Darrell Scott "Aloha From Nashville" (Sugar Hill, 1997)

Darrell Scott "Family Tree" (Sugar Hill, 1999)

Darrell Scott & Tim O'Brien "Real Time" (Howdy Skies, 2000)
Wow...!! What a great record. Songwriter Scott really brings out O'Brien's serious side, and it pays off handsomely in this old-timey oriented set, with plenty of gospel material, modern heartsongs and compelling vcal harmonies. On "House Of Gold," they do an a capella duet that'll give you goosepimples, then follow it up with a lovely, heartfelt version of O'Brien's "More Love," a song which was recorded a few years later by the Dixie Chicks. This is easily my favorite of the Tim O'Brien albums I've heard to date... Recommended!

Darrell Scott "Theatre Of The Unheard" (Full Light, 2003)
Songwriter Darrell Scott has had a fair run recently as a Nashville composer, providing hits for the Dixie Chicks, Sara Evans and Brad Paisley, to name a few. This is his first album on his own independent label, and while there's some striking material, there's also a slight air of self-indulgence as well (the average song length is about five minutes...) I liked the first couple of tracks a lot -- "East Of Gary" and "Uncle Lloyd" both explore the unglamourous side of the American working class ethos, and both are notable for their lack of Merle Haggard-ish "working man" posturing (a tedious trend in modern country). Scott handles the material with subtlety and skill, and both songs hit me the right way. Not sure why I wasn't really that taken by the rest of the album... I guess it went down an overly crafted Greg Brown-ish folkie path or something -- the songs were too lofty, the picking got too glitzy, I'm not sure exactly what it was. Scott's voice is really nice, but his songs are best when he reins them in a bit. Still, this is definitely an album worth checking out -- Scott has a lot to offer fans of intelligently written Americana, so take my criticism with a grain of salt.

Darrell Scott "Live In NYC" (Full Light, 2005)

Darrell Scott "The Invisible Man" (Full Light, 2006)
Mr. Scott sure has a lot on his mind... but it doesn't always translate well as compelling, listenable music. This is an ambitious self-produced album, but it's wildly cluttered and frenetic, an aggressive stylistic mish-mash packed with lofty lyrics and herky-jerky rhythmic changes, and precious few moments of simplicity or subtle beauty. His songwriting is very ernest and deals with serious subjects -- poverty and global inequality, opportunities lost in life, general spiritual unrest -- but the presentation is forced and unwieldy. I'm sure some folks who feel that "Americana music" is in need of some sort of artistic legitimation will welcome such a hefty effort, but others of us probably just wish he'd been able to pursue these goals more skillfully.

Wayne Scott "This Weary Way" (Full Light, 2005)
If you love records with grizzled old men dispensing gruff-yet-tender reflections on the parade of life before them -- road-weary songs from fellas like, oh, say, Johnny Cash or Guy Clark -- then this record is for you. Guy Clark, in fact, is one this record, both as a guest performer and as a co-songwriter, and his influence is keenly felt, echoing in the windswept, dusty, autobiographical feel of many of Scott's songs. The father of Nashville songwriter and indie recording artist Darrell Scott, the elder Mr. Scott has been part of the off-the-radar country scene for decades, playing in honkytonk bars and touring to small venues for years, but this record, made when he was all of 71 years old, is his first album. It's a doozy, too, with a nice mournful, poetic feel that all y'all fans of Robert Earl Keen or Kris Kristofferson will probably love. For me, the standout track was "Sundays With My Son," a very Clark-like weeper about an absentee dad whose big regrets include writing songs instead of playing with his kids... But hey, when the songs turn out this nice, I think the world will understand. This album is definitely worth checking out!

David Serby "Another Sleepless Night" (Harbor Grove, 2007)
A strong offering from Southern California alt-honkytonker David Serby, who bursts forth with some first-class, true-blue twang... Tunes like "The Most Reckless Thing," "Nobody Here By That Name" kick off the album, full of energy and a hunger to be heard -- Serby's definitely giving it his all, and the results are pretty impressive. It really starts to gel on the novelty-oriented "It Ain't A Party (Until Something Breaks)," where Serby shows that he's earned the right to wear that big felt hat over that Merle Haggard jawline... In the second half of the album, there's also a hefty dose of Dave Alvin-ish, Blasters-y blues -- I'm less into that style, but he does it well. Folks who like hardcore, lean-boned twang really ought to check this one out. (Check out www.davidserby.com for more info. )

Maia Sharp "Maia Sharp" (Concord, 2002)
Ooooohhhhhh... I get it....! Maia Sharp is Randy Sharp's daughter...! I remember Randy from when I lived in Fresno and he was a big-fish-in-a-small-pond songwriter-producer who was moving out of town to hit it big in Nashville, or something like that... Ahhhh... I see. That explains a lot. Apparently she's had songs recorded by the Dixie Chicks and others, though her own stuff has been kind of off the radar, saleswise. This is apparently her second album; haven't heard it yet, but when I do, I'll give you an update.

Maia Sharp "Fine Upstanding Citizen" (Koch, 2005)
This gal has gotten some good press pegging her as a breakout "Americana" artist, but I'm not buying it... There are some acoustic moments on this disc, but mostly it's pretty rock-oriented, the kind of stuff that gets a big boost when it's included on the soundtrack to some teen-oriented show on broadcast TV, and is in the same general turf as Patty Griffin, Kim Richey or Lisa Loeb. Her voice kinda bugs me, though, and the arrangements are a intrusively loud and formulaic... Doesn't do much for me, though I can see how it would make plenty of other folks hop up for joy... If the rockin' singer-songwriter thing does it for you, you might want to check this out.

Billy Joe Shaver "Old Five And Dimers Like Me" (Capricorn, 1973)

Billy Joe Shaver "When I Get My Wings" (Capricorn, 1976)
There's a strong, definitely discernable Allman-esque Southern rock strain that runs through much of this album, which isn't too surprising, since Richard Betts is one of the many pickers on hand to propel this album forwards. Other '70s stalwarts such as Scott Boyer, Charlie Daniels and Bonnie Bramlett add to the solid set; there's a hard-rockin' tone that threatens to dominate, though Shaver's mud-fence, rootsy vocals keep things country... He's kind of a roughshod mix of Merle Haggardand Joe Ely... and that ain't bad! Good album, worth tracking down.

Billy Joe Shaver "I'm Just An Old Chunk Of Coal" (Columbia, 1981)

Billie Joe Shaver "Salt Of The Earth" (Sony/Lucky Dog, 1987/2000)
This album has a swell little theme album about The Working Man, full of shameless lyrical posturing, backed by Mr. Shaver with a ton of talent and charisma up the wazoo... Every performance on here leaps right out at you, much moreso than on his rather wordy recent efforts. Worth checking out!

Billy Joe Shaver "Tramp On Your Street" (Volcano, 1993)

Billy Joe Shaver "Unshaven: Live At Smith's Olde Bar" (Volcano, 1995)

Billy Joe Shaver "Highway Of Life" (Justice, 1996)

Shaver "Victory" (New West, 1998)
A stark, stripped-down, emotionally direct album, featuring plainspoken vocals from Billy Joe Shaver, and subtle, sympathetic accompaniment from his son, Eddy. The title alludes partly to Billy Joe's mother, Victory Odessa Watson (as she's listed on his birth certificate, which is reproduced in the album art...) and partly to the religious-redemptive theme that runs through the album... Initially I thought, uh-oh -- this is going to be one of those overly literary country-poet albums... But Shaver's soft-spoken, earnest delivery will win you over. This disc seems not only heartfelt and soul-searching, but soulful and artistically rich as well; songcraft was not sacrificed on the altar of introspection... Hardly! If anything, Shaver brings emotional depth to his Christianity that is sorely lacking in most contemporary country gospel... for him this isn't a way to make a living, it's a way to live his life. Definitely worth checking out.

Billy Joe Shaver "Electric Shaver" (New West, 1999)

Billy Joe Shaver "The Earth Rolls On" (New West, 2001)
Ol' Billy Joe Shaver has been around for a while; in the late '70s he caught the tail end of the Willie Nelson "outlaw" vibe, and a few years back he resurfaced in full grizzled-veteran mode, feted by the alterna-country crowd as a for-real old-timer type. This is his last album recorded with his guitarist son, Eddy Shaver, who died last New Year's Eve, and by and large it's a pretty good record. The best songs are tuneful backwoods honkytonk toss-offs, such as "Hard Headed Heart" and "New York City Girls," which remind me of his understated releases on Columbia, 'way back when. It's when he gets all rocket-science-y and craftsmanlike that my attention starts to wander - Billy Joe's got a touch of Townes Van Zandt-style grandiloquence that makes some songs sound a bit forced. And although I don't wish to speak ill of the dead, his son Eddy's muscle-bound, flashy guitar work was a bit too blaring and Stevie Ray Vaughn-ed out for my tastes. (Possibly they mixed the guitars up higher than normal, in tribute... regardless, it seems a bit intrusive...) On balance, though, this is a record worth checking out; it might not be as mind-numbingly fab as the folks at No Depression would have you believe, but it's still pretty tasty. As a songwriter, Billy Joe's got a great way with a melody, and as a performer, he's much more vigorous and engaging than, say, Merle Haggard, who he's frequently compared to. At least Shaver's heart is really in it. One wonders where things will go from here, but so far so good.

Billy Joe Shaver "Freedom's Child" (Compadre, 2002)

Billy Joe Shaver & Kinky Friedman "Live From Down Under" (Sphincter, 2002)

Billy Joe Shaver "Try And Try Again" (Compadre, 2003)

Rick Shea "The Buffalo Show" (BMP, 1996)

Rick Shea "Shaky Ground" (Burnside, 2000)

Rick Shea "Sawbones" (Burnside, 2000)

Rick Shea & Brantley Kearns "Trouble And Me" (Tres Pescadores, 2002)
A delicious, acoustic-based set of well chosen old-timey and old-school country tunes, ranging from dimly-recalled gems such as Jim Ringer's "Rachel," Mary McCaslin's "San Bernadino Waltz," Harlan Howard's "Trouble and Me," and the gentle hobo anthem "Loafer's Glory." Fiddler Brantley Kearns has one of those great, gruff, grizzled-sounding voices that I love to hear, calling to mind folks like Larry Hosford and U. Utah Phillips. This is an excellent, thoroughly enjoyable album, one that would be easy to miss out on, since indie artists have such a tough time with distribution these days. Dave Alvin, whose band both these guys play in, produced this disc, with a light, unobstrusive touch. Fans of the relaxed style of old 1970s-era alt.country will appreciate this disc: I say snap it up while you still have the chance!

Rick Shea & Patty Booker "Our Shangri-La" (Tres Pescadores, 2003)

Bill Sheffield "Journal On A Shelf" (American Roots, 2006)
A robust, rolling acoustic blues set, in the tradition of John Hammond, Leon Redbone and Dave Van Ronk... Sheffield plays with self-assurance, good humor and warmth, and also displays considerable strength as a songwriter, penning all but a couple of these songs. Some are clever reworkings of old, raunchy blues themes, like "Black Bottom," while others are more folkie/confessional and poetic. Of the other tunes, a cover of Tom Waits' "Invitation To The Blues" is well-suited to Sheffield's low, growling vocals... This is a nice record, with rock-solid guitar work and admirable soulfulness and authenticity. Worth checking out!

The Sh*tkickers "Noon's Moonlight" (Big Bender, 2006)
This San Jose, California twangcore outfit specializes in predictable drinkin'-and-degeneratin' themes, with song after song with titles like, "Bartles & Jaymes," "Beer 'N' Bacon," "I Need A Bottle," "Rat Farts," etc. The material's nothing new, and the musicianship isn't eye-opening, either... Still, even though the concepts are kinda trite, they do have some funny moments and interesting turns of phrase... I guess if novelty songs are all you're ever gonna do, you'll get a few laughs eventually. Still, I'm not that interested in rockers and hipsters who want to pretend to be lowlifes 'cause they think it's cool or funny - there's only so far you can go with that schtick, and after a while I just get tired of listening to songs that I can't connect to emotionally. These guys are a little funnier and more engaging than numerous bands with similar inclinations, but there's still not much "there" there.

Michelle Shocked "Texas Campfire Takes" (Mighty Sound, 1987/2003)
Well, okay, so maybe she's not exactly a bona-fide "alt.country" artist... But then again, why quibble with labels? Shocked was certainly there when the current "Americana" boom was just getting underway, and I've always thought of her as having a strong, positive influence on its growth. This is an interesting set of informal, live performances by this intelligent, unassuming alt-folkie, made at the start of her career, when she was making the rounds of various "women's music" gatherings. Shocked was particularly cool, though, for opting to emulate Woody Guthrie rather than lesbian folk icons such as Tret Fure or Holly Near, who often tended to be a bit dreary and un-fun. These solo acoustic recording aren't completely electrifying, but they are a nice, unpretentious look at her early work. It's especially charming when you hear some truck whiz by on the freeway while she's crooning out a tune... now, that's authenticity!! The new 2-CD edition expands greatly on the original, single-disc set, and has been re-released on Shocked's own Mighty Sound label.

Michelle Shocked/Various Artists "Arkansas Traveler" (Mighty Sound, 2004)
An expanded, updated reissue of Shocked's 1991 guest-fest extravaganza. She sure scored as far as the cast of thousands she was able to assemble for this far-reaching project... Roots music luminaries such as The Band, Alison Krauss, Taj Mahal, Doc Watson, Dan Crary and Norman Blake join old-timers like Pops Staples and Jimmy Driftwood (wow... he was still around??), as well as rock bands like The String Cheese Incident, Hothouse Flowers and Uncle Tupelo... Quite a lineup! The album never really catches fire as far as my ears go, though... Dunno exactly why; their hearts all seemed to be in the right place, but there's not a lot of snap, crackle or pop to the songs themselves.

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Hick Music Index

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