Beachwood Sparks "Beachwood Sparks" (SubPop, 2000)
Great record!! Comparisons are rife between these guys and Gram Parsons... A more apt parallel might be to non-Parsons Byrds, say, around the time of the Notorious Byrd Brothers album. They've got a lot of the same elements: their off-kilter vocal harmonies strike the right balance between folksy and flawed, then there's the same herky-jerky rhythmic approach to the pedal steel (not unlike hippie-billy icon, Sneaky Pete)... Of course the Beachwoods do this with a nod and a wink -- earlier countrybilly pioneers like the Byrds and the New Riders already made the real mistakes, oh, those many years ago -- these guys are merely looking back with affection. The occasional Stereolabby bleep-bloop or Pink Floyd-y shooting-star keyboard riff remind us that a lot of water has gone under the rocknroll bridge since the days when Gram strode the earth, and this album proves itself a perfect extension of the psychedelic country music made way back when. It may seem erratic and sketchy, but actually the band put a lot of cunning and craft into this album, and the payoff is pretty nice. If you're like me, you'll find yourself pleasantly surprised to be humming a tune or two of theirs at unexpected times during the day. Check it out!

Beachwood Sparks "Once We Were Trees" (SubPop, 2001)
This album finds the Beachwood lads deeper into psychedelic terrain, but still country-rock as all get-out. It's a bit densely constructed, but if you're willing to go along on their wavelength, it's also quite rewarding. I think this is pretty impressive musicmaking.

Beachwood Sparks "Make The Cowboy Robots Cry" (SubPop, 2002)
The overt country elements are all but completely abandoned on this 6-song EP... Oh, sure, there's a clever touch of pedal steel weaving throughout, and their canny use of banjo plunks to punctuate their tunes is still fairly novel to the indierock scene, but at heart this is a straightforward rock record, with plenty of willful self-indulgence, pretty melodies and spacy, mellotron-laden sonic washes. Less densely constructed and stylistically complex than their earlier albums, and possibly the signpost marking the end of their innovative country-delic explorations. Alt.country enthusiasts may find their attention wandering, but more rock-oriented fans will probably enjoy this mellow, Sea & Cake-ish outing.

The Be Good Tanyas "Blue Horse" (Nettwerk, 2001)
This all-gal trio from Canada has a super-sugary, folk-tinged take on the Americana sound, with traces of acoustic soul-gals Tracy Chapman and Ani DiFranco evident in their sound, as well as more standard-issue folk-scene types like Cathy Fink and Greg Brown. Their big trick, musically speaking, is to take everything at a slow-moderate pace, with gentle syncopation punctuated with trad instruments such as the banjo and mandolin. The funny thing about it is that while the music is fairly monochromatic, their odd approach is still intriguing enough to hold your attention the hole way through. The weak spot is when they cover old folk tunes such as Stephen Foster's "Oh Suzannah," or public domain ditties like "Lakes of Ponchartrain" or "The Coo-Coo Bird," in the same lazy, disjointed slowcore style. THEN they sound mannered and pretentious, and may tax the good will of their listeners. Worth checking out, though, especially if you're looking for something mellow.

The Be Good Tanyas "Chinatown" (Nettwerk, 2003)
This moody, magnificent followup to the first BGT album finds the band gaining solid footing, penning stronger material while self-producing the album, perfecting an oddball trip-hop folk style with a uniquely disjointed, mellow sensibility. The gals deploy old-timey instruments in an unusually relaxed manner, plunking the banjo at a loping gait, sawing a lazy fiddle along with a few funk-laced guitar riffs and unexpected modern touches. They indulge in little of the drag-racing flash and fire of the traditional bluegrass scene; indeed, the band's low-key, minimalist approach is what makes it consistently listenable and alluring. In an era of bombastic, overly-layered corporate pop, the Tanyas are a model of restraint and willful imperfection. Sadly, they seem unwilling to shed the almost-tedious, mumbly-voiced, white-girl acoustic soul murmuring they apparently copped from Ani DiFranco. It's an affectation that muddles an otherwise refreshingly direct presentation; nonetheless, the band's quiet grace will doubtless cast a comfortable glow on a thousand cafes across the land. This is a swell record, highly recommended!

The Be Good Tanyas "Hello Love" (Nettwerk, 2006)

Belle Starr "Far As The Wind Blows" (BJAM, 1996)

Belle Starr "Nobody You'd Know" (Hayden's Ferry, 2000)

Belle Starr "Notes From The Broom Factory" (Hayden's Ferry, 2002)

Gary Bennett "Human Condition" (Landslide, 2006)
Gary Bennett, a co-founder of the Nashville-based uber-bar band, BR-549, left the group in 2001 and dropped out of the music community for a while, apparently to sort some stuff out in his real-life life and to devote himself to his family. His return to music after a five-year absence is a mellow, calmly contemplative country-soul outing that brings out a lot of the depth and personal emotion that seemed so lacking in BR-549's glib, humor-oriented repertoire. This is obviously a very heartfelt work, and a very powerful one as well, ranging stylistically between confessional pop-folk material to super-catchy twang/bounce tunes. It's a thoroughly satisfying record, with more depth and sincere feeling than most records seem to have these days. Recommended!

Pinto Bennett "Famous Motel Cowboy Songs" (PT, 1988)

Pinto Bennett "Big In Winnemucca" (PT, 1988)

Pinto Bennett "Pure Quill" (PT/Koch, 1989)

Tab Benoit "Brother To The Blues" (Telarc, 2006)
Modern urban blues is a genre that's been largely dead to me for, oh, I dunno... the last twenty years or so... Every once in a while some album or artist will float to the top and get my ear, but for the most part it all sounds so forced and flat, just lots of going through the motions and doing the same old-same old, over and over. This disc, though, is one of those welcome exceptions to the rule, a truly funky, swampy mix of styles from a Louisiana bluesman who really understands the links between country, blues, rock and soul. It's all here in this rich, lively performance, where track after track has a vibrancy and immediacy, a sense that there's actually someone there behind the mic, feeling the lyrics and making you feel them, too. Much like Delbert McClinton, Benoit covers a wide range of territory, everything from Hank Williams to Sam Cooke, with Jim Lauderdale pitching in on a trio of tracks that he also composed, and the ever-raspy Billy Joe Shaver singing on one of his as well. It's only towards the end that Benoit slips into some old-school, piercingly tin-toned lead guitar, but for the most part this is a very soulful, satisfying album. Definitely worth checking out.

Steve Bice "The Sin Citizen Sessions, v.1" (Sin Citizen, 1997)

Steve Bice "Sixty Minutes Of Sin" (Sin Citizen, 2003)

Big Smith "Big Smith" (Big Smith, 2000)
An odd, charming set of songs, some with an interesting singer-songwriter feel, others are more jugbandy, some bluegrassy, and others still are modernized, off-kilter takes on old-timey themes, such as "Pretty Polly" and "Long Black Veil." These Missouri lads are a little ragged around the edges, but pleasantly so. And they defintitely seem to be following their own muse... So more power to them! Big Smith will satisfy anyone looking for records by real folks doing something a little bit different from the common herd.

Big Smith "Big Rock" (Big Smith, 2001)

Biller And Wakefield "The Hot Guitars Of..." (Hightone, 1999)
The pedal steel and Fender Telecaster duo of Biller and Wakefield first met while playing back-up for Wayne Hancock... This is a lovely, mostly instrumental, album which starts off on an EZ mellowtone that would have made Russ Morgan envious, and swiftly gallops off into twangier territory. By and large this is a lot more engaging than other recent entries in the instrumental chic arena... However, there are also some cool vocal tracks, including two by the briefly reunited Dave and Deke, as well as the super-hummable "Steel Crazy," which Big Sandy claims he wrote in the car on the way to the recording session. Well, if that's what his toss-offs are like... no wonder we love him so!

Biller And Horton "Texotica" (Vinylux, 2004)
Twin guitar wizardry from Dave Biller and Bobby Horton, ala Jimmy Bryant and Speedy West, mixing fast-paced twang with dreamy easy listening...

Bill Parker And His Motherscratchers "United We Stand" (Wrecked Em Recordings, 2002)
Cowpunky-twangcore is alive and well, as evidenced by this dissheveled Michigander quartet, which rollicks through the usual, cliched drink-too-much and sing-too-loud conventions of the style. Although I'm not real big on the whole white trash stereotype-laden, sing-lousy-'cause-that's- "country" vibe (it's just way too played out), every once in a while some of these bands hit on a good song, or, if we're lucky, they stay together long enough to outgrow the aw-shucks Cletus phase. This album has a bunch of curse-laden, Cramps-y rave-ups (and even a shambling, Pogues-style Celtic number!), all of which kind slide by without making much of an impression. But there are some nice verbal turns, lyrics that hint at possible greatness. And then there's the slow waltz, "Keep My Glass Filled," which is actually a pretty nice song. I'm not wild about this album, but you Bloodshot types out there might like it a lot.

Terri Binion "Leavin' This Town" (Daemon/Shinola, 1997)

Terri Binion "Fool" (Richter, 2002)
One of the most distinctive indie-Americana albums to come down the pike in quite some time! This record makes a strong first impression, and only gains depth with each successive listen. Orlando, Florida's Terri Binion sings with an irony-laced raspiness, making it easy to draw a facile Lucinda Williams comparison (especially since Lucinda sings harmony on the bouncy opening track, "GayleAnne"...) yet Binion clearly has her own artistic voice, and every song on this album has a compelling, off-kilter charm. Cloaked in familiar-sounding country-tinged arrangements, she glides subtly into pop-folkish singer-songwriter terrain, balancing wry lyrics and skillfully crafted melodies in a way that is also reminiscent of the Roches early work. Many of today's alt-hick types have their glimpses of brilliance; Binion is able to sustain her connection to the Muse throughout the length of the entire album. Nice touch on the "mystery track" at the end -- Binion does a little field recording with one of her old-timer Southern relatives, who she sits down and asks to sing the song about a moonshiner relative, Jim Binion, locally famous for having taken a pot-shot at the sheriff one day. with banjo plunkin', and quiet self effacement, he answers her question, "who wrote this song?" by saying, "I dunno: it was here when I was here!" Just one more charming touch on a compelling, noteworthy album. This is one you'll definitely want to pick up -- and hang onto. (Here's her website for more info.)

Elvin Bishop "Juke Joint Jump" (Capricorn, 1975)
A hotshot guitar ace who came out of the Butterfield Blues Band in the 1960s, Bishop set out on his own towards the end of the decade, and scored a mega-hit in '76 with the slick roots-AOR ballad, "Fooled Around And Fell In Love." The year before that, he laid down this discobilly classic, where smooth, funky guitar lines comingled with aw-shucks, down-home vocals. I'm sure there are plenty of folks from all the genres this disc intersects (pop, blues, soul, hick music) who would just roll their eyes if you played it for them, but fooey on them: this is a good-natured, wholly original blend of styles, and a nice little record, if you can get in on its groove. Worth checking out!

Jeff Black "B-Sides And Confessions: Volume One" (Dualtone, 2003)
Despite the overly-urgent, whispery vocals, the self-conscious lyrical profoundity and the absurdly pretentious album title, I gotta say that this guy writes consistently engaging songs, and this is an album that'll sneak up on you. Backed by mournful piano and bass as often as by a stripped-down guitar, Black evokes roots-rock forefathers such as Mark Knopfler, Bruce Springsteen and Greg Brown, and seems pretty comfortable rubbing elbows on their gruff-voiced folksy plateau. Fans of the style should enjoy this album, and will want to keep an eye on this Kansas City troubadour... He's a skillful songwriter and an unhurried, effective stylist, one who knows how to command our attention without resorting to the empty theatrics or alt-anything gimmickry. Well, now I guess I gotta track down a copy of his first album!

Blackie And The Rodeo Kings "Kings Of Love" (True North, 1999)

Blackie And The Rodeo Kings "Bark" (True North, 2003)
Hey, waitaminnit.... If it's Canadian, is it still Americana? Far North Americana, maybe? Sub-Arcticana? Anyway, this disc opens with "Swinging From The Chains Of Love," a tasty, upbeat country-billy tune, then it zips into more chunky-sounding roots-rockish territory, with a bouncy, agile slide guitar at the heart of the mix, bringing to mind old stuff by David Lindley and Ry Cooder. Mostly this is pretty darn catchy, although they do slip into some sluggish tropes, as with the forced profundity of "Heaven Knows Your Name," "Willie's Diamond Joe," and a couple of other tunes. If you like these guys, also try checking out solo albums by singer-guitarist Colin Linden.

Blackie And The Rodeo Kings "Let's Frolic" (True North, 2006)

The Blacks "Dolly Horrorshow" (Bloodshot, 1998)

The Blacks "Just Like Home" (Bloodshot, 2000)

Rory Block "Last Fair Deal" (TelArc, 2003)
An airy, loose acoustic set, with plenty of gentle slide guitar, and a hefty dose of straightforward preachin' gospel blues. Some surprises, like an ethereal instrumental version of "Amazing Grace." To be honest, she sounds a bit mannered and stuffy on some of these tracks, yet the mix of informal presentation and an overall evocative, spine-tingly feel make this record worth checking out...

The Blood Oranges "Corn River" (East Side Digital, 1990)

The Blood Oranges "Lone Green Valley (EP)" (East Side Digital, 1992)

The Blood Oranges "The Crying Tree" (East Side Digital, 1994)

Blue Dogs "Halos And Good Buys" (Black River, 2004)
Nice, tuneful, roots-rockish material that bridges the gap between Bryan Adams/John Mellencamp/Springsteen power ballad rock and more countryish stuff... This Charlottesville band, which has been together since the mid-1980s, are audibly relaxed and having fun, in a loose, Jerry Jeff-ish way. They're probably too limber and acoustic-based to crack the Nashville charts, though with a tweak here and there, they'd sound right at home, next to Tim McGraw or Dierks Bentley. There's a liberal use of formulaic, shamelessly "perfect" melodic hooks, combined with a canny faith in the power of a repeated chorus, and a catchy little mandolin, laced through the who album... These guys know how to make a song stick in your head, and there's a lot to be said for that... This isn't my kind of music, but I found myself sucked in by several songs... If I was still doing commercial country radio, I'd probably try sneaking some of this record in, just to see what happens. Anyway, if you do like any of the artists mentioned above, you might want to check these guys out... They're pretty good!

Blue Rags "Rag-N-Roll" (SubPop, 1997)

Blue Rags "Eat At Joes" (SubPop, 1999)
A likeable modern-day bar-blues/ragtime jug band, with echoes of Leon Russell, Dr. John, The Band and Jim Kweskin. The 'Rags sound more focused and better produced than contemporaries such as the Squirrel Nut Zippers, Asylum Street Spankers, et al, although most of their songs are pretty ephemeral: not much going on in terms of the songwriting, but the musicianship is solid. I guess they're trying to affect a Terry Allen-ish postmodern irony, though their songs lack the level of detail that make Allen's songs so effective. Still, it sounds fun, and is definitely worth checking out!

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Hick Music Index

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