The Saddle Cats "Herdin' Cats: Adventures In Western Swing" (Easy Light Records, 2009)

The Sadies "Precious Moments" (Bloodshot Records, 1998)
Twangy cow-surf, or surfy cow-twang? You decide! Canada's Sadies, fronted by brothers Dallas and Travis Good, have an ambitious agenda, even if this debut disc is a bit jittery at times. This is a pleasant album, fun to listen to, though not particularly innovative or earthshaking; the reverb on old-time ballads like "Pretty Polly" is kinda clever, though their cover of "Tell Her Lies And Feed Her Candy" is too ironic by half... can't these alty types just admit they like country music and play it with some feeling, rather than always passing it off as a dumb joke? Anyway, the boys sure sound like they had fun making this records, and that playfulness comes through loud and clear. Neko Case guests on the vocals of one tune, "Cow Hand," which has a typically raspy feel to it. Not bad.

The Sadies "Pure Diamond Gold" (Bloodshot Records, 1999)
They get a bit more country on here, though the surf reverb is still pretty prominent, and the cowpunky stuff is sounding more and more like the Cramps going out on a bender with Ennio Morricone. The cover of Harry Johnson's cult classic, "It's Nothing To Me" (previously heard on the oddities collection, GOD LESS AMERICA) is a real eye-opener... Snotty, nudge-nudge, wink-wink covers of oldies such as the gospel evergreen, "Higher Power," are of less interest to me: I prefer music that's played with real feeling, not just to prove how clever you can be. Anyway, The Sadies are clearly a band of high caliber, with impressive guitar pickin' worthy of comparison to Deke Dickerson or Dick Dale, and their range of influences is equally impressive... just wish they'd take the country stuff a little more seriously and not just treat it as a joke. Kelly Hogan guests on several songs.

The Sadies & Andre Williams "Red Dirt" (Bloodshot Records, 1999)
R&B soul singer Andre Williams is one of those cult figures in the retro-garage scene who keeps eliciting shock and salacious giggle with his sleaze-drenched R&B oldies. On paper, the match-up of Williams and the versatile Canadian guitar quartet is a stroke of genius -- even if he's doing a "country" record, he gives them a chance to explore the R&B undercurrents that eddy up in their work from time to time. The end result, though, is a little less than stellar -- Williams cusses and yowls, he gets all Screamin' Jay Hawkins-y, and generally has a good time, but he seems to be doing it all a good foot-and-a-half away from the microphone. The crisply recorded backing tracks stand in too-stark contrast to the sloppy vocals, and, well, I guess you have to be kind of young or something to get into music that's sloppy and disorganized just on principle alone. It's okay, I guess, but it ain't my cup of tea.

The Sadies "Tremendous Efforts" (Bloodshot Records, 2001)
A much slicker, more accomplished set, with the Sadies settling comfortably into the garage-retro niche, though with a sly country twang that's pretty cool and distinctive. I gotta say, I'm pretty impressed: I'd put this at the top of the list as far as their albums to date. And did I mention an affinity to the cosmic cowboy era of the Byrds? Well, check out their cover of "I Wasn't Born To Follow..." It's maybe a little too faithful to the original, but it shows the lads had done their homework... Torturous closing number, but still an impressive album. Recommended!

The Sadies "Stories Often Told" (Yep Roc Records, 2002)
Well, now they're just getting' all sonic and psychedelic on us, with spacey sound washes and smudged-out surf licks, edging into the artier turf explored by bands like Beachwood Sparks. 'Salright, but a little lofty in some ways. I guess the twangy alt-country tunes, like "Within A Stone" (which sounds like it could've been on a late-era Byrds album...) show the kind of depth I complained they didn't show on previous albums... Still not really my cup of tea, though.

The Sadies & Jon Langford "The Mayor Of The Moon" (Bloodshot Records, 2003)

The Sadies "Favourite Colours" (Yep Roc Records, 2004)
When I first heard this disc, I totally flipped. This is the best Sadies album yet, with crisp, concise, compelling recreations of the classic psychedelic country-rock sound of the late-'60s Byrds and their ilk. It's a groovy, reverbalicious aural odyssey, with a subtle nudge into the grandiose latter-day trippiness of "navel-gazer" guitar bands such as Galaxie 500 and Spiritualized... You can carp about it being a slavish exercise in hippie nostalgia, or whatever, but the fact of the matter is this is a great record. Very listenable and very fun; definitely more rock than country. Recommended!

The Sadies "In Concert, Volume One" (Yep Roc Records, 2006)
A thoroughly satisfying 2-CD live set from February, 2006, which has the band romping through high-test surfabilly worthy of Flat Duo Jets or the Untamed Youth, as well as satisfyingly twang-bangy hoedowns such as "There's A Higher Power" and "Stay All Night." The Sadies are proving themselves one of the most durable and versatile alt-twang bands around -- they're mostly "rock," but when they want to, they sure can sound like hicks. Lotsa guests on here, notably Neko Case, Kelly Hogan, Jonboy Langford and Gary Louris, as well as a slew of the band's other uber-hip pals. I gotta say, it's a pretty cool record -- they were obviously having a lot of fun during the shows, and that sense of enjoyment comes through loud and clear, right into our ears. Give it a whirl!

The Sadies "Tales Of The Rat Fink" (Yep Roc Records, 2006)

The Sadies "New Seasons" (Yep Roc Records, 2007)

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

Doug Sahm (and The Sir Douglas Quintet) -- see artist profile

Shawn Sahm "Shawn Sahm" (Evangeline Records, 2002)

Les Sampou "Lonesomeville" (Self-Released, 2010)
(Produced by Les Sampou, David Ogden & Andy Plaisted)
A sweet, twangy set with deep blues roots... There are echoes of Delbert McClinton, Lucinda Williams, Bonnie Raitt and various other roots-music heroes, amid a strong set of original material. Ms. Sampou might be living in Lonesomeville, but she originally hails from Connecticut... and for a Yankee, she does a nice job getting greasy and gritty... Best on the uptempo numbers, with some nice David Lindley-esque slide guitar. Worth a spin!

Ann Savoy & Linda Ronstadt "Adieu False Heart" (Vanguard Records, 2006)
Going by the name of "the Zozo Sisters," country-rock doyenne Linda Ronstadt and cajun chanteuse Ann Savoy resume the partnership that sparkled and shone on the Evangeline Made compilation a few years back. This is a sweet set of uniformly lovely tunes, some more cajun than others, but all featuring gentle acoustic backing and wonderful vocal harmonies. Old-timey picker Dirk Powell lends his talent to the mix, as do a Balfa and Broussard or two, and the cream of the bluegrass studio crew... There's not much variety in the tempo or tone, but if pretty music is what you're looking for, this disc would be hard to beat.

Ann Savoy & Her Sleepless Knights "If Dreams Come True" (Memphis International Records, 2007)
Having long since secured her place in the firmament of the modern cajun revival, Ann Savoy is steadily shoring up her bona fides as one of the finer, most confident vocalists in the roots music ouvre. On this elegant outing, she sings swing with a lighthearted authority, her command of jazz timing and old-school pop sensibility coming through loud and clear... There's a smattering of French in the song titles, but it comes from the other side of the Atlantic -- from the work of Django Reinhardt and Georges Ulmer -- and the swampy side of her sensibility is largely left behind. Crooning her way through standards by Joe Burke, Benny Goodman, Rogers & Hart, Ray Noble and Dorothy Fields, Savoy makes all that old jazz sound new and fresh, a joyful expression of her own inner muse, and not just another retro-torch run-through. It's quite a lovely record... If you've enjoyed her recent collaborations with Linda Ronstadt, et. al., you should love this album as well!

Ann Savoy & Her Sleepless Knights "Black Coffee" (Memphis International Records, 2010)
(Produced by Joel Savoy & Ann Savoy)
A heavy-hitter in the cajun music revival, in recent years Ms. Savoy has turned her attention to jazz, blues and swing, and this swell set picks up where her last record, If Dreams Come True left off, with another set of brisk, joyful acoustic jazz. She's probably best on the uptempo numbers (such as the snappy gypsy-jazz version of "I Cried For You,") but even on the ballads she sings with such conviction and a feeling of fun that you can't help but be drawn in. Her accompanists are in a similarly cheerful mode, and although this is a compact little quintet, they sure to make a big, big sound. A swell set of jazz and swing oldies, with a few French chanson classics thrown in as well. Fun stuff!

Jenny Scheinman "Jenny Scheinman" (Koch Music, 2008)
(Produced by Tony Scherr)
An interesting album from Ms. Scheinman, who is best known as a violinist, playing with noodlejazz-meister Bill Frisell over the last few years. Here she emerges as a singer of acoustic folk-blues and jazzy standards, in much the same mould as Jolie Holland, Be Good Tanyas and various likeminded compatriots such as Madeline Peyroux, et. al. Like Gillian Welch or Suzy Roche, Scheinman has a singular vocal presence, a plaintive voice that pierces the veil and leaps out of the mix -- it's not conventionally pretty, and her phrasing seems a bit rugged and rough, but she carries a lot of musical history and self-awareness with her, and she pulls you in with her calm, subtle authority. Although she goes to great lengths to keep things simple and stripped down, one of the most alluring tracks is the more poppish "Skinny Man," which has a nice melodic groove to it, and some steel guitar that brings to mind those great old Bonnie Raitt records. This is an album where the rough edges have been purposefully left in, and it should appeal to folks who like music made by real people. Clearly, Scheinman and her pals are capable of smoothing everything out and making it all sound perfect... it's kind of nice to hear someone who chooses not to, though, and as a result this disc has lots of quiet magical moments. Definitely worth checking out!

Jenny Scheinman "Crossing The Field" (Koch Music, 2008)
An instrumental companion disc that highlights Scheinman's compositional and virtuosic sides. Haven't heard it, but I bet it's groovy.

Chris Shiflett & The Dead Peasants "All Hat And No Cattle" (Side One Dummy, 2013)
(Produced by Chris Shiflett & The Dead Peasants)
Now here is a band that knows how to make me happy: start out with a ton of twang, add on an irresistible hard-country beat, crank up the volume, and keep it coming. Mr. Shiflett, a member of the uber-famous Foo Fighters, may be a rocker, but there's no sense here that he's just slumming as he plows into this high-octane set of classic honkytonk songs from the 1950s, '60s and '70s. I like my country music pure and hard, and this is quite simply the best, most satisfying collection of true twang tunes I've heard all year long. From start to finish, this is a really fun record, made to be played loud. Includes a rich, resonant version of Jim Ed Brown's hit, "Pop A Top," Faron Young's "Live Fast, Love Hard, Die Young," the rollicking "Guitar Pickin' Man" and soul-searing weepers like "King Of Fools." This, my friends, is music to drink beer by. Closing things out with a version of Waylon's "Are You Sure Hank Done It This Way?" Shiflett and his band answer their own question: Hell, yeah!

Trapper Schoepp & The Shades "Run, Engine, Run" (Side One Dummy, 2012)
(Produced by Trapper Schoepp & The Shades)
Solid indie-rock twang, along the lines of Whiskeytown, Ryan Adams, or the Old 97s. Tight, bright rock guitars with a nice dose of playful twang... The lyrics are a little too twenty-something and let-me-tell-you-how-life-really-is for an old fart like me, but the playing is solid throughout. I guess Schoepp started out as more of a generic indie-rock guy, but I gotta say, I think alt-country suits him well, and his band has a great sound. I look forward to hearing more from these folks!

Darrell Scott "Aloha From Nashville" (Sugar Hill Records, 1997)

Darrell Scott "Family Tree" (Sugar Hill Records, 1999)

Darrell Scott & Tim O'Brien "Real Time" (Howdy Skies, 2000)
Wow...!! What a great record. Songwriter Scott really brings out O'Brien's serious side, and it pays off handsomely in this old-timey oriented set, with plenty of gospel material, modern heartsongs and compelling vcal harmonies. On "House Of Gold," they do an a capella duet that'll give you goosepimples, then follow it up with a lovely, heartfelt version of O'Brien's "More Love," a song which was recorded a few years later by the Dixie Chicks. This is easily my favorite of the Tim O'Brien albums I've heard to date... Recommended!

Darrell Scott "Theatre Of The Unheard" (Full Light, 2003)
Songwriter Darrell Scott has had a fair run recently as a Nashville composer, providing hits for the Dixie Chicks, Sara Evans and Brad Paisley, to name a few. This is his first album on his own independent label, and while there's some striking material, there's also a slight air of self-indulgence as well (the average song length is about five minutes...) I liked the first couple of tracks a lot -- "East Of Gary" and "Uncle Lloyd" both explore the unglamourous side of the American working class ethos, and both are notable for their lack of Merle Haggard-ish "working man" posturing (a tedious trend in modern country). Scott handles the material with subtlety and skill, and both songs hit me the right way. Not sure why I wasn't really that taken by the rest of the album... I guess it went down an overly crafted Greg Brown-ish folkie path or something -- the songs were too lofty, the picking got too glitzy, I'm not sure exactly what it was. Scott's voice is really nice, but his songs are best when he reins them in a bit. Still, this is definitely an album worth checking out -- Scott has a lot to offer fans of intelligently written Americana, so take my criticism with a grain of salt.

Darrell Scott, Danny Thompson & Kenny Malone "Live In NC" (Full Light, 2005)
Nashville songwriter Darrell Scott gets funky and jam-bandish on this live set, cut with the once-ubiquitous Brit-folk bassist Danny Thompson. The bluesiness and groove-orientation is somewhat unlike Scott's earlier, more acoustic Americana outings. There are whiffs of emotive troubadours such as Loudon Wainwright and Greg Brown as well as jamsters like Dave Matthews... It's a bit too effortful for me, but I imagine many another roots music fan will like this just fine. Keep in mind there's a lot of stylistic variety here, so if a tune or two doesn't grab you, keep listening, since other songs further down the line might hit you the right way.

Darrell Scott "The Invisible Man" (Full Light Records, 2006)
Mr. Scott sure has a lot on his mind... but it doesn't always translate well as compelling, listenable music. This is an ambitious self-produced album, but it's wildly cluttered and frenetic, an aggressive stylistic mish-mosh packed with lofty lyrics and herky-jerky rhythmic changes, and precious few moments of simplicity or subtle beauty. His songwriting is very earnest and deals with serious subjects -- poverty and global inequality, opportunities lost in life, general spiritual unrest -- but the presentation is forced and unwieldy. I'm sure some folks who feel that "Americana music" is in need of some sort of artistic legitimation will welcome such a hefty effort, but others of us probably just wish he'd been able to pursue these goals more skillfully.

Darrell Scott "A Crooked Road" (Full Lights, 2010)
A 2-CD set...

Darrell Scott "Long Ride Home" (Full Light, 2012)

Darrell Scott & Tim O'Brien "We're Usually A Lot Better Than This" (Full Light, 2012)
Live recordings from 2005 and 2006...

Wayne Scott "This Weary Way" (Full Light Records, 2005)
If you love records with grizzled old men dispensing gruff-yet-tender reflections on the parade of life before them -- road-weary songs from fellas like, oh, say, Johnny Cash or Guy Clark -- then this record is for you. Guy Clark, in fact, is one this record, both as a guest performer and as a co-songwriter, and his influence is keenly felt, echoing in the windswept, dusty, autobiographical feel of many of Scott's songs. The father of Nashville songwriter and indie recording artist Darrell Scott, the elder Mr. Scott has been part of the off-the-radar country scene for decades, playing in honkytonk bars and touring to small venues for years, but this record, made when he was all of 71 years old, is his first album in the "Americana" era. It's a doozy, too, with a nice mournful, poetic feel that all y'all fans of Robert Earl Keen or Kris Kristofferson will probably love. For me, the standout track was "Sundays With My Son," a very Clark-like weeper about an absentee dad whose big regrets include writing songs instead of playing with his kids... But hey, when the songs turn out this nice, I think the world will understand. This album is definitely worth checking out!

Chris Scruggs "Honky Tonkin' Lifestyle" (2003) (CD)
The first album (I think!) from multi-instrumentalist Chris Scruggs, the grandson of Earl Scruggs, son of Gary Scruggs and country singer Gail Davies, and erstwhile member of the BR-549 band.

Chris Scruggs "Tennessee" (2008)
Covers of classic 1940s/'50s country tunes... Available through Chris Scruggs' website.

Chris Scruggs "Anthem" (Cogent Records, 2009)

Chris Sears "Empty Space" (Electric Cactus, 2002)
Decent but underwhelming indiebilly country from San Antonio, Texas... The arrangements are kind of standard-issue; there's some okay pedal steel but nothing too dazzling. Sears also has a modest voice -- at times he reminds me, perhaps, of Dick Feller. A lot of bitter breakup songs here, as well as a few cover tunes ("Ramblin' Man," "Pick Me Up On Your Way Down" and a countryfied cover of the Beatles' "I've Just Seen A Face...") The best, or perhaps the most bizarre, original is "Another Man's Having The Fun," a song about a schnooky guy who foots the bill for his girlfriend's boob job, then has her dump him right away. It's a weird concept, and a weird song -- Dr. Demento fans, are you paying attention?

The Secret Sisters "The Secret Sisters" (Universal-Republic, 2010)
(Produced by Dave Cobb)

The Secret Sisters "Put Your Needle Down" (Universal-Republic, 2014)

David Serby "I Just Don't Go Home" (Harbor Grove, 2006)

David Serby "Another Sleepless Night" (Harbor Grove, 2007)
A strong offering from Southern California alt-honkytonker David Serby, who bursts forth with some first-class, true-blue twang... Tunes like "The Most Reckless Thing," "Nobody Here By That Name" kick off the album, full of energy and a hunger to be heard -- Serby's definitely giving it his all, and the results are pretty impressive. It really starts to gel on the novelty-oriented "It Ain't A Party (Until Something Breaks)," where Serby shows that he's earned the right to wear that big felt hat over that Merle Haggard jawline... In the second half of the album, there's also a hefty dose of Dave Alvin-ish, Blasters-y blues -- I'm less into that style, but he does it well. Folks who like hardcore, lean-boned twang really ought to check this one out. (Check out www.davidserby.com for more info. )

David Serby "Honkytonk And Vine" (Harbor Grove, 2009)
Great record, the third one from this indiebilly hard country rocker from Los Angeles. The album opens on an explosive, rollicking note with "Get It In Gear," a propulsive retro-rock tune worthy of the Blasters or Rockpile in their heydays. Steel-drenched hillbilly twang takes over for the rest of the record, with a bit of Tex-Mex accordion thrown in as well. Each style and each song leaps out at you, in an album packed with concise, masterful gems. Serby seems to be laying claim to the spirit of roots revival that swelled up in L.A. in the 1980s -- nice to hear a new artist taking up the torch and getting it all so right. Word to the wise: this is a great cruising record; take it on your next road trip and turn the volume up high.

The Shants "Beautiful Was The Night" (2011)
Well-crafted, alluring alt-twang from Oakland, California... Some songs drift into drone-rock territory, but most of the record seems in tune with the doleful, Gothic, slow-twang of Richard Buckner and Will Oldham. The Shants build their sound around spooky, sad pedal steel with sparse acoustic backing... If that sounds intriguing, definitely give these folks a try... there's some really nice stuff! (For more info, check out their website, http://theshants.tumblr.com. )

Maia Sharp "Hardly Glamour" (Ares Records, 1997)

Maia Sharp "Maia Sharp" (Concord Records, 2002)
Ooooohhhhhh... I get it....! Maia Sharp is Randy Sharp's daughter...! I remember Randy from when I lived in Fresno and he was a big-fish-in-a-small-pond songwriter-producer who was moving out of town to hit it big in Nashville, or something like that... Ahhhh... I see. That explains a lot. Apparently she's had songs recorded by the Dixie Chicks and others, though her own stuff has been kind of off the radar, saleswise. This is apparently her second album; haven't heard it yet, but when I do, I'll give you an update.

Maia Sharp "Fine Upstanding Citizen" (Koch Music, 2005)
This gal has gotten some good press pegging her as a breakout "Americana" artist, but I'm not buying it... There are some acoustic moments on this disc, but mostly it's pretty rock-oriented, the kind of stuff that gets a big boost when it's included on the soundtrack to some teen-oriented show on broadcast TV, and is in the same general turf as Patty Griffin, Kim Richey or Lisa Loeb. Her voice kinda bugs me, though, and the arrangements are a intrusively loud and formulaic... Doesn't do much for me, though I can see how it would make plenty of other folks hop up for joy... If the rockin' singer-songwriter thing does it for you, you might want to check this out.

Maia Sharp "Eve And The Red Delicious" (Crooked Crown Records, 2006)

Maia Sharp "Echo" (Crooked Crown Records, 2009)
The twang component seems pretty minimal, but it certainly qualifies as "adult alternative," and there's some crossover between the two. Seems more of a Mary-Chapin Carpenter or Aimee Mann kinda thing, although when she pumps up the arrangements on a tune or two, things get kind of Martina McBride-ish. I'm not really sure I should be tracking her work here, though.

Billy Joe Shaver - see artist discography

Rick Shea "The Buffalo Show" (BMP, 1996)

Rick Shea "Shaky Ground" (Burnside, 2000)

Rick Shea "Sawbones" (Burnside, 2000)

Rick Shea & Brantley Kearns "Trouble And Me" (Tres Pescadores, 2002)
A delicious, acoustic-based set of well chosen old-timey and old-school country tunes, ranging from dimly-recalled gems such as Jim Ringer's "Rachel," Mary McCaslin's "San Bernadino Waltz," Harlan Howard's "Trouble and Me," and the gentle hobo anthem "Loafer's Glory." Fiddler Brantley Kearns has one of those great, gruff, grizzled-sounding voices that I love to hear, calling to mind folks like Larry Hosford and U. Utah Phillips. This is an excellent, thoroughly enjoyable album, one that would be easy to miss out on, since indie artists have such a tough time with distribution these days. Dave Alvin, whose band both these guys play in, produced this disc, with a light, inobstrusive touch. Fans of the relaxed style of old 1970s-era alt.country will appreciate this disc: I say snap it up while you still have the chance!

Rick Shea & Patty Booker "Our Shangri-La" (Tres Pescadores, 2003)
(Produced by Rick Shea)
A fun set of hillbillied-out duets that mostly mine a novelty-oriented "You're The Reason Our Kids Are Ugly" terrain, very similar to Melba Montgomery's comedic duets with George Jones and Charlie Louvin or some of the funnier Loretta Lynn-Conway Twitty duets. Booker and Shea come close to lapsing into trailer-park stereotypes, but manage to keep things real, and inject a genuine sense of country pathos into their stories of broken love and underfunded romance. Definitely worth checking out.

Rick Shea "Sweet Bernardine" (Tres Pescadores, 2013)

Bill Sheffield "Journal On A Shelf" (American Roots, 2006)
A robust, rolling acoustic blues set, in the tradition of John Hammond, Leon Redbone and Dave Van Ronk... Sheffield plays with self-assurance, good humor and warmth, and also displays considerable strength as a songwriter, penning all but a couple of these songs. Some are clever reworkings of old, raunchy blues themes, like "Black Bottom," while others are more folkie/confessional and poetic. Of the other tunes, a cover of Tom Waits' "Invitation To The Blues" is well-suited to Sheffield's low, growling vocals... This is a nice record, with rock-solid guitar work and admirable soulfulness and authenticity. Worth checking out!

The Sh*tkickers "Noon's Moonlight" (Big Bender, 2006)
(Produced by James Lott)
This San Jose, California twangcore outfit specializes in predictable drinkin'-and-degeneratin' themes, with song after song with titles like, "Bartles & Jaymes," "Beer 'N' Bacon," "I Need A Bottle," "Rat Farts," etc. The material's nothing new, and the musicianship isn't eye-opening, either... Still, even though the concepts are kinda trite, they do have some funny moments and interesting turns of phrase... I guess if novelty songs are all you're ever gonna do, you'll get a few laughs eventually. Still, I'm not that interested in rockers and hipsters who want to pretend to be lowlifes 'cause they think it's cool or funny - there's only so far you can go with that schtick, and after a while I just get tired of listening to songs that I can't connect to emotionally. These guys are a little funnier and more engaging than numerous bands with similar inclinations, but there's still not much "there" there.

Michelle Shocked "Texas Campfire Takes" (Mighty Sound, 1987/2003)
Well, okay, so maybe she's not exactly an officially sanctioned, bona-fide "alt.country" artist... But then again, why quibble about labels? Shocked was certainly there when the current "Americana" boom was just getting underway, and I've always thought of her as having a strong, positive influence on its growth. This is an interesting set of informal, live performances by this intelligent, unassuming alt-folkie, made at the start of her career, when she was making the rounds of various "women's music" gatherings. Shocked was particularly cool, though, for opting to emulate Woody Guthrie rather than lesbian folk icons such as Tret Fure or Holly Near, who often tended to be a bit dreary and un-fun. These solo acoustic recording aren't completely electrifying, but they are a nice, unpretentious look at her early work. It's especially charming when you hear some truck whiz by on the freeway while she's crooning out a tune... now, that's authenticity!! The new 2-CD edition expands greatly on the original, single-disc set, and has been re-released on Shocked's own Mighty Sound label.

Michelle Shocked "Short Sharp Shocked" (Polygram/Mighty Sound, 1988)

Michelle Shocked "Captain Swing" (Polygram/Mighty Sound, 1989)

Michelle Shocked/Various Artists "Arkansas Traveler" (Mighty Sound, 1991/2004)
An expanded, updated reissue of Shocked's 1991 guest-fest extravaganza. She sure scored as far as the cast of thousands she was able to assemble for this far-reaching project... Roots music luminaries such as The Band, Alison Krauss, Taj Mahal, Doc Watson, Dan Crary and Norman Blake join old-timers like Pops Staples and Jimmy Driftwood (wow... he was still around??), as well as rock bands like The String Cheese Incident, Hothouse Flowers and Uncle Tupelo... Quite a lineup! The album never really catches fire as far as my ears go, though... Dunno exactly why; their hearts all seemed to be in the right place, but there's not a lot of snap, crackle or pop to the songs themselves.

The Shut-Ins "Sing Songs Of Pain And Joy" (Shut-Ins Records, 2003)

The Shut-Ins "A Very Shut-Ins Christmas" (2005)

Sixteen Horsepower "Sixteen Horsepower" (EP) (A&M Records, 1995)

Sixteen Horsepower "Sackcloth & Ashes" (A&M Records, 1996)

Sixteen Horsepower "Low Estate" (A&M Records, 1997)
Although their incorporation of "country" motifs (a plunky banjo on a few tunes, some twangy slide, a sludgey rockabilly-Goth vibe) is relatively more skillful than many altie types, this is ultimately too much of a lofty, I'll-prove-to-you-it's-art rock record for me to get into it... The songs strain for profundity, and are uniformly impenetrable. Too much of a Nick Cave jones, too, and too-warbly vocals. Doesn't do that much for me.

Sixteen Horsepower "Secret South" (Razor & Tie Records, 2000)

Sixteen Horsepower "Hoarse" (Checkered Past Records, 2001)
A live album...

Sixteen Horsepower "Folklore" (Jetset Records, 2002)

Sixteen Horsepower "Olden" (Jetset Records, 2003)
(Produced by 16 Horsepower)

Sixteen Horsepower "Live" (DVD) (Alternative Tentacles, 2006)

Sixteen Horsepower "Live: March, 2001" (Alternative Tentacles, 2008)

Skeeter Pete & The Sullivan Mountain Boys "Skeeter Pete & The Sullivan Mountain Boys" (CD-R) (Bert Records, 2000)
The minute I started listening to this album, I formed an unreasonably strong affection for this sloppy Bay Area bluegrass outfit... In their (deliberately?) clumsy enthusiasm, these fellas demonstrate a complete and raggedy-ass devotion to the old-time spirit of the music, reminiscent of early-'70s stringband revivalists who knew they weren't gonna measure up to old-timers like Bill Monroe, but figured they'd still give it a try anyway. Instead of perfecting their banjo rolls while at jamming for decades at bluegrass festivals, Pete and his crew just plunged headfirst into the deep end of the pool, with a bellyflop here and a cannonball there, covering some classics (including three by Monroe) and writing some brilliant original material as well. Their no-excuses-offered planketty-planketty DIY approach differs sharply from many of the "insurgent country" types out there who all too often replace sincerity with rough edges and gosh-heck hick stereotypes. In contrast, these guys actually have the ability to connect emotionally with their listeners, and work within -- rather than batter against -- the tradition they're clomping around in. The original songs by banjo player Andy Sullivan are real standouts, particularly the mournful but modern lovers-spat song, "Let's Be Good To Each Other", and the genuinely eerie old-style murder ballad, "Don't The Light Nearly Blind You?" (which wouldn't have sounded out of place on the Dead's Cumberland Blues album...) I dunno if this will work for everybody, but I sure thought it was fun.

Elena Skye & The Demolition String Band "One Dog Town" (North Hollow Records, 1999)
(Produced by Greg Garing, Boo Reiners & John Siket)
Scrappy Americana-twang from this Hoboken-based band, who were once a bluegrass act, but have clearly leapt into a wider-ranging, indiebilly twang. Skye's voice doesn't floor me, and the production in general is a bit rough and DIY, but their hearts are definitely in the right place. The album's one gem is "It Still Hurts," a novelty number that fits well into the old honky-tonk tradition; I also enjoyed "Biggest Piece Of Nothin'," and got good feedback for both songs from my listeners, back in the day.

Elena Skye & The Demolition String Band "Like A Prayer" (EP) (North Hollow Records, 1999)
(See also: Demolition String Band.)

The Skylighters "The Skylighters" (Red Beet Records, 2006)
Three members of the alt-country Americana band Last Train Home team up with bluegrasser Jimmy Gaudreau and pedal steel/dobro whiz Mike Auldridge, delivering a sweet, mellow set that recalls cross-genre albums from folks such as John Starling and Carl Jackson. Includes covers of classics by Jim & Jesse and The Louvin Brothers.

Sleepin' Rattlers "Punktry & Western Music" (DIY 'Til We Die, 2012)

Slick Fifty Seven "The Ghost Of Bonnie Parker" (Laughing Outlaw Records, 2002)
Zippy cowpunk with a snotty, Camper Van-ish feel. Didn't ring my bells, but it was okay. The label is Australian, but I think the band is from Texas.

Josh Sloane "Josh Sloane & Coaltown" (Rural Rhythm Records, 2011)
(Produced by Josh Sloane)
A rugged, mid-tempo mix of bluegrass and gruff country ballads... Kentuckian Josh Sloane has a heavy, honky-tonkish voice and the picking isn't full of the usual drag-racing bluegrass breakdowns... Instead, Sloane keeps a mellow, mournful vibe throughout, with a country-tinged sound that might appeal to fans of Jamey Johnson. Other than fiddler Gerald Evans, I didn't recognize any of the musicians backing him up... No complaints from me, though: I'm always happy to see new talent come up, and while this disc isn't packed with blistering solos, it's certainly solid and worth a spin. If you're on the lookout for new bluegrass talent, you might wanna check this guy out.

Slobberbone "Crow Pot Pie" (Select-O-Hits, 1996)

Slobberbone "Barrel Chested" (New West Records, 1997)

Slobberbone "Everything You Thought Was Right Was Wrong Today" (New West Records, 2000)

Slobberbone "Slippage" (New West Records, 2002)
Shame on me for not liking this band just because of their stupid, ugly-sounding name... But, well, what can you do? It's a dumb name. Smart band, though -- this isn't the rowdy, sloppy twangcore you might expect... not exactly. Rather, what we have here is slick, melodic power-pop masquerading as cowpunk, as the band foregoes the acoustic-ish country touches that speckled previous albums, in favor of a more full-frontal electric rock guitar style. The gravel-voiced vocals pay back-handed homage to numerous croony growlers of the neo-Tom Waits school, and while the roughness of the guitars is more exaggerated and louder than need be, I'd have to say this is a pretty skillful mix. A rock music comparison might be to the pop-punk balladeers in the Smoking Popes -- faux ugly vocals distracting us from musical craftsmanship that might otherwise be deemed too "perfect" for the genre... This isn't entirely my cup of tea; I think they're overdoing it a bit, and personally I don't find the record that pleasant to listen to. But if you want something that's rugged but not brainless, this is a pretty good record.

Jeff Smithart "Redneck Proud" (Private Stock Records, 2011)

Chris Smither - see artist discography

The Smokejumpers "Flat Tear It Up!" (Walking Records, 1998)
Old-school cowpunk, with a rowdy, raunchy sense of humor... The pace is a bit relentless, and some of the finer points of the songwriting get lost in the rush to the finish line... Then again, maybe being subtle isn't the point here... Veteran punker and plunker "King Teen" is a pretty strong novelty-song writer, and this disc includes some of his best material, such as "My Baby Thinks She's Betty Page" and "I Don't Wanna Be Friends With You No More" ('cause he wants to jump her bones...) On some songs, he overplays his hand (like "I Love You But You're A Lying Sack Of S**t"), but on balance there's some pretty fun stuff here. Lyrically, the breakneck pace detracts from the songs, while musically it lends cred to the whole punker vibe... Think of old Misfits records being covered by Eddie Cochran, and you'll get a sense of what's in store for you here...

The Smoking Flowers "Sweet As Port" (2008)

The Smoking Flowers "2 Guns" (Bandaloop Records, 2013)
(Produced by Adam Landry)
Scrappy alt-country from Nashville... The husband-wife duo of Scott and Kim Collins are veterans of the Nashville rock scene but here they take on some twang, in a latter-day Emmylou-Gram style, getting less rock and more country as the album progresses. Maybe Victoria Williams and Mark Olson are a better comparison: these songs are dense and odd, not easy to get a handle on at first, but they grow on you with sneaky, unexpectedly potent melodic hooks. Interesting stuff that's worth checking out.

Todd Snider "Songs For The Daily Planet" (Geffen Records, 1994)

Todd Snider "Step Right Up" (Geffen Records, 1996)

Todd Snider "Viva Satellite" (Geffen Records, 1998)

Todd Snider "Happy To Be Here" (Oh Boy Records, 2000)

Todd Snider "New Connection" (Oh Boy Records, 2002)
(produced by R. S. Field)
A very nice, very tuneful set with a strong country touch, reminiscent of the country-and-folk mix perfected by Oh Boy label head John Prine. Amid his own melodic singalong songs, Snider covers one of John Prine's compositions, "Crooked Piece Of Time," with Prine singing harmony, with Kim Richey singing on several other songs. The backing band includes Will Kimbrough on guitars, there's also some nice mandolin, a little organ, some unobtrusive drums... all in all, a good mix around a strong set of material. Snider's political side is mostly on hold in favor of more introspective lyrics and slice-of-life novelty songs, such as his own stonerific "Beer Run" and "Vinyl Records," where he cheerfully namechecks as many groovy roots and pop musicians as possible in the confines of a perfect little 2:30 pop tune. "Statistician's Blues," in which he brilliantly BS's his way through verse after verse ("Sixty-four percent of all the world's statistics are made up right there on the spot/eighty-two-point-four percent of people believe them whether they're accurate statistics or not...") has a slight political edge to it, but it sure is a funny song.

Todd Snider "Near Truths And Hotel Rooms" (Oh Boy Records, 2003)

Todd Snider "East Nashville Skyline" (Oh Boy Records, 2004)
Slipping into a cynicism as deep, profound and sincere as Steve Earle's, comedically-inclined alt-folk troubadour Todd Snider gets a few good ones in, but ultimately may lose a few listeners with the relentlessly depressing nature of this album. Lots of songs about drugs and jails and broken relationships... Where all his anger comes from may be a little mystifying, but you gotta admit he makes pretty good use of it... His rambling anti-censorship song, "Ballad Of The Kingsmen," recounts the presumptive suppression of the Kingsmen's old hit, "Louie Louie" (no one could understand the lyrics, so they must've been wicked...) and laments those who would blame the Columbine school shootings on rock music, rather than ask what the heck is wrong with our kids today... On a similar note, the song "Conservative Christian, Right Wing, Republican, Straight, White, American Males" is an update of the old rednecks-vs.-hippies theme... As ever, Snider has a superb deadpan delivery and a biting wit, but somehow this album seems a bit off... It's just so inherently glum and pessimistic that it never really gets off the ground... Still, it's a sharp, clever and quite personal... possibly the perfect antidote for all the bland, prefab crap out there on the radio dial.

Todd Snider "That Was Me: 1994-1998" (Hip-O/Universal, 2005)
Alt-twang troubadour Todd Snider has put out so many finely crafted acoustic gems in the last few years, it's almost hard to remember the rock edge and attitude he had in his early work. This is a great single-CD overview of his early albums, recorded for MCA-Nashville and its subsidiaries, back in the mid-1990s. Although it came out a little after the fact, his debut single, "Talking Seattle Grunge Rock Blues" (which was sent out to college stations, as I recall...) is still a hilarious skewering of the music industry's lemming-like faddishness... And the scabrous "Alright Guy," which has become an alt-country standard, also still packs a wallop. This is a nice introduction to a sharp-witted wordsmith who has only gotten wittier and more soulful as time's gone by. Worth a spin!

Todd Snider "The Devil You Know" (2006)

Todd Snider "Peace, Love And Anarchy: Rarities, B-Sides And Demos" (Oh Boy Records, 2007)
The lacerating wit of folk-twang smartass Todd Snider is presented in its rawest form in this lively set of demos, outtakes and one-offs... There are several songs about Nashville and its secret society of half-starving songwriters, an ode or two dedicated to the rival Austin scene, and some good, old-fashioned novelty songs such as "Barbie Doll" and "Combover Blues." Some of these songs may be familiar from their finished versions, while some, particularly those with all the dirty words in 'em, never got all that much airplay. (One more reason to pick this one up: half of these songs you will never, ever hear on the radio, due to "objectionable" language...) Pals like Jack Ingram and Peter Holsapple pitch in on a tune or two, but mostly it's Snider's show, and he comes through crystal-clear on the disc's stripped-down acoustic numbers... It's a pretty strong set -- a nice addition to his ouvre; longtime fans will be stoked.

Todd Snider "Live -- Grimey's, Nashville: 10-20-06" (New Door Records, 2007)

Todd Snider "The Devil You Know" (DVD) (New Door Records, 2006)

Todd Snider "Peace Queer" (MRI Records, 2008)
(Produced by Doug Lancio, Eric McConnell & Todd Snider)
At the end of this biting leftie political set, Snider inserts a short spoken message where he explains that he didn't make such an "opinionated" album to try and change anyone's mind, but rather to ease his own. Among the things he tries to work out is the abject failure of the Bush administration and the arrogance of his ideology ("Mission Accomplished") and the persistence of schoolyard bullying ("Is This Thing Working?/Is This Thing On?") Perhaps the album's best moment comes in his slow, off-kilter acoustic cover of Creedence Clearwater Revival's "Fortunate Son," which is a brilliant reworking of a classic political roots-rock anthem. More listenable than you might imagine, this record definitely provides food for thought.

Todd Snider "The Excitement Plan" (Yep Roc Records, 2009)

Todd Snider "That Was Me: 1994-1998" (Hip-O Records/Universal, 2005)
Alt-twang troubadour Todd Snider has put out so many finely crafted acoustic gems in the last few years, it's almost hard to remember the rock edge and attitude he had in his early work. This is a great single-CD overview of his early albums, recorded for MCA-Nashville and its subsidiaries, back in the mid-1990s. Although it came out a little after the fact, his debut single, "Talking Seattle Grunge Rock Blues" (which was sent out to college stations, as I recall...) is still a hilarious skewering of the music industry's lemming-like faddishness... And the scabrous "Alright Guy," which has become an alt-country standard, also still packs a wallop. This is a nice introduction to a sharp-witted wordsmith who has only gotten wittier and more soulful as time's gone by. Worth a spin!

Some Velvet Evening "No Law Against Talking" (Hole-Key Records, 2011)
(Produced by John Holkeboer)
Detroit-area retro-traditionalists John Holk and Carrie Shepard stretch back -- way back -- for their country roots, singing winsome romantic duets in the style of classic acts like Carl Butler & Pearl or the Mosbys, matching brisk, light, melody-oriented acoustic accompaniment with smooth, rich twang. The duo's modern-day lyrics are a little more carnal and less demure than their historical models, but they play the music with respect and affection, albeit with a little wink-wink, nudge-nudge in the delivery. To get a sense of where they're coming from, check out some of the videos on their website, like the one for Shooting The Breeze, which mimics the on-purpose-corny "barnyard" stages of old-school country TV shows like Town Hall Party. Fun stuff!

Son Volt - see artist discography

The South Austin Jug Band "Pickin' & Grinnin' " (?)

The South Austin Jug Band "The South Austin Jug Band" (Blue Corn Records, 2004)
A fine set of funky, raggedy, jam-oriented blues-&-twang from some young'uns on the Austin scene... An enjoyable set filled with original material and heartfelt performances, lively acoustic music with real drive to it, and more earthiness and substance than many likeminded contemporary bands such as the Old Crow Medicine Show, et. al. Songwriter James Hyland, who put out a couple of fine albums on his own a few years back, is a guiding force in this band, but they definitely have the feel of a group of equals, each adding their enthusiasm and skill... If you like folks like Doug Sahm or the Yonder Mountain String Band, you might wanna check this disc out... It's tasty!

The South Austin Jug Band "Dark And Weary World" (Blue Corn Records, 2005)
Another great outing from this dynamic, delightfully eclectic altie-ensemble, seamlessly mixing bluegrass, honkytonk and stringband jazz in a distinctive and delightfully personal style. James Hyland continues to shine, both as a vocalist and songwriter, penning gems such as the fog-blown, evocative road song, "Dark And Weary World," a Steve Earle-ish number that opens the album and sets a very high bar. The rest of the album holds up its end as well, propelled by some of the most lively, enthusiastic picking you're likely to hear for a while, along with a wealth of original material. Bassist Will Dupuy contributes several songs on a more novelty-oriented variety, including "Karma" and "Coon Ass," each with a captivating melodic bounce. On the musical end, fiddler-mandolinist Dennis Ludiker emerges as a guiding force, providing both power and restraint, from the Celtic-flavored, Grismanesque "Overdrivin' The Mic" to the sweet, swinging version of Gershwin's "Lady Be Good." Another well-chosen cover is Bruce Robison's "She Don't Care About Me," revived from a long-lost Kelly Willis EP of years gone by... All in all, the SAJB remain one of the most dynamic, cohesive acoustic swingbilly bands around... and this is another mighty fine album. Recommended!

South Austin Jug Band "Strange Invitation" (SAJB/self-released, 2008)
(Produced by the South Austin Jug Band)
Another nice album from these Texas lads, although you may be surprised at the brash, funky blast of acoustic soul-rock that opens the album on the song "Come To Me." The song is sexy and mellow but far less twangy than the band's earlier stuff. The rest of the album has more of a rock-oriented sheen as well, although the twang is still in there, too. The group's jam-band tendencies have coalesced into a firmer, more directed core, with several songs devoted to showing off various member's picking skills: it almost sounds like an old David Grisman record at times. The songs are both more focussed and more languid, highlighting singer James Hyland's strengths as an intimate, gauzy crooner... He's also become a little self-conscious as a songwriter, though, with lyrics about life on the road and casual hookups in local bars; the themes feel a little forced, although Hyland's delivery is consistently compelling and keep listeners entranced. I still find this group to be one of the most intriguing, promising groups in the contemporary Americana scene and look forward to their future efforts. Album highlights include "Dive Bar" and their canny acoustic cover of Beck's classic "Jack Ass."

Southern Culture On The Skids "Mojo Box" (Yep Roc Records, 2004)
A fine, fun album full of bouncy, hook-heavy retro-rock -- surfabilly, Southern soul, and a smattering of tongue-in-cheek country. The lead track, "Smiley Yeah Yeah Yeah," lets you know where their heads are at on this one: it's a melody-heavy party record that doesn't take itself too seriously, and just lets the good times roll. The de-emphasis on white trash stereotypes and renewed attention to musicianship is most welcome, as far as I'm concerned. Recommended!

Eddie Spaghetti "The Value Of Nothing" (Bloodshot Records, 2013)
A twangy set from bassist/vocalist Eddie Spaghetti, of the rock band the Supersuckers... Apparently alt-country stalwart Jesse Dayton is a collaborator on this one as well...

Split Lip Rayfield "Split Lip Rayfield" (Bloodshot Records, 1998)

Split Lip Rayfield "In The Mud" (Bloodshot Records, 1999)

Split Lip Rayfield "Never Make It Home" (Bloodshot Records, 2001)
Even as a dutiful former son of Lawrence, KS, I didn't have high hopes for this hometown outfit... I guess the dopey bandname kind of put me off. Turns out they're a pretty decent, old-time-ish stringband, along the lines of the early Red Clay Ramblers albums, and their album is surprisingly good. Their material is almost all original, and balances rambunctiousness with a certain fresh approach... Sure, it's a little cluttered and a little forced in the hick schtick department, but far less so than I would have imagined. If you're looking for something new and original in this field, then check these guys out. This isn't the kind of album that sends me into the stratosphere, but I am really curious to find out where they go from here.

Split Lip Rayfield "Should Have Seen It Coming" (Bloodshot Records, 2004)
(Produced by Mike West & Split Lip Rayfield)
One of the finest acoustic twangcore albums of recent vintage... Now, I may be a little biased since these fellas are from my old hometown of Lawrence, Kansas, but really I thought this was an impressive set of tunes. Building from a bluegrassish base of banjo and mandolin, the Rayfield quartet use a scrappy sound to mask their abundant talent (check out that mandolin solo at the end of the title track... that boy can really play!), and leave listeners to concentrate on the lyrics, which turn out to be pretty darn good. Songwriters Wayne Gottstein and Kirk Rundstrom both tilt towards novelty material, but they manage to keep themselves above the lowest-common hick joke standards of the altabilly scene, and on occasion they craft a truly resonant tune or two. Some of the novelty songs are still toss-offs ("C'Mon Get Your Gun," et al) but the performances reveal an intelligence and affection for the style that puts these guys a notch or two above their contemporaries, and indeed, on the album's closer, "Just Like A Gillian Welch Song," they ably lampoon one of the giants of the genre. This may not be a purty-sounding record but it's still pretty good.

Split Lip Rayfield "Should Have Seen It Coming" (Bloodshot Records, 2004)
(Produced by Mike West & Split Lip Rayfield)
Ooops... this one sat on my shelf for so long, looks like I reviewed it twice! Anyway, here's review #2: This is one fine, slam-bang twangcore/speedgrass set, from one of the finest bands currently on the Bloodshot roster. These Kansas fellers bring an injection of new life into the bluegrass scene, giving the stringband sound a punky little goose without sacrificing much in terms of the music -- they write some fine songs and pick pretty well (they're not dazzling, but they ain't bad...) Mainly, it's the songwriting that impresses me. This is an album full of original material, mostly split between guitarist Kirk Rundstrom and mandolin picker Wayne Gottstine, each of whom has his quirks and strengths. Gottstine's "Hundred Dollar Bill," which kicks the album off, is a really nice piece of country songwriting, while I had to check the liner notes to make sure that Rundstrom's "Used To Be" wasn't actually an old Merle Haggard song I'd somehow forgotten about... Seriously, it's that good. There are some lamentable moments that traffic in white trash stereotypes -- "Redneck Tailgate Dream" is thematically dull, and "C'Mon Get Your Gun" isn't much better -- but even these songs are delivered with more skill and depth than is the norm among many twangcore bands. All in all, this is a fine album, definitely worth checking out!

Squirrel Nut Zippers "Hot!" (Mammoth Recordings, 1996)
(Produced by Brian Paulson & Mike Napolitano)

Squirrel Nut Zippers "Sold Out" (EP) (Mammoth Recordings, 1997)
(Produced by Brian Mosher)
A live EP including one track recorded with the Latin dance band Bio Ritmo...

The Stairwell Sisters "Recording No. 2: Feet All Over The Floor" (Yodel-Ay-Hee Records, 2005)
The second album by this SF-Bay Area fivesome is a fine set of squeaky, raspy old-time music with plenty of fiddle, banjo and twang... The songs are a nice mix of older material from the public domain and a half dozen originals written by the band members... These gals -- Lisa Berman on guitar, Martha Hawthorne on bass, Evie Landin on banjo, Stephanie Prausnitz sawing on the fiddle and Sue Sandlin on guitar -- hail from several other local bands and have a nice, relaxed feel as a band. Their new material fits right into the classic old-timey vibe -- if you like your stringband music "crooked" and uncompromised, like, say, Jim & Jennie or the Crooked Jades, this is a fine record to check out... Mighty nice!

Max Stalling "Wide Afternoon" (Blind Nello Records, 2000)

Max Stalling "Comfort In The Curves" (Blind Nello Records, 1999)

Max Stalling "One Of The Ways" (Blind Nello Records, 2002)

Max Stalling "Sell Out: Live At Dan's Silverleaf" (Blind Nello Records, 2006)

Max Stalling "Topaz City" (Blind Nello Records, 2007)
(Produced by R. S. Field)
Folks who love their country music full of pedal steel and slinky, slurred guitars, smoky vocals and well-crafted lyrics should go ga-ga over this latest album by indie-oriented Texan songwriter Max Stalling. The set opens with a pair of mellow, novelty-ish tunes -- "If Only The Good Die Young" and "Never Need To Fall In Love Again" -- that recall the glory years of the 1970s when commercial country and the indie scene intersected: clever yet earthy, they would have fit in nicely on an old Johnny Duncan album, or something by Don Williams. Stalling himself has a laid-back vocal style that falls midway between Merle Haggard and George Strait, and he's easily as soulful and compelling as either of those country icons. Every song on here is an original and every one is a gem -- Stalling is a country singer who apparently can do no wrong. It's the kind of record that I can listen to for weeks on end, and plan to keep around for years to come... You owe it to yourself to check this one out!

Starline Rhythm Boys "Honky Tonk Livin' " (Cow Island Records, 2002)

Starline Rhythm Boys "Better Luck Is A Barroom Away" (Cow Island Records, 2001)

Starline Rhythm Boys "Red's Place" (Cow Island Records, 2007)

Starline Rhythm Boys "Live At Charlie O's World Famous" (Cow Island Records, 2008)

Starline Rhythm Boys "Green Mountain Style" (LP) (Cow Island Records, 2008)
A best-of set that draws on their first three albums...

Tammy Faye Starlite "Used Country Female" (Diesel Only Records, 2003)
A rock-heavy twangcore concept album about a sex-drenched country evangelical gal who likes nooky and drugs as much as she likes going down on her knees to praise the Lord. It opens with a foul-mouthed, sacreligious parody of Rick Springfield's "Surrender," and amplifies the theme with numerous songs such as "Misguided Magdalene," "Highway 69," and the menstrual-themed "Ride The Cotton Pony," as well as cover tunes like the Jules Styne showtune, "I Knew Jesus (Before He Was A Star)" that seem to fit into the album's theme. I think they're aiming for a profane, "Rocky Horror"-ish shock value, and for rebellious listeners recently in the thrall of a Christian education, the transgressive mix of religious and sexual themes may provide a great cathartic thrill. However, if you were already paying attention to the punk and Goth rock revolution of the late '70s and early '80s, you'll probably find all of this pretty old-hat: Wayne County or Diamanda Galas approached a lot of the same issues with much greater artistic impact. For those of us not caught up in Catholic or Evangelical theology, it's all one big shoulder shrug. Also: this isn’t as "country" as one might hope; Tammy and her boys seem to have been having fun, but it doesn't mean a lot to me. I did enjoy her version of Marshall Chapman's "Don't Make Me Pregnant," the only performance that really stands on its own, outside of the context of the album.

Tammy Faye Starlite "On My Knees" (EP) (American Blonde Records, 1999)

The Star Room Boys "Why Do Lonely Men And Woman Want To Break Each Other's Hearts?" (Checkered Past Records, 1999)

The Star Room Boys "This World Just Won't Leave You Alone" (Slewfoot Records, 2002)
(produced by David Barbe & The Star Room Boys)
Bummed-out, traditionalist honky-tonk with pretty good lyrics and strong musicianship. The production is a little thin, but in a good way, as if to say, "hey, we're just real folks who can't afford a big budget... take it or leave it, dude." Songwriter Dave Marr seems to take his craft pretty earnestly; he coasts near the kind of broadly drawn, miserable-ole-me bathos that folks like Rex Hobart take all the way into camp, but I think Marr is serious about his down-in-the-mouth lyrics. At any rate, his John Anderson-y growly vocals are nice, and the band is pretty sharp. Nice to hear a twangy new band that doesn't mire itself in white trash stereotypes... for once!

(Stewart Mann And...) The Statesboro Revue "Stewart Mann And The Statesboro Revue" (2007)

The Statesboro Revue "Different Kind Of Light" (Shalley/Z Records, 2009)

The Statesboro Revue "Ramble On Privilege Creek" (Thirty Tigers Records, 2013)
(Produced by The Statesboro Revue)
Twangy jam-band country soul from this Texas-based band... Lead singer Stewart Mann has kind of a Rod Stewart/Faces thing going on, buoyed by soulful organ and plenty of guitar... Early on there's a heavy Allman Brothers southern rock vibe, but they get looser and more soul-oriented as the album goes on. It's not quite my cup of tea, but it's done well, and I imagine fans of the Black Crowes could really get into this. And of course, I'll bet they're fun live.

Freddy Steady's Wild Country "Lucky 7" (Amazing Records, 1987)
(Produced by Wes McGhee)
Singer-drummer Freddy Krc, aka Freddy Steady, leads an Austin-based alt-twang band packed with British ex-pats such as steel player B. J. Cole, fiddler Bob Loveday, guitarist Wes McGhee, Geraint Watkins on accordion, and Rory McLeod blowing harp, a group gathered under the name the Wild Countrymen. Krc was a Lone Star native who led the power-pop/garage band The Explosives in the 1970s (and a bunch of other bands since then) and has worked extensively as a session player for a variety of headliners... This was his first country-oriented solo album, a friendly affair with healthy undercurrents of power-pop and bluesy, boozy bar-band rock... He's one of those gangly-voiced but cheerfully DIY indie artists -- maybe these aren't the most electrifying performances ever, but I don't think that was the point... This is a nice, unpretentious album documenting the laid-back, good-time sound of the late-'80s Austin twang sound, in this case with a pretty interesting cast of characters. Worth checking out, for sure. (Note: the CD reissue includes four bonus tracks not on the original LP.)

Freddy Steady's Wild Country "Ten Dollar Gun" (Steady Boy Records, 2008)

The Steel Drivers "Reckless" (Rounder Records, 2010)
Well, hot diggety! Here, at last, is something new under the sun. Bluegrass crossovers have taken a few, very well-defined forms over the last few years: the poetic "progressive" folk-fusions of the early 1970s, the spacegrass jazz of David Grisman and his followers, the flowery adult pop of Alison Krauss, and most recently the occasional banjo twinkle on a Nashville single or two. But these guys have come up with something new, a real mix of hardcore bluegrass and greasy, Southern roots music. Backed by a powerful but subtle band, lead singer Chris Stapleton pushes the boundary with gritty, impassioned vocals that bring Travis Tritt to mind, just without the swagger, or Danny Barnes without the hipster irony. The band runs a gamut of styles: there's the rompy-stompy rowdy side with "Guitars, Whiskey, Guns And Knives," and "Good Corn Liquor," as well as some straightforward high lonesome truegrass, as well as the yearning, rueful old-geezer ballad, "Where Rainbows Never Die." The album's brightest gem, though -- and a real surprise given what seems like a redneck-y tilt to the record -- is the stunning "Can You Run," an evocative historical ballad sung in the first person from the point of view of a Southern slave planning his escape during the chaos of the Civil War. Not just his escape, but his return to the South, coming back as a Union soldier to reclaim his freedom and his pride. The song is perfectly crafted and completely haunting: I had it ringing 'round in my head for several weeks. Unfortunately, Mr. Stapleton is said to have left the band after this album was completed, but if this record is a indication of what he (and they) are capable of, I'm sure there's more good stuff to come. Anyway, if you're looking for something that really puts a new twist on a traditional sound, you'll definitely want to check this one out.

The Stone River Boys "Love On The Dial" (Memphis, 2010)
(Produced by Dave Gonzales)
Sort of an all-star Americana set, with Dave Gonzales of the Hacienda Brothers, along with songwriter Mike Barfield and superpicker Dave Biller, as well as fellow Hacienda bro Hank Maninger, Scott Esbeck of Los Straitjackets, and a bunch of their pals, on a wide-ranging, good-natured set. These are some of the same guys who worked on the final Hacienda Brothers album, after the passing away of Chris Gaffney. To be honest, I didn't care much for the vocals, but the songwriting and musicianship are top-notch. Particularly striking are songs like "Can I Change My Mind" and "Lover's Prison," which have the delicious feel of off-the-radar commercial country novelty songs of the early 1970s, a feeling that is greatly enhanced by the liberal use of the baritone guitar, that goofy, rumbling bass-like twang that was such a big part of country radio in the Billy Sherrill era. Clearly these fellas had a lot of fun making this record, and you might have fun with it, too!

Mark Stuart & The Bastard Sons "Bend In The Road" (Dualtone Records, 2009)

Dave Stuckey & The Rhythm Gang "Get A Load Of This" (HighTone Records, 2000)
I always suspected that Dave was the brains behind the late, great Dave & Deke Combo, and that Deke just had the looks... Now, with the release of Dave's first solo album, my suspicions are confirmed. This is a flat-out awesome ton of fun -- Dave Stuckey playing upbeat western swingabilly along with a passel of hot-shot pickers from Austin and surrounding environs. Among the musicians pitching in on here are the picker's pickers, Biller & Wakefield, Whit Smith and Elana Fremerman of the Hot Club of Cowtown, and several other Gang members of equal note. The best part, though, is Dave himself. Half the songs on here are his originals, but they're so true to the style that you'd easily believe they were written back in the '40s and '50s, along with the oldies by Boudeleux Bryant, Benny Goodman and Harold Hensley. Stuckey is a for-real scholar of authentic, old-time, smirk-while-you're-singin' countrybilly music, and he stands heads above many other would-be retro-novelty singers, in his depth of knowledge, his excellent comic timing and feel for the material. (Plus, as a big Decca Records fan, I really dig the album art!) If you dug the Combo, you gotta check this album out.

Trent Summar & The New Row Mob "Trent Summar & The New Row Mob" (VFR Records, 2000)

Trent Summar & The New Row Mob "Live At 12th & Porter" (DCN Records, 2003)

Trent Summar & The New Row Mob "Horseshoes And Hand Grenades" (Palo Duro Records, 2006)
Yeahhhhhh!! Let's hear it for the dark underbelly of Nashville! Songwriter Trent Summar is doin' fine for himself as a Music City songsmith (you might recognize his Steve Earle-styled rebel anthem, "Guys Like Me," from its earlier incarnation on a Gary Allan album...) but he's also one helluva alt-ish hard country artist all on his own. This is a flat-out awesome, smokin' set of hard-edged, cheerfully rowdy, rollicking material, from the twangy title track, to the power-chord, Southern Rock heaviness of "She Knows What To Do," kind of the guys-eye view of the Gretchen Wilson schtick. One song stands out as a potential Top 40 smash: "Supposed To Do" is a mournful, shimmering ballad about all the things that add up, in their little way, to a broken heart: the truck that took her away, etc., and while I could easily see any number of Nashville stars taking this one on, Summar's own vocals are perfect on this tune... In a just world, a song like this should sail to the top. Other highlights include "Really Never Loved Her Anyway" (another fine novelty song) and "Girl From Tennessee," which extols the virtues of the local gals, and is a fine tune, despite strong thematic (and structural) similarities to Willis Alan Ramsey's "Northwest Texas Women..." The only weak note on the entire album is Summar's cowpunky rave-up on his cover of the George Jones oldie, "He Stopped Loving Her Today," but one dubious tune stacked up against ten winners ain't a bad ratio. This disc is highly recommended.

Los Super Seven "Heard It On The X" (Telarc Records, 2005)
In its original incarnation, Los Super Seven presented a gleeful pastiche of Latin American musical styles, spanning the Americas, North and South, and exemplified the wide range of cultural expression Latino culture has wrought. In this third disc, the amorphous Super Siete project has considerably narrowed its focus, honing in on the roadhouse blues of the Southwestern United States, and even more specifically on the Texas roots-rock sound. The guys from Los Lobos have bowed out (for now), but Joe Ely, Freddy Fender and Rick Trevino are holdovers from the first album, joined by Rodney Crowell, John Hiatt and Lyle Lovett, alt-country old-timers who have little chance to demonstrate their well-documented affinity for Tex-Mex music, as this disc tends towards the thumpy and muscular end of the musical spectrum. I, for one, miss the old band's emphasis on softer, bolero-style music, as well the more distinctly Latin touch that seems to have been set aside this time around... I'm sure this album will find an enthusiastic and welcoming reception among the more blues-and-rock oriented wing of the Americana audience, though others may find it a bit heavy-handed.

Sunny Sweeney "Heartbreaker's Hall Of Fame" (Self-Released, 2006)
God bless Texas! That little state has got more real country music in its little finger than the rest of the country has in its collective craw. Newcomer Sunny Sweeney is the latest example of the Lone Star State's amazing ability to produce the sort of super-twangy, super-indie honkytonk that makes folks like me look forward to tapping our toes and drinking our beers for year to come. Possessed of a squeaky little rasp that seems equal parts Tanya Tucker and Iris Dement, Sweeney sings with true conviction and pure delight, infusing each song with sincere emotion and a swinging sense of fun. Her band twangs along at a rapid-fire clip, slathering on sweet fiddle, pedal steel and bouncy guitar -- all pure catnip for the hard-country crowd. The song selection can't be beat, either, ranging from several great Sweeney originals to a pair of Jim Lauderdale tunes, a cover of Lacy J. Dalton's ode to Nashville, "16th Avenue," and a version of Iris Dement's "Mama's Opry" that's so achingly sincere, you'll find it hard to believe Sweeney didn't write it herself. Lauderdale makes an appearance himself, singing a fine duet on Keith Sykes' "Lavender Blue," while fiddler Bobby Flores -- a longtime indie-Texas stalwart -- helps anchor the band. All in all, a really nice record and a kickass debut that should set Sweeney on the path to win a much wider audience. Recommended! (See her website for more info: www.sunnysweeney.com )

Swingin' Doors "Unhinged" (Self-released, 1995)
City slickers from San Francisco's Mission District doing their darnest to keep it country. Not that this disc is even remotely still in print, but it does have one great song, the alcohol-infused "So Pretty, So Fast", which has a pleasantly singable spin on the whole "The Girls All Get Prettier At Closing Time" theme. Perhaps, someday when we assemble the perfect Bay Area twang collection, we can put that song in the set.

Jesse Sykes & The Sweet Hereafter "Reckess Burning" (Self-Released, 2002)

Jesse Sykes & The Sweet Hereafter "Oh, My Sweet Girl" (Barsuk Records, 2004)
On her debut album, Seattle's Jesse Sykes proved herself an able re-interpreter of the folk-country tradition, crafting unusual, alluring acoustic-based numbers that nodded towards an indie-rock background, but held their own on the playing field of acousto-crossover music. On her second record, Sykes delves more explicitly into rock music, with leisurely, deliberate electric guitar lines that snake through her allusive lyrics, and some of the most beautiful vocals and baffling lyrics you're likely to hear for some time. Sykes has set herself squarely in the firmament of mature, mysterious artists such as Beth Orton and Elliott Smith, singers whose melodies and songwriting will echo seductively in your mind, even if their allusive interior monologues prove impenetrable to the outside world. This is an album filled with one gorgeous song after another. The meandering words draw you in, even if their meaning slips away faster than your apprehension, and Sykes herself has taken on a new gravitas as a singer, echoing the soulful depth of England's June Tabor or the incandescence of Sinead O'Connor. Sorry if I'm being too effusive, but this is a record that will stick with you for years to come, a disc you have to live with and love, an album that will change its appearance each time you listen to it, like a plain-looking river rock that becomes opalescent when wet. And, yes, the country elements are still in there -- seems like everybody in indieland loves the pedal steel these days; albums like this represent the highwater mark of its appropriation. This is a really nice record, well worth checking out.

Jesse Sykes & The Sweet Hereafter "Like, Love, Lust & the Open Halls Of The Soul" (Barsuk Records, 2007)

Keith Sykes "Let It Roll" (Fat Pete Records, 2006)
A songwriter's songwriter, Keith Sykes straps on an electric geetar and fires it up with a full band, getting into a big, Muscle Shoals-y, roots-soul groove. I found that the muscularity of the arrangements frequently pulled me away from the lyrics, which was unfortunate, since Sykes's sly, Rodney Crowell-ish vocals sound pretty swell. But folks who are into the rock-tinged work of alt-twangsters such as Robert Earl Keen, Radney Foster and Gurf Morlix will find a kindred spirit here. For those of us who like simpler stuff, his stripped-down version of Richard Leigh's sly barroom ballad, "What Are We Waiting For," will be an album highlight. Nice to hear a '70s old-timer still kickin' up some dust and causing a ruckus.

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Hick Music Index

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