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 THE GASLIGHTS 
Midwest Hotel ... (self released) |
| The driving force behind this CD would appear to be a lady named Abigail Henderson, writer and lead vocalist, and, when I say drive, I mean drive. This girl has her throttle fire walled here. Think of Lone Justice on amphetamines. Why? She has a sound and delivery that could make her Maria McKee's sister, and, her band, fronted by guitarist, Chris Meck, steamrolls along, his style akin to that of Justice's Hedgecock when he's rockin', and, the amphetamines? The pace is sheer steamroller/jackhammer deluxe here. The slowest tune, "Sundays and Interstates", is about 68/60, if I recall my old tempo measurements correctly. That would be at the lower end of a normal pulse rate, so, if you're on heart medication, approach this one with caution. I've always been attracted to bands that attack their art: no quarters asked, none given, no apologies, this is us, what we do, here we are. Gotta like this one. |
| The Gaslights' site. Released Fall '04. Order from CD Baby . Reviewed by Don Grant. |
 THE GASLIGHTS 
Lines And Wires... (self-released)
|
This is going to be one band worth watching. On their first release, Midwest Hotel, the Kansas City based Gaslights demonstrated a high-octane energy approach to their music. That same energy is present here on the follow-up, one year later, but this go-round, some of that vitality has been diverted into some of the more reflective musings of singer/songwriter/guitarist Abigail Henderson. Here's a lady whose writing abilities have grown enormously and admirably in the interim, and the result is a well-balanced transition from where the band was, to where, evidently, they are headed. Check out songs such as “Trashed”, “Red Dirt”, “A Place to Fall”, and “Tattoo”, to name but four examples. It was written here less than ten months ago that echoes of Lone Justice were perceptible on their debut; that statement can no longer be justified. Henderson is charting her own course, both vocally and lyrically, and Meck's lead guitar work is, in a nutshell, tight, controlled, and tasty. A lot of the time a rhythm section tends to get overshadowed by the front-men, but, hey, don't sweat it guys; just how far could an aircraft fly without its wings to get it aloft? A band is the whole sum of its members, and this band is getting a whole lot better. |
| The Gaslights.com.Order from CD Baby. Released Dec. '05, Reviewed by Don Grant |
 MARY
GAUTHIER
Drag Queens In Limousines... (Groove House) |
|
This is a record that requires some close listening time. Gauthier covers
life outside the parameters of societal convention with a straight ahead eloquence
that nails the subject to the wall. First time thru I missed it all waiting
to be taken by some catchy melody and I'd probably still be waiting if I hadn't
seen her in person. This is lyric-driven music by a songwriter who lays
herself bare with a remarkable level of honesty and humor which all too sadly
is accompanied by an average folkie sound. She hasn't managed to translate
to the studio yet her inspiring joie de vivre. Knowing this, I say listen
with an ear to her stories and an eye to her future. See her live, listen
to her record. Get to know Mary Gauthier. | |
Check out her site, MaryGauthier.com,
for bio, tour info and such... (her last name is pronounced "go-shay",
by the way) Released April 2000, reviewed by Kay
Clements. |
 MARY GAUTHIER
Mercy Now… (Lost Highway) |
| Mary has made the transition from underground folkie to major label artist rather quickly thanks to Lost Highway pres.Luke Lewis catching her at a Nashville club. Not that she doesn't deserve to be here; she certainly rises to the occasion on her fourth CD of mostly heartbreak songs. She really knows her way around a sad song, and like the greatest writers, she's able to keep the lyrics and melody simple, letting you fill in the blanks with your own story. And that's what's great about her songs: we've all been hurt, and Mary brings up those memories so you can feel ‘em. With her somber mood and lazy vocal style she gets down and I mean down. I tell ya, She could bring Leonard Cohen down! Producer Gurf Morlix takes gentle care of her, carefully adding a Patty Griffin harmony or an Ian McLagan B3 organ fill here and there. She rocks out a little too, thank god, but it's definitely the hurt that works. |
| MaryGauthier.com has a link to the video of the song "Mercy Now" which features her with makeup on! Lost Highway Records. Buy from Amazon. Released Feb. '05, reviewed by Bill Frater. |
 OTIS GIBBS
One Day Our Whispers... (Benchmark)
|
| They call Otis Gibbs a “modern troubadour”, and after one listen, it's easy to hear why. Eloquently simple songs about life in the mid-western heartland abound on this disk. The instrumentation is sparse on most of the tunes, centred around Gibbs' acoustic guitar, with just the right amount of accentuation provided by his electric backups. Particularly effective is the judicious use of the steel guitar, which makes a number of the tracks sparkle, just like those sugar sprinkles on dough-nuts. It's kind of funny, but, invariably for me, what the promo sheets call ‘focus' tracks don't always seem to be the best. In this case, I prefer the up-lifting, bluegrass spiritual, “The People's Day”, and “Ours Is The Time”, a remarkable duet with Amy Lashley, who is blessed with a voice that is the perfect foil for Gibbs' rough-hewn vocals, to some of the other suggestions. They did, however, make a good call on the ¾ time “Karluv Most”, which has the potential to be another “Brand New Tennessee Waltz”. It's a beautiful song that just wafts the listener along with its irresistible rhythm. All in all, this is a pretty good second outing for Otis. |
| Otis's website includes his own blog. Buy from Amazon. Released July '04. Reviewed by Don Grant |
 SCOTT
GIBSON
Make Ready… (Brazos River/Hayden’s Ferry) | | Scott
Gibson is a young Texas native with a smoky and soulful voice that reminds me
of Peter Case. He has a mature and honest songwriting style and he mixes it up
a lot- country, blues, folk, rockabilly, bluegrass-which is what the word Americana
means to me. He seems to bring a certain sincerity to the table with a hint of
spirituality. Special credit must go to producer Mac McNabb, (who also contributes
more than his share musically) and a group of some of Austin’s best unsung musicians
who’ve played with everyone from Kelly Willis to The Flatlanders. All in all,
This is the best new artist I’ve this year and I can’t find anything not to love
about this CD. | | ScottGibsonMusic.com
Buy
from amazon. Released August, 2003. Reviewed by Bill
Frater. |
 THE
GIBSON BROTHERS
Bona Fide... (Sugar Hill) |
| Imagine
an even more acoustic or bluegrass orientation from the O’Kane’s and you’ll get
some idea of what the Gibson Brothers are up to. Not content with replicating
renditions from bluegrass’ past, these guys write nearly all their own material.
A brave move for a genre that values tradition. But it turns out they’re good
writers, strong singers, and have a crack band to give them that unmistakable
bluegrass sound. I really like this record. It may be a little too country for
the hard core bluegrassers but I like the way it extends the genre while tipping
it’s hat to tradition. Bluegrass most famous singer-songwriter, Bill Monroe, would
be proud I think. | | Sugar
Hill Records. Buy from Amazon.
Released March 2003. Reviewed by Kevin
Russell . |
 TOM
GILLAM
Dallas.... (Gotham) | |
Tom Gillam comes from Philadelphia and bringing some fiery slide guitar to a mostly
Alt.Country-styled album to create something unique. I hear Goners-era John
Hiatt, some Allmans, and even Skynard but it ain't regular rock 'n' roll. His
songs are top-notch and he can bring it down for some nice country ballads too.
This is rock label Gotham's first foray into the Americana format and I think
they found a real winner in Gillam. | |
TomGillam.com or GothamRecords.com.
Released Feb, '01. Reviewed by
Bill Frater. |
 TOM GILLAM
Shake My Hand... (Hayden's Ferry) |
| Soulful country rock, strong harmonies, ringing slide guitar. It's not the Palomino club in the early seventies but east coast artist Tom Gillam's new release, Shake My Hand.
Engaging songwriting and solid vocals inhabit this disc, his debut on Hayden's Ferry.
Produced by band member/multi instrumentalist Joe Carroll, Gillam's work takes it's place in a line that stretches from Poco and the Eagles to Whiskeytown and The Jayhawks. Songs such as "Outside The Lines" and "Disappearing Act" show a confident writer with a personal touch. Backed by his crack outfit called "Tractor Pull" Gillam's recent live set at the Americana Music Conference showed that he's ready to make his mark. |
| Tom's site, Hayden's Ferry Records. Buy from amazon. Released Oct. '04, reviewed by Michael Meehan. |
 COLIN
GILMORE
The
Day The World Stopped (And Started Turning The Other Way)... (Squirm) | | Forget
that Colin Gilmore is the son of Texas music legend Jimmy Dale Gilmore. The CD
doesn't need one bit of help from Jimmy Dale, Jimmy Vaughn, Jimmy Dean, or Jimmy
Carter. The songs range from Cajun influenced on "Good Times Stay" and "The Way
We Are" to straight up power pop on "Slippin." There's a great cover of Terry
Allen's ballad about a chance encounter over a bowl of chili in "The Beautiful
Waitress" and a heartfelt cover of The Clash's "The White Man in Hammersmith Palais."
Colin Gilmore could very well have a single on adult-oriented radio with "The
You That I Knew" if he can get marketing behind the song. Gilmore faces his mortality
in 4/4 time with a shuffle beat in "Live Forever" and uses the irony of it to
make love seem a little more fun. The musicianship on this CD is really wonderful.
The guitar work, the B3, accordion, and a tight rhythm section all lend a sense
of authenticity and real presence to the CD. Colin Gilmore's vocals are piercing
but not annoying, and the harmonies, especially those with Audrey Auld, are wonderful.
The breadth and depth of this CD, both lyrically and musically make this one of
my favorites of the year. | | Colin's
site has CD ordering. Buy from Lone
Star Music. Released Jan. 2004. Reviewed by Clint
Weathers. |
 JIMMIE
DALE GILMORE
One Endless Night... (Windcharger/ Rounder) | |
It's been over three years since Jimmie Dale's last CD, the sonically experimental
Braver Newer World, which, to me, was over-produced by T-Bone Burnette.
After all that time, he returns with a beautiful and simple album of mostly cover
songs. The songs were all well selected, written by familiar people but
the songs themselves are not necessarily familiar, except for the Dead's "Ripple"
and Bobby Darin's "Mack The Knife". But you know what? It's
a masterful album. Credit must also go to co-producer Buddy Miller, whose
obvious talents do not overshadow the singer or the songs. In fact, I think
Buddy treats Gilmore with the utmost of respect. Jimmie Dale Gilmore has
that eerie tenor voice like Neil Young, and this mostly laid back CD is one of
this year's best . | | Jimmie's
got his own site, JimmieGilmore.com,
Windcharger has
a website too. Released March 2000, reviewed by Bill
Frater. |
 GINGERSOL
The Train Wreck Is Behind You... (Idea Prone) | |
As Wilco's current album Yankee Hotel Foxtrot continues to stir up debate between
music fans in general and consternation from their own die-hard fanbase in particular,
fans interested in quality roots pop have no further to look than Gingersol's
newest. As equally pop-crafty as Summerteeth with none of the apparent
(according to some of Wilco's former fans) disappear-up-your-own-assery of YHF,
Gingersol keeps their roots rock, rural groundings intact while adding just enough
pop to please fans of sugar-coated melodies but not frighten away the twang bangers.
Gingersol has remembered what Tweedy an Co. may have forgotten - keep it simple
and grow gradually. Standout is "King-Sized Doubt" which is a pop song
featuring plenty of banjo work. Great stuff and pretty much sizes up what they
are trying to do: blend the two styles perfectly without leaving any fans behind.
The train wreck may be behind them, but there's nothing but good things up ahead
if they keep making albums like this. | |
You can order the CD from their website.
Reviewed by Scott Homewood. |
 DAVE
GLEASON'S WASTED DAYS
Midnight,
California… (Well Worn) | | According to
the American Music Association, a large percentage of the people who buy this
music live in California. You wouldn't know it from how few bands and clubs that
feature twangy stuff exist in Northern California. There are a few good bands
however, and Dave Gleason's Wasted Days is on of the best. I don't know how to
describe California Country, but I know it when I hear it and this is the stuff!
There's no mistaking the Merle Haggard and Gram Parsons influences in the style
of Gleason's original songs. Even the way Dwight Yoakam is able to mix honky tonk
with smokin' rock 'n roll comes to mind. Fellow San Franciscan Joe Goldmark plays
pedal steel guitar throughout and David Immergluck (Camper Van Beethoven , Counting
Crows) contributes too. This is a fine collection of tunes- well-arranged, hook-filled,
ince harmonies. California Country is alive and well in Nor Cal. | | Dave's
site. Buy
from amazon. Released March, '04. Reviewed by Bill
Frater. |
 DAVE
GLEASON'S WASTED DAYS
Dave Gleason's Wasted Days... (self released) | | Due
to the packaging included in my review copy, I do not have a lot of background
info or song info (writers, performers, etc.) For this album. In some ways, I
like it a little better that way sometimes, as it allows a slightly more music-based
experience as there is no knowledge of familiar songs or studio musicians to color
the perception of the work. As it is, I think this CD is a tuneful cache of well-played
and produced country rock that, to me, sounds like Gram Parsons if he were
just hitting his stride today. Gleason has an intriguing, twang-loaded vocal style
and a way with a pop-touched country-steeped melody that immediately draws you
in. Heartfelt, plaintive emotion is just dripping off this CD and despite the
subject matter always touching on the bittersweet experiences of love lost, this
is one CD that needs to be played in the car while you're ripping down the highway.
Bad feelings never sounded so good. These may be Gleason's Wasted Days, but any
time or money spent on this CD could never be called "wasted". Pick
it up. | Dave's
site. Order from Miles
Of Music or Amazon.
Released Aug. '02. Reviewed by Scott
Homewood. |
 ARTHUR
GODFREY
East Side Of Town... (Stampman) | |
No, this isn't the famous dance instructor with all of those schools. This is
a man who, thanks to the strength of his songs and his distinctive voice, has
released one hell of a debut CD. Sounding like a cross between Tom Waits, a grandfatherly
Howlin' Wolf and your friendly neighborhood panhandler who begs you for quarters,
Godfrey manages to make you a part of his songs as if he's confiding his
life stories to you. And what interesting stories they are. Full of heartbreak
and touching detail but also the promise of having faith in hopes and dreams,
Godfrey's songs are touching and comforting at the same time. Like an old friend.
He has also managed to corral some great players including Norton Buffalo (harmonica
player with Steve Miller's band) and Dale Ockerman (of the Doobie Brothers). A
superb debut and well worth checking out. | |
Arthur's site has ordering or order
from amazon Reviewed by Scott
Homewood . |
 ARTHUR GODFREY
Amen... (Stampman) |
| This is a record with inviting texture, Godfrey's dry-throat vocals emerging from a blues-edged late-night movie, with Norton Buffalo's harmonica adding to the soundtrack. In the midst of the songs' dramas, Godfrey has fun racking words like pool balls into triangles that barely hold them. He's won a number of songwriting awards and has actor Sean Penn in his corner, and for good reason. Godfrey finds his own sound and place in his music. Not every track is a winner, but the record draws you back with its honest feeling. |
| Arthur's web site. Order from CD Baby or Amazon. Released August, 2005. Reviewed by Doug Lang. |
 THE GOLDBRICKERS
Heaven... (Artisan)
|
The Goldbrickers are Nicole Summerwood, principal writer and vocalist, and Bob Daspit, guitarist, bassist, et cetera, working out of California. Their sound and style are somewhat akin to Lone Justice, mainly on the strength of Summerwood's impressive range and delivery. It's hard to believe that this lady originally had little or no confidence in her pipes. She's comfortable with finger-popping swing tunes like “Had To Have You”, or the torchy opener, “Heaven On Earth”, and yet can still hammer out a decent rocker, “Indiana Dawn”, that has that Crazy Horse type of solidity to it. Overall, this is a relatively measured and evenly paced disc that envelopes rather than overwhelms the listener. Is it “the face of the future of alternative country music”, as quoted from their site? Expansive and grandiose predictions have a nasty habit of coming back to bite one's ass, or, worse still, becoming an unwitting curse upon the subject. Que sera, sera is a better prediction for all involved; once again, release number three will tell the tale. |
| Their site has CD ordering. Goldbricker's on My Space. Released June, 06. Reviewed by Don Grant. |
| |
| I've always had a special
fondness for the sweet or sometimes staccato sounds of the pedal steel guitar.
Years ago, artists like Speedy West and Buddy Emmons highlighted the unique tonal
qualities of the instrument by recording all-insrumental albums. San Franciscan
Goldmark uses a variety of back-up bands to carry on this tradition. Even
though guitar-slinger Jim Campilongo is featured on a few tracks, this is not
really a "hot licks" CD. It emphasizes tasteful arrangements
of an eclectic and sometimes unlikely group of songs. Especially interesting
are his West African Highlife tunes and covers of the Grateful Dead and a recent
hit by Fastball. I won't listen to this very often, but I support it's release
and the continuance of a lost musical sub-genre. |
Best
tunes: Highlife, Hey Girl, Wacky Walk, Wispering Pines, Skokiaan, China
Cat Sunflower, The Way. Check out
HighTone's site. Released May, '99, reviewed by Bill
Frater. |
 GOLDRUST
Goldrust...
(Bloomfield) | | This is the debut recording
from this Italian roots rock/alt.country band . Right from the get go the influence
of Neil Young is readily apparent. Their sounds is roughly similar to the Zuma/American
Stars/Rust Never Sleeps era Young. Vocally they sound much like a combo
of Neil Young and Jay Farrar. However, there is also slight hint of Husker Du
and perhaps the Replacements just under the surface. Hard to believe a band from
Italy can sound this American...not too mention this fine. On their debut no less.
Good job!! | | Their label has a nice site.
Order the CD from CD
Baby. Reviewed by Keith Robb. |
|
|
| This is great
roots-rock from a guy who hails from Iowa and now lives in Nashville. This is
first full-length CD and it's produced by E-Streeter Garry Tallent who has been
doing a lot of Alt-Nashvile producing lately. Gordon's deep-dark voice sounds
so much like someone else to me, but I just can't place who he sounds like. Nevermind
that, this is good mostly-upbeat stuff with many "workin'-man-in-a-small-town"
themes. He throws in some rockabilly and swamp-rock amongst his self-penned tunes.
He probably won't win any Grammys for this CD, but I bet he's great live and for
a first release, it's great. If only I could figure out who he sounds like...
| |
|
 KEVIN
GORDON
Down To The Well... (Shanachie) | |
Excellent melodic Blues-based Roots Rock. Gordon has a fine cigarette-tinged
voice that demands your attention. He rocks, but not too hard and his songwriting
is both intelligent and witty. Ya gotta love a guy who has the balls to
write a song called "Jimmy Reed Is The King of Rock & Roll", (and
it's a great song too). Lucinda Williams duets with him on the title track
but Kevin's doesn't even need her help. If there was any justice Kevin Gordon
would be a star on the level of a John Hiatt or even a Mellencamp. Produced
by Bo Ramsey. Very soulful Alt.Country... recommended! | |
Shanachie Records site
has bio, song samples and ordering info, there is a
fan page too. Buy
from amazon. Release date: July, '00 Reviewed by Bill
Frater. |
 KEVIN GORDON
o come look at the burning... (Crowville Collections) |
| It's not surprising that Kevin Gordon turns out to be a collector of regional folk art. His music takes some found objects and bends them just enough to show a unique artistic perspective, though with familiar materials we all have lying around in our record collections. The title track and several others are steeped in a swamp blues groove with a distinctive lyrical point of view. The engaging "Find My Way" sounds like a lost Stones tune, and a good one at that. Just when the reliance on bluesy groove gets well, a little heavy, he hits a sweet spot with the shimmering "24 Diamonds" or wistful closer "Hearts Not In It" All in all, Gordon's latter day folk art will reward repeated listens. |
| Kevin web site. Buy from amazon. Released Oct. '05, reviewed by Michael Meehan. |
 THE
GOURDS
Bolsa de Agua... (Sugar Hill) | |
There's something really wonderful about the Gourds. I don't know if it's their
bluegrass-country-jugband style or their eccentric "train-wreck mentality",
(as they call it). It could just be their fun little songs about "Pickles",
"O Rings", "El Paso" or "Meat Off The Bone", all
with delightful melodies and obscure lyrics. They don't sound like a rock band
that got a hold of some acoustic instruments, like so many others do. They really
play and sing them with skill yet they can still plug in and rock out like the
best of 'em. Sometimes I think The Gourds are what The Band might sound like today
if they were living in Austin and still had Robbie Robertson. I just love
these guys! |
| Check out
The Gourds website or
Sugar Hill's.
Release date: Sept, '00 Reviewed by Bill Frater |
 THE
GOURDS
Cow Fish Fowl or Pig... (Sugar Hill) | |
In a more perfect world, The Gourds would be playing for 5000 people a night with
Phish as their opener. But until then, we have no less than 17 fine tracks on
the new Gourds shiny disc. Max Johnson has stepped forward to join Kev Russell
and Jimmy Smith as the third gifted and quirky singer songwriter, making the band
a triple-threat. These guys play with the same confident sloppiness that NRBQ
had in their best years with Al Anderson, only the Gourds spice up everything
with some tasty fiddle, accordion or mandolin fills. Its rootsy rock, "dirty"
blues and sometimes even borders on bluegrass but thee Gourds always entertain
. Their tunes are melodic, the words are frequently cryptic and sometimes link
to earlier times like the writing of Robbie Robertson or Robert Hunter. Sounds
like some musical big comparisons, I know, but The Gourds are that talented and
they don't take themselves too seriously. Give em a chance and go see them live
next time they're in your town. | | Sugar
Hill Records The Gourds
dot com. Buy
from amazon. Released Sept. 2002.
Reviewed by Bill
Frater |
| |
| I have this fantasy that
Austin is full of these odd little old-timey/punk bands like The Gourds. They
cross so many genres that it's hard to put your finger on what they really sound
like. I'm not complaining, I like this "mixed-breed" stuff, and bands
like The Bad Livers and Poi Dog Pondering have been doing it in Austin for years.
This humorous "style" goes back to Camper Van Beethoven and maybe even
all the way back to The Holy Modal Rounders and The Bonzo Dog Doo-Dah Band. But
back to what's in front of me, the 2nd Gourds CD that I know of has a loose and
swaggering sound that features lots of drinking songs. Maybe if The Pogues came
from Texas they'd sound like these guys? But seriously, The Gourds have 2 singers,
Kevin Russell and Claude Bernard, who are equally talented and crazy, and seem
to share the same blurry vision for the band. Anyway, The Gourds use accordions,
mandolins and a good sense of humor to create a funny and joyful noise. |
| |
 JON
DEE GRAHAM
Hooray For The Moon... (New West) | |
With a voice reminiscent of Tom Waits (who's song "Way Down In The Hole"
gets a great treatment here - almost as harrowing as Waits' own), Graham explores
the age-old problems of lighting/trying to extinguish the twin flames of love
and passion for this fine, but tormented, album. While the music he has chosen
to represent his treatises on the tortures of love is more of a gritty, roots-rock
sound than anything resembling pure country, the honesty and heart he pours into
his songs will no doubt transcend musical boundaries and will appeal to all discerning
music fans. After all, many elements of classic country music do appear frequently
on this disc and Graham even launches into a conjunto ballad ala Joe Ely or Freddy
Fender at one point. In fact, this album reminds me of the legendary Doug Sahm
who never let musical boundaries get into the way of the music itself. It would
be easy to see Graham and Sahm as kindred spirits and, since one is sadly gone,
I am happy to see Graham kind of pick up Sahm's mantle. Guests include master
drummer Jim Keltner who adds his usual flawless propulsion and Goner/Cracker-man
Davey Faragher who adds backing vox. Hooray For The Moon, indeed. Graham
has chosen to revel in the dark elements of life and love and I suggest you choose
to revel with him. | | New
West's website. Released Feb, 2002. Reviewed
by Scott Homewood . |
|
| |
There's something very special happening
on this CD. Graham has a unique talent for boiling down the lyrics of his
songs to just the essential ingredients. The songs are mostly about love
and relationships how they affect us, but there's something else going on here.
I wish there was a lyric sheet with the CD, I'd actually read it. The arrangements
go from soft acoustic to all-out rockers, always tastefully done with memorable
melodies and roots sensibilities. His voice is gruff, like Richard Buckner
or even Tom Waits, and his songwriting even as good as either of 'em. Need
some background? He was a member of the True Believers as well as John Doe's
band, and more recently he's been touring with Kelly Willis. This is his
second album and he's from Austin and damned if he isn't a good guitar player
too. This is one of the reasons I keep buying new albums. |
|
Best tracks: A Place In The Shade, Big Sweet Life, Look Up, Black Box, Butterfly
Wing, God's Perfect Love, Threads. His label, New
West, has a site. Released March, '99,
reviewed by Bill Frater. |
 TRACY GRAMMER
Flower Of Avalon... (Signature Sounds)
|
This lady is possessed of the versatility of an Adrienne Young, or a Mary Chapin-Carpenter, their stylings and material are that alike. The Chapin-Carpenter connection is a bit of a no-brainer, as Mary provides some vocal backup, and the versatile fingers of John Jennings, her long-time associate, handle the guitars. All of the tunes are the product of her partner, the late and lamented Dave Carter, with the exception of “Laughlin Boy”, and they are simple and graceful little slices of beauty, no overproduction complaints here. The starkness of “Preston Miller” is particularly appealing, ditto for “Hey Ho”. This is pretty good stuff. Will Grammer be able to keep it up with Dave gone? I, for one, am pulling for her. |
Signature Sounds' Tracy page. Buy from amazon. Released April, 2005. Reviewed by Don Grant.
|
| | |
When I saw this CD, my first impression
was here's another Nashville band of pretty-boys-in-hats. Then I noticed that
the well-respected Austin producer Lloyd Maines had a hand in it and I decided
to take a listen. While this band does seemed to be aiming for Nashville stardom,
they are definitely a cut above most of what you'd hear on your local formated-country
radio. The arrangements are different and they can rock a little, with good vocals
and songs throughtout. These guys aren't afraid to stretch the boundries a little
bit by throwing in some tropical sounding stuff here and there. And anyway, they're
from Stillwater, Oklahoma where people probably still do wear cowboy hats. If
you're bored of the usual Nashville stuff, give The Great Divide a try for a change.
| |
|
 THE GREAT UNKNOWNS
Presenting The Great Unknowns...(Daemon)
|
Time to reorganize the CD library to make room for this alt/country debut release from the Northeast's Great Unknowns, and I'm not sure how long that name will fit, if this release is any indication of things to come. Move your Mary Gauthier and Kathleen Edwards over a notch, because this one will fit right in alongside of them. Written entirely by Becky Warren and guitarist Michael Palmer, it's a seamless ten song collection showcasing Warren's beautiful voice and lyrics. It's hard to pick out the best, but “Abilene”, about a love lost to a town, and “Round Hill”, a love lost to a war, are prime candidates, but the ballads are only part of the story. There's some nice edgy stuff as well, like “When I Was Your Girl”, and “Something To Do”, and, “1000 Miles From Tennessee” is a road song that chugs right along with the best of them, like Jackson Browne's “Take It Easy”. With Andy Eggers on drums, and Altay Guvench on bass rounding out the main cast, The Great Unknowns have a good, tight, sound, that shouldn't leave them anonymous much longer. A pleasure to listen to, this one. |
| Their website. Daemon Records GU page. Buy from amazon. Released Dec. '04. Reviewed by Don Grant |
 CLAY
GREENBERG
Tumbleweed... (Home Grown) | |
Clay is a singer/songwriter from Oklahoma who writes and sings with great passion
and honesty. The liner notes to this fine CD say he took a handful of close friends,
a few good stories, the slimmest of budgets and put them in a studio. The result
is a comfortable acoustic album that's quite entertaining. Anyone wanting to put
him in the folkie pile of artists is only getting half of the story. Tender ballads
and intelligent songs with great arrangements. Fans of Guy Clark or Slaid Cleaves
are gonna love this guy. | |
Check out his brand new site ClayGreenberg.com
Kinkajou
Records has a short bio and ordering information. Reviewed by Bill
Frater. |
 THE
GREENBRIAR BOYS
Big Apple Bluegrass... (Vanguard) | | Here’s
a recovered gem. The Greenbriar Boys were among the first northern based bluegrass
groups in the 1960’s. And they were interesting for a number of reasons, not least
of which is that they demonstrated from the very beginning that bluegrass is a
music that is at it’s best when the approach is creative, rather than those endless
anemic re-creations of how Bill or Ralph or Flatt & Scruggs did it. Consequently,
this CD is chock full of lively, energetic music that - like all great music -
transcends time. These recordings were made in the early to mid sixties but could
just as easily have been made last week. This record is much more than an artifact
of a band from days gone by, it’s a record of a band who’s music has stood the
test of time. And that's what makes a band great. The liner notes are also good
& the cover graphics are very cool. | | Buy
from amazon Released March, 2003. Reviewed by Kevin
Russell. |
 THE GREENCARDS
Veridian... (Dualtone)
|
At the risk of offending the true believers from both sides, it must be said that this is a classic case of Mohammed having to go to the mountain. Carol Young, vocals and bass, and Kym Warner, vocals and stringed instruments, are Aussies, while Eamon McLoughlin, vocals and more strings, is British, but love of their craft compelled them to relocate home plate to Nashville, hence the source of their name. If a handle is necessary one could do worse than say contemporary bluegrass, but that still doesn't give the whole picture. For example, ‘Who Knows' has the de rigeur mandolin and fiddle and the mid-song break for some exquisite pickin', but it sure has a country rock ram to it. Bluegrass is too descriptively constraining for this music, similarly so with acoustic country. Check out the ‘from across the seas' flavour in the instrumental ‘Su Prabhat'; that ain't bluegrass, nor is it country. Despite not having heard their earlier releases, it's a no-brainer to state that this one clears the third release hurdle with ample room to spare.
|
Greencards's site. Buy from amazon. Released March, 2007. Reviewed by Don Grant.
|
| | |
Ya gotta love a punk-country band that takes
it's name from one of Gram Parson's best-known songs. This is their 2nd
album, the band hails from Tempe, AZ, and they have a good sense of melody added
to their punk urgency. Their songwriting and vocals are both very tight and strong.
Pedal steel guitarist and sometimes banjo picker Jon Rauhouse is featured prominently
in the mix, giving the band just enough "twang". Three of the band members
share the songwriting, except for two well-chosen covers that help to define the
band. One is by Tom Waits and other is by Hank Williams. Bloodshot is great at
promoting lots of alt.country bands, some better then others. This is definitely
one of the better ones, and I'm sure Gram would've liked them too. |
| Bloodshot
Records has a nice website, including ordering and tour info. Released Sept, '98. Reviewed by Bill Frater. |
| |
|
This is, I guess the second part to her earlier Other Voices CD, and it's an ambitious
project that probably breaks the record for amount of guest artists on a single
CD. Yet despite this, most of the songs manage to stay afloat, no matter how many
different people share the vocals. And really, the songs are what it's all about.
Ms. Nanci and co-producer Jim Rooney reached even farther into the "classic"
folk bag this time, enlisting the talents of Dave Van Ronk, Ian Tyson, and Jean
Ritchie, among others. They let many of the songwriters share the lead vocals.
Some of the more contemporary songs work better, most notably the We Five's "You
Were On My Mind" and the Everly's classic "Walk Right Back", and
Richard Thompson's "Wall of Death". Guy Clark's "Desperados Waiting
for A Train" seems to feature half of Texas sharing in the verses. There
is a double album worth of songs here. There is so much here, in fact, it's a
wonder this massive project doesn't sink under it's own weight. It doesn't though,
and these song and artists need to be honored and celebrated. Thanks to Nanci
for sharing her CD and talents. |
| |
 THE
GROOBEES
Buy One Get Eleven Free... (Downtime) | |
Here's a group of musicians from Amarillo, Texas that has a great roots-pop sound
with just a pinch of jam-band looseness. Featuring two alternating singer-songwriters.
Susan Gibson with a strong Tracy Nelson kinda voice, and Scott Melott, who has
a quirky style and a song "Ballad Of An Opening Band" that's
a must-hear for any band. Fine tunes and crisp production as always by the great
Lloyd Maines. This the young band's 3rd release and I think it's mighty good!
| | They have a nice website
too, Groobees.com. Order
the CD from Lone
Star Music Released March, 2001, reviewed by
Bill Frater. |
 THE
GUTHRIES
Off Windmill... (Brobdingnagian) | |
Well, I've been getting so many CD's in these days that I'm bound to miss a few
gems, and this is one for sure. Canada's The Guthries feature no less than three
singer-songwriters. The Jayhawks and Son Volt echo throughout the album, or you
could even go farther back to the Byrds or the Burrito Brothers. Not imitators
but certainly influenced by these great bands. Dale Murray's vocals especially
remind me of Jayhawks and Matt Mays has a Jeff Tweedy-kinda voice. These guys
have done their homework, the songs and arrangements are outstanding, anywhere
you drop the laser... Look for it. | |
Order the CD from Miles
Of Music or CD Baby
Check out the band's site.
Released Aug. '00, reviewed by Bill
Frater. |
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