OLD CROW MEDICINE SHOW
2004 – NETTWERK
Produced By DAVID RAWLINGS
1. Tell It To Me
2. Big Time In The Jungle
3. Poor Man
4. Tear It Down
5. Hard To Love
6. CC Rider
7. Trials & Troubles
8. Hard To Tell
9. Take ‘Em Away
10. We’re All In This Together
11. Wagon Wheel
Old Crow Medicine Show has been hard at it since 1998, bringing their brand of old timey, bluegrass, folk and alt-country to the masses on record, stage, and even busking in North Carolina. This is their debut label album (they had released four previous albums on their own), and it’s still as fresh sounding as you can get. With drums on only two tracks (played by Gillian Welch), this is truly about the strings and the voices. They play a mixture of original songs and obscure traditional pre-World War II songs, and the do it extremely well. This band is all about fiddles, banjos, guitars and bass, so if you’re looking to rock, you might want to move along. But otherwise, Old Crow (O.C.M.S. as the album is sometimes called) is a slice of Americana heaven. These guys can play up a storm, and they can sing as well. Their beginning came as 7th graders in Virginia, and it’s only grown since then. A perfectly tasteful and amazing album.
And then there’s “Wagon Wheel”. As a teenager, fiddle/banjo player Ketch Secor discovered an old Bob Dylan bootleg of a snippet of song from the Pat Garrett & Billy The Kid era. Dylan had forgotten and discarded it…but Secor became obsessed and eventually wrote a song around the Dylan chorus, which remains intact. The result is “Wagon Wheel”, which, thanks to a cover version by Darius Rucker, has become the “Brown Eyed Girl” of country music…over requested and overplayed beyond comprehension. The Old Crow version is fine, and stands mountains over Rucker’s pop country reading…but it’s still that song. The rest? It’s good stuff. Sometimes (as on Ma Rainey’s “CC Rider”) they sound like they just popped out of a time machine from the dust bowl. In the world of what was coming out in 2004, this is as refreshing as it gets, and as pure a country album as you will find. Definitely recommended.
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THE MARSHALL TUCKER BAND
1973 – CAPRICORN
Produced By PAUL HORNSBY
1. Take The Highway
2. Can’t You See
3. Losing You
4. Hillbilly Band
5. See You Later, I’m Gone
6. Ramblin’
7. My Jesus Told Me So
8. AB’s Song
9. Everyday (I Have The Blues) (Live)
In case it’s forgotten, southern rock was more than The Allman Brothers Band and Lynyrd Skynyrd. There were also some fine bands like Blackfoot, The Charlie Daniels Band, Molly Hatchet, and more. But one of the better bands of the genre from the 70’s was The Marshall Tucker Band, which leaned more toward the country side of things. Founded in South Carolina in 1972, the band, named after a blind piano tuner, had a run of success in the 70’s that included 10 straight albums that reached the top 40, and hits like “Fire On The Mountain” and “Heard It In A Love Song”. They lost their momentum at the dawn of the 80’s when bass player Tommy Caldwell was killed in a car accident, but before then, this was a fine band that make some pretty good records. This album, their first, shows how good these guys were, rocking without ever breaking the loudness barrier. This band had the talent, and a more than capable songwriter in Toy Caldwell.
The most memorable song here is “Can’t You See”, which was later a fine hit for Waylon Jennings. It showcases not only their fine guitar work and excellent rhythm section, but also the secret weapon that no other southern rock band had: it was the flute work of Jerry Eubanks that made this band stand out from the crowd. The rest of the album, while well played and well written, doesn’t stand out much, a problem the band had for years…their albums tend to blend together without much change. This is still a fine effort, but it never quite makes it far enough off the ground. The bonus track, “Everyday”, is a live gem that shows their jamming abilities, and if you get it on your copy, stands as the real highlight. The band continues today with only one original member (Doug Gray), without a notable hit since the dawn of the 80’s, and an alumni of well over 30 current and former members.
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JOHN PRINE
FAIR & SQUARE
2005 – OH BOY
Produced By JOHN PRINE & GARY PACZOSA
1. Glory Of True Love
2. Crazy As A Loon
3. Long Monday
4. Taking A Walk
5. Some Humans Ain’t Human
6. My Darlin’ Hometown
7. Morning Train
8. The Moon Is Down
9. Clay Pigeons
10. She Is My Everything
11. I Hate It When That Happens To Me
12. Bear Creek Blues
13. Other Side Of Town (Live)
14. Safety Joe
From his debut album in 1971 through German Afternoons in 1986, John Prine was a fairly prolific artist. He continued to put out albums after that, but studio albums with new material began to be few and far between. There were only two studio albums in the next decade, after which it was another ten years before Fair & Square showed up. He wasn’t invisible during that time…there was a live album, a duet album and a German release where he re-recorded many of his greatest songs. So, Fair & Square was a most welcome addition. It finds Prine in fine voice, with a band that can’t be argued with (including Alison Krauss & Union Station). On the surface, this sounds just fine. But this is also the point where Prine shows that he has run out of songwriting gas. His material had begun to thin out years ago, but here, it’s a whole different Prine. Gone is most of his sense of humor, and he’s using more co-writers and more covers than ever before.
There are some great moments here. “Crazy As A Loon” is the high point of the album, a rambling account of a man who’s done his share of rambling. “Long Monday” is one of Prine’s prettier songs, and the live bonus track “Other Side Of Town” is classic and hilarious. His taste in covers has never been questionable, and he does fine with Blaze Foley’s “Clay Pigeons” and A.P. Carter’s “Bear Creek Blues”. But the misses are big as well. “Some Humans Ain’t Human” is 7 minutes of protest song you won’t get back. And much of the second half melds together and starts to become boring…something you’d never imagine John Prine being. Still, Prine has released some average albums in his career (Pink Cadillac, Aimless Love, Lost Dogs And Mixed Blessings come to mind) that have done nothing to cheapen his status as an American institution (which he is), and that’s just what Fair & Square is. It’s an average John Prine album that hasn’t made him any less of a legend than he was before.
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ELVIS PRESLEY
1956 – RCA VICTOR
Produced By SAM PHILLIPS & STEVE SHOLES
1. Blue Suede Shoes
2. I’m Counting On You
3. I Got A Woman
4. One-Sided Love Affair
5. I Love You Because
6. Just Because
7. Tutti Frutti
8. Tryin’ To Get To You
9. I’m Gonna Sit Right Down And Cry (Over You)
10. I’ll Never Let You Go (Little Darlin’)
11. Blue Moon
12. Money Honey
The historical significance of Elvis Presley’s debut album alone makes this indispensable. It was the first rock and roll album of any importance, and it began the process of the album being just as important, and more, than the single. And then there’s the guy whose pictures and music are on it. Elvis Presley was just becoming a massive star when Col. Tom Parker bought his contract from Sun Records for $35k. He then got him signed to RCA, who decided that an album would be the best way to capitalize on his exploding success. This disc is made up of material that he had recorded for RCA in 1956, and four tracks that came with him from Sun, circa 1954. It soon became the first ever rock & roll album to top the charts, and was also the first to sell a million copies. And even though it’s short (28 minutes short), it stands as the very definition of classic. He may not have invented rock and roll, but this album shows why he was the first to absolutely rule it.
This album isn’t about a few hit singles and some filler. On the contrary. “Heartbreak Hotel” was ruling the charts, yet it’s not included here. What you do get is a sampling of what Elvis was the very best at. His early on choice of material (he was not a songwriter by any stretch) was stellar, pulling from the likes of Ray Charles (“I Got A Woman”) and Rodgers & Hart (“Blue Moon”). He covers songs that were hits for Carl Perkins (“Blue Suede Shoes”) and Little Richard (“Tutti Frutti”). He shows he could rock, and he shows that he was the king of the ladies with powerful ballad work. He snarls on “One Sided Love Affair”, then practically whispers in your ear with “I Love You Because”. This album wasn’t what albums were later on…this is someone at RCA collecting songs that represent every side of the artist, and it works magically…and even though half of the tracks were released as singles, they weren’t his BIGGEST singles. And yet, sixty years later, the album still works. And if that ain’t the very definition of classic, then I don’t know what is.
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NIRVANA
BLEACH
1989 – SUB POP
Produced By JACK ENDINO
1. Blew
2. Floyd The Barber
3. About A Girl
4. School
5. Love Buzz
6. Paper Cuts
7. Negative Creep
8. Scoff
9. Swap Meet
10. Mr. Moustache
11. Sifting
12. Big Cheese
13. Downer
Before there was the massive success of Nevermind in 1991, before there was anything called grunge outside of Seattle, and before there was Dave Grohl playing drums for Nirvana, there was their debut album, Bleach. The now legendary story is that this album was recorded for $606.17, which was financed by Jason Everman. In return, Everman was credited (and pictured on the cover) as the band’s second guitarist, even though he didn’t play a single note on it. Chad Channing plays drums on all but two tracks here…he was Nirvana’s fourth different drummer in 1988, when the album was recorded. So, keep in mind that Nirvana got what it paid for here. $600 bucks will only take you so far, and for the money, it sounds pretty damn good. It’s nowhere near the level of recording that they got on Nevermind with Grohl and Geffen Records behind them, but you can hear the beginnings of what a great band this was soon to be.
Kurt Cobain (he was credited as “Kurdt”), as always with Nirvana, writes the songs (except for “Love Buzz”, a Shocking Blue cover) and sings them, and provides much of the dynamics with his guitar. “Love Buzz” and “Blew” were released as singles, and were moderately successful on college radio. But the album was hardly a success. When Nevermind was released two years later, Bleach had barely sold 40,000 copies. Since that time, it has sold nearly 2 million, helped by the success of the recording of “About A Girl” from the MTV Unplugged album. Bleach is a good starting point, and the best way to hear what Nirvana was all about before they became massively successful. And Bleach is still a pretty good album, especially given the budget and the fact that they did not yet have a settled drummer. And because Cobain was gone after only 3 studio albums, you take what you can get from the guy.
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ARCTIC MONKEYS
AM
2013 – DOMINO
Produced By JAMES FORD & ROSS ORTON
1. Do I Wanna Know?
2. R U Mine?
3. One For The Road
4. Arabella
5. I Want It All
6. No. 1 Party Anthem
7. Mad Sounds
8. Fireside
9. Why’d You Only Call Me When You’re High?
10. Snap Out Of It
11. Knee Socks
12. I Wanna Be Yours
If you believe that rock is dead, then maybe you should make yourself familiar with Arctic Monkeys. Their debut album was the fastest selling debut album in British history, and each of their five studio albums has been at number one on the British charts. And they rock. “I Bet You Look Good On The Dancefloor” was a huge hit, and “Red Lights Indicate Doors Are Secured” shows that they certainly can rock, and that they know their way around a riff. Four albums later, they released AM, which brought them their first real success in the US, although they are still something of a mystery to American audiences. “Do I Wanna Know?” is their first American hit, and it’s a worthy one. The Monkey’s sound has changed since their debut: they were once kind of reckless sounding and over the top British. But on AM, they have channeled their sound into something almost bluesy…and it works just fine.
While AM doesn’t have the flash of their earlier efforts, it’s almost as good. The band acknowledges hip hop as a new found influence, but even more evident is a nod in sound to bands like The Black Keys and Queens Of The Stone age. Indeed…Josh Homme of QOTSA makes an appearance here, and his presence is inspiring. The Monkeys rock hard, and their songs are tighter than ever before. The material is not as immediately catchy as before, but they trade that for a certain maturity that is most satisfying. “R U Mine?”, “Why’d You Only Call Me When You’re High?” and “One For The Road” are highlights, while Homme’s appearance shines on “Knee Socks”. It’s been not a whole lot from the Monkeys since…they went on hiatus after the AM tour, and have sinced released just one album. If their career so far is any indication, then hopefully we can expect more from this band.
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MANDOLIN ORANGE
SUCH JUBILEE
2015 – YEP ROC
Produced By MANDOLIN ORANGE
1. Old Ties And Companions
2. Settled Down
3. Little Worlds
4. Rounder
5. From Now On
6. Jump Mountain Blues
7. That Wrecking Ball
8. Blue Ruin
9. Daylight
10. Of Which There Is No Like
Mandolin Orange (now known as Watchhouse) is a duo from North Carolina whose music is pretty much the definition of Americana. Andrew Marlin and Emily Frantz play various stringed instruments perfectly, and they sing together like angels. Marlin’s songs are modern, yet they maintain a folksy, old time feeling that makes this a wonderful find of a group. Such Jubilee is their fourth album, and it’s a gem. This is perfect stuff for sitting on your back porch on a sunny afternoon and evening, drinking sweet tea and enjoying your life. The mix of guitars, mandolins, banjos, fiddles, and voices is calming, yet never dull. They do not rock, but they are not snoozy, either, even though the songs are pretty mellow. There’s something for almost everyone (metalheads excluded) on this album, which may be the duo’s finest work. Music you can lose yourself in, and that you can easily fall in love with.
If there’s an issue here, it’s this. Marlin emerges as the lead singer of the duo, and he sings lead on everything. Except for “From Now On”. On this track, Frantz shows, without being in the background for once, what a stunning and beautiful voice she has. But you only get to hear it up front for about three and a half minutes, on this one track. Maybe that’s the way they like it, and how they wanted it, but for me, it would make Such Jubilee so much better if the vocals were given more of a split instead of Frantz getting just a token song to sing. Otherwise, this is fine stuff. “Daylight”, “Settled Down”, and, of course, “From Now On” are the highlights, and the feel and mood of this album is pretty much perfect. Look for their other work as well…Quiet Little Room, This Side Of Jordan, Blindfaller…you pretty much can’t go wrong with this group. If you like the Americana thing, then Mandolin Orange is something you should definitely have on your radar.
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WAS (NOT WAS)
WHAT UP, DOG?
1988 – CHRYSALIS
Produced By DAVID WAS, DON WAS & PAUL STAVELEY O’DUFFY
1. Somewhere In America There’s A Street Named After My Dad
2. Spy In The House Of Love
3. Out Come The Freaks
4. Earth To Doris
5. Love Can Be Bad Luck
6. Boy’s Gone Crazy
7. 11 MPH (Abe Zapp Ruder Version)
8. What Up, Dog?
9. Anything Can Happen
10. Robot Girl
11. Wedding Vows In Vegas
12. Anytime Lisa
13. Walk The Dinosaur
14. I Can’t Turn You Loose
15. Shadow And Jimmy
16. Dad I’m In Jail
By the 1980’s, musical acts that combined the best of what R&B is with pop and rock music were becoming rare…but the ones who did it were pretty damn good. Was (Not Was) lasted for a decade, and between 1981 and 1990, made some very refreshing music. Their peak was 1988’s What Up, Dog?, which mixed their infectious soul and funk grooves with great hooks, excellent performances, and a large dose of a sense of humor. “Out Come The Freaks” had put them on the map earlier (the one here is a re-recording), but it was the power of “Spy In The House Of Love”, and especially the hit “Walk The Dinosaur” that made them big. What Up, Dog? is their commercial and artistic height, and it’s an album well worth hearing. The two lead singers, Sweat Pea Atkinson and Sir Henry Bowens, are excellent, and this band of seemingly hundreds is as tight as a drum. Truly a band that could do anything…and a band that literally did just about everything.
While “Walk The Dinosaur” and “House Of Love” shine, there’s a lot more that this album has to offer. “Shadow And Jimmy” was co-written by Elvis Costello, and “Wedding Vows In Vegas” features a pure genius guest vocal from Frank Sinatra Jr. “Earth To Doris” would make Tom Waits shiver (“She kissed me like she was hungry. So we got a room. In the morning, she looked like a horse”…and “Dad, I’m In Jail” is one of the greatest comedy tracks of the decade. And fine songs like “Anytime Lisa”, “11 MPH”, “Robot Girl”, and “Somewhere In America…” make the album a true gem. It gets a little bit long (a lot of CD’s from that time did), and there’s a bit of filler because of that, but this is their best work, and one of the truly adventurous albums of its time. They made two albums that failed to reach the heights this one did and were gone before the mid 90’s, but What Up, Dog? remains their monument. A classic, a fine reminder of what music can be when we take down the damn barriers.
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HEARTLESS BASTARDS
THE MOUNTAIN
2009 – FAT POSSUM
Produced By MIKE MCCARTHY
1. The Mountain
2. Could Be So Happy
3. Early In The Morning
4. Hold Your Head High
5. Out At Sea
6. Nothing Seems The Same
7. Wide Awake
8. So Quiet
9. Had To Go
10. Witchypoo
11. Sway
Heartless Bastards came booming out of Cincinnati as indie legends. Legends because it’s rare for a female fronted band to rock like this one does. Erika Wennerstrom is the front and face of the band (she is, by this, their third album, already the only remaining original member) and the only constant in an ever changing lineup. The Mountain was produced by the guy who produces Spoon’s albums, and introduces growth and new elements into their music. Mainly, an interesting touch of twang. The title track features steel guitar, and there are violin, mandolin and banjo added to the Bastards wall of rock. And while this band is tuneful, you won’t find a hint of a hit single here…although there very well could have been a handful. On The Mountain, they mix pretty acoustic numbers with loud rockers well, changing things up just enough to hold your interest thoughout. And that interest is rewarded nicely.
Wennerstrom is a passionate vocalist, although she may not be for everyone. She’s not raspy by any means, but her voice has a somewhat lesser dark quality reminiscent of Chrissie Hynde. Which seems to work well on the quieter numbers. The centerpiece of The Mountain is the acoustic “Had To Go”, a slow burning track featuring a surprising banjo that is mesmerizing. This track makes the album worthwhile alone. “Be So Happy” and “Out To Sea” are also standouts. Wennerstrom is, make no mistake, a rocker, and she shows it with glee on the heavier songs. This is a band that displays great growth on each of their albums, showing that they are not satisfied with being complacent and sounding the same from disc to disc. They are still at it, and while not big time famous, well worth checking out. A hard working band that is determined to make it from year to year…what rock & roll should be all about.
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TAB BENOIT
WETLANDS
2002 – TELARC
Produced By RANDY LABBE & TAB BENOIT
1. Fast And Free
2. Stackolina
3. I Got Loaded
4. Muddy Bottom Blues
5. When A Cajun Man Gets The Blues
6. Too Sweet For Me
7. Down In The Swamp
8. These Arms Of Mine
9. Dog Hill
10. Her Mind Is Gone
11. Loves Lips
12. Let Love Take Control
13. Georgia
He’s not widely known…but that may be because he’s a blues guy. Tab Benoit, a guitar whiz from Louisiana, has been releasing solid blues records since 1993’s Nice And Warm. He grew up learning from the best players in Baton Rouge and New Orleans, and has become one of America’s most respected blues players. He’s also active in raising awareness and funds for the preservation of the Louisiana wetlands. Truly one of music’s good guys. But aside from his philanthropy…Tab Benoit can flat out play. You’ll absolutely love “Stackolina”, a great track featuring only a harmonica and Benoit on voice and guitar. This music is up, has a powerful Cajun feel, and showcases Benoit’s talents very nicely. On track after track, he simply tears it up. “Muddy Bottom Blues” is ferocious. “Down In The Swamp” is amazing. The list goes on. Fact is, Tab Benoit is a monster player.
These aren’t your typical blues songs, either. Many are done with minimal accompaniment, and are not your traditional done-to-death songs. “I Got Loaded” is a fine and well-chosen Professor Longhair cover, and Benoit positively burns on Otis Redding’s classic “These Arms Of Mine”. “When A Cajun Man Gets The Blues” is a stunning original. Bottom line is this…if you dig blues, and if you dig someone playing the crap out of their guitar, then Tab Benoit is for you. And if you like Wetlands, then rejoice, ye…there are no fewer than 18 other albums by this underrated artist to enjoy. People should listen to more blues albums. It leads to discoveries like this. Great blues players are a dime a dozen. But one who can make it sound this fresh and exciting, as Benoit does here…that makes wading through piles of average bluesmen more than worthwhile. This is a definite surprise, and a definite winner.
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