Reckless Kelly "Millican" (Cold Spring, 1998)

Reckless Kelly "The Day" (2000)

Reckless Kelly "Acoustic: Live At Stubbs" (2000)

Reckless Kelly "Under The Table And Above The Sun" (Sugar Hill, 2003)

Reckless Kelly "Wicked Twisted Road" (Sugar Hill, 2005)
This starts off on a strong note, a few acoustic, folkish songs about hard livin' out on the road, material that's a little corny but works primarily through the strength of the performance, and the moody tone set by the snarling singer. There's definitely a Steve Earle-ish vibe at work here... Unfortunately, they follow Earle all the way down into the deepest, loudest, most leaden, house-rockin' roots-rock pitfalls... The middle section of this album has the band getting louder, more electric and more shrill with each and every song. Just when I was ready to abandon all hope, they relent and return to a more melodic approach, with tuneful choruses and jangly guitar riffs galore. That middle part is pretty rough, though, at least for an old hillbilly like me.

Reckless Kelly "Reckless Kelly Was Here" (Sugar Hill, 2006)
A nice, rowdy, high-test live set, spread out over two CDs and an additional disc's worth of video material... These guys are "twangy," but they're also quite comfortable in the rough-edged environs of rock'n'roll... This is an album (and a set of live shows) geared towards folks who still have hormonal levels high enough to allow for long nights of beer drinkin' and hell-raising. Reckless Kelly's ability to connect with this audience is clear throughout -- there's plenty of hootin' and hollering, and sounds of people getting loose and having fun. What the band sacrifices in subtlety, they make up for in sheer rollicking fun. Worth checking out, particularly if you're already a fan.

Red Meat "Meet Red Meat" (Ranchero, 1997)
Well, I guess this is probably the one record most likely to cement my reputation as a too-serious country music curmudgeon. Red Meat were Oakland, California's premiere honkytonk novelty band, and though a lot of folks love these guys, I found this first album to be a bit of a disappointment, particularly since I'm such a big fan of one of the main Meat grinders, bassist and harmony singer Jill Olson. Mostly, I just don't like the endless novelty-songiness of it all, in particular the low-key redneck/trailer trash stereotypes, which aren't as vulgar here as most rock-oriented twangcore albums, but they still drag the material down. Great picking and playing, but the songs don't have enough of an emotional core to reach me as a listener.

Red Meat "13" (Ranchero, 1998)
Again, the band's musical skill is readily apparent, but both the playing and the songwriting seem too broadly drawn, and too into kitschy novelty-isms (chicken pickin' rhythms galore, twangy songs about S&M, job layoffs and going on the wagon...) Produced by Dave Alvin, the record sounds clean as a whistle, and the instruments are all given room to breathe. It's not bad, by any means, but thematically speaking, it does seem to under-utilize depth that the band actually has at its disposal.

Red Meat "Alameda County Line" (Ranchero, 2001)
On another outing with Dave Alvin, the Meaties decide to emphasize their musical chops a bit more, with plenty of solidly delivered, fat-toned Buck Owens riffs -- less twang, more rhythm, producing what I think is their strongest album to date. This album emphasizes the band's considerable musical chops, with plenty of solidly delivered, fat-toned Buck Owens riffs -- less twang, more rhythm. Also, the lyrical attack is less overtly novelty oriented than on previous albums, which tended to bog down in exaggerated humor and WTS gags. There are still several funny songs, like Scott Young's genuinely hilarious car repair ballad, "Under The Wrench", but here the goal is more one of humorous wordplay, rather than rigorously enforced dopiness. There are also some timely tunes, such as Jill Olson's "Midwest Blues", and the title track, "Alameda County Line", which both reflect a growing local sense of disillusionment with a Bay Area that's shifted from a haven of alternative culture into a traffic-jammed, wildly overpriced consumerist war zone. The album also features a couple of nice live tracks, tucked away at the end of the CD, that highlight the band's charming live presence. Plus, what a treat to hear Jill Olson singing lead once again! Recommended! (Check out the band's website for more info.)

The Red Dirt Rangers "Oklahoma Territory" (Lazy SOB Records, 1996)

The Red Dirt Rangers "Starin' Down The Sun" (Lazy SOB Records, 2002)

The Red Dirt Rangers "Rangers' Command" (Lazy SOB Records, 1999)
On the back of the CD, these Oklahoma boys loudly proclaim that they aren't trendy bandwagoneers and have been doing the indiebilly thing for many years... and I pretty much buy that. This is sometimes musically underwhelming, but obviously heartfelt and a labor of love. Many songs hearken back to the scrappy, eclectic spirit of the 1970s, with shades of the New Riders and Little Feet cropping up in various songs... This probably won't blow you away, but it's got its charm. Worth checking out.

Red Radio Flyer "Getting Somewhere" (Mother West, 2000)
Riffy country-rock, with impassioned, heartfelt lyrics, jangly, bright electric guitars and a tambourine beat here and there, buoying the smooth vocal harmonies... kind of like the Mavericks, but with a more personal, less commercial, feel. I guess I'd class this more as a "rock" record than as a twangy outing... But there's some nice stuff on here, regardless of how you'd classify it. Lead singer and primary songwriter Janardana Ryan really seems to have put his heart into this album, and if you like elegant roots-rock material, this is certainly worth checking out.

Red Stick Ramblers "Red Stick Ramblers" (Louisiana Radio, 2002)

Red Stick Ramblers "Bring It On Down" (Memphis International, 2003)
Nice set of cajun-spiced western swing and acoustic stringband stuff... Kinda in the same range as Asylum Street Spankers or Hot Club of Cowtown, but more serious than the former, and more relaxed than the latter. Appealling!

Red Stick Ramblers "Right Key, Wrong Keyhole" (Memphis International, 2005)
Recommended! A swell set of acoustic swing drawing on diverse styles, with a lively sense of playfulness and zest that is strongly reminiscent of retro trickster Dan Hicks. This is the Louisana-based band's third album and shows them making a strong transition from a scrappy, enthusiastic amateur outfit into a tight, seasoned combo that should give well-established acts like the Hot Club Of Cowtown or the Asylum Street Spankers a good run for their money. Blues, jazz and various stripes of country, bluegrass and western swing co-mingle in a parade of compelling performances, and the song selection is first-rate: the songs range from old standards by Larry Clinton, Andy Razaf and Harry Warren to classic blues by the great Clarence Williams, and a smidge of Louisiana swamp music from Clifton Chenier and from the Ramblers' own Linzay Young, whose cajun-flavored "La Valse De Chaoui" is an album highlight. This is a fun record; if you like old-time jazz, swing and stringband tunes, then you really ought to check this out!

Kimmie Rhodes "Jackalopes, Moons And Angels: A Collection: 1985-1990" (Jackalope, 1996)
A nice overview that gathers some of the best songs from the early years of this Austin indie darling. Plenty of spunk country numbers, including many striking originals, and just a smidge of misguided bar-band blues. Another one of those artists that makes you think -- almost -- that Texas might not be such a bad place after all.

Kimmie Rhodes "West Texas Heaven" (Jackalope, 1996)
Another nice record by this Austin original... Her voice might not be for everyone, sort of reminiscent of Jessi Colter, but a little thinner and more wavery... Which is obviously fine with lots of alt-twang fans, including Colter's hubbie, the late Waylon Jennings, who sang a couple of fine duets on this album. A few of these songs strike me as mildly over-crafted, but since Rhodes shares that same upwards quaver that Iris DeMent has at the emotional edge of her range -- one of the most endearing touches in alt.country today -- any false steps are forgiven. Rhodes continues to stand out as a distinctive and unpretentious performer, and as one of the best young songwriters around -- her heart songs will slay you, and more idiosyncratic tunes like "Maybe We'll Just Disappear" are also quite nice. Recommended. Oh... right -- I almost forgot! Willie Nelson guests on this album as well!

Kimmie Rhodes "Rich From The Journey" (Jackalope, 2000)
An all-gospel/spiritual album... Although the wide-eyed, dewily optimistic, religious slant may make some folks uncomfortable, it has to be said this record has some of Rhodes' finest singing, with a light, Emmylou Harris-like lilt on many of the tunes... Indeed, twangfans who've enjoyed some of Emmylou's later work, albums such as Wrecking Ball, et. al., might really like this as well. Many of the songs have a similar glossiness and expansive feel; personally I'm not into that aspect of this album, but there are a couple of simpler songs that I did like, notably "Big Ol' Train" and "God's Acre," which features guest appearances by Gillian Welch and David Rawlings. The songs are all Rhodes originals, notable for their non-Jesus-specific, nondenominational approach -- it's a celebration of life, and of life's unseen beauties. Might not be for everyboy, but if you're on its wavelength, I'd bet this'll be a very rewarding record.

Kimmie Rhodes "Love Me Like A Song" (Jackalope, 2002)
Generally speaking, this album drifts into gentler, more Lilith Fair-ish, folkie, singer-songwriter terrain, although is also touches on familiar roots and blues styles. The title track, a delicate, pretty duet with Willie Nelson, is the highlight here for me. A bit too Rickie Lee Jones-ish and Kate Bush-y for me, but folks looking for something in a softer, more confessional vein will probably enjoy this quite a bit.

Willie Nelson & Kimmie Rhodes "Picture In A Frame" (Sunbird, 2003)
"Simpatico" is the one word that I think best describes Willie Nelson and Kimmie Rhodes, two Texas crooners whose voices and musical inclinations meld with startling beauty. Either singer can crest to the top or fall back into humble harmonies in this set of ten fine duets. The songs are mostly Kimmie Rhodes originals, though Willie contributes two ("Valentine" and "It Will Always Be") with the remainder of the set coming from sources as disparate as Tom Waits (the wrote title track), Rodney Crowell and Rhodes' partner, Joe Gracey. For folks who like understated, well-crafted American music with deep, deep roots and perfect emotional pitch, this record is the real deal. Highly recommended!

Kimmie Rhodes "Lost & Found" (Sunbird, 2004)
For an odds'n'ends album, this disc sure has a cohesive feel to it, gathering together some of Rhodes' sweeter, more searching, melodic ballads... Emmylou Harris and Nanci Griffith come to mind, but Rhodes also clearly makes her mark as an artist of equal caliber... This is just another notch in her belt, establishing her as one of the alt-country scene's little-known best treasures. Recommended!

Kimmie Rhodes "Windblown" (Sunbird, 2005)

Kimmie Rhodes "Ten Summers" (2005)

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Hick Music Index

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