This page is part of an opinionated overview of "alt.country" music, with record reviews by me, Joe Sixpack... Naturally, it's a work in progress, and quite incomplete, so your comments and suggestions are welcome.
Radio Nationals "Exit 110 (EP)" (Roam Records, 2000)
Radio Nationals "Place You Call Home" (Roam Records, 2003)
This Seattle-based quartet offers a nice mix of rock and twangy, southern rock-tinged alt-country, very much in an Uncle Tupelo-ish vein. Singer Jared Clifton has a strong, solid, woody country voice, and while the band is pretty darn electric, even loud at times, there's a softer, Marshall Tuckerish tunefulness country folks might find enjoyable. I think Clifton could do well to explore the country side of things more deeply, but whatever he wants to do will be fine either way: there isn't a false note on this entire record. (You can check out more about the band at their website, www.radionationals.com.)
Radio Sweethearts - see artist discography
Arum Rae "Arum Rae" (Hyperreallist Records, 2008)
(Produced by Michael Bongiorno)
Gritty electric blues, seen through an indie-rock/folk filter. Originally released in '06 under the title Too Young To Sing The Blues, this disc features songwriter Arum Rae Valkonen, backed by a solid band of guys that've played with pros such as Ani Difranco, Paul Simon and Tom Waits. The songs range widely, from a robust opening number, "Lookin' For Love," which echoes Lucinda Williams in her more Delta-y moments to more diffuse, spacey material that pulls us further from roots-music turf and more deeply into the orbit of indiedom and its cultural re-appropriation committee. It's a strong record with a singular vision; might not be for everyone, but those who are game will really dig it. (Note: this reissue has a different sequencing and fewer songs than the original edition.)
Railroad Earth "Black Bear Sessions" (Bos Music, 2001)
Railroad Earth "Bird In A House" (Sugar Hill Records, 2002)
For those who really, truly, deeply feel that the Grateful Dead's Cumberland Blues album was just too damn short, comes this latter-day acoustic jam-band outing. Vocalist Todd Scheaffer has the plaintive, broken-voiced Jerry-soundalike thing down pat, particularly on the album's title track, which has a fragile, "Box Of Rain" appeal to it. This stuff is obviously not for the Dead-adverse or hippie-dippie impaired, but for it's good for what it is. Interesting crossover of bluegrass and poetic hippie folk.
Railroad Earth "The Good Life" (Sugar Hill Records, 2004)
Mellow music for grown-up hippiedelic tree-huggers. This super-cutesy, eclectic mix of bouncy folk, bluegrass and Celtic pop is tailor-made soft-pop for the more sedate, Deadhead-ier end of the jam band spectrum, with long songs that dig deep into sugary acoustic grooves. I'll admit it's kinda goopy, and lead singer Todd Scheaffer is sounding even more like Arlo Guthrie with every passing day -- not just in tone, but also in temperament -- still, there are some songs on here that are kind of irresistible and catchy, and I can definitely see the appeal. Folks looking for a band that's a little twangy yet easy on the ears can find safe haven here.
Railroad Earth "Elko" (Sci Fidelity Records, 2006)
A 2-CD live album...
Railroad Earth "Amen Corner" (Sci Fidelity Records, 2008)
Missy Raines & Jim Hurst "Two" (Pinecastle Records, 2000)
Missy Raines "My Place In The Sun" (Mr. Records, 2008)
Missy Raines & The New Hip "Inside Out" (Compass Records, 2009)
(Produced by Missy Raines & Ben Surratt)
Not surprisingly, bluegrass bassist Missy Raines tilts towards the funky and melodic as a bandleader: there's probably no way to avoid it, since every bassist in America just has to learn the "Barney Miller" theme song when they start out, and that's a hard template to shake. This disc alternates between vocal numbers (which are very sweet; Raines has a lovely, inviting voice) and muzak-y instrumental numbers... The too-cute fusion instrumentals don't do much for me (I'd rather hear a few straight-ahead bluegrass breakdowns...) but fans of Bela Fleck, et. al. will dig it. The tracks where she sings are great, though, and fit in nicely with a wide variety of folk/Americana styles. Worth checking out.
Rancho Deluxe "Rancho Deluxe" (Self-released, 2006)
(Produced by Jesse Jay Harris)
A frisky set of freshly-minted Americana-honkytonk from this Southern California-based band... Upbeat stuff with plenty of twang, and a noticeable poetic streak, sort of a blend between the Derailers and Dave Alvin. Pretty good -- a tough, solid, cheerful sound with several well-crafted songs.
Rancho Deluxe "True Freedom" (Self-released, 2008)
(Produced by Jesse Jay Harris)
These LA-area twangsters have a lot of firepower behind them, with studio players such as pedal steel player Jay Dee Maness, pianist Skip Edwards, and other solid players in the rock/roots Americana orbit. They also have some true-twang lineage: the dad of guitarist Jesse Jay Harris was in the 1980's edition of the Flying Burrito Brothers. So, the musicianship is solid, and they have a feel for the material. Where this falls flat for me is in the self-conscious over-poeticization and road-weary philosophizing, the urge to imbue each song with some sort of dusty, weather-beaten profundity... It's a tendency I've come to enjoy less and less in the Americana scene; some folks can do it gracefully or subtly, but even then it gets old. Still, if you like that kind of everyman/road-scholar rueful wisdom stuff, these guys delve pretty deep into it, and there are several well-written tunes here, just not much that spoke to me, personally. Worth checking out.
Ranch Romance "Western Dream" (Ranch Hand Records, 1989)
A fun, swinging set from this lively all-gal band. Fiddler Barbara Lamb and singer Jo Miller are the best known members of this short-lived Seattle quartet; Lamb went on to do studio work in Nashville and has released a few progressive bluegrass albums as a solo artist, while Jo Miller has been solo ever since Ranch Romance broke up in the 1990s. Here on their debut, they were a force to be reckoned with, updating Patsy Montana's cowgirl swing, with a mix of bouncy hillbilly bop, western swing and some sweet sentimental tunes, all filtered through a distinctly un-grungey rock sensibility... The choice of material is faultless, with a couple of swinged-up Hank Williams covers, some old-fashioned cowboy tunes, a pair of W.C. Handy blues standards and a pair of sublime ballads -- Otis Watkins' "Cowboys & Indians" and the achingly beautiful "Ain't No Ash Will Burn," which Miller later recorded along with Laura Love. This is a fine record, a self-released gem well worth searching for!
Ranch Romance "Blue Blazes" (Sugar Hill Records, 1993)
Ranch Romance "Flip City" (Sugar Hill Records, 1993)
The band's mix of twang and swing takes a tilt towards the hyperactive... There's a definite nod towards Dan Hicks, and his mix of retro styles, but unfortunately, the mood is way too manic on this album -- there's never a moment's pause for listeners to catch their breath, or a quiet moment for any of the songs to sink in beyond the surface level. Guess they were trying to establish their bona fides as a funky-twang party band, but I wish they'd reined it in a little. Also, I can't say I'm wild about Jo Miller's vocals, either... But hey -- is that a boy in the band?? Why, yes, it is! David Keenan pitches in on a slick (but again, overly forceful) guitar... He even sings lead on one song! Producer Tim O'Brien also sits in on a couple of tunes; and Barbara Lamb's fiddle work is a highlight... Overall, though, not much that resonates with me.
Elliot Randall & The Deadmen "Caffeine & Gasoline" (Self-released, 2009)
(Produced by David Simon-Baker & Elliot Randall)
Rank And File "Sundown" (Slash Records, 1982)
Back in the mid-1980s, Rank & File were a real big deal for folks in the punk/post-punk/college rock scene... They were one of the original cowpunk bands, with a West Coast punk lineage that few could contest... The Kinman brothers, Chip and Tony, hailed from the Dils, one of the most kickass, take-no-prisoners, better-than-average sorta-hardcore bands while Alejandro Escovedo (who was on board for the first album only) and some of his buddies from The Nuns rounded out the lineup. While bands like the Vandals took "country" music as a joke, Rank And File were reasonably sincere about it, and helped open up the alterna world to twangier possibilities. Their first two albums have been in limbo for years, another victim of the disintegration of the fabled Slash record label... Now, thanks to the folks at Collector's Choice, we can once again hear these old albums in their full fury, without the tics, pops and scratches of our beat-up old vinyl... Worth checking out -- "Coyote" still echoes in my memory as a staple of the early '80s "college rock" scene.
Rank And File "Long Gone Dead" (Slash Records, 1984)
(Produced by Jeff Eyrich)
Nice one! Largely forsaking the trappings and obligatory 'tude of the LA punk scene, the Kinman's embraced the breezy retro pop of the so-called Paisley Underground and, when they felt like it, tapped into old-school country. Both strains are pretty satisfying. After a nice, pepped-up version of Lefty Frizzell's "Old Old Man," they mostly stick to the rock side of things, but in a pleasantly melodic way -- if anything, the band's super-earnest presentation is its only shortcoming, or rather, it probably opened them up to derision from their snarky, punkier-than-thou contemporaries... But now that the whole hardcore things is so thoroughly decades over, it's kind of nice to be able to listen to a record like this and hear it just for what it was: a sincere, fairly engaging, light melodic rock set with some charming weak spots. Certainly worth a spin.
Rank And File "Rank & File" (Rhino Records, 1987)
Whatever country cred they'd build up is largely lost on this would-be anthemic rock outing... The banging, big-sound '80s style drums clobber most of the subtlety that might lie underneath these songs. Then again, if you're a big fan of X's twangier outings, this is kind of in the same range... Doesn't do much for me, though -- too mainstream, overall.
Dave Rawlings "A Friend Of A Friend" (Acony Records, 2009)
(Produced by David Rawlings)
A stellar "debut" album from Gillian Welch's longtime collaborator, guitarist Dave Rawlings, who really pulls out the stops on this rock-folk mini-masterpiece. (Welch is on here, too: I guess they figured it was time to give him more props and give him a "solo" album of his own...) As with the other Rawlings-Welch outings, this record is packed with original songs that sound uncannily like traditional tunes and oldies... There are also several great cover tunes, which are particularly effective at showing what a strong performer Rawlings is... On both his covers of Neil Young's "Cortez The Killer" and Jesse Fuller's "Monkey And The Engineer," I "got" the lyrics in ways that I simply hadn't before (particularly on "Monkey": ooooooooh -- I get it! It's a coded-message dope fiend song! No wonder the Grateful Dead covered it...) Anyway, Rawlings makes the lyrics to all these songs come alive because of his total commitment to whatever he plays -- he's an artist who is really "in the moment" when he plays, and that comes through crystal clear on this album. A great record from start to finish... Maybe more electrified than previous records with Gillian, but no less captivating, and sure to wow their fans. Me, for one!
Reckless Kelly "Millican" (Cold Spring Records, 1998)
Reckless Kelly "The Day" (2000)
Reckless Kelly "Acoustic: Live At Stubbs" (2000)
Reckless Kelly "Under The Table And Above The Sun" (Sugar Hill Records, 2003)
Reckless Kelly "Wicked Twisted Road" (Sugar Hill Records, 2005)
This starts off on a strong note, a few acoustic, folkish songs about hard livin' out on the road, material that's a little corny but works primarily through the strength of the performance, and the moody tone set by the snarling singer. There's definitely a Steve Earle-ish vibe at work here... Unfortunately, they follow Earle all the way down into the deepest, loudest, most leaden, house-rockin' roots-rock pitfalls... The middle section of this album has the band getting louder, more electric and more shrill with each and every song. Just when I was ready to abandon all hope, they relent and return to a more melodic approach, with tuneful choruses and jangly guitar riffs galore. That middle part is pretty rough, though, at least for an old hillbilly like me.
Reckless Kelly "Reckless Kelly Was Here" (Sugar Hill Records, 2006)
A nice, rowdy, high-test live set, spread out over two CDs and an additional disc's worth of video material... These guys are "twangy," but they're also quite comfortable in the rough-edged environs of rock'n'roll... This is an album (and a set of live shows) geared towards folks who still have hormonal levels high enough to allow for long nights of beer drinkin' and hell-raising. Reckless Kelly's ability to connect with this audience is clear throughout -- there's plenty of hootin' and hollering, and sounds of people getting loose and having fun. What the band sacrifices in subtlety, they make up for in sheer rollicking fun. Worth checking out, particularly if you're already a fan.
Reckless Kelly "Bulletproof" (Yep Roc Records, 2008)
Reckless Kelly "Good Luck And True Love" (No Big Deal Records, 2011)
Reckless Kelly "Americana Master Series: Best Of The Sugar Hill Years" (Sugar Hill Records, 2007)
Red Dirt Rangers "Lone Chimney" (Ranger Records, 2013)
(Produced by Steve Ripley)
A strong mix of rootsy styles, with a funky undercurrent of mellow New Orleans R&B rubbing up against some sweet country twang. I prefer the more straight-up honkytonk stuff, particularly tunes like "Without My Baby," "Honky Tonk History" and "Take Life As It Comes," but it's all pretty good. There's even some swampy, Tony Joe White-ish material on tracks like "Dreamed I Had Wings" and "Strawberries And Watermelons," as well as bright, perky power-pop such as "Blindsided by Love." If you like stylistic variety, you might wanna give these guys a try... They've got a wide range or interests and a pretty cheerful vibe.
Red Meat "Meet Red Meat" (Ranchero Records, 1997)
Well, I guess this is probably the one record most likely to cement my reputation as a too-serious country music curmudgeon. Red Meat were Oakland, California's premiere honkytonk novelty band, and though a lot of folks love these guys, I found this first album to be a bit of a disappointment, particularly since I'm such a big fan of one of the main Meat grinders, bassist and harmony singer Jill Olson. Mostly, I just don't like the endless novelty-songiness of it all, in particular the low-key redneck/trailer trash stereotypes, which aren't as vulgar here as most rock-oriented twangcore albums, but they still drag the material down. Great picking and playing, but the songs don't have enough of an emotional core to reach me as a listener.
Red Meat "13" (Ranchero Records, 1998)
(Produced by Dave Alvin)
Again, the band's musical skill is readily apparent, but both the playing and the songwriting seem too broadly drawn, and too into kitschy novelty-isms (chicken pickin' rhythms galore, twangy songs about S&M, job layoffs and going on the wagon...) Produced by Dave Alvin, the record sounds clean as a whistle, and the instruments are all given room to breathe. It's not bad, by any means, but thematically speaking, it does seem to under-utilize depth that the band actually has at its disposal.
Red Meat "Alameda County Line" (Ranchero Records, 2001)
(Produced by Dave Alvin)
On another outing with Dave Alvin, the Meaties decide to emphasize their musical chops a bit more, with plenty of solidly delivered, fat-toned Buck Owens riffs -- less twang, more rhythm, producing what I think is their strongest album to date. This album emphasizes the band's considerable musical chops, with plenty of solidly delivered, fat-toned Buck Owens riffs -- less twang, more rhythm. Also, the lyrical attack is less overtly novelty oriented than on previous albums, which tended to bog down in exaggerated humor and WTS gags. There are still several funny songs, like Scott Young's genuinely hilarious car repair ballad, "Under The Wrench", but here the goal is more one of humorous wordplay, rather than rigorously enforced dopiness. There are also some timely tunes, such as Jill Olson's "Midwest Blues", and the title track, "Alameda County Line", which both reflect a growing local sense of disillusionment with a Bay Area that's shifted from a haven of alternative culture into a traffic-jammed, wildly overpriced consumerist war zone. The album also features a couple of nice live tracks, tucked away at the end of the CD, that highlight the band's charming live presence. Plus, what a treat to hear Jill Olson singing lead once again! Recommended! (Check out the band's website for more info.)
Red Meat "We Never Close" (Ranchero Records, 2007)
The Red Dirt Rangers "Cimmaron Soul" (Lazy SOB Records, 1990) (cassette)
The Red Dirt Rangers "Red Dirt" (Ranger Records, 1996)
The Red Dirt Rangers "Oklahoma Territory" (Lazy SOB Records, 1996)
The Red Dirt Rangers "Starin' Down The Sun" (Lazy SOB Records, 2002)
The Red Dirt Rangers "Rangers' Command" (Lazy SOB Records, 1999)
On the back of the CD, these Oklahoma boys loudly proclaim that they aren't trendy bandwagoneers and have been doing the indiebilly thing for many years... and I pretty much buy that. This is sometimes musically underwhelming, but obviously heartfelt and a labor of love. Many songs hearken back to the scrappy, eclectic spirit of the 1970s, with shades of the New Riders and Little Feat cropping up in various songs... This might not blow you away, but sure it's got its charm. Worth checking out.
The Red Dirt Rangers "Ranger Motel" (Lazy SOB Records, 2007)
Red Radio Flyer "Getting Somewhere" (Mother West Records, 2000)
Riffy country-rock, with impassioned, heartfelt lyrics, jangly, bright electric guitars and a tambourine beat here and there, buoying the smooth vocal harmonies... kind of like the Mavericks, but with a more personal, less commercial, feel. I guess I'd class this more as a "rock" record than as a twangy outing... But there's some nice stuff on here, regardless of how you'd classify it. Lead singer and primary songwriter Janardana Ryan really seems to have put his heart into this album, and if you like elegant roots-rock material, this is certainly worth checking out.
Red Stick Ramblers "Red Stick Ramblers" (Louisiana Radio Records, 2002)
Red Stick Ramblers "Bring It On Down" (Memphis International, 2003)
Nice set of cajun-spiced western swing and acoustic stringband stuff... Kinda in the same range as Asylum Street Spankers or Hot Club of Cowtown, but more serious than the former, and more relaxed than the latter. Appealing!
Red Stick Ramblers "Right Key, Wrong Keyhole" (Memphis International, 2005)
Recommended! A swell set of acoustic swing drawing on diverse styles, with a lively sense of playfulness and zest that is strongly reminiscent of retro trickster Dan Hicks. This is the Louisiana-based band's third album and shows them making a strong transition from a scrappy, enthusiastic amateur outfit into a tight, seasoned combo that should give well-established acts like the Hot Club Of Cowtown or the Asylum Street Spankers a good run for their money. Blues, jazz and various stripes of country, bluegrass and western swing co-mingle in a parade of compelling performances, and the song selection is first-rate: the songs range from old standards by Larry Clinton, Andy Razaf and Harry Warren to classic blues by the great Clarence Williams, and a smidge of Louisiana swamp music from Clifton Chenier and from the Ramblers' own Linzay Young, whose cajun-flavored "La Valse De Chaoui" is an album highlight. This is a fun record; if you like old-time jazz, swing and stringband tunes, then you really ought to check this out!
Red Stick Ramblers "Made In The Shade" (Sugar Hill Records, 2007)
(Produced by Dirk Powell & The Red Stick Ramblers)
Louisiana's Red Stick Ramblers threw a big party a while ago -- Dewey Balfa, Hank Williams, Cab Calloway and Bill Monroe were all there and they all jammed with the band until dawn. After the sun came up, everyone sobered up and said they really had to do this again, then they went home and left the Ramblers there, amid the scattered Dixie Cups and leftover chips, but the band still felt all jazzed up, so they kept playing. Fortunately someone had the presence of mind to get a tape deck rolling and capture it all, and so we have this nice little disc -- their fifth record since 2001 -- which shows the band more relaxed and confident than ever. Most of the songs are originals written by the Ramblers, and these show better than anything their mastery of a wide array of American roots music styles. Among the bootlegger ballads, lost love songs and fiddle fling-dings there's a plunky old-time tune called "Katrina," in honor of the hurricane that flattened their home state, and several sweet, swinging country-jazz songs. The Ramblers pick up where bands like the Hot Club Of Cowtown left off: acoustic Americana never sounded better.
Red Stick Ramblers "My Suitcase Is Always Packed" (Sugar Hill Records, 2009)
Redwood Highway "Playing With Fire" (Shanty Music, 2009)
(Produced by Gailene Elliott)
The traditions of the SF Bay Area roots music scene are honored and preserved in this raspy, eclectic album, which kicks off with the boogie-rock twang of "Little Sadie," a country-flavored tune that evokes vintage early '70s Grateful Dead/New Riders, with a hint of Willie Nelson in as well... Then they get into a more bluesy, R&B mode, with vocalist Gailene Elliott emerging as a modern-day Maria Muldaur, mixing grit and soul. The album crisscrosses between twang, blues and rock, all the while evoking the eclectic vibe of years gone by... For country fans, a highlight would be the pedal steel-drenched "Whisper In The Wind," featuring some fine playing by Robert Powell... This Northern California ensemble (from Fairfax, CA) certainly has a distinctive approach, difficult to pin down or pigeonhole.
Reverend Payton's Big Damn Band "Between The Ditches" (Side One Dummy Records, 2012)
(Produced by The Reverend Payton & Paul Mahern)
Plainspoken themes -- about poverty, broken trucks, drug abuse, life lived roughly -- set to thumping, greasy blues riffs with simple, driving slide guitar a galloping, simple rhythm. I'm not a big fan of white-trash stereotypes in Americana music, but I gotta say I enjoyed every song on this album. Mr. Payton takes the repetitive blues zeal of John Lee Hooker, places it into a hillbilly context and drives it home on song after song. A fun album with an unusual, appealing sound. Recommended.
The RevTones "The RevTones" (2008)
The RevTones "19 Miles" (2012)
Kimmie Rhodes - see artist discography
Brandon Rhyder "Because She Loves Me" (Crystal Clear Records, 2001)
The indie debut of one of the leading artists in the Texas/Panhandle "red dirt" country scene...
Brandon Rhyder "Behind The Pine Curtain" (New Texas Records, 2003)
Brandon Rhyder "Conviction" (Apex Records, 2005)
Brandon Rhyder "Live" (Apex Records, 2007)
Brandon Rhyder "Every Night" (Thirty Tigers Records, 2008)
Brandon Rhyder "Head Above Water" (Thirty Tigers Records, 2010)
Brandon Rhyder "Live At Billy Bob's Texas" (2011)
Kim Richey -- see artist profile
Jonathan Richman "Jonathan Goes Country" (Rounder Records, 1989)
D. B. Rielly "Love Potions And Snake Oil" (Shut Up And Play, 2009)
Nice self-produced indie-Americana -- cajun dance tunes, willowy, wavy love songs, piano ballads and twang, with a healthy hint of indiepop in the rafters... Rielly (a pseudonym? all the songs are credited to someone else...) plays accordion, piano and guitar, and has a pleasantly imperfect, personable voice, sounding emotionally direct and honest. Plus the songs are all really good. This is one of those odd little gem records that float up your way when you least expect it. Definitely worth checking out if you're into real-deal DIY open-mic night Americana.
D. B. Rielly "Cross My Heart + Hope To Die" (Shut Up & Play!, 2013)
A remarkably varied and resonant country-meets-folk set, dipping into contemplative acoustic meanderings and gritty twang with equal ease. In a hipsterdelic world, Rielly proclaims his independence by boldly kicking the album off with a solid, earnest cover of Bob Seger's "Turn The Page," which he follows with an impressive sweep of original material. Evoking Dwight Yoakam and Greg Brown with equal ease, Rielly also asserts his own personality with one skillfully crafted song after another, in electric blues, cajun accordions and a hint of bluegrass twang. Besides, I'm a big sucker for material culture and dig that wooden box that the disc is stored in... Listeners in search of top-flight contemporary Americana music will find this to be a very rewarding album.
Amy Rigby " 'Til The Wheels Fall Off" (Signature Sounds, 2003)
A longtime fixture on the New York indie-altie/power-pop scene, songwriter Amy Rigby has given the world another little gem with this fine, episodic album. It's not an entirely cohesive work, as she shifts from somewhat dense, introspective rock songs to folkie acoustic numbers and back again... Not that I have a problem with artists who won't limit themselves to one style of music, it's just that the the transitions aren't always that smooth. Nonetheless, in this case the parts are more than the sum of the whole, and a handful of songs on here made this one of my favorite records of 2003. The blisteringly hilarious novelty song, "Are We Ever Gonna Have Sex Again?" made me laugh out loud when I first heard it: it's the all-too-familiar tale of the modern-day couple whose erotic life has been curtailed both by busy schedules and everyday routine; the tart, too-true lyrics and Rigby's dead-on delivery make this an instant classic. Other favorites include the opening track, "Why Do I," a power-pop exploration of the neurotic impulse towards self-sabotage, and "Don't Ever Change," a touching embrace of normalcy and imperfection in those we love, and in acceptance of the quirky flaws of the world at large. As with the other two songs, it's Rigby's wry, gentle, deft observations that make this tune such a winner. Overall, this album shows its greatest appeal in its sense of maturity and un-corny wisdom; it's nice to see that as Baby Boom indie-rockers age and mellow out that they can still make such great music.
Billy Lee Riley "Blue Collar Blues" (Hightone Records, 1992)
Veteran rockabilly hero Billy Lee Riley has been around for many a long decade, and like many of the first generation of original American rockers, his career has had its ups and downs. Still, get the guy in front of a microphone, and he can still really tear it up, as heard on this lovingly produced "comeback" album, where Riley gets the full HighTone treatment. You can hear the age in his voice, but he still rocks pretty hard, dipping into rockabilly, blues and a bit of Tony Joe White-ish swamp rock, all with a deep, soulful delivery. Not bad!
Billy Lee Riley "Hillbilly Rockin' Man" (Reba Records, 2003)
Some old-timers, no matter how old they get, still have that little something that makes them great... 'Fifties rockabilly pioneer Billy Lee Riley is still going strong at the tender age of 70(!), with voice in fine form, and a slew of well-written, soulful songs. Only on a couple of tracks does he sound a bit subdued; on the whole, though, this is a nice solid album, tilting towards the country end of the spectrum, but with enough of a rockabilly kick to keep the young'uns happy, too.
Steve Riley -- see artist profile
Markus Rill "Gunslinger's Tales" (1997)
Hailing from Frankfurt, Germany, European singer-songwriter Markus Rill initially paid allegiance to Texas poet Townes Van Zandt, but proved himself a master of several styles of modern "Americana," mastering the country accent and drawl of the North American folkie-twangsters. I've only heard his later records, but I imagine his early albums are worth a spin as well...
Markus Rill "The Devil And The Open Road" (1999)
Markus Rill & The Gunslingers "Nowhere Begins" (Line Music, 2001)
(Produced by Markus Rill)
Markus Rill "Hobo Dream" (2004)
Markus Rill "The Hobo Companion" (2004)
Markus Rill "The Price Of Sin" (Blue Rose Records, 2006)
(Produced by Markus Rill & George Bradfute)
A well-produced album, drenched in the country-meets-folk ethos of the modern Americana scene... While the growling, sub-Tom Waits rasp and dense lyrical style of singer-songwriter Greg Brown dominates this album, there's also a rougher edge reminiscent of Steve Earle, best heard in "Me And Bonnie Parker," an interesting historical ballad looking at the semi-mythic Bonnie & Clyde crime spree through the lens of Bonnie's first lover, Roy Thorton, who watches helplessly as she is swept away by the thrills of crime and passion. Overall, this isn't really my kind of music, though Rill's command of American-style roots music is impressive and completely effective. It's the style that I struggle with, rather than the performance -- tightly-crafted songs that strain towards philosophical profundity and poetic heights, as opposed to the simpler, singalong twang that I prefer. But if you enjoy contemporary, 21st Century singer-songwriter stuff, you might wanna give this guy a whirl -- he's really got the style down pat.
Markus Rill "The Things That Count" (Blue Rose Records, 2007)
(Produced by Richard McLaurin)
With mandolin, pedal steel, and acoustic guitars prominent in the mix, there's still plenty of twang in here, but more of a tilt towards contemporary adult-alt folk, ala Greg Brown and his legions of followers. It's not really my cup of tea, but it's good for the style. As with his earlier albums, the more folk-ish among you might want to check this out.
Markus Rill "Wild, Blue And True" (Blue Rose Records, 2011)
Markus Rill & The Troublemakers "My Rocket Ship" (Blue Rose Records, 2013)
Jason Ringenberg "All Over Creation" (Yep Roc Records, 2002)
Jason Ringenberg "Empire Builders" (Yep Roc Records, 2004)
Poetic and political, this disc explores various aspects of America's social life -- racism in the military, our new adventures into overseas intervention, South-will-rise-again-ism, and the blemished history of the US government's dealings with the Native American nations... There's also a love song or two on here and a tribute to surf-garage guitar god Link Wray. Craftwise, this is an impressive set for songwriter Ringenberg, who penned all but two of these tunes (one of the covers is a particularly loopy version of Merle Haggard's "Rainbow Stew," the other is a song by banjoist Jim Roll, who guests on a different track. A lot of this album's appeal has to do with Ringenberg's particular personality; folks who've been following his career over the years will probably find this enchanting, non-fans may be a little mystified by the appeal of this gangly-voiced oddball. The musical end is consistently strong throughout, but this disc certainly won't be for everybody. This isn't an album I would listen to for fun, but it was consistently engaging, and is certainly worth checking out.
The Riptones "World Renowned" (Ruby Records, 1996)
An amiable mix of thump-thumping rockabilly and trucker-billy country. These guys don't totally tear it up, but they still sound pretty nice.. Fans of Dave & Deke or The Derailers would enjoy this disc. That being said, these guys seem pretty likeable, but the record is pretty poorly produced -- the sound is thin, and it feels like they rushed through a lot of the songs. I suspect they were a lot more fun live. One of those "they're hearts were in the right place" efforts... Notable also for the high proportion of original songs, some of which are pretty good. I liked "Feelin' Fine..." just wish it were better produced.
The Riptones "Extra Sauce" (Bloodshot Records, 1997)
Well, the good news is that, with the move to the Bloodshot label, the sound quality on this one is much better, and the opening number, "Out All Night," is a catchy, rockabilly-tinged toe-tapper, a song that holds out great promise for the rest of the album... I was disappointed, though, by the rapid descent into dumb, white-trashy novelty songs... The picking on this album is pretty cool, but the musicianship doesn't quite make up for the lack of depth. I mean, this is okay... it's just not very moving or meaningful. But in terms of the actual music, this is more solid than many other twangcore releases.
The Riptones "Cowboy's Inn" (Bloodshot Records, 1999)
Singer Jeb Bonansinga took over as primary songwriter on this album (his brother Tod seems to have quit the band) and the results are less than stellar... They got more rockabilly, and more novelty-oriented, and more stripped down (which is understandable, since the band got smaller...) Also, a lot less interesting. These tunes seem more like cardboard cut-outs, rather than full-fledged songs. They can still pick pretty well, but methinks the party is over. At least for those of who give a hoot about whether the songs are any good.
The Riptones "Buckshot" (Bloodshot Records, 2000)
More of the same. Since I'm probably not gonna see them play in a bar somewhere, I really find it hard to care. If the truth be told, I just find this to be a bit dreary, even with all the fancy chicken-pickin'... There's plenty worse out there, it's true... but also plenty that's better.
The Riptones "Slant Six" (The Orchard, 2003)
The Riptones "Stash" (Sparkletone Records, 2008)
The Rivergods "Time Has Come" (Blue Donut Records, 2002)
(Produced by Ben Parent & Jim Carpenter)
More of a generic rock record than an "Americana" thing. There are rootsy elements in here -- steel guitar, etc. -- but this is too rock'n'roll/jam band-meets-folkie warblers for me. Especially the big electric guitar solos. Not into it.
Eddie Rivers "Plain Talkin' Man" (Bismeaux Records, 2013)
A solo set from the masterful pedal steel player for Asleep At The Wheel... There are some familiar-sounding vocal numbers along with several groovy instrumentals... Fans of the classic Wheel sound, and of fancy steel playing will wanna check this one out.
The Road Hammers "The Road Hammers" (Airstrip Records, 2005)
(Produced by Jason McCoy & Scott Baggett)
These gnarly Canadian gearjammers show a lot of promise, at least from the will-they-make-it-in-Nashville? point of view... This loud, live-wire set of modern-day trucker songs (with some well-chosen cover tunes) has a rough, muscular, rockin' edge to it that may appeal to fans of Confederate Railroad or Travis Tritt's early stuff; they also prove themselves unafraid to try out a few cheesy ballads, and to submerge themselves into pure formula, the kind of formula that can spell big commercial success. This current album has some liabilities and it probably won't take them to the top, but it might get the band's foot in the door -- the drawbacks are mostly, I think, due to the production, which is a little too edgy and jarring (although Southern rock/blues-rock-oriented fans may be drawn to it...) Even though this isn't my kind of country, I think these guys are a band worth keeping your eyes on... They're almost a "red dirt" band, and twangy enough that some altie/Americana types might be drawn to them, and definitely commercial enough that a major label will probably pick them up soon. In the meantime, cover tunes like "Girl On The Billboard," "East Bound And Down" and even Lowell George's "Willin' " are pretty enjoyable, and also tell us a lot about this band's roots. Worth checking out.
The Road Hammers "Blood Sweat & Steel" (Montage Records, 2008)
The Road Hammers "Road Hammers II" (Open Road Records, 2009)
Robinella & The CC Stringband "Robinella & The CC Stringband" (Big Gulley Records, 2000)
Robinella & The CC Stringband "No Saint, No Prize" (Big Gulley Records, 2001)
Robinella & The CC Stringband "Robinella & The CC Stringband" (Columbia Records, 2003)
I honestly, simply, don't get the attraction. I mean, there's nothing wrong with this set of laid-back, acoustic-based, jazz-tinged Americana crooning... But I can't figure out how it wound up being released on a major label and all... Singer Robinella Contreras is adequate, but not arresting; it's like hearing a confident, if somewhat blase, local gal singing at open mic night, working with a band that's into mixing standards in with the hillbilly stuff. Not amazing, but nice enough. My guess is, they're hoping to tap into the Norah Jones fan base... and who knows? It just might work.
Robinella "Solace For The Lonely" (Dualtone Records, 2006)
Robinella "FestivaLink Presents: Robinella At MerleFest -- 4/27/07" (Festivalink.net, 2007)
Nell Robinson "In Loango" (Red Level Recordings, 2009)
Nell Robinson "On The Brooklyn Bridge" (Nell Robinson Music, 2011)
(Produced by Nell Robinson & Jim Nunally)
A city gal with country roots, Nell Robinson grew up in Alabama, but made it to the San Francisco Bay Area, where she's hooked up with a number of talented folks on the local bluegrass scene, including mandolin player John Reischman, fiddler Gregory Spatz and newgrass gal Laurie Lewis (who co-wrote one of the songs on this album...) This album pays tribute to Robinson's roots, with a mix of original songs and soulful standards as well as short spoken bits with her family members recalling the old days in the family's rural home. Worth noting is charming fact that Robinson only started singing in public recently ("I sang by myself in the car for 30 years, and ventured out to sing in public at age 45," she notes cheerfully...) and released this album at the brisk young age of fifty. She has the voice and soul of a much younger person, as heard on several bouncy, banjo-led tunes, and taps into the old-school sound of Depression-era Southern music with great authenticity and charm... If you enjoy DIY bluegrass and old-timey tunes, give this one a spin!
Nell Robinson & Jim Nunally "House And Garden" (Nell Robinson Music, 2013)
Bruce Robison - see artist discography
Charlie Robison - see artist discography
The Roches - solo, duo & trio
Rockhouse Ramblers "Bar Time" (Hayden's Ferry Records, 2000)
Rockhouse Ramblers "Torch This Town" (Hayden's Ferry Records, 2002)
Amiable, independently produced rockabilly/honkytonk with plenty of spunk and a few rough edges. The songwriting, which is spread evenly among the band members, is generally pretty clever, and shows a strong command of the style. The singing, however, is occasionally awkward, frequently hitting the wrong beat and throwing the band off its rhythm. It's a distraction, but not a fatal flaw, as the music -- equal parts Buck Owens, Gene Vincent and Buck Owens -- is pretty engaging. I thought this album was charming, and look forward to the next.
Carrie Rodriguez "Give Me All You Got" (Ninth Street Opus, 2013)
(Produced by Lee Townsend)
Jim Roll "Ready To Hang" (One Man Clapping, 1998)
Jim Roll "Lunette" (New West Records, 1999)
An odd and alluring intersection between spacey, ear-candy indiepop and plangent twangcore, this album has a nice melodic core to it; a few songs are a little difficult or loosely constructed, but others are quite nice, the kind of stuff that'll get your toe tapping and your head bobbing along, keeping time to some song that makes no sense, but sounds mighty fine. Fans of Richard Buckner, Jay Ferrar, Jeff Tweedy and the like will find this a pleasant listen... Among the many collaborators on here are multi-instrumentalist Drew Glackin and drummer-producer Walter Salas-Humara, who anchor the band, and guest stars like John Dee Graham and Gurf Morlix, who play on several tunes. After a while the lyrical obliqueness may wear thin, and for more country-leaning listeners the sometimes-trippy production may lead you fairly far afield, but on the whole, this is a nice record, with more emphasis on melody and listenability than many contemporary records. Worth checking out!
Jim Roll "Inhabiting The Ball" (The Telegraph Company, 2002)
Hmmmm. Roll kinda loses me on this one. Much of this album goes too far afield into the rock end of the spectrum for me, with spacey, meaningless songs and the twangy elements getting pretty much lost in the mix... But there are also moments of unexpected beauty, like the soft, acoustic "You," that'll make you sit up and take notice. Most of the material on here sounds like someone just making sounds and filling space in yet another self-indulgent 4-trackish lo-fi non sequitor album... and it doesn't reach me emotionally at all. Oh, well.
Dexter Romweber "Blues That Defy My Soul" (Yep Roc, 2004)
He sure has uglied up his sound quite a bit... Here, ex-Flat Duo Jet-setter Dexter Romweber plows through a rapid-fire set of rockabilly-surf-garage rock... I dunno; seems like he's trying too hard to prove how alt-y he can be... It seems more slapdash than raw and rebellious to me, though... But then again, maybe I just ain't raw and rebellious enough to appreciate it.
Leo Rondeau "Bangs, Bullets And The Turtle Mountains" (Self-released, 2007)
Leo Rondeau "Down At The End Of The Bar" (Self-released, 2009)
(Produced by Leo Rondeau)
If a voice could be described as "lanky," that would fit Mr. Rondeau, whose rambling, discursive, exaggeratedly Texan musical style will remind many of the late, great Townes Van Zandt... There are some fine songs on here, as well as a lot of material that might be hard to get a handle on, at least at first listen. There are a slew of accusatory broken-romance tunes, with Rondeau's narrator wryly passing judgment on nebulous ex-lovers, a couple of these are fun, particularly the tart "You Ain't For Me." The whole album has a laidback, off-kilter feel, with little interest in a hummable chorus or propulsive melody -- this fella ain't headed for Nashville, and clearly he doesn't want to be. But the angularity and indefinable feel of the songs create a distinctiveness that's hard to find and a precious commodity these days. If you like your Americana on the unpredictable side, you might wanna give this guy a spin.
Caitlin Rose "The Stand-In" (ATO Records, 2013)
Rosehill "White Lines And Stars" (Cypress Creek, 2010)
(Produced by Jay Clementi & Radney Foster)
A re-release of a record that's a couple of years old... but still sounds fine. These rock-friendly Texans are proteges of Americana icon Radney Foster, who produced two of their albums, and plays acoustic guitar with the band. They're probably properly considered part of the "red dirt" scene, but the opening tracks on this album certainly have a strong commercial feel - the core duo of Blake Myers and Mitch McBain combine a bar-band grit with pop-country savvy; you could definitely see these guys going big.
Rosehill "Crooked Thoughts" (Tenacity Records, 2012)
(Produced by Jay Clementi & Radney Foster)
Josh Rouse "Home" (Rykodisc, 2000)
Not that I have anything against this sort of drifty-dreamy, lightly orchestral folk-pop mellowness, but honestly, this album doesn't do much for me. You'd be better off listening to some old Freedy Johnston, or looking around for one of those out-of-print Vulgar Boatmen LPs... Freedy's a far better lyricist, and the Boatmen were a lot dreamier and more direct. Still, this is not without its charms, and I can see why Rouse is currently an "Americana" darling... If nothing else, it's easy on the ears, though equally unchallenging to the brain.
The Royal Deuces "Introducing The Royal Deuces" (Polzak Productions, 2007)
The Royal Deuces "Heck Of A Catch" (Polzak Productions)
Jimmy Roy's 5 Star Hillbillies "5 Star Hop" (Fury Records, 1993)
An amiable, easygoing set by these Canadian hillbilly bop enthusiasts, onetime rockabilly fans who went back a few years further to the style's musical roots, much along the line of Big Sandy & The Fly-Rite Boys or the Dave & Deke Combo. Musically, this set doesn't completely catch fire, but the two dozen songs are all pretty nice, especially considering that almost all of them are original compositions by steel guitarist Jimmy Roy and lead singer Cam Wagner. These recordings date back to 1989-93; bandleader Jimmy Roy later went on to work with Ray Condo, as well as with Big Sandy and his band.
Kev Russell's Junker "Buttermilk & Rifles" (Sugar Hill Records, 2002)
An oddball solo outing by one of the fellas from the Gourds. Yeah, sure, he's trying a little too hard to be all weird and stuff, but his songs are still catchy. In a weird kinda way. The first track that really got my attention here was "(Somebody Get Me A Flower) I'm A Robot," which has a strong refrain... Turns out it's also the only song I can remember, even after this album was stuck in my CD player for several days. If you dig weird, goofy, outsider-arty type stuff, then this record can be pretty fun, and fans of the Gourds will probably not be disappointed. But ultimately I'm not sure how much "there" is really there.
Tom Russell - see artist discography
Rusty Truck "Broken Promises" (Terra Records, 2003)
Rusty Truck "Luck's Changing Lanes" (Rykodisc, 2008)
(Produced by Mark Seliger & Nick Brophy)
In shorthand, this album could be considered the Americana music equivalent to "Almost Famous": Mark Seliger was the head photographer at Rolling Stone magazine between 1992-2002, and in the course of that decade he made an awful lot of groovy famous people, several of whom help him here on his recording debut. The ever-eclectic T Bone Burnett, Sheryl Crow, Jakob Dylan, Lenny Kravitz, Willie Nelson, Marc Ribot and Gillian Welch are among the luminaries enlisted to accompany Seliger on a giddy country-rock romp, sounding for all the world like the Jayhawks in their twangy prime. The opening song, "Every Time" features some of the most ridiculously overwritten poetic-profound lyrics ever put to wax, and yet it's also got a killer pop hook that kept me coming back to the song again and again. The rest of the album follows apace -- the songs are quite catchy and while some of the songs have a spiral-notebook feel to them, the retro-acoustic rock vibe is so nice, you hardly notice. In addition to contemporary alt.country, there are also healthy nods towards '70s bands such as Poco, Pure Prairie League and the Eagles, as well as more rock-pop outfits such as Fleetwood Mac (Sheryl Crow's harmony vocals on "Cold Ground" evoke Stevie Nicks so thoroughly that I wondered if some prankster had slipped a copy of Rumours into the CD carousel... If you like the classic rock sound of '70s AOR, as well as light, melodic twang, this is definitely worth checking out. This two-disc edition is an expanded version of a 2003 album, Broken Promises, with an additional disc's worth of video material added for good measure. It's music that has aged well -- and five years from now will sound equally as sweet.
Ruthie And The Wranglers "Wrangler City" (Lasso Records, 1996)
Romping rockabilly and rhythm-heavy honky-tonk from this CD-area band. Ruth Logsdon is in the same vocal range as Dee Lannon and Rosie Flores -- not quite a diva, but able to project enthusiasm and love of the style. She has a few other records out, although this is the only one I've heard... It's definitely worth checking out if you can track down a copy; plus, bar band guitar god Bill Kirchen pitches in on a few tunes!
Ruthie And The Wranglers "Life's Savings" (Lasso Records, 1998)
With plenty of Sun Records-y reverb and hiccuppy vocals, Ruthie and her pals keep the rockabilly vibe going strong, while covers of old country classics like "A Dime At A Time" and "Fist City" help balance things out in favor of the country crowd. The most notorious song on here would be Logsdon's own "He's A Honky Tonk Man," a spoof of Johnny Horton's old hit wherein, yeah, he's all man, but not for long: the cowpoke is looking for a sex change! Yee-haw, little buddy.
Ruthie And The Wranglers "Live At Chick Hall's Surf Club" (Lasso, 2000)
Ruthie And The Wranglers "Sometime" (Lasso Records, 2003)
Ruthie And The Wranglers "Americana Express" (Lasso Records, 2009)
Alt.Country Albums - Letter "S"
Hick Music Index
