The Waco Brothers "...To The Last Dead Cowboy" (Bloodshot Records, 1994)
The Waco Brothers -- comprised of Mekons frontman Jon Langford and veterans of various Chicago industrial and rock bands -- almost singlehandedly brought cowpunk back to life in the mid-'90s. Their first album was a nice hot blast from the forges of twangcore, mixing feedback with leftie politics. The next couple of albums wore the formula thin, though, and seem a bit obsessed with the idea and seemingly rowdy image of "insurgent country," at the expense of the music itself. This is their first album, and the best one to check out.

The Waco Brothers "Cowboy In Flames" (Bloodshot Records, 1997)

The Waco Brothers "Do You Think About Me?" (Bloodshot Records, 1997)
The album opens with a raunchy blues-rock worthy of early-'70s Faces or Humble Pie, then the Wacos slide into some typically incoherent political posturing ("Revolution Blues"), more upbeat rock stuff, and even a nice country tune or two ("Arizona Rose") and a bunch of stuff that vaguely hearkens back to Johnny Cash. Mostly I think of these guys as a band that would be fun to go see in a small club, and sing along to as you get sloshed on beer and go "Whoooooooooooooo-Hoooooooooo!!!!" then bump drunkenly into and spill beer on some crabby quiet guy in the back (me) and then yell "Whoooooooooooooo-Hoooooooooo!!!!" again, and run back up to the front of the stage. To be fair, I've never actually been to a Waco Brothers show, but partly that's because I never got all that excited about their records. I mean, they're okay and all, and I can totally understand -- "Whoooooooooooooo-Hoooooooooo!!!!" -- why people get into them, but it just doesn't do much for me. The presentation is so, um, contrived and so showy, and the rock elements so frequently piercing and shrill that I just don't find most of their music that much fun to listen to. Be great to get drunk to, though. Though I don't do that, either. Oh, well.

The Waco Brothers "WacoWorld" (Bloodshot Records, 1999)

The Waco Brothers "Electric Waco Chair" (Bloodshot Records, 2000)
Oh, I guess the more melodic rockin' stuff is okay... But mostly I find Jon Langford's lyrics to be so stilted and dense that if the band slacks on the driving rhythms for even a second, my attention instantly starts to wander. Intellectually, I can tell myself, oh, but look at all the layers to be peeled back -- maybe I won't get it the first time around, but then different things will come out and become apparent... Etc., etc. But I'm a busy man, why listen to music I find difficult and unappealing just because the band has so much integrity, or whatever you wanna call it? I'm just not into Langford's schtick... so sue me. At any rate, this is one of their more "rock" records, and if the punkish, post-ish thing still appeals to you, this disc might get you all excited. I thought it was kinda boring, though.

The Waco Brothers "New Deal" (Bloodshot Records, 2002)
This is probably the strongest Wacos album to date... The melodies are strong and well-defined, the lyrics don't seem as forced as they usually do, and the country and rock elements are well integrated, with the shrill side of their raspier side of their rock vibe held in check for once... It's actually a pretty fun record to listen to! Recommended.

The Waco Brothers "Waco Express: Live & Kickin' At Schuba's Tavern" (Bloodshot Records, 2008)
The Waco Brothers -- the very heart and soul of punk-meets-country twangcore -- gallumph their way through a jovial, uninhibited live set, wearing their rowdiness and politics on their beer-soaked sleeves. Picking some of their favorite songs (and fan favorites as well!) off of their last seven albums, the Wacos choose levity over stridency -- the social conscience is there, but it's not super-scoldy this time around. This disc is a party, and from the whoops and cheers coming back from the fans, it seems a good time was had by all.

The Wagoneers "Good Fortune" (A&M Records, 1989)

The Wagoneers "Stout And High" (A&M Records, 1990)

The Wags "Livin' The High Life" (Solana Records, 1997)
Not quite a twangcore record, this upbeat album is three parts blues, one part country, one part rock, with a dash of nice songwriting on the side. Recommended!

The Wags "Headin' Down To Henry's" (A Fish Family Album, 1999)
(Produced by The Wags & Christopher Kay)
Like their first album, this is heavy on the old style, acoustic-based hokum blues (them's dirty songs, in case ya didn't know...) Oh, don't worry -- it's nothing to hide from the kids, just a little innuendo about "rubbing that thing," and stuff like that. The production touch is lighter this time around, and the performances are getting a bit self-consciously clever, but it's still charming and fun. Recommended!

The Wailin' Jennys "40 Days" (Red House Records, 2004)

The Wailin' Jennys "Firecracker" (Red House Records, 2006)

The Wailin' Jennys "Live At The Mauch Chunk Opera House" (Red House Records, 2009)

The Wailin' Jennys "Bright Morning Stars" (Red House Records, 2011)

Loudon Wainwright III - see artist discography

Kelsey Waldon "Dirty Hands Dirty Feet" (2007)

Kelsey Waldon "The Gold Mine" (Kelsey Waldon, 2014)
(Produced by Michael Rinne)

Jerry Jeff Walker - see artist discography

Seth Walker "Leap Of Faith" (Hyena Records, 2009)
(Produced by Gary Nicholson)
A joyful, playful dip into uptempo, good-time blues and old-fashioned R&B, all with a distinctive roots-music twist. Walker reminds me of some of the better 1970s-era white blues-twang practitioners, folks such as George Gritzbach or Mose Allison... He "gets" the blues, and celebrates the style, while giving it a knowing nudge, making it imperfect, exuberant and fun, and not simply an exercise in a musical wax museum. This is a fun record, one that will bring back a nostalgic vibe for grey and grizzled roots music fans, and hope for the young'uns that they'll have some happy memories someday, too. Give 'er a spin!

Seth Walker "Time Can Change" (Self-Released, 2011)

Chris Wall "Honky Tonk Heart" (Rykodisc, 1990)
(Produced by Pat Colgan)
The debut album from this indie cowpoke... On the opening tracks he sounds a lot like Merle Haggard, both in his tone and his topics, with odes to ramblers and rodeo riders, windswept hearts and loves lost on dusty backroads and in smoky barrooms. Wall has an obvious love of old-fashioned country songwriting -- he comes up with some great lines and novelty numbers such as "I Wish John Stetson Made A Heart," and "It Sure Is Smokey In Here" (where the singer says he isn't crying, he's just got a little smoke in his eyes...) Admittedly, Wall isn't always in top form on his vocals; this album definitely has the feel of an indie effort, with a few cracks and creaks showing here and there, but for some of us that's part of the charm. The disc closes with a real good ole boy anthem, an ode to all real, red-blooded gun owners, "Something To Shoot." You can see why Jerry Jeff Walker was one of this guy's biggest fans: this is a nice slice of wiseass Texas twang.

Chris Wall "No Sweat" (Rykodisc, 1991)

Chris Wall "Cowboy Nation" (BDC Records, 1997)

Chris Wall "Another Saturday Night In Texas" (Cold Spring Records, 1998)
A live album, with guest appearances from Bruce Robison, Dale Watson, Kelly Willis, and others...

Chris Wall "Tainted Angel" (Cold Spring Records, 1998)
With musical assist by the band, Reckless Kelly...

Chris Wall "Just Another Place" (Cold Spring Records, 2003)

Roger Wallace "Hillbilly Heights" (Texas Round-Up, 1999)
(Produced by Roger Wallace, Jim Stringer & John Harvey)
A strong set of self-penned honkytonk originals (with a few well-chosen covers) ringing with fiddle, pedal steel and thumping drums... Wallace starts out sounding like Alan Jackson, but gradually settles into a more Merle Haggard-y, western swing-tinged mode, which is fine by me. Most of the players on here are unfamiliar to me, although it's worth noting that Justin Trevino and Teri Joyce chip in with harmony vocals, and Elana Fremmerman (of the Hot Club Of Cowtown) plays fiddle on some tracks. Nice stuff - definitely worth checking out!

Roger Wallace "That Kind Of Lonely" (Texas Round-Up, 2001)

Roger Wallace "The Lowdown" (Texas Music Group, 2002)

Don Walser "Texas Souvenir" (1992)

Don Walser "Rolling Stone From Texas" (Texas Music Group, 1994)

Don Walser "The Archive Series, v.1" (Watermelon Records, 1995)

Don Walser "The Archive Series, v.2" (Watermelon Records, 1995)

Don Walser "Texas Top Hand" (Watermelon Records, 1996)
(Produced by Ray Benson)
Aw, jeez... I dunno. I mean, yeah, it's cool that he picks such great old songs to sing -- stuff like "Weary Blues From Waiting," "Divorce Me C.O.D.," etc. -- but I keep getting hung up on the one little detail that he has so much trouble with actually, well... singing them... Sorry to be such a killjoy. I tried to like it... honest, I did! Asleep At The Wheel's head honcho Ray Benson produced and plays on the album, along with a bunch of fine pickers, including old-timers like fiddle whiz Johnny Gimble and steel player Lucky Oceans...

Don Walser "Down At The Sky-Vu Drive In" (Watermelon Records, 1998)

Don Walser "Here's To Country Music" (Sire Records, 1999)
This, also, was one of the records that turned me around a little on the whole Walser phenomenon... Here Walser covers some of his favorite old classics, material by the likes of Floyd Tillman, Hank Thompson and Red Foley... so if nothing else, ya gotta give the guy credit for having good taste. The great thing is, he also doesn't muck it up; with stronger, smoother arrangements and a fair amount of restraint, he sounds pretty darn good on this disc. I'm not saying it's a truly great, undying work of art or anything, but it is kinda appealing. Worth checking out, especially if you're already a fan.

Don Walser "I'll Hold You In My Heart" (Valley Records, 2000)

Don Walser "Dare To Dream: The Best Of Don Walser" (Texas Music Group, 2002)
In terms of "Americana" indie-cred, listening to Don Walser has always seemed like something of an emperor's new clothes kinda deal to me. Folks from Texas (and folks who go down to Texas) revere Walser as a fatherly figure, a forerunner of the current country DIY crowd. He's a jovial old-timer who's been around for decades, humbly yodeling at countless festivals, fairs and tiny local venues... That's all very well and good, except that I when I listen to his records, I have this persistent little voice in my head that wants to yell aloud, "Good lord! Can't any of you people tell that this guy can hardly sing in tune?!?!?" I've always suspected that, beyond Walser's iconic local status, there was a trace of Mrs. Miller/Wesley Willis wink-wink, nudge-nudge going on within his youthful cult... but I could be wrong; it could just be sincere affection for a really nice guy who's stuck to his personal muse for all these years, without ever really getting a chance to make big bucks. This current collection highlights Walser at both his best and his worst... His version of "Danny Boy" is simply excruciating, likewise his rendition of "Rose Marie," cut with the avant-y Kronos Quartet. Other tracks are okay, though -- in general, the more country he sings, and the stronger his musical backup, the better. But when the guy tries to croon... look out! Probably the one real revelation on this album is an early, 1964 recording of a markedly youthful Walser yelping away with his old band, the Texas Plainsmen... Now, back then he could hold a tune. Final report: faithful fans will be happy as clams, the rest of us may wish to be wary.

Don Walser "Texas Legend" (Varese Sarabande, 2006)

Don Walser "Live On the Air! The Texas Plainsmen With Yodelin' Donnie Walser" (Walser Archive Recordings, 2007)

Hank Wangford - see artist discography

Monte Warden "Monte Warden" (Watermelon Records, 1994)

Monte Warden "Here I Am" (Asylum Records, 1995)

Monte Warden "A Stranger To Me Now" (Asylum Records, 1999)
A super-slick roots-pop outing from a former member of the much-beloved Austin group, the Wagoneers, packed with lots of ringing, bright-toned guitars and a truckload of studio-produced harmony and vaguely Roy Orbison-y vocals. Honestly, this is just too smooth for me; it's in the same general range as the Mavericks or even the Smithereens, but somehow Warden lacks the oomph to make it all work. Oh, well. Then again, judging from reviews I've read elsewhere, plenty of other folks seem to love this album... so take what I say with a grain of salt.

Abigail Washburn "City Of Refuge" (Rounder Records, 2011)
(Produced by Tucker Martine)
It's kind of hard to get a handle on this one... Banjoist Abgail Washburn, formerly a member of the innovative old-timey band Uncle Earl, has made an abrupt departure from her twangy roots, with this densely-layered folk-fusion outing. The tone is more what I might characterize as Lilith Fair-ish introspective fare, rather than the "indie" pop that others have mentioned. The songs are sort of free-flowing and (to my ears) amorphous - as I say, I couldn't quite get a handle on it, and other than the traditional gospel numbers that close the album out, I would be hard-pressed to tell you what most of the songs were about. Although this didn't really grab me, I'm sure it will be like catnip for some folks - and Washburn is certainly to be applauded for trying something new and breaking out of her old patterns (even if those old patterns had resulted in several very fine records leading up to this one...) Certainly a change of pace... try it for yourself and see what you think.

Sneezy Waters & The Excellent Band "You've Got Sawdust On The Floor Of Your Heart" (Sneezy Waters, 1978)
(Produced by Sneezy Waters & Ted Gerow)
Canadian singer-songwriter Peter Hodgson took on the stage name of Sneezy Waters in the early 1970s, after playing in rock bands for several years and busking on the streets of Ottawa... He's best known for his role in the stage play "Hank Williams: The Show He Never Gave," where he portrayed Hank Sr. giving the fabled New Year's Eve show that never happened... Here, on his first solo album, Waters delivers a truly odd and unruly selection of hippie-era indie twang, with a strong folkie tendency, some honky-tonk parodies and a smidgen of soft, fusion-y jazz. His voice isn't particularly appealing -- whether because of his own limitation, or because he was parodying the genre, I'm not sure -- but some of the songs are curiously resonant, particularly on the album's second side. The title track, a hard-country novelty song, is kind of fun... Not sure I'd really recommend this one, but if you're digging deep into '70s alt-country, you might want to check it out.

Sneezy Waters "Sings Hank Williams" (Borealis Records, 1981/1999)
Hey, I've never heard of him, either, but this is kind of a fun amateur-hour countrifying... Sneezy doesn't have the world's most amazing voice, but he has a friendly tone, and seems to be enjoying himself on these relaxed, rollicking renditions of a dozen old Hank, Sr. tunes, with a fine band backing him up. Originally released in 1981. Enjoyable!

Geraint Watkins "Dial 'W' For Watkins" (Yep Roc, 2004)
Solo stuff from Nick Lowe's longtime bandmate... This album starts off on a bad foot, with Watkins indulging in a little bit of would-be trip-hoppism, but then it gets on more solid footing when he delves into more natural-sounding, bluesy, roots-rockish material... Very much along the lines of Long John Baldry, J.J. Cale, Mark Knopfler and the like... Nick Lowe plays on a few tunes, but it's mostly Watkins' show, as far as you can hear...

Sara Watkins - see artist discography

Sean Watkins - see artist discography

Aaron Watson "Aaron Watson" (2000)
I'm still trying to track this one down... but his other albums (see below) rocked my world.

Aaron Watson "A Texas Cafe" (Big Label Records, 2001)

Aaron Watson "Shut Up And Dance" (2002)
Abilene, Texas hard-country honkytonker Aaron Watson is definitely one of those "where have they been hiding this guy?" kinda artists... Every song on this album leaps out at you, wrassles you to the ground and pins your ears back -- it's independent country music so good you'll have to holler uncle before you can get back up. Watson really hits the right tone -- he's not too serious, but it's also not a joke. This is real, good, old-fashioned novelty-song country, with an impressive set of originals written by Watson, and performed with liveliness and enthusiasm by musicians who were obviously paying attention and "into" what they were doing. Recommended!

Aaron Watson "The Honky Tonk Kid" (Sonnet Records, 2004)
One of the best of the post-millennial crop of Texas indiebilly, "red dirt" artists, Aaron Watson has got it all going in the right direction: strong songwriting, a kickass band, a great sound and all the right friends. Watson wrote or co-wrote all of the songs on this fine, fast-paced album, and with pals like Asleep At The Wheel, Willie Nelson and Dale Watson to help out, you know he's not messing around. The opening tracks are staunchly twanged-out hard country honkytonkers, with Watson wearing his rootsiness on his sleeve... He can be forgiven for trying his hand at more commercial-sounding fare on the album's third track, "Wild And Reckless," particularly since he does the Nashville-ish stuff well enough that I could see him breaking through (if the stars were properly aligned, etc...) After that tune, however, it's back to the real deal, with twangy tunes and punchy performances that echo old-timers like Alvin Crow, Red Steagall and -- at times -- good ol' Moe Bandy. It's an impresive set, one of the most enjoyable hard-country albums I've heard in a while!

Aaron Watson "Live At The Texas Music Hall Of Fame" (Sonnet Records, 2005)
As a recent convert to Aaron Watson's work, I was kind of disappointed by this loud live set, where his strengths as a superior honktonk singer are pretty much buried under an avalanche of piercing, overly aggressive guitars and tough-guy poses. I mean, I'm sure there are plenty of folks who'll dig the whoo-hoo rowdiness of this set, but it just seemed kind of shrill and bombastic to me, and nowhere near as great as his last couple of studio albums. Still, Watson's got talent to burn, and if he makes it into the big time and moves to Nashville (which certainly could happen), then this'll be his "Live At Billy Bob's" disc, a chunky, roughneck record that'll prove that he was a real live badass back in the day. It's kind of like getting hit in the head with a hammer... but that's probably the idea anyway. So if you like hardcore barband country, ya might want to check this album out.

Aaron Watson "San Angelo" (Sonnet Records, 2006)

Aaron Watson "Angels & Outlaws" (Big Label Records/Thirty Tigers, 2008)
(Produced by Ray Benson, Sam Seifert & Aaron Watson)
Watson, a powerful voice for Texas twang, takes an interesting turn on this album... He's still pretty twangy, but he also sounds quite a bit like Nashville neo-trad star Brad Paisley -- faster tempo, more overtly novelty material, and a more jittery electric guitar style, with lots of rock-tinged leads that sort of crowd out the sweeter sounds of the fiddle and steel. The more forceful approach works fine: if you like Paisley's work, you should dig this as well. Fans who were into Watson's brand of traditionalism may miss the richer honky-tonk vibe, but if it works to bend Nashville's ear and get Watson in the door, it oughta be worth it. I'm not sure how much this album reflects his original vision, but it's a solid set nonetheless. Definitely worth a spin.

Dale Watson - see artist discography

Way Out West "Dancin' With My Feet Off The Ground" (Wholly Cow Music, 1986) (LP)
(Produced by Way Out West)
Newgrass instrumentalist Joe Craven anchored this Sacramento-based trio, accompanied by vocalist Tracy Walton and guitarist Bill Edwards along with guest performer Todd Phillips on bass, a lively, enthusiastic crew delivering a string-swing revival album with sprightly covers of hillbilly and pop oldies such as "Barnyard Boogie," "Fever," "I'm Satisfied With You" and "In The Pines." Songs are often given creative arrangements that remind me a bit of the goofball swing of Bay Area avant-a capella group The Bobs (who were big at the time.) They also cover "Minor Swing," one of the old Django Reinhardt/Stephane Grappelli swing instrumentals that had become a newgrass standard, via the David Grisman band. This album didn't quite click with me -- a little too perky and quirky -- but it's certainly worth checking out, particularly if you're a Joe Craven fan, or appreciate the retro-swing recordings of folks such as David Grisman or Bucky Pizzarelli.

The Waybacks "Loaded" (Compass Records, 2008)
(Produced by Byron House)
Eclectic Americana, with a decidedly accessible, melodic touch. This San Francisco-based band cheerfully gallumpfs along from folky twang and lighthearted honkytonk to acoustic retro-swing and bouncy, Waterboys-ish Celtic singalongs. The reedy vocals of James Nash and Warren Hood might not be to everyone's liking, but they project both lightheartedness and commitment to the material, and certainly makes them a comfortable fit for the Dreadful Grate/jamband scene that has embraced them... There are a couple of tunes here that don't wear well (the electric hippie blues of "Lowdown," for example...) but on the whole this is an admirably diverse, consistently engaging set. You may find yourself pausing, as I did, during various songs both to admire the performance and to think, wow -- how did we get from there to here...?! Definitely worth a spin; I imagine they have a pretty strong following at their live shows.

Dallas Wayne "Big Thinkin' " (Hightone Records, 2000)
A nice big jolt of old-fashioned rednecky honkytonk, packed with songs about the virtues of heartbreak and heavy drinking, and a pro-country anthem or two. All the songs are written or co-written by alt-country firebrand Robbie Fulks, who also plays on and produced this album. Missourian Dallas Wayne has the perfect voice for belting out Fulks' neotrad anthems, a sort of a George Jones-y growl that just won't quit. He's also got a convincing air of danger about him, like this isn't a guy you'd like to piss off some night down at the local bar. Plus, Fulks turns in his best set of songs since his debut album in 1996... Moe Bandy would be proud of both these boys.

Dallas Wayne "The Invisible Man" (Texicali Records, 2001)

Dallas Wayne "Here I Am In Dallas" (Hightone Records, 2001)
This time around, Wayne gets the full-on HighTone studio treatment, with a big, rich-sounding, pedal steel-heavy mix that's reminiscent of the best MCA albums of the mid-'70s... The material's still great, too -- plenty of great hard-drinking hillbilly novelty songs, and even a cover of Hank, Jr.'s "Here I Am In Dallas"... A really solid sound, at times perhaps a little too dense for the lyrics to come through, but satisfying nonetheless... Recommended!

Dallas Wayne "I'm Your Biggest Fan" (Koch Music, 2004)
Honkytonk songwriter Dallas Wayne definitely falls into the too-country-for-country category; he may even be too country for alt-country. Wayne's previous albums were full-on blasts of novelty-oriented barroom novelty songs, the kinda stuff that makes you want to toss an empty at a chickenwire cage in order to show your approval... I loved 'em, but they sank like stones, even when I played 'em on my Alt-Country channels. Here, Wayne hasn't exactly mellowed, but he has branched out, with more musical variety and some novelty themes that aren't quite as fixated on heavy drinking and head-in-hands heartbreak. It's less cohesive, though possibly more accessible, placing him squarely alongside Junior Brown as a gruff, lovable honkytonk nut... The title track, an offbeat tune about a nerdy, socially-challenged cele-britney cyberstalker, doesn't fit that well with the other songs, but it's a minor blip in an otherwise tough, twang-heavy treasure trove. I wasn't as wowed by this disc as by his earlier albums, but it's still a welcome addition to the indie-country canon. Worth checking out!

Dallas Wayne "I'll Take The Fifth" (Smith Entertainment, 2009)
(Produced by Tommy Detamore & Dallas Wayne)
Nice album -- the more listen to it, the more I enjoy. When Dallas Wayne first hit the scene a decade or so ago, he was a torchbearer for the old hard country sound, and while he still has his honkytonk/indie roots, this disc has a few cool stylistic surprises. It's not that he's gone all Tim McGraw on us all of a sudden, but rather Wayne, like fellow firebrand Dale Watson, has delved into '70s-style countrypolitan, in the best sense of the word. I'm not talking about the super-orchestral Billy Sherrill stuff, but rather the more subtle kind that came after Nashville worked the over-the-top parts out of their system. It's cool musically, and gives Wayne a wider palette to work with than just plain old rompy-stompy honky-tonk and country shuffles. I guess his gig as a country DJ for XM satellite radio has given him a lot of ideas to work with. And it's given us fans a lot to listen to, time and time again. There are some great drinking songs, like the title track and weepers like "Crawlin' Is Easy (When You Ain't Got A Leg To Stand On)," which is one of those slick songs I was talking about. A great record with lots of stylistic variety, along with great vocals and a lot of good original compositions. Recommended!

Ben Weaver "El Camino Blues" (30/30 Industries, 1999)

Ben Weaver "Hollerin' At A Woodpecker" (30/30 Industries, 2002)

Ben Weaver "Living In The Ground" (30/30 Industries, 2003)

Ben Weaver "Stories Under Nails" (Fugawee Bird Records, 2004)
Yawn. Big yawn. Someone somewhere -- oh, wait, it was MOJO magazine -- tagged this guy as a "hillbilly Leonard Cohen..." I guess everyone's entitled to their own opinion, but maybe them pasty-faced fellers over at MOJO should stick to reviewing wanky Britpop next-big-things, and leave assessments of twangy Yanks to us folks on this side of the Atlantic. 'Cause this disc is stone cold boring. It's a guy who can't sing, can't really play the banjo, and who writes painfully lame, painfully tame, incredibly flat, obvious lyrics. This is one of the most torpid, pointless records I've ever heard. It's really bad. You can skip it. Trust me.

Ben Weaver "Blueslivinghollerin" (2005)

Ben Weaver "Paper Sky" (Fugawee Bird Records, 2007)

Ben Weaver "The Ax In The Oak" (Bloodshot Records, 2008)

Randy Weeks "Madeline" (Hightone Records, 2000)
(Produced by Randy Weeks)
A bluesy, rootsy rock-Americana set with a singer whose voice seems suited to the power-pop genre -- earnest and emotive but a bit reedy, not your usual tough-guy growl. The songs are nice, maybe not as twangy as I'd expect from the Hightone label, but classy, well-crafted stuff. Worth checking out, though a little more in the rock-pop field.

Randy Weeks "Sold Out At The Cinema" (2004)

Randy Weeks "Sugarfinger" (Rat House, 2006)

Randy Weeks "Going My Way" (Certifiable Records, 2009)
(Produced by Will Sexton)
I was kind of surprised to see this one listed as a "rock" record, since I'd had it in my "country" pile for a while... Sure, Weeks' earlier albums had been root-rocky and rough, but I hadn't expected such an indiepoppish outing this time around. There's twang here, and rootsy blues riffs, too, but some of the best songs are closer to off-the-radar, indie lo-fi guys like Frank Bango and Michael Shelley, little wry, smartass songs of love and disaffection with echoes of the great power-pop bands. I hadn't expected it, but I dug some songs, particularly "That's What I'd Do" and the twangy "The One Who Wore My Ring." Worth checking out if you like your Americana a bit more on the bar-band side of things.

Ween "12 Golden Country Greats" (Elektra Records, 1996)
The high-concept, uber-eclectic indie rock band known as Ween goes slumming in Nashville, paying the old-school elite of Music City's studio musicians to back them up on a crude, crass, genuinely grotty send-up of commercial country and cowpunk conventions. Buddy Spicher, Pete Wade, Hargus Robbins, Charlie McCoy and even the Jordanaires are on hand to deliver rock-solid (if possibly unsuspecting) accompaniment. While I do like Gene and Dean Ween's regular weirdo rock records, and I can appreciate the meta-joke of this album's creation, I gotta confess I wasn't that into the end result. I mean, yeah, it's kind of outrageous and scandalously funny the first time you hear it, but these musical poo-poo jokes don't really hold up... Or at least I can't see myself humming along to them for years and years to come. But if you just want to mock country music and shock yourself by listening to such wicked music... well, go for it, dude!

Mark Wehner "All Those Friends Of Mine" (Slap Happy Records, 1999)

Mark Wehner "That's The Way That It Goes" (Hayden's Ferry Records, 2003)
Don't be fooled by the butt-ugly artwork; this disc actually has a few nice, alluring tunes on it, lacing acoustic instrumentation with a folkie-honkytonk vibe. This understated album won't knock down any walls in Nashville, but it has a gentleness and individuality about it that I found appealing. A real guy making the record he wanted to make, with Shaver-esque, growly vocals and low-key arrangements. The title track and "Remember I Love You" were particularly nice.

Gillian Welch - see artist discography

Kevin Welch - see artist discography

Corinne West "Bound For The Living" (Make Records, 2003)

Corinne West "Second Sight" (Make Records, 2007)
(Produced by Mike Marshall)
An intriguing mix of bluegrass and adult-alt/folk-pop sensibilities... Hailing from the San Francisco Bay Area, Corinne West has a tinge of Natalie Merchant and Kate Bush about her, and while her pop-folk mysticism dominates the second half of the album, the twangier stuff is pretty fun at the start, particularly for folks that are into 'grassy music with lyrics that stretch beyond the genre's traditional themes. She's certainly got a wealth of high-power talent backing her up: Darol Anger, Jerry Douglas, Tony Furtado, Mike Marshall and Tony Phillips are among the newgrass heavyweights on this album, making for some pretty compelling melodic passages. Although bluegrass traditionalists won't find much here to dig into, fans of Nickel Creek and its various spinoffs might really get into it... There's a freshness that might draw them in, and it's certainly not the same-old same-old, lyrically. Worth checking out!

Corinne West "The Promise" (Make Records, 2009)

Mike West "Interstate 10" (Binky Records, 1997)

Mike West "Econoline" (Binky Records, 1997)

Mike West "Redneck Riviera" (Binky Records, 1997)

Mike West "Race That Train" (Binky Records, 1999)

Mike West "16 Easy Songs For Drill And Banjo" (Binky Records, 1999)

Mike West "Home" (Binky Records, 2001)

Mike West "New South" (Squirrel Records, 2002)
Getting increasingly tweaky and off-kilter, West takes the conventions of country, folk & bluegrass, stands them on their head, and asks them to recite the Pledge Of Allegiance in Latvian. I'm speaking metaphorically, of course -- there's actually no Latvian involved in this kooky all-American outing -- but hopefully the metaphor will help give an impression of just how weird, and how compelling his music can be. The opening track, "Dixie," lays out the parameters of this album... In it, a barroom singer relates the tale of how he threw a drink at a local patron who wanted to hear the old Confederate anthem -- West is a Southern boy, but he holds no truck with all that rebel flag redneck crap. Then, in song after song, he spins out the oddest story-song lyrics this side of Terry Allen or John Hartford; his deft character sketches, oddball delivery and unexpectedly catchy melodies should all hold your attention. This is an innovative, engaging and thought-provoking album... one of the most interesting new country rekkids I've heard in a long while!

Mike West "The Man Who Could Fall Backwards" (Binky Records, 2003)

Mike West "Oddities And Rarities" (Binky Records, 2003)

Mike West "Cornbread & Caviar" (Heartland Records, 2005)

Mike West "Ordinary Man" (Cowtown Records, 2005)

Mike West "Cowtown Playboy" (Cowtown Records, 2005)

The Whiskey Gentry "Holly Grove" (Rambling Gypsy Records, 2013)
(Produced by Jason Morrow & John Keane)
Easily one of the most satisfying, twangiest alt-country albums of its time. This Atlanta-based band centers around the husband-wife duo of Jason Morrow and Lauren Staley, who wrote a bunch of great original material for this album, augmented by some excellent cover tunes, including a bluegrass-baroque cover of Procol Harum's "Whiter Shade Of Pale," and a pleasantly rowdy rendition of Peter Rowan's outlaw classic "Lonesome LA Cowboy." Although the band is rock solid in a variety of styles, lead singer Lauren Staley really steals the show, projecting the same sort of soulful, rough-cut, modern-yet-rural authenticity as Natalie Maines or Maria McKee in their wilder days. The album opens with galloping, melodic alt-country honkytonk but also encompasses bluegrass and even a bit of Pogues-y Celtic twang. One of the sharpest and most appealing indie country records you're likely to hear this year -- highly recommended!

Whiskeytown - see artist discography

Joy Lynn White "One More Time" (Thortch Recordings, 2005)
(Produced by Kyle Lehning & Joy Lynn White)
It took me a while to warm up to this record... White's tactical retreat from would-be Top 40 success has left her sounding pretty snarly and rugged... So if you still groove out on old Lone Justice albums or early solo work by Maria McKee, this album's really gonna stir and excite you. White also has a surprising amount of Patti Smith in her and after a while that's what drew my attention, getting me past the roots-rock power chords and crunchy, bluesy guitar riffs (which, frankly, don't appeal to me that much...) and into the songs themselves. There's at least one real masterpiece on here, Phil Lee's soul-searing "Just Some Girl," which explores the "no humans involved" phenomenon, where anonymous young women wind up dead and unmourned, their deaths uninvestigated because the cops figure they were "just" prostitutes or whatever, and nobody's going to care that they're dead. Well, the song has a bit lighter touch than what I just wrote, but it touches on the same subject matter, and it packs a real wallop... It's also one of the most musically subtle songs, and as such highlights White's strengths much better than the louder, brasher songs that surround it. Similarly, "Girls With Apartments In Nashville" is a softer meditation on tough times trying to make it big in Music City... White also has fun with a chunky cover of Allan Toussaint's "A Certain Boy" (delivered with gusto with vocal assist from fellow alterna-gal Amy Rigby...) Even though this album is a little too abrasive for me, I'm sure many Americana lovers will dig it. Definitely worth checking out!

Shannon Whitworth "No Expectations" (Self-Released, 2007)

Shannon Whitworth "Water Bound" (Thirty Tigers Records, 2010)

Shannon Whitworth & Barrett Smith "Bring It On Home" (Self-Released, 2012)

Shannon Whitworth "High Tide" (Self-Released, 2013)
(Produced by Seth Kauffman)
Delicate, windswept twang, with a strong indie sensibility; this is the fourth solo album by songwriter Shannon Whitworth, also familiar as a member of the North Carolina indie-grass band, The Biscuit Burners... Paula Frazier's work comes to mind, although I find Whitworth's vocals (and songwriting) more straightforward and more compelling... These are low-key, pop-tinged songs, combining the slowcore drift of Cowboy Junkies with a hint of the simple melodic drive of indiepop's Camera Obscura. She gets a little glum, but if any of those artist touchpoints pique you're interest, you'll definitely want to give Whitworth a whirl.

Cody Widner - see "Real Hicks" section

Rusty Wier - see artist discography

Wilco "A.M." (Warner Brothers, 1995)
The first record made by alt.country icon Jeff Tweedy, following the implosion of his previous band, the legendary Uncle Tupelo. It's an okay album. It's cool that they recruited veteran Texas indie-picker Lloyd Maines to play pedal steel -- I dig that guy's sound!

Wilco "Being There" (Reprise Records, 1996)
This was the record that made me loath Wilco. Or rather, seeing Wilco perform when this record came out was what made me loathe the band. I thought that singer Jeff Tweedy was too, too insufferably full of himself, radiating an overweening, obnoxiously egotistical self-love, and that his sense of his own importance (a sentiment eagerly reflected by his sycophantic audience) was way out of proportion to his marginally original accomplishments. To tell you the truth, I just couldn't stand it. Couldn't this guy just get over himself and his rock-star pretensions? My feet hurt, the club was too stuffy, Tweedy was only a few feet away, grinning like the Cheshire Cat on ecstasy, swaggering about, pretending he was the second coming of Gram Parsons (or maybe Glen Frey), and I thought, "Oh, to hell with it. Someone else will be a lot happier standing where I am right now," and I left after about five songs. Sure, I could see the appeal -- I knew why people adored the band, but I could see it wasn't gonna work for me. Anyway, fast forward a few years, and here I am updating this stupid website, and I've finally gotten to the point where I can't avoid it anymore: I must sit down and reevaluate this album. So here's what I think: basically, I was right back then, and this double-disc outing was a pretty unnecessary over-display of Tweedy's not-unmixed talents, an act of hubris that nonetheless has its moments of grace. I suppose, though, that now I'm less willing to use these discs as lemonade coasters, and the album will remain on my shelves for the foreseeable future. The same things that caught my ear in '96 pique my interest now -- the simpler country-sounding songs are nice and easy on the ears, the blatant tribute/swipe of Jackson Browne's "The Loadout" ("Red Eyed And Blue") is a pleasant surprise, even if songs about being a rock star are still kinda boring to listen to... But then the album starts to irritate me in the same places, and for exactly the same reasons. The more elaborate rock songs are too mannered and too sterile-sounding. Sure, the band's got chops, but I personally enjoy hearing at least a few technical imperfections from time to time. On a whole, the record sounds too perfect and too controlled, and as a double album, too obviously an excuse to flaunt the band's command of style and substance. It's too clever by half, and too self-congratulatory a work of art; there are some nice songs on here, but Tweedy draws too much attention to what he's doing for anyone to really have any fun listening to it. I know that most of you will vehemently disagree, but that's what I think.

Wilco & Billy Bragg "Mermaid Avenue" (Elektra Records, 1998)
Dang. Wilco were such an easy band to say mean things about... So then why did they have to go off and make a brilliant record like this, that I can't help enjoying? A thoroughly fascinating album, and a unique creative endeavor -- British leftie folk-popster Billy Bragg pioneered this project, enlisting the aid of Jeff Tweedy and Wilco to bring to life some of the hundreds of unfinished or unrecorded songs left behind by folk legend Woody Guthrie. "Mermaid Avenue" refers to the address of Guthrie's longtime residence, where many of these lyrics were composed... What's amazing about this album is how clearly Guthrie's personality comes through -- these aren't his hits; nothing's recognizable here other than Guthrie's sense of humor, his playfulness and ability to engage his listeners. The other big surprise is how ably these young'uns tackle the challenge. From Billy Bragg, I expect nothing but brilliance, sincerity and reverence for the work of the master -- what's most heartening, though, is that Wilco -- a band I absolutely loathe -- shine on these albums. Part of it may be the novelty of hearing Jeff Tweedy subsume his immense, messianic ego in the service of another man's art. Regardless, the band show their chops on here, adding an easy-going grace to the songs -- they strike just the right tone of affability and whimsy to match these oddball ditties. Natalie Merchant also sings on a couple of tunes and is quite appealing in a duet with Bragg. Highly recommended!

Wilco "Summer Teeth" (Reprise Records, 1999)

Wilco & Billy Bragg "Mermaid Avenue, v.2" (Elektra Records, 2000)
If anything, this second album in this series of "lost" works by the great folk hero, Woody Guthrie, is even better than the first. The most amazing thing is how it makes Wilco -- a band I loathe -- sound absolutely great. On two tracks, they prove themselves to be one of the chopsiest bands around: "Airline To Heaven," which opens the album, is one of the most irresistible songs I've heard in ages, featuring a gleefully mindless steel riff that will echo in your head for hours; on "Secret Of The Sea", Wilco perfectly captures Guthrie's oddball mysticism and wrap it into an appropriately Byrds-y vibe, thereby completing the great Guthrie/Dylan/Byrds/everybody-else folk-rock circle. As for Billy, he tackles the stern, straight leftie-political stuff, matching Guthrie castoffs such as "All You Fascists" with a humorlessness of his own. (Pity he didn't also take on some of the warmer, more whimsical material -- I always prefer Bragg when he cracks a smile...) Natalie Merchant returns for another children's ditty, and acoustic blues avatar Corey Harris joins the crew with a nice Josh White-style civil rights anthem, "Against The Law"... Nothing to complain about here -- a fab follow-up to the first Mermaid album!

Wilco/Jeff Tweedy "Chelsea Walls" (Soundtrack) (Rykodisc, 2002)

Wilco "Yankee Hotel Foxtrot" (Nonesuch Records, 2002)
By all accounts, this disc is a big, flying, rock-tinged "f**k you" to Wilco's old label, Reprise Records, which graciously let bandleader Jeff Tweedy tote his tapes to another wing of the Time-Warner empire, following the flagging sales of their previous multi-disc opuses. Fans may be baffled by the album's oddball production style, but by pruning out the exaggerated twangs and off-key affectations of the alt.country scene in favor of odd, electronic filigrees and eclectic, indie-rock angularities, Tweedy forces the issue of his own creative growth. By cutting his ties with the tropes of the twangcore scene, Tweedy makes it easier for us to concentrate on his songwriting, rather than the exasperatingly self-referential theatrics of demonstrating his command of the country-rock legacy of Gram Parsons, Poco and the Eagles, et al. In some ways, this disc echoes the preening vainglory of past earlier efforts, yet Tweedy deserves credit for moving beyond his status as a hipster-hick Jack Horner into a more direct, effective style of expression. I'm not sure how the faithful will take this album, but I thought it was pretty interesting. It ain't country, but it ain't bad.

Wilco "A Ghost Is Born" (Nonesuch Records, 2004)

Wilco "Kicking Television: Live In Chicago" (Nonesuch Records, 2005)

Wilco "Sky Blue Sky" (Nonesuch Records, 2007)

Wilco "Wilco (The Album)" (Nonesuch Records, 2009)
(Produced by Wilco & Jim Scott)

Wilco "The Whole Love" (Anti/Epitaph Records, 2011)

Webb Wilder & The Beatnecks "It Came From Nashville" (Landslide Records, 1987/2004)
(Produced by R. S. Field)
In the years before "Americana" became a commoditized, identifiable genre, Mississippi native Webb Wilder came out with an odd, audacious album of cowbilly rock tunes that packed a happy, confident feel with a flip attitude and a mile-wide smirk. Kind of like a kinder, gentler Jason & The Scorchers, or a less-dazzling Blasters, these guys were among the '80s roots-rock vanguard, helping pave the way for the "insurgent country" scene that would follow. The 2004 reissue of their first album includes a slew of "new" live tunes which fit in well with the live material that was already on the original LP. This isn't really my kinda alt-country, but it's certainly a noteworthy early album...

Webb Wilder "Hybrid Vigor" (Island Records, 1989)
(Produced by R. S. Field)

Webb Wilder "Doo Dad" (Zoo/Praxis/BMG, 1991)
(Produced by R. S. Field)

Webb Wilder "Town And Country" (Watermelon Records, 1995)
(Produced by R.S. Field, George Bradfute, Webb & the Nashvegans)

Webb Wilder "Acres Of Suede" (Watermelon Records, 1996)
(Produced by R.S. Field & Scott Baggett)

Webb Wilder "About Time" (Landslide Records, 2005)
(Produced by R. S. Field)

Webb Wilder "Born To Be Wilder" (Landslide Records, 2006)
(Produced by R. S. Field)

Webb Wilder "More Like Me" (Blind Pig Records, 2009)

Webb Wilder "Scattered, Smothered And Covered" (Varese Sarabande, 2005)
A best-of collection gathered from Wilder's three albums on the Watermelon label, made with various producers...

The Wilders "The Wilders" (1999)

The Wilders "On The Wings Of A Dove" (Free Dirt Records, 2002)

The Wilders "Spring A Leak" (Free Dirt Records, 2003)

The Wilders "Throw Down" (Rural Grit, 2006)
(Produced by Dirk Powell)
Listen, folks, this is the single best dang twang disc I've heard in a long, long time... At least it's the most striking -- the album opens with a blistering, foot-stomping breakdown called "Hawk's Got A Chicken And Flew In The Woods," featuring lively fiddling by Betse Ellis, then tromps along into "Honky Tonk Habit," one of the catchiest alt-country honkytonk tunes I've heard in years. This is only one of several great original songs written by the band, including the haunting post-Katrina lament, "After The Levee's Gone." Make no mistake about it: this Kansas City crew is one talented bunch of pickers... and they write some fine original songs, as well. Their sound is primarily bluegrass-based, but they are also genuinely tapped into old-school honkytonk, suggesting a much welcome blend of bluesy, Jimmy Martin-style truegrass and happy-sounding heartbreak, ala Hank Thompson or Johnny Horton. When I first put it on, this album knocked my socks off, instantly catching my attention and kept my toes tapping from start to finish. The disc was produced by old-timey superstar Dirk Powell, who adds breathless praise of his own in the liner notes... And, hey, if the Wilders are good enough for Dirk Powell, they're sure as heck good enough for me!

The Wilders "Someone's Got To Pay" (Free Dirt Records, 2008)
(Produced by The Wilders, Brendan Moreland & Dirk Powell)
WOW. This Kansas City quartet is, quite frankly, one of the most diverse, most convincing and most gratifying bands in alt-country today. I was impressed by earlier albums, but I'm totally floored by this one. It's a concept album, but it feels like a potpourri: the album opens with a clompy cowpunk tune, ala the Waco Brothers, et. al., which didn't do much for me, but then they effortlessly switch directions and lay down a sizzling, fling-ding square-dancing reel (one of several that bookend this excellent album) and stomp merrily along into an impressive mix of alt-twang, bluegrass, good old fashioned honky-tonk and some brooding, Richard Buckner-style Goth-a-billy ("Sitting On A Jury"). Highlights include "Hey Little Darlin'," one of the finest singalong melodies I've heard in many a moon, the kind of song you'll want to play over and over until it really settles into your brain. The Wilders are an exemplary roots music band: every style they tackle, they play perfectly, hitting exactly the right emotional tone while exuding a completely authentic vibe. Obviously these folks are well-steeped in country and hillbilly lore, and while a lot of rockers-gone-twang strike poses that ring false, the Wilders absolutely do not. The only style they play here that gets short shrift is a series of piano-led instrumentals that evoke a mix of Old West saloons and Sam, the pianist from Casablanca -- these interludes are brief but tantalizing, and suggest another level of musical depth that the band might want to explore sometime. Meanwhile, twangfans will want to check this disc out -- it's one of the best country records I've heard in a long time.

Wild Ponies "Things That Used To Shine" (Ditch Dog Records, 2013)
(Produced by Ray Kennedy)
The husband-wife duo of Doug and Telisha Williams previously recorded under their own names, but the Wild Ponies moniker adds an evocative edge to their work...

Walt Wilkins "Fire, Honey And Angels" (Dead Reckoning, 2000)

Walt Wilkins "Rivertown" (Southwest Records, 2002)

Walt Wilkins "Mustang Island" (Highway 29 Records)

Walt Wilkins & The Mystiqueros "Diamonds In The Sun" (Palo Duro Records, 2007)
(Produced by Lloyd Maines)
A great set by Texas indie-twangster Walt Wilkins, a Lone Star local who made a name for himself as a Nashville songwriter, mainly through recordings by Ty Herndon and fellow Texan Pat Green... Here, Wilkins and his remarkably fluid band work in a variety of styles -- their loping cover of "Honky Tonk Road" is an album highlight, recalling the finer moments of early outlaw singers such as Rusty Weir and Gary P. Nunn, not to mention the loose-limbed ironies of Robert Earl Keen and Guy Clark... There's also a Poco-esque country-rock boogie vibe that comes out on songs such as "Diamonds In The Sun" and "You Can't Outdrink The Truth," as well as a deep, dark vein of good old, beer-soaked honkytonk... Anyone know how to pitch a song to George Jones? Because "All These Memories" would fit quite nicely into his set list... The Mystiqueros also trot their way through a brisk version of the Band's "Shape I'm In," and pay homage to Hank. Sr... All in all, these fellas make their mark as yet another fabulously talented Texas band whose records will delight indie-oriented fans for years to come... Nice record, definitely worth picking up!

Walt Wilkins "Hopewell" (Palo Duro Records, 2007)

Doug & Telisha Williams "Rope Around My Heart" (No Evil Records, 2006)
Spirited, pleasant folk-country with plenty of twang and a good sense of the music's roots... Ms. Williams sings pretty much in Iris Dement's range, which comes in handy on their version of Dement's "Our Town"; almost all the other songs are originals, including several swell ones, such as the album's opener, "Bar Room Story," and the bluesy "Bad Attitude," a novelty song with, well, a bit of a bad attitude. This is a nice effort, a little ragged at times and about as indie as you can get, packed with sincerity and earnestness, and some nice contributions from friends such as Kenny Malone and Darrell Scott. The Williamses have a similar vibe to other husband-wife duos such as Robin & Linda Williams or Holly & Barry Tashian, though with a little more of a rough edge, due in part to stylistic choice as well (one imagines) to budget constraints... If you like either of those acts, you might wanna check these folks out as well. (For more info, check out the band's website at www.dandtw.com. )

Hank Williams III/Hank Williams, Jr./Hank Williams "Three Hanks: Men With Broken Hearts'" (Curb Records, 1996)
Not a big fans of folks making records "with" dead people. That's all I'm gonna say.

Hank Williams III "Risin' Outlaw'" (Curb Records, 1999)
By sheer virtue of his willingness to embrace the dopier side of old-fashioned hard country, on songs like "Lonesome For You," "If The Shoe Fits" and "What Did Love ever Do To You," Shelton Williams (aka Hank Jr.Jr.) places himself outside the pale of the current Nashville mainstream, which markets high-falutin' pop constructs to an audience that places itself "beyond" the country's hillbilly roots. This is a surprisingly strong album, packed with good-natured, catchy tunes and raggedy, breakneck performances by his scrappy-sounding band. Admittedly, Jr.Jr. doesn't have a great voice, but he's got the right spirit, and he carries the message of each song quite well. His uncanny vocal likeness to Wayne Hancock is acknowledged in his covers of "Thunderstorms & Neon Signs," and two other tunes, and a shout-out in the liner notes. And, hey -- anyone who covers Terry Fell's "You're The Reason" is alright by me. I think pappy and grandpappy should be proud.

Hank Williams III "Lovesick, Broke & Drifting" (Curb Records, 2002)

Hank Williams III "Straight To Hell" (Curb Records, 2006)

Hank Williams III "Straight To Hell (Clean Version)" (Curb Records, 2006)

Hank Williams III "Damn Right, Rebel Proud" (Curb Records, 2008)

Hank Williams III "Long Gone Daddy" (Curb Records, 2012)

Keller Williams & The Traveling McCourys "Pick" (KW/Sci-Fidelity Records, 2012)
Quirky, clever folkie singer-songwriter stuff, with bluegrassy backing by the Traveling McCourys, sort of like Greg Brown with more fancy picking... Williams is a little too self-consciously clever for me, but fans of Sam Bush or Tim O'Brien might like this a lot...

Lucinda Williams - see artist discography

Victoria Williams - see artist discography

Kelly Willis - see artist discography

Jesse Winchester - see artist discography

Halden Wofford "...And The Hi-Beams" (Self-released, 2003)
Colorado cowpoke Halden Wofford joins the likes of Ray Condo, Big Sandy and Dave & Deke, blending old-fashioned hillbilly boogie, swingin' rockabilly and tasty honky-tonk rhythms, in a tasty indie-country blend. All the songs on here are originals, written by either Wofford, or guitarist Kevin Yost, though many sound like they were written way back in the '50s and learned off some scratchy old 78. Good stuff, with an authentic backwoods vibe.

Halden Wofford & The Hi-Beams "Midnight Rodeo" (Hi-Beams, 2007)
(Produced by John Macy)
A very cool set of pedal steel-drenched indie-twang, picking up where '70s bands like Greezy Wheels, Commander Cody and Asleep At The Wheel left off, with a passel of oddball original songs and some mighty fine freewheeling rock-tinged pickin'. The pedal steel playing of Bret Billings is particularly sweet and perfectly underscores bandleader Wofford's goofball vocal style. Wofford is a novelty-oriented country singer and throws himself into it wholeheartedly... Highlights include the faux-redneck novelty song, "Hippie In My House," which has a nice talking-blues kind of vibe. Fun stuff from indieville.

Halden Wofford & The Hi-Beams "Sinners & Saints" (Hi-Beams, 2010)

Halden Wofford & The Hi-Beams "Live At Hodi's" (Hi-Beams, 2012)

Halden Wofford & The Hi-Beams "Rocky Mountain Honky Tonk" (Hi-Beams, 2013)

Carolyn Wonderland "Miss Understood" (Bismeaux Records, 2007)
(Produced by Ray Benson)
A really nice surprise here, with a powerful blast of raw, soulful blues from this throaty, rough-hewn Texas powerhouse. A Houstonite who used to front the Imperial Monkeys roots-blues band, Wonderland has made Austin her home for a while now, and is one of the finest blues singers in the area. The slashing steel guitar on this album's opening track should be enough to get your attention, and once you get to the mournful "Bad Girl Blues," a couple of songs later, this gal will have you in the palm of her hands. Sidestepping the same-old raspy-Janis and sassy-mama Koko Taylor stereotypes, Wonderland taps into the more soulful tradition of gals such as Tracy Nelson, Marcia Ball and Lou Ann Barton. Asleep At The Wheel's Ray Benson produced this disc, and although he sneaks a teensy bit of twang in on a tune or two, he mostly plays to Wonderland's strengths and keeps it bluesy and brash. Her instincts aren't always right (a jarring rap interlude on "I Found The Lions" is just horrible, but it doesn't last long...) but raw power like this doesn't come around often and this is definitely an artist to keep our eyes on!

The Wood Brothers "Ways Not To Lose" (Blue Note Records, 2006)
Funky twang from Chris Wood (of Martin, Medeski & Wood fame) and his brother, guitarist Oliver Wood, joined here by drummer Kenny Wollesen for a tweaky, idiosyncratic set that combines blues, Pops Staples-style reverb-y gospel and disjointed urban Americana-folk... Most songs are odd, discursive rambles, although they also distinguish themselves on oldies such as "Angel Band," where they summon some of the quiet power of real, old-fashioned country gospel. This should make quite a splash with the alt-country faithful... Definitely worth checking out.

Brian Wright "House On Fire" (Sugar Hill Records, 2011)
(Produced by Mike Vizcarra & Brian Wright)
More rock than twang, but with definite country and bluegrass components... And it's weirdo rock, for sure, with similarities to oddball artists such as Danny Barnes and the Bad Livers or Kev Russell and the Gourds, Beck, Devendra Banhart and various lo-fi types, as well as traces of Neil Young, Dylan and the Beatles, and various long-forgotten '70s freak-folk obscuros. None of the many musicians on here are familiar to me, which has an appeal in and of itself... This isn't a record I could really kick back and relax to, but it is consistently engaging and worth checking out if you're looking for something new and new-sounding.

The Wyatts "The Wyatts" (Self-released, 2005)
(Produced by Tim David Kelly)
An Arizona band with a mixture of twang and bouncy power-pop... I'm not sure I totally buy into the country side of their act, though to their credit they don't play up any egregious hick stereotypes... Mostly a bunch of songs about drinking at local dives and mooning over the barmaids; stuff like that. This didn't rock my world, but it's okay -- some songs could be more concise, but some of it's nice in an early-1970s Stones-do-country kinda way.

Wylie & The Wild West Show - see artist discography

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Hick Music Index

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