual braggadocio -- it's about a guy turning down some woman's advances because he already has two girlfriends, and two is enough. (It's probably just a songwriting exercise, but it was still a little creepy...) This album is very low-key and subtle, but the songs will sneak up on you -- nothing blew me away, but some songs did echo around in my head a bit. But if you're a twangfan, there's very little here to latch onto.

Scott Miller & The Commonwealth "Thus Always To Tyrants" (Sugar Hill Records, 2001)
(Produced by R.S. Field)
The mix of intense alt-twang and jangly Willy Nile/Tom Petty-ish roots rock isn't quite my bag, but Miller does it well. For more rock-oriented Americana fans, this could be a lot of fun. Thus always to twangsters!

Scott Miller & The Commonwealth "For Crying Out Loud" (F.A.Y. Recordings, 2009)
(Produced by Michael Webb)
Try as I might, I've just never been able to connect with this guy. Yeah, he's well-meaning and enthusiastic and rootsy and all, but his music is a little too bar-band rock-oriented for me, reminding me of the J. Geils Band as much as anything else... It's also a little too emphatic and slightly frantic; Miller falls into the emotional/artistic range that I perceive as subtle or graceful... So even though I can appreciate the good intentions and the range of musical interests -- from acoustic-strummy to clattering and electric -- it just doesn't do much for me. The one song on here that I could see myself going back to is a duet with Patty Griffin, "I'm Right Here, My Love" (a pretty-sounding song about comforting a dying lover). Otherwise, not so much. Which isn't do say others of you out there might not dig this guy a lot... But it's just not my cup of tea.

Miss Leslie "Honky Tonk Revival" (Zero Label Records, 2005)

Miss Leslie "Honky Tonk Happy Hour: Live At The Continental Club" (Zero Label, 2006)

Miss Leslie "Between The Whiskey And The Wine" (Zero Label Records, 2008)
(Produced by Ricky Davis & Tommy Detamore)
God bless Texas. On her third album, Miss Leslie cranks up the volume and belts out some great hardcore boozin' tunes, the kind of stuff that would make George Jones and Johnny Paycheck proud. One hard-drinkin' honkytonk tune after another comes barreling out, with Miss Leslie's throaty vocals buoyed by a robust, rootsy country backing that includes Dave Biller on guitar and Ricky Davis playing some mighty sweet pedal steel. Leslie's husky vocal style might sound odd to some listeners, although fans of Melba Montgomery and Connie Smith may recognize a kindred spirit here. (She also claims allegiance to Merle Haggard's old pal, Leona Williams, but since I'm not that familiar with her work, I can't really make the comparison myself...) Anyway, if you like independent, old-school country -- and sassy, stompy songs about booze-soaked, tear-stained sad stories -- then this is a disc well worth checking out.

Miss Leslie "Wrong Is What I Do Best" (Zero Label Records, 2010)

The Modern Eldorados "The Rockmart Demos" (EP) (Self-released, 2007)
A fun, swingin' 4-song set mixing retro-billy and loping, twangy honky-tonk... Includes three original songs and a cover of an old David Houston song, "One If For Him, Two If For Me," which is a good showcase for lead singer Tyron Lyle's croony, Orbison-esque vocals. A strong debut from an indie band out of Mobile, Alabama... (PS - yeah, I know this is a few years old, but they just sent me a copy, and I got nothing against old stuff!) Definitely worth a spin!

The Mollys "Hat Trick" (Apolkalips Now Records, 1997)
(Produced by The Mollys)
This Tucson, Arizona band cannily mixes Celtic and indie/alt/Americana influences, with accordion, tin whistles, snare drums and mandolin in support of a rough-hewn acoustic rock sensibility. The raspy female vox by lead singers Nancy McCallion and Catherine Zavala remind me of old-timers such as Concrete Blonde's Johnette Napolitano, or Maria McKee, with musical accompaniment that's fluid and wildly diverse. Deftly shifting from Irish reels to Cajun waltzes and polkadelic Tex-Mex ranchero rhythms, the band crosses a lot of borders -- the only time I felt pulled out of the album was on straight-up Celt/Brit tracks, such as their cover of "All Around My Hat," which aims for a Pogues-ish punkiness, but falls a little flat. Overall, though, this is an energetic, enthusiastic album, and definitely worth a spin for musical eclecti-holics.

Kevin Montgomery "2:30 AM" (Syren Records, 2004)
(Produced by Kevin Montgomery & Robert Reynolds)
This acoustic-y album opens up with an uptempo twang tune, "Tennessee Girl," but swiftly settles into softer stuff, pop-laced singer-songwritery material that's reminiscent of James Taylor or Greg Brown, with more than just a hint of melodic power-pop on a lot of the songs. Heartfelt, but not quite as "country" as that first track might imply. Includes a few remakes from his earlier albums, when he was signed to a major label as a pop singer... Trisha Yearwood and Lee Ann Womack add some vocal harmonies, but mostly this is a soft-rock confessional songwriter kinda album.

Moonshine Hangover "Mulberry Squeezins" (MSH Records, 2003)
Bouncy, alt-y cowpunk and honkytonk tunes, tempered with a bit of melodic Southern rock. Not enthralling or terribly unique, but fun to listen to, and more musical than many similar efforts. These Portland, Oregonians have musical chops that belie their supposed devotion to the stale, drinkin'-druggin' white trash stereotypes that clutter the alt-hick scene. Worth checking out, and worth keeping an eye on. (For more info, here's the band's website...)

Moonshine Hangover "Thicket" (MSH Records, 2005)

Moonshine Hangover "Resplandor" (Drunkard's Dream, 2007)

Allison Moorer - see artist discography

Doug Moreland "Ten Beers From Now" (Big Hat Records, 1999)

Doug Moreland "Toast To Life" (Big Hat Records, 1999)
A fun, rambunctious, wildly youthful set of country-swing and novelty honky-honk tunes, all written or co-written by fiddler and lead singer Doug Moreland... He's got a wicked sense of humor, gleeful and unselfconsciously goofy... and man, can he make that fiddle sing! The piano work by Clayton Ryder is pretty sweet, too, and "everything else" player John Wheeler keeps the record chugging along. Great stuff, with some pretty funny tunes. Recommended, for sure.

Doug Moreland "Live: Number Tres" (Big Hat Records, 2000)

Doug Moreland "# Fore!" (Big Hat Records, 2002)
A live album... Includes an early version of "The Beer Song."

Doug Moreland "Everybody Knows My Name" (Big Hat Records, 2004)

Doug Moreland "Doug Moreland " (Big Hat Records, 2006)
Wow... this disc possibly tops my list for best country record of '06, kicking off with some uptempo western swing originals, and moving into silkier, subtler songs, like the Jim Lauderdale-ish "Dallas," and even an elegant little waltz like "Forever In Your Arms." Moreland, who is recapping his career with great songs old and new, gets a little rowdier further in, and closes the disc with "The Beer Song," a hyperactive, hops-soaked send-up of Hank Snow's old tongue-twister, "I've Been Everywhere." Of course, the boozy novelty song is the one that folks love live, but the rest of the record is really what blew me away... It's well-crafted, heartfelt, literate, emotionally resonant and often achingly beautiful, even on coy novelty songs like "Houston (We've Got A Problem)." I actually had to put this record back on the shelf for a few weeks, just so I could take it down and play it again later, and make sure it still sounded as good as I thought it was the first few times I heard it... And it does. One of the more consistently listenable, rewarding records I've heard in a long, long time. Fans of, oh say, Doug Sahm or old Asleep At The Wheel will wanna check this one out. Highly recommended.

John Moreland "In The Throes" (Last Chance Records, 2013)
Moody, rootsy singer-songwriter roots-rock, along the lines of artists like Dave Alvin or Chris Knight... Moreland has a raspy, Springsteen-ish voice and a magnetic presence that holds your attention. The songs are all kind of a downer, in a Lucinda Williams-ish way, but there's no shortage of gloom junkies out there, and if that's the case, this album might be just right for you.

The Morells "Think About It" (HighTone Records, 2005)
A good-natured mix of '50s/'60s retro-rock and twang. The album opens with a couple of covers (of Chuck Berry's "Nadine" and "Girls Don't Worry My Mind," from the Delmore Brothers catalog) and moves into some nice original tunes... This band has been together in one form or another for over twenty years, and have a loose, easygoing vibe that feels similar to old NRBQ albums... They aren't the most high-power ensemble, but they've got a nice little groove that y'all Americana fans might like!

Gurf Morlix "Toad Of Titicaca" (Catamount Records, 2000)
Texas-based alt-country singer-guitarist Morlix, perhaps best known for his work as a producer, exudes great likeability here on his solo debut, even if the record is pretty choppy, and the songs don't always have that certain magical memorability... It's a nice, loose-limbed, alt-y outing, and his love of many styles of roots music is clearly evident, but it has the feel of a musical lark, more than a cohesive album -- although this may be fun-loving, dorky and joyful, I'm not sure I'd consider it a keeper. It's certainly worth checking out, though... If you 're into the indie-country orbit, chances are you might like this much more than my crabby review would imply.

Gurf Morlix "Fishin' In The Muddy" (Catamount Records, 2002)
A guitar-playin' pal of Lucinda Williams, Robert Earl Keen and others, Austin-based producer and alt.country icon Gurf Morlix has a strong rocker streak, which works pretty well on this groovy solo album. There are several odd, oddly compelling songs on here -- the first few songs are really catchy -- and plenty of sly roots-rocking riffs to enjoy. On a couple of tracks, Morlix indulges in lighthearted, guylike stupidity -- the penile, puerile "Big Eye" for example, is a mere throwaway -- but mostly this is a pretty solid album. Now I finally get what everyone else sees in this guy. Definitely worth checking out.

Gurf Morlix "Cut 'N' Shoot" (Blue Corn Music, 2004)
A fine album by this Austin insider... It's funny that a fellow who's as well connected and professionally accomplished as Morlix would put out such a rickety album -- his voice is a little shaky, and the production is fairly muted -- but there's no denying his real country roots, as the spirit of Hank Williams wafts through the opening tracks, supplanted later on by an offhand, Gary P. Nunn-ish casual approach. Morlix takes the forms and lyrical conventions of old-fashioned country heartsongs and gives them a playful, goofy, hippiedelic tweak. It's not surprising to see him cowriting a tune or two with Jim Lauderdale, who also has an off-center sensibility -- their "Where There's Smoke" is an album highlight, along with the giddy "Yesterday She Didn't" and the doleful "Lost Without You..." Although many of these renditions are a little sluggish, you can easily imagine other artists taking the same songs and polishing them into gems; folks who prefer the whole "real folks making real music" approach will appreciate Gurf's purposefully unprofessional delivery, although I have to admit listening to this album all in one sitting is a little bit taxing. I like the songs, but the delivery is a little off. Fans of Ricky Barnes and Rex Hobart should dig this set as well.

Gurf Morlix "Diamonds To Dust" (Blue Corn Music, 2007)

Gurf Morlix "Birth To Boneyard" (2008)

Gurf Morlix "Last Exit To Happyland" (Rootball Records, 2009)

Gurf Morlix "Blaze Foley's 113th Wet Dream" (Rootball Records, 2011)
(Produced by Gurf Morlix)
A beautiful, glorious bummer. Producer/guitarist Gurf Morlix pays tribute to the late Blaze Foley, a tragic Texas indiebilly icon, a best known for composing "If I Could Only Fly," a song that has been recorded all the way from the indiest of the indie, up into the Top 40 charts by artists such as Merle Haggard and Joe Nichols. By all accounts, Foley was a singular, eccentric presence on the Austin scene -- tight friends with Townes Van Zandt and many others, he refused to work a day job and had no fixed address. Foley was a mainstay of Austin's music community until his untimely death in 1989, when he was shot and killed by the son of a friend, in the middle of a domestic dispute, and in the years since there have been several tribute albums featuring his sad, haunting, beautiful songs. This new record is particularly striking, since it is the work of one singer, and Morlix pours himself into the poetic sorrow that was Foley's mainstay... These songs are crushingly sad, but uplifting in a curious way, the artifacts of a guy who accepted life's losses, and yet celebrated the sunrise and the people around him. Some days you win, some days you lose. Morlix nails it on every song, from the John Prine-ish "Clay Pigeons" to the puckish title track and the stark resignation of "Cold Cold World," the album's closer. What's most surprising about this record is the sweetness that comes through: on paper, Foley's life sounds like a downer, but on wax, his music emerges as a blessing. This is a mighty fine, mighty powerful record -- highly recommended!

Morrison-Williams "Morrison-Williams" (Palo Duro Records, 2005)
That's not Jim and Hank, but rather Shayne Morrison and Clint Williams, two Texas fellas who were previously in the band Perfect Stranger, which had a Top Ten hit with "You Have The Right To Remain Silent," back in 1995... Morrison was a founding member of that band, while Williams joined a few years later, and their creative partnership has continued over the years. I always kinda liked Perfect Stranger -- the band never seemed too stuffy or pretentious -- but I have to admit I found this album to be a little grating. Too much reliance on tin-toned, heroic electric guitar leads, and too much of a rock'n'roll feel for me... Then again, maybe it's just 'cause I was listening to the record before I'd had my morning cup of coffee... Anyway, even though this disc didn't wow me, I think that longtime fans of Perfect Stranger will not be disappointed... It's got the same classic country-rock sound as their albums, just a bit less of a twangy country feel, which is probably just fine for some of y'all... Worth checking out if you liked these guys the first time around.

Cory Morrow "The Cory Morrow Band" (Write On Records, 1997)

Cory Morrow "The Man That I Have Been" (Write On Records, 1998)

Cory Morrow & Pat Green "Songs We Wish We'd Written" (Greenhorse Records, 2000)
(Produced by Lloyd Maines)
A swell set of outlaw ballads and alt-country anthems, from Waylon's "Are You Sure Hank Done It This Way" to John Prine's "Paradise," with some stuff by Steve Fromholtz, Townes Van Zandt... heck, they even cover "Stuck In The Middle With You," by Steeler's Wheel, and keep it almost as fun as the original. Green shows his roots, and they run pretty deep. This is a nice indie effort by a fella sort of in the Nashville orbit, and his still-indie pal...

Cory Morrow "Double Exposure: Live" (Write On Records, 2000)
(Produced by Lloyd Maines)
This 2-CD set -- one disc acoustic, one plugged-in -- provides a fine portrait of this Houston-born Texas indiebilly songsmith, who wrote all but a handful of the songs on this set. The acoustic side is really nice and the electric disc, though initially a little harder to get into, also proves quite rewarding, with some nice, loping honkytonk mixed in with the rattling roots-rock. He leads the crowd in a chant of "Nashville Sucks! Nashville Sucks!" and then makes a pretty good case for why Texas music might be a little more fun. A straightforward, no-frills look at one of the Lone Star State's current crop of amazing musicians... Recommended!

Cory Morrow "The Cory Morrow Band" (Write On Records, 2001)

Cory Morrow "Outside The Lines" (Write On Records, 2002)

Cory Morrow "Nothing Left To Hide" (Smith Music Group, 2005)

Cory Morrow "Outside The Lines" (Write On Records, 2002)

Cory Morrow "Nothing Left to Hide" (Smith Music/Write On Records, 2005)

Cory Morrow "Ten Years" (Sustain/Write On Records, 2007)

Cory Morrow "Live In Austin, TX" (New West Records, 2007)

Cory Morrow "Vagrants & Kings" (Sustain/Write On Records, 2008)

Geoff Muldaur - see artist discography

Heather Myles - see artist discography

My Morning Jacket "The Tennessee Fire" (Darla Records, 1999)
An interesting intersection of jangly, '60s-ish rock and doleful, slow twangcore from this highly-touted Louisville band. There's a slightly delicious, REM-ish "what the hell are these songs about" incoherence to much of this music, but also a rather plodding, inert quality to most of the songs... It's mostly an interesting effort, though, and some songs might grow on you. If you like Lambchop or Beta Band and bands like that, these guys fit right in. Not sure I'd need to listen to them that often, but they're okay.

My Morning Jacket "...Does Christmas Fiasco Style" (EP) (Darla Records, 2000)
It's a spaced-out, solipsistic Christmas... Seasons greetings as sung coming off a three-day bender... Your choice of harmful mind-altering substances. Very pretty-sounding music, though!

My Morning Jacket "At Dawn" (Darla Records, 2001)
Sure, a 2-CD set may be, well... okay, it is completely self-indulgent... but that's kind of the whole point and the real beauty of this music. Besides, songwriter Jim James really hits his stride here, and this is quite a lovely record... Way more rock than country, it's a reverb-washed, dreamy set which strikes a perfect balance between psychedelic rock and neo-twang. It works. Now I finally get where this band's mystique comes from. Definitely worth checking out.

My Morning Jacket "It Still Moves" (RCA-Ato Records, 2003)
Oh, no! They've sold out...!! (I haven't actually heard this album yet; I just felt like saying, "Oh, no! They've sold out...!!" It seemed like it would make me sound cooler if I did.) [Oh, okay... I've finally heard the album, and here is my review: "There are some lovely-sounding songs on here, and a few that are pretty damn irritating, like the Stones-y "Dancefloors." Program your listening around the variable styles of music, and you might just find a record here you can fall in love with..." 'Nuff said.]

My Morning Jacket "Chocolate And Ice" (EP) (Badman Records, 2002)

My Morning Jacket "Run Thru" (BMG Records, 2003)

My Morning Jacket "Acoustic Citsuoca: Live! At The Startime Pavillion" (RCA-Ato Records, 2004)
They seem kinda trapped in the "profound rock star" trap... which is all very well and fine, except that I find it hard to focus on his mumble-mouthed lyrics, so I'm not really sure there's a "there" there. Also, the live vibe isn't doing much for me on here... This EP's alright, but it doesn't really grab me.

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Hick Music Index

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