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 KIERAN
KANE 
The Blue Chair... (Dead Reckoning) | |
Kieran Kane is a true country music artist, and his new CD only reinforces this
in spades. The Blue Chair, his fourth solo CD since leaving the successful
O'Kanes duo of the early nineties, proves again that his deft writing, soulful
singing, fully realized arrangements and production are among the best sounds
coming out of Nashville. Kane synthesizes elements of folk, pop, soul, jazz, and
country into something familiar, yet new. I love this record. Imagine the mellow
of Don Williams, the sweet melancholy of Jesse Winchester, the smooth sophistication
of James Taylor and the gut-wrenching honesty of Buddy Miller all mixed together
and you get some idea of Kieran Kane. In The Blue Chair we hear an artist
at the top of his game. This is the best "urban" country music being
made. Period. For another take on Kane's material checkout the, also recently
released, raw, live CD with label-mate Kevin Welch, 11/12/13. Less refined
but gutsy and beautiful. | |
Dead Reckoning Records.
Release date: Oct, '00. Review By Kevin
Russell. |
 RICHARD
KAUFMANN
Common Senses... (Record Cellar) | |
It's amazing to me how much the alt.country genre has broadened since Jeff Tweedy
formed Wilco after Jay Farrar left him in the lurch while both were in Uncle Tupelo.
Once Tweedy (and John Crooke of Jolene, truth be told) started embracing pop nuances
and touches in their music and broadened their scope, so many other musicians
have finally felt free to open up that part of their music it's been revelatory.
So few new bands release CDs without these same pop affectations, it's hard to
find the country anymore. That's both good and bad, but that's another story.
This album goes down the pop road as well. Featuring Kaufmann's heartland-sounding
voice, the music itself shows touches of lounge, Beach Boy and Beatle touches
all retaining a country tinge that's hard to place sometimes but always unmistakably
there. The song "The All Fools Dance" is as great a mix of pop and country
as I've ever heard. It's an exciting time for country. The palette has been expanded
and the sound will never be the same. Artists like Kaufmann make this one of the
most exciting times in music. The blending of pop and country into one great musical
hybrid. This album does it. Check it out. It's Common Sense(s). |
| Record
Cellar's site. Released Mar. 2002. Reviewed
by Scott Homewood . |
|
| |
It took me awhile to warm up to this record
and I think that's because I was expecting something closer to the power and force
of Picnic, Keen's 1997 release also on Arista. On Walking Distance
however, Keen and producer Gurf Morlix go for a more spare production where the
focus is on what Keen does best which is to tell a story. Simple musical arrangements,
pleasant melodies...while the record is not initially compelling, I was pleased
and surprised to find it slowly moving in on me and getting comfortable. Walking
Distance is a satisfying stroll through another collection of Keen's wonderful
stories. | |
Buy
from amazon. Preferred Tracks...Feelin' Good Again, That Buckin' Song, I'll
Be Here, Road To No Return. Earl has a pretty flashy website,
where you can order his music, hear a couple of song samples, read a bio and link
to tour info. Released Oct, '98, reviewed by Kay
Clements (KWMR). |
 ROBERT
EARL KEEN
Farm
Fresh Onions… (Audium/Koch) | | 3 or 4 years
ago I saw Robert Earl Keen for the first time in Austin and I was amazed by the
huge contingent of big beer-swillin’ college kids at the show. All of them were
talking loud and laughing, only occasionally looking up to acknowledge a few of
Keen’s better known songs. Since then, his rowdy fan base has grown to rival Jimmy
Buffett’s older-yet equally "willing to party" fans. And between his frequent
tours, Robert Earl has put out many fine albums, and Farm Fresh Onions is definitely
one of his better. I get the impression that songs come easily to him, with out
a lot of thought or effort. Yet under close inspection, they’re mostly excellent
tunes. He balances story songs, witty musings and introspective ballads. His finely
tuned band will most certainly head back on the road with him and I’m sure a few
of these songs will become future concert staples. My mony’s on songs like "All
I Have Is Today" and "Let the Music Play" and possibly the rockin’ "Train Trek".
At least the Texas kids had good musical taste, despite their oblivious attitude
and I hope they stop talking long enough to listen to the words of some of these
songs, ‘cause they’re mighty good. | | RobertEarlKeen.com,
Audium's site. Buy
from amazon. Released Oct, 2003. Reviewed by Bill
Frater |
 GUTHRIE KENNARD
Ranch Road 12... (Armadillo Music) |
| Ray Wylie Hubbard produced this debut from his long time bass player and it's easy to hear why Hubbard was impressed with the songs he heard. Mid tempo melodic tunes, intelligent lyrics and a touch of Texas Hill country blues make this disc a companion piece to Ray Wylie's excellent "Delirium Tremolos" release. I've listened to this disc several times through and it unfolds nicely and grows more essential every time. Kennard's vocals split the difference between Ray Wylie and Bob Dylan and his song writing evokes both in a positive way. Highlights include the John Hurt -style country blues "Hummingbird" and dylanesque "Totterdown". |
| Guthrie's page on Armadillo. Buy from amazon. Released July, 2005. Reviewed by Michael Meehan. |
| |
| First off, let me just say that I love
this CD. When I first heard it, I'm thinking, who is this unknown guy with the
warm yet rough voice, sounding so confident and loose. Not to mention, he's produced
by Steve Earle and backed by a group of the best acoustic musicians around. Well,
thanks, to good ol' search engines, I find out this guy is from Belfast, Ireland,
and he led a rock band called Energy Orchard, who are responsible for five albums.
So he's been around, and the maturity of his heartfelt songs of love make that
apparent. He's got help from Earle and Nanci Griffith on vocals plus Peter Rowan,
Jerry Douglas and the late Roy Huskey Jr., among others. This is a wonderful collection
of music and I hear that this is just a one-time thing for Kennedy, I hope he
reconsiders, we need more CD's like this! |
|
 KENSINGTON HILLBILLYS 
Bones In The Backyard... (self released) |
| Down a country road we go, shoes tapping on the opener. Steve Ketchen and the Kensington Hillbillys have been fixtures for a decade in and around Toronto, rolling out spirited traditional and roots country sounds. Ketchen's voice has a shade of Lee Clayton in it, its melodic reach polished with just enough grit to grey the silver of its shine. There are eleven originals here, a fine cover of The Clash's "Straight To Hell", and guest work from Clive MacNutt, Burke Carroll and James Gray. Bones In The Backyard has good energy and musicianship, and enough adventurous spirit to make it fishtail just a little in the turns. Funny, for all its driving rhythms, it's that last song, "The Spirit And The Will", that pulls over to the side of the road and hits me as hard as any, short and to the ribs. |
The Hillbillys' site. Released Sept. '05, reviewed by Doug Lang.
|
 KENTUCKY
HEADHUNTERS
Soul...
(Audium) | | Over the past couple of years or
so, thanks to artists like former-popster-now-crooner Nick Lowe and re-energized
soul preacher Solomon Burke, music fans in general and country performers in particular
are re-discovering soul music. Not just the citified James Brown stuff and popular
Motown hits, but the obscure stuff smaller labels like Stax, Hi and Goldband (among
many, many others) used to release in the ‘60s. Just like a few years ago when
hip alt.country bands like Wilco discovered 60's pop and Brian Wilson, today,
even hipper alt.country artists are looking back and discovering Wilson Pickett,
Otis Redding and Dan Penn. Enter the Kentucky Headhunters, who have always been
way different. Think I'm kidding? Name another country act who, after having a
huge hit album, would decide to grab Chuck Berry's piano player and do a whole
album based on his style. Think about it. White, scruffy, farmboy country-rock
dudes doing an album with a jazz piano player who happens to be black. In the
blues market, maybe. But I don't think I'd be wrong if I guessed many country
radio execs (white dudes) didn't exactly "like" that pairing. While the resulting
album was probably the best roots record released that year, it totally destroyed
their momentum. Not that it bothered these mavericks one bit. Today's current
crop of alt.country artists talk about all of the envelopes their music is pushing.
The Headhunters run their own special post office. It's been this way for over
a decade, doing everything "wrong" but making music so brilliant and "right" it
defies any description. But we will try our best. Take Wilson Pickett or Otis,
put him in front of a country band, and this is what the Headhunter's new CD,
Soul, sounds like. What, isn't that what they did in the ‘60s anyway? Damn. That's
the reason it sounds so authentic. Suffice to say, this is one fantastic album
filled with some of the greasiest guitar playing since Steve Cropper and some
of the most soulful vocals since Otis, Don Covay and James Carr plied their trade.
Plenty of B-3? You betcha. Funk drums like Bernard Purdie and Al Jackson? Yep.
For me, the country CD of the year so far. I love this stuff, especially when
it's done right, and the Headhunters do such a great job keeping it real and not
pastiche that it's just a wonderful, wonderful thing. I can't gush about this
CD enough. Oh yeah, Chuck Berry's piano player guests on this CD too. Some people
never learn! Buy this, by God, buy this now. | | Buy from amazon. Released May, 2003. Reviewed by Scott
Homewood. |
 KENTUCKY HEADHUNTERS
Big Boss Man... (RCR/Cbuj) |
Say what you will about the Headhunters, you have to give them credit for not being afraid to experiment. In 2003 they released Soul , a generally well-received foray in rhythm and blues inflected country, and Big Boss Man follows in those footsteps, sort of. culled from the archival catalogues of Sony and Acuff/Rose, it's a re-working of a dozen songs that everyone will be familiar with, if they haven't had their heads in cardboard boxes for the last few decades. The results are mixed. The opening, and title cut, harks back to a young and raunchy Elvis doing Jimmy Reed's original. Roger Miller's “Chug-a-Lug” doesn't fare nearly as well, but it is hard to make a silk purse from a sow's ear. Mindless drinking songs are puerile at best. “Like A Rolling Stone” works, as does “Don't It Make You Wanna Go Home”, and “Walking After Midnight” has an interesting malevolence that you'd never find in Patsy. The disc closes with a barn burning rendition of Lennon and McCartney's “I'm Down”, thanks to Greg Martin's ‘damn the torpedoes, full speed ahead' style on his lead guitar, which is the one constant on Big Boss Man . |
| Buy from amazon. Released June, 2005. Reviewed by Don Grant. |
 DALE
KEYS
Dale
Keys... (self released) | | Shades of honky-tonk,
blended with an Americana base, is how I'd have to describe Dale Keys, with the
emphasis being on the Americana side. Originally from Kentucky via Idaho, he now
hangs out in Nashville, (gotta be the original part of town, where the real stuff
still happens), attracting the positive attention of luminaries such as Barry
and Holly Tashian and Mary Gauthier, which says a lot about this guy's talent.
He's got some good musicians backing him up on steel, fiddle, and mandolin, and
the overall result is a pretty darn good product. If I have to carp about anything,
(apologies to the beast in question), I have to carp about "He's My Dog", which
actually isn't that bad of a song, it's just way out of place in the context of
this recording. It no doubt works well with the performer-audience empathy inherent
in a live scenario, but, here, it just doesn't integrate. Otherwise, Keys has
produced a solid and honest exploration of the themes that make the foundation
of good country tunes. |
| Dale's
site has CD ordering and a nice bio about musical adventures in Nashville.
Or order the CD from CD
Baby. Reviewed by Don Grant.
|
 THE
KICKBACKS
Blindside View... (Sodapop) | | There's
not much in the way of pure country on this CD but if you're a fan of twang pop,
then you'll just love it. Sounding like a poppier, sprightlier version of The
Wallflowers, The Kickbacks score big with a bunch of melodic songs perfect for
driving. Tad Overbaugh and Shawn Byrne (the co-lead singers and guitarists of
the band) wrote all of the songs save an excellent cover of the John Fogerty chestnut
Almost Saturday Night that beats the hell out of the Dave Edmunds version as well
as Fogerty's own, to these ears. Overbaugh and Byrne have a great sense of melody
and bridge the gap between pop and country without going overboard like Wilco
and Marah have done. There are no orchestrations or overdone glam moments here
smacking of huge, unneeded effort. There's just some clever, melodic songwriting
with some meaningful lyrics sure to get you feeling good. It may fall under the
classification of pop, but there's not an abundance of "power" and plenty
of roots rock touches to keep country fans happy. Think of the Rembrandts fronting
the Wallflowers. If that sounds as good to you as it does on this CD, then get
this as soon as possible. | | Their website.
Order the CD for CD
Baby. Reviewed by Scott
Homewood . |
 BILL
KIRCHEN
Raise A Ruckus...(HighTone) | | Bill
is the only veteran of the legendary Lost Planet Airmen to still have an active
career. This is his 4th solo CD, and although he has a limited voice, he has a
loyal following thanks to his great live performances and regular touring.
And, of course, it helps that he's an excellent and versatile Telecaster twanger.
As usual, Bill throws in a little bit of everything, Rockabilly, Swamp Rock, Western
Swing, R & B and just plain ol' Rock 'n Rock. Most of the songs
are originals, including a few written by his wife Louise. Personally, I don't
think it's his best but it's still a nice CD. I like some of Bill's earlier
albums a little better, perhaps it's because of his well-chosen mix of cover tunes.
|
Best tracks: Girlfriend, Raise A Ruckus, Little Bitty Record, Big Hat/No Cattle,
Flip Flop, My Heart Has A Mind of It's Own, Interstate. HighTone
has a site. Released April, '99, reviewed by Bill
Frater. |
 BILL
KIRCHEN
Tied to the Wheel... (HighTone) | |
Thank heavens! The King of Twang, the Duke of Dieselbilly, Bill Kirchen by-god
has returned to grace us with another album full of the truck drivin' twang and
bang he does so well. While the former Commander Cody guitarist's last album was
a scattershot affair, this one is a total twangfest with a capital T that stands
for truck-drivin' and finds him devoting just about the entire disc to the much-loved
country sub-genre of the truck drivin' song. In my opinion, this is Kirchen's
tour de force and the album that could define his career. A moratorium: No one
else should be allowed to handle this form of country now that Kirchen has made
it his own. Ably assisted by his band, Kirchen makes more out of a trio than anyone
I've heard since Brian Setzer and if the title track ballad Tied To The Wheel
doesn't sound like a hit, you can tie ME to the wheels! A great album and well
worth your money. Dave Dudley should be proud. | |
HighTone's
website. Released Aug, '01. Reviewed by Scott
Homewood |
 JESS
KLEIN
Draw Them Near... (Rykodisc) | |
She came from Boston's young and hip folk crowd. She wrote a nice batch of honest
confessional songs and Ryko picked her up. George Howard, who also produced Peter
Bruntnell's excellent album, drapes her songs with a little too much pop flourish
for my taste. Backed by Wilco's drummer Ken Croomer and Will Kimbrough (Kim Richey,
Todd Snider). Her voice reminds me of Stevie Nicks or sometimes Emmylou Harris.
Some very nice well-crafted folk and pop songs. | |
Released Aug, 00 Reviewed by Bill
Frater. |
| |
|
Cheri played bass and sang with Blood Oranges, who's music I like, so I had very
high expectations for her collaboration with the "twangtrust" boys.
This CD has many different "textures", not unlike co-producer Steve
Earle's last effort. I don't feel that this mixture works as well as "El
Corazon", although I like this CD alot. She has written some excellent songs
and the arrangements are always interesting, including great guitar work throughout
the CD from fellow ex-Orange Mark Spencer. I find that some of the softer songs
and some of the harder ones, which are pretty rockin', just aren't as strong melody-wise.
I hate to nit-pick because I like Knight's voice alot. The CD is just a few songs
short of a home run, but I can still recommend it wholeheartedly. |
Best songs: Rose In The Vine, If Wishes Were Horses, The Hatfield Side, White
Lies, All Blue. E-Squared's site. Released
Feb. '98. Reviewed by Bill Frater.
|
| |
| It appears
that there's a new kid in town, following in the footsteps of Earle, Prine and
maybe even Springsteen. This young Kentuckian writes honest, sometimes dark tales
about real live people; farmers, cops, truckers, and losers in love. The acoustic
ballad that closes the CD, "William", was so brutally honest and familiar
that it gave me the chills the first time I heard it. The music has a great roots-rock
sound, featuring some of the best players in the business, including excellent
guitar work by David Grissom. Knight's voice may remind you a little of Steve
Earle. It's the songs that really make it though, the melodies and words exhibit
a lot of maturity for a debut CD. If this guy has more songs like this at home,
I can't wait to hear what he does next. |
Best tracks: It Ain't Easy Being Me, Something Changed, House & 90
Acres, The Hammer Going Down, William. Released Feb, '98. Reviewed by Bill
Frater. |
 CHRIS KNIGHT
A Pretty Good Guy... (DualTone)
|
| The label just should have titled this A Pretty Good Album because it certainly is. One of the best I have heard this year, in fact. Produced by Dan Baird (he guests on guitar as well) who is a talented artist in his own right that many may recognize from his stints in the Georgia Satellites, great solo albums on American, member of the Yayhoos (check out their review below), and as a burgeoning producer. Like Yayhoo buddy Eric Ambel, Baird often ends up playing guitar on his productions and favors a roots-rock approach more than straight-ahead twangy country. Knight's album fits that roots-rocky bill. Full of the kind of bluesy bar-stomp rock that John Mellencamp and Springsteen do so well with the songwriting chops of Robert Earl Keen, Knight gives listeners a great look at his talent while keeping things accessible and fun. His songwriting is top-notch and heartfelt, while funny enough to almost hit you from behind with its' inner honesty. A great record that is keeping me salivating for the next one. |
| DualTone's site. Released Sept. '01. Reviewed by Scott Homewood . |
SAM
KNUTSON
Shame Train and the Devil's Square Kilt... (self-released) |
| This CD could be the answer to the musical
question "What happens when a talented musician sets the blender on 'roots
puree' and hits the button?". Knutson conjures up a Blue Rodeo "compressed
country" (very tight arrangements and hint of organ with that unmistakable
Blue Rodeo-type production) sound on the first cut "Go2". He then moves
to a Richard-Thompson-in-New-Orleans sound for the third cut "Sweet Sweet
Love" and continues on in this vein, hitting different light pop and country
elements as he goes. Usually artists who hit a bunch of different styles sound
like their reaching, but not Knutson. While his songs sound different, they still
sound as if they belong together. His inventiveness and good songwriting doesn't
hurt either. Decent album. I'd like to see what he could do with a bigger budget.......
| | Reviewed by Scott
Homewood |
 PAPA
JOHN KOLSTAD w/ WILDMAN MIKE TURK
Beans Taste Fine... (Wampus Kat) | |
You folk blues fans are sure to love this one! Originally released in 1975, this
is a live recording of Kolstad and Turk doing their thing in front of a very appreciative
audience. That's one thing good about the current Americana trend - not only are
people rediscovering old forms of music but also under appreciated recordings
and musicians from that era are getting a much-deserved second glance. While most
songs are covers of old country and blues chestnuts, for anyone who remembers
the folk boom in the '60's, this stuff is gonna be the Holy Grail. It helps that
Kolstad and Turk add a generous helping of humor to the proceedings. Not that
I am a folk music scholar or anything, but this stuff is pretty good to me. |
| Order from amazon
Reviewed by Scott Homewood . |
 ALLISON
KRAUSS
New Favorite... (Rounder) | |
What a flat out gorgeous record this is! Unlike last years effort, "Forget
About It", this new record is equal parts acoustic pop and contemporary bluegrass.
And what a successful blending of those genre's! Krauss wisely gives ample room
for Jerry Douglas and Dan Tyminski to strut their stuff. And the result? The bluegrass
is powerful and edgy, the pop catchy and beautiful. I can't stop playing this
one. Krauss, more than anyone else, creates acoustic bluegrass-informed pop music.
And this is her most successful joining of those worlds to date, as well as her
most satisfying release since hitting it big with "I've Got That Old Feeling".
This is an artist at the top of her game and, frankly, it just doesn't get any
better than this. | | Rounder's
site. Released Aug, 2001. Reviewed by
Kevin Russell. |
 DOUG
KWARTLER
Halfway
House… (Hollow Body) | | Kwartler is the
lead singer with the NYC-based band Foundry. I get the idea that he's one of those
guys who either has lots of time for creative endeavors such a this, or perhaps
he just is real good at time management, or perhaps he just doesn't sleep. Whatever
is his secret, I greatly envy him, because this is a wonderful CD, full of great
fine well thought out songs and arrangements, naturally, 'cause he's got unlimited
time. The sound ranges from simple acoustic tunes to full-out power pop rockers.
This is an ambitious and eclectic work that hits the mark on most every song.
His vocal sound is good if not the most unique, but that's what he's got and he
knows how to use it to his advantage. Apparently Foundry have a new CD coming
soon too. But if he doesn't sleep, where does he get the inspiration for so many
great songs? | | Doug's
website. Order from CDBaby. Released
Nov, 2002. Reviewed by Bill Frater. |
 DOUG KWARTLER
Silver Meteor… (Hollow Body) |
I think that Doug Kwartler is on a roll here. The tapestry of the Americana landscape that he started to weave in Halfway House is expanded in this, his second solo outing. This New Yorker reminds me of John Mellencamp in his country moments, a bit of early Dylan, (lyrically, not vocally!), and, when his subject matter is the road and movement, as in the Mex-flavoured title track, it's an emotional combination of Simon & Garfunkel's “America” and Matt Minglewood's “Swing Low Sweet Cadillac”. You can't judge a book by its cover, and you can't judge an artist by the age evidenced by his/her photograph. Kwartler's depth of perception and knack for getting ‘inside' the mundane and the everyday amazes me in one who looks so young. That capacity usually only arrives after kicking one's ass around the block several times. He has been compared to Ryan Adams, and on the bonus live track, “Mars”, I can see the correlation, but, I think his observations run a mite deeper than Adams' do. Who says you can't find good Americana in the megapolitan sprawl of urban America? It's not a state of geography so much as a state of mind. |
| Doug's site. Order from CD Baby. Reviewed by Don Grant. |
|
