This page is part of an opinionated overview of "alt.country" music, with record reviews by me, Joe Sixpack... Naturally, it's a work in progress, and quite incomplete, so your comments and suggestions are welcome.
BR5-frickin'-49 - see artist discography
Eric Brace & Peter Cooper "You Don't Have To Like Them Both" (Red Beet Records, 2008)
(Produced by Eric Brace & Peter Cooper)
A nice folkie/twangy outing from two fellas from the band Last Train Home... A rewarding blend of laid-back honkytonk and strummy folk musings, including a piercing foray into topical material ("The Man Who Loved To Hate"). There's a wide variety of styles, with some songs that are essentially solo works alongside fine duets with Everly-esque harmonies. And of course it never hurts having the ever-reliable Lloyd Green playing pedal steel... he always hits just the notes, literally and figuratively. The songs are a mix of strong originals with well-chosen covers of Jim Lauderdale, Paul Kennerley, Kris Kristofferson and others, all material that Brace and Cooper hold close to their hearts. In every song, they sing with feeling and conviction -- a nice, low-key DIY Americana disc, well worth checking out.
Eric Brace & Peter Cooper "Master Sessions" (Red Beet Records, 2010)
(Produced by Eric Brace & Peter Cooper)
Rockin' folkies Eric Brace and Peter Cooper bring in a couple of old pros from the Nashville and bluegrass worlds to back them up, including steel guitar master Lloyd Green and dobro whiz Mike Auldridge, who are musicians of the highest calibre and regard. Although they have two roots music legends on hand, the album has a more rock-ish feel to it, and Auldridge and Green seem more like hired hands than deep collaborators. Still, if you're gonna bring in ringers, you might as well pick from the best. Certainly worth checking out, if you like Cooper & Brace's other stuff.
Eric Brace & Last Train Home "Six Songs" (EP) (Red Beet Records, 2010)
(Produced by Eric Brace & Peter Cooper)
Eric Brace & Peter Cooper "The Comeback Album" (Red Beet Records, 2013)
Billy Bragg & Wilco "Mermaid Avenue" (Elektra, 1998)
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 the great 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 reverance 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 appealling in a duet with Bragg. Highly recommended!
Billy Bragg & Wilco "Mermaid Avenue, v.2" (Elektra, 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 irresistable 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!
Randall Bramblett "The Bright Spots" (New West, 2013)
(Produced by Gerry Hansen & Randall Bramblett)
Savvy, soulful roots-rock which brings to mind artists as diverse as Buddy Miller, Dave Matthews and Mark Knopfler, along with more than a hint of latter-day Bob Dylan. This is an an elegantly produced album, firmly in pop-rock territory but with undercurrents of blues, soul and twang that reflect Bramblett's many years as a sideman for folks like Elvin Bishop and Bonnie Raitt. This album has a strong prophetic streak, which may suit some listeners more than others -- personally, I'm not a big fan of poetic profundity in pop songs or twang, but I can see the attraction. There's a wide range of songs dealing with existential issues: the self-questioning, philosophizing of a track like "Whatever That Is" may have more appeal than the overt religiosity of "John The Baptist" or the cosmic meandering of "All Is Well," but folks who are searching for meaning in a tough and confounding world may be drawn to it all. Standout tracks include the scathing "Til The Party's Gone," a radio-friendly, uptempo tune in which Bramblett -- who has doubtless seen his fair share of hard-partiers over the years -- ironically urges his listeners to indulge their every hedonistic impulse, sarcastically informing them that nothing bad will every come of it. Also alluring is the album's closing track, "Rumbling Bridge," which sounds quite pleasantly like an old Roxy Music song... This album is the product of years of masterful musicianship and hard-won life lessons; it's masterfully produced and full of passion, a potent entry in the adult-alt landscape.
John Brannen "Bravado" (Sly Dog, 2010)
(Produced by David Z and John Brannen)
Chunky, rock-tinged roots music, with plenty of electric guitar, slide and fiddle as well. It's reminiscent of early Steve Earle, with maybe a bit of John Mellencamp and Joe Ely in there as well. Some of the songs pretty catchy; some got on my nerves a bit. But if you like the electric troubadour sound, you'll probably dig this disc too. Worth checking out.
The Bridge "The Bridge" (Hyena Records, 2007)
The Bridge "Blind Man's Hill" (Hyena Records, 2008)
(Produced by Chris Bentley & The Bridge)
Funky, lighthearted, indie-twang hippie blues, with nods towards Little Feat, JD Souther and others... Indeed, lead singer and songwriter Cris Jacobs has a very strong vocal and stylistic similarity to Jesse Winchester and/or Jesse Colin Young, and the band's music is often in that losse-limbed, shaggy vein as well, although generally the arrangements are a bit heftier and more boogiedelic. Certainly worth a spin!
The Bridge "National Bohemian" (Woodberry, 2011)
Jeff Bridges "Be Here Soon" (Ramp Records, 2000)
Jeff Bridges "Jeff Bridges" (Woodberry, 2011)
(Produced by T-Bone Burnett)
Dovetailing with his role as a dissolute country star in the film "Crazy Heart," actor Jeff Bridges turns in this brooding, moody, rootsy set, which has a slightly Tom Waits-ish, theatrical edge to it. Emotionally rich, though a bit dark and dreary... If you're into Gothic folk'n'twang, you might want to check this out.
Jeff Bright & The Sunshine Boys "She's A Nail In My Heart" (Rogue, 1999)
A charming, low-key honkytonk record with considerable debts to folks such as Buck Owens and Little Jimmy Dickens. Yes, this album has its flaws, but for the most part Bright is one of those performers -- like Cornell Hurd -- whose occasional awkwardness is part of their charm. His strongest suit is in songwriting -- almost all of these songs are originals -- and it's on top-notch songs such as "Golden Tears" or "Somewhere, Someone, Some Wine," that he sounds most relaxed and confident. If you're interested in records from local scenes, especially from artists who play it straight, and wisely avoid the lame white trash/hick sterotypes that many bands think are so funny, then definitely check this guy out.
David Bromberg -- see artist discography
Marti Brom & Her Jet-Tone Boys "Lassoed Live" (Goofin', 1995)
Marti Brom & Her Jet-Tone Boys "Mean" (Squarebird, 1996)
Marti Brom & Her Barnshakers "Snake Ranch" (Goofin', 2000)
Marti Brom & The Cornell Hurd Band "Feudin' And Fightin" (Behemoth, 2000)
Marti Brom "Live At Jovita's" (Behemoth, 2003)
Marti Brom "Wise To You" (Goofin', 2003)
Marti Brom "...Sings Heartache Numbers" (Goofin', 2005)
Marti Brom "Not For NothinÔ" (Riptide, 2010)
The Brother Boys "Plow" (Sugar Hill, 1993)
These guys are sort of like an amiable, bluegrass-y version of the Dave & Deke Combo - hillbilly revivalists, though with more of a tilt towards Delmore Brothers/Louvin Brothers/Everly Brothers-style harmony, and a feel for Tin Pan Alley-style tunes. Might be a little mellow for some twangfans, but there are some sweet tunes on here...
The Brother Boys "Presley's Grocery" (Sugar Hill, 1995)
The Brothers Cosmoline "Songs Of Work And Freedom" (Slew Foot, 2003)
No one actually named "Cosmoline" in the band, but certainly a nice bunch of talented pickers... Smooth singer-songwriter-ish alt-country with reverb-laced guitars (JJ Cale would be proud) and spare, subtle use of the pedal steel. Overall, a very listenable record, with a sweet power-poppish, Dave Edmunds undercurrent. Nice!
Chastity Brown "Back-Road Highways" (Creative And Dreams, 2012)
(Produced by Paul Buono)
Bluesy Americana with a mix of roots, twang and gospel-soul that sounds like a mix of Bobbie Gentry, Tony Joe White and Joan Osborne. This is a little too much of a contemporary folk sound for me, but I think a lot of folks will enjoy it, just not old-fashioned crabby cakes like me.
Jackson Browne "Running On Empty" (Elektra, 1977)
A not-so-guilty pleasure. Yeah, I know... it's long been fashionable to mock and deride Jackson Browne as a wimp, a cheeseball, or a '70s dino-rocker... But the fact is that this album remains one of the best country-rock records ever made, and when measured up against most of the alt.country acts of the '80s and '90s, this is indeed a superior product. A concept album about driving the long, lonesome highway and touring in a rock'n'roll band, this disc is packed with winning songs. It had several hits: the title track, "You Love The Thunder," his version of the doo-wop oldie, "Stay," given a modern, sardonic twist in the context of the weird, mutually parasitic relationship between rock stars and their fans. There are also a slew of great, non-hit country tunes, like "Nothin' But Time," "Shaky Town," and "The Road" that stack up quite well against anything the cowpunk and insurgent-altie crowd has come up with. Browne's road songs are as self-involved and navel-gazey as other songs of the genre, but he seems to have a self-awareness, and a willingness to explore the ickiness of situation that is lacking in many similar compositions. The sexism of the opening verse "Rosie" -- a song about a groupie -- is tempered by a deft humanization of the objectified girl, and by Browne's remarkable willingness to portray himself and his fame in an unfavorable light, either as honest autobiography, or as an Almost Famous-style character sketch. At any rate, I think this is a fine album, well worth checking out and listening to without the hipster blinders on: you might be surprised by how good it really is.
Junior Brown -- see artist discography
Maggie Brown "Maggie Brown" (Riverwide, 2004)
A cool, catchy mix of roots-country and bluesy rock... There are obvious debts to early Bonnie Raitt, as well as a Sheryl Crow-meets-The Black Crowes guitar rock vibe, and a little hint of Norah Jones crooning on the soft side... These comparisons are inevitable but a little unfair, since Brown is also a fine, soulful singer in her own right, though more to the point, she crafts some mighty good songs, catchy stuff that sticks to your ribs. The doleful, country-drenched "Full Moon Over Dallas" echoes in my mind; folks who are into the whole adult-roots tip should like this self-released gem... a lot! (Available through MaggieBrown.net.)
Lachlan Bryan & The Wildes "Change" (Sony, 2012)
Lachlan Bryan & The Wildes "Black Coffee" (WJO, 2013)
(Produced by Lachlan Bryan & Rod McCormack)
Alt.Country Albums - More Letter "B"
Hick Music Index
