*Favorite Albums of the 1990s*
The 1995 Rocky Mountain Folks Fest
Favorite Albums of 2004
Loretta Lynn - Van Lear Rose (Interscope)
Brian Wilson - Smile (Nonesuch)
Camper Van Beethoven - New Roman Times (Vanguard)
Richard Buckner - Dents and Shells (Merge)
Favorite Albums of 2003
Death Cab for Cutie - Transatlanticism (Barsuk)
Nada Surf - Let Go (Barsuk)
White Stripes - Elephant (V2)
Lucinda Williams - World Without Tears (Lost Highway)
Favorite Albums of 2002
Soundtrack of Our Lives - Behind the Music (Republic/Universal)
Vines - Highly Evolved (Capitol)
Patty Griffin - 1000 Kisses (ATO)
Norah Jones - Come Away with Me (Blue Note)
Rhett Miller - The Instigator (Elektra/Asylum)
Elvis Costello - When I Was Cruel (Island)
Nickel Creek - This Side (Sugar Hill)
Dixie Chicks - Home (Open Wide/Monument)
Buddy Miller - Midnight and Lonesome (Hightone)
Tift Merritt - Bramble Rose (Lost Highway)
Favorite Albums of 2001 (alphabetical order)
Califone - Roomsound (Perishable)
OK, this barely made my list on the strength of its mood that oozes out of the stereo and surrounds you with a laid-back, cool kind of bliss. It sounds at first like stoner-rock, but it's too intricate and subtle for that. The arrangements are inventive and arty without being too strange -- it's obvious these guys (formerly known as Red Red Meat) know what they're doing, and they do it well. Sort of a rusticated indie-country thing, this is, with a few Celtic touches. If only they had a half-awake singer ... ;-)
Kasey Chambers - Barricades and Brick Walls (EMI)
This is kind of a cheat, since the U.S. release wasn't available until 2002, but the import was easily obtained in Austin. Representing sizable growth and development from her debut, Kasey's new one is full of catchy well-written tunes that are performed brilliantly, with a lot of heart. You may need to acquire a taste for her voice (did she inhale helium?), but once you do, you may just fall in love. There's more variety to the styles Kasey employs -- some tunes are quite guitar-heavy (title track); some are quiet and pretty. All are memorable. Could be my favorite album of the year.
Bob Dylan - "Love and Theft" (Columbia)
This record was definitely the critics' darling this year, but you know, sometimes they're right. HRB is in top form, and his way with words coupled with a crack Texas Blues-style band makes for a thoroughly enjoyable set. Dylan's delivery (it's a stretch to call it singing) has rarely been more entertaining -- he's witty, playful, and strikes the perfect balance of emotion and restraint. Good show, old man -- even if you're not as culturally relevant as you once were (but then again, who is?).
Jay Farrar - Sebastopol (Artemis)
The former Uncle Tupelo/Son Volt frontman (some resume!) strikes out on his own here and adds vintage keyboards and other tricks to his trademark sound, coming up with a disc that, at its best, surpasses his previous work. I know that's a big claim, but it happens in only a couple of spots here -- most of the album is on par with or a bit below the quality of past glories. In other words, kind of uneven but generally worthwhile. Still, with cuts like "Voodoo Candle" and "Feedkill Chain," Jay makes a strong case that he really is the genius his fans say he is.
Stephen Malkmus - Stephen Malkmus (Matador)
The former Pavement dude demonstrates here that he was indeed the main creative force behind that seminal band -- the evidence is in the remarkable production and arrangements adorning his geek-rock tunes, his fluid and well-fit guitar playing, and his witty, inventive lyrics. It's quite similar to Pavement's last album, which I liked a lot. College rock? Yeah, but while listening to Steve's tales of pirates, old movie stars, and musicians who drive Volvos with ancient plates (heh), it's hard not to grin with delight. The instrumentation is always perfectly done, finding that elusive groove between too-slick/bland and too-sloppy/weird. It just sounds like really good music. That's not something that can be said very often these days.
Gillian Welch - Time (the Revelator) (Acony)
Along with partner David Rawlings, Gillian has built quite a following among fans of old-style mountain music and others who appreciate excellent songwriting and guitar playing. And with good reason -- there's no one really doing the same thing they do, particularly at this level. Forget slick productions and inhuman instrumentation. This stuff is the antithesis of everything that's on the radio these days. It's got real soul, it breaks rules (what, an acoustic song that goes for nearly 15 minutes?!?), it's exceedingly well done. Just two voices and two guitars carry the entire album. It's good for quiet listening, but it isn't background music -- the lyrics and meditative style will hold you spellbound.
The White Stripes - White Blood Cells (Sympathy for the Record Industry)
The return of the Pixies? Well, not quite, but this disc will remind you of their style, what with the Black Francis-like wailing and garagey guitar. No Kim Deal equivalent, though -- the female half of this duo just sticks with the drumming (there's no bass player). The songs are catchy pop-punk, very raw, energetic, and entertaining. Makes me want to go dig up my old Doolittle LP. No bad thing.
Lucinda Williams - Essence (Lost Highway)
A mere three years after her previous LP, Lucinda went and eased this little gem into our lives -- OK, we'll take it. It's not as lively as usual, more of a low-key affair, but that inimitable style is all there. Gorgeous tunes like "Blue" and "I Envy the Wind" compete with slightly rowdier material like the title track and the gospel rave-up "Get Right with God," making this another in a line of fascinating works from one of the best songwriters ever. And naturally, her band is first-rate (even without longtime guitar-whiz partner Gurf). No, this isn't quite as perfect as her previous records, but hey, it took her just three years.
Honorable Mentions:
Irene Kelley - Simple Path (Restless/Irk)
Rodney Crowell - The Houston Kid (Sugar Hill)
Robbie Fulks - 13 Hillbilly Giants (Bloodshot)
Silver Jews - Bright Flight (Drag City)
Buddy & Julie Miller - Buddy & Julie Miller (Hightone)
Favorite Albums of 2000 (alphabetical order)
Richard Buckner - The Hill (Overcoat)
One of the world's best songwriters turns to Edgar Lee Masters for the lyrics to this work based on the Spoon River Anthology, Masters' 1925 compilation of epitaphs from a fictional town's deceased residents. The poetry fits right in with Buckner's dark ouerve, and the music, once again a J.D. Foster production featuring the Giant Sand boys, is alternately spooky and beautiful yet always compelling -- fans of the sound of Richard's last two albums will love it. Richard himself sounds nearly at death's door at times -- the album may be just too bleak for some, but there are enough hopeful moments to hang onto that you can probably make it through unscathed. ;-)
Kasey Chambers - The Captain (Warner Bros)
Already a major star in her native Australia, Kasey will be a hit with anyone who enjoys traditional country/folk as practiced by the likes of Gillian Welch, Lucinda Williams, and Iris DeMent -- Kasey's voice sounds like a mixture of those three. You'd never know she was from anywhere but the American South, given her sound and her lyrics. Her family-style backup band is excellent. If you're a fan of this kind of music, you can't go wrong with Kasey.
Grandaddy - The Sophtware Slump (V2)
Despite this being reminiscent of old Pink Floyd, Kraftwerk, and Alan Parsons Project records, the undeniably clever Grandaddy (Jason Lytle) has put together one of my favorite discs this year, an irresistible model of geek-rock for the new century (hee!). Hooks galore, cynical/quirky sci-fi-flavored lyrics, and an amusing attitude that takes itself less seriously than say, Radiohead. All add up to a cohesive and memorable performance. From the eight-plus-minute opening track to the soaring closer, you'll find a seamless blend of synth-pop and indie-rock (complete with real guitars and drums) that grows on you and won't let go.
John Hiatt - Crossing Muddy Waters (Vanguard)
This is Hiatt at his best -- a stripped-down acoustic sound, all the better to showcase his excellent songwriting and soulful vocals. John mixes elements of rock, folk, blues, and gospel into a tasty gumbo that sticks to your ribs and keeps you humming along -- he really is one of the most talented musicians around, even though his records don't always bear that out. With this one, however, it's hard to argue against that proposition.
Allison Moorer - The Hardest Part (MCA Nashville)
This would be the best Nashville record this year, hands down. Excellent songwriting, luscious arrangements, and Allison's strong vocals make for some mighty fine listening. The songs form a sort of cycle, as they're all about the ups and downs of a romance, and are full of drama and passion. The harrowing final track recounts a dreadful incident from Allison's past -- dark stuff, but not maudlin. Overall, this record is a monumental achievement, right up there with the best country music you can hear.
Beaver Nelson - Little Brother (Black Dog)
Another solid effort from one of Austin's best songwriters. Lots of hooks, both in the music and lyrics, keep your interest -- the expert musicianship (from Austin's finest, of course) doesn't hurt. It's got the same rootsy-rock feel that's right at home next to your early-'70s rock-n-roll albums. It's not a terribly original style, but the songs, from the driving "Remnant" to the pretty "Don't Bend, Just Break," make this record stand out.
Nickel Creek - Nickel Creek (Sugar Hill)
One of the best pop-bluegrass albums ever, and a debut from band of youngsters at that. Chris Thile, the group's gifted mandolin player/singer, is possessed of serious talent, and bandmates Sara and Sean Watkins, on fiddle/vocals and guitar/vocals respectively, are no slouches. Sara's voice closey resembles that of Alison Krauss, who produced this record, and a couple of tracks sound like something from a Union Station album. But there's a lot of variety here, with folk, celtic, jazz, and classical influences evident. The result is a riveting performance whether on record or onstage -- there's just enough "pop" to make things interesting, and the band never falls into the common jam-session rut that affects too many bluegrass recordings. They just make their simple instruments and voices sound delicious.
Travis - The Man Who (Epic/Independiente)
Well, this year's XTC album didn't do much for me, so it's good to have some fine Britpop from these lads. It's a dreamy, laid-back sound they make, expertly playing real instruments behind singer/songwriter Fran Healy's expressive vocals. Think of a mellow Radiohead and you've about got it. The songcraft is particularly strong, with lots of melodic hooks and well-fit lyrics. The extended "bonus track" is an enjoyable encore.
U2 - All That You Can't Leave Behind (Interscope)
Certainly U2's best effort since Achtung Baby, this one finds the boys getting back to playing real U2 songs, not trendy fluff. Unless you have an aversion to Bono's earnestness, you'll enjoy his impassioned delivery and the record's uplifting, anthemic tone, not to mention the catchy tunes and Edgy playing. Oh, and check out Bono's Lou Reed impression on "New York" -- pretty dang funny!
Dallas Wayne - Big Thinkin' (HMG/HighTone)
This year's Robbie Fulks album, with a different singer. Yup, pretty much that's it ... Robbie's all over the record playing guitar and singing backup, and the songs themselves are a dead giveaway. Lots of clever wit, Nashville-bashing, and classic sounds -- overall, the tunes are more straight country than on most of Robbie's discs, with less irony and R-rated content (you can play this one for your parents). The backup band is none other than the Skeletons, who ably provided the same service on Robbie's debut. Oh, and Mr. Wayne ... he's got a good twangy baritone that'll remind you of Waylon Jennings or Junior Brown. He also co-wrote most of the songs. This album is a must for all Fulks fans.
Honorable Mentions:
Ryan Adams - Heartbreaker (Bloodshot)
Steve Earle - Transcendental Blues (E Squared/Artemis)
Chris Mills - Kiss It Goodbye (Sugar Free)
Superdrag - In the Valley of Dying Stars (Arena Rock)
Dar Williams - The Green World (Razor & Tie)
Favorite Albums of the 1990s (alphabetical order)
Each one an absolute masterpiece:
Tori Amos - Little Earthquakes (Atlantic)
Richard Buckner - Devotion + Doubt (MCA)
Ani DiFranco - Not a Pretty Girl (Righteous Babe)
Betty Elders - Peaceful Existence (Whistling Pig)
Nanci Griffith - Other Voices | Other Rooms (Elektra)
Lyle Lovett - Joshua Judges Ruth (MCA/Curb)
Nirvana - Nevermind (DGC)
Throwing Muses - The Real Ramona (Sire/Warner Bros)
Uncle Tupelo - No Depression (Rockville)
Gillian Welch - Revival (Almo Sounds)
Dar Williams - The Honesty Room (Waterbug)
Lucinda Williams - Sweet Old World (Chameleon)
XTC - Nonsuch (Geffen)
Neil Young - Ragged Glory (Reprise)
Favorite Albums of 1999 (alphabetical order)
Mandy Barnett - I've Got A Right To Cry (Sire)
Closest we've come yet to the return of Patsy Cline. Lushly orchestrated by the late Owen Bradley, among others, this record sounds like the classic Nashville of the '60s. Mandy's pipes are delicious, and the song selection is hard to fault. This may sound like what your parents listened to, but the excellence of the production is undeniable. One classy piece of work.
Continental Drifters - Vermilion (Razor & Tie)
What at first sounds like a throwback to the jangle-rock bands of the Eighties turns out to be a fine album of solid songwriting, sweet arrangements, and real heart. The sound isn't surprising, given the presence of Peter Holsapple and ex-Bangle Vicki Peterson (not to mention Susan Cowsill), but their talents are appreciated regardless of what decade it is.
Dixie Chicks - Fly (Monument)
The Texas trio who took Nashville by storm with their charming debut really does it on their own terms with the followup, writing more of their material, playing lots of twangy instruments, and getting a little more adventurous with the songs. It adds up to a spirited blast of rootsy and modern country energy. Natalie Maines' voice is so distinctive and expressive that you are inevitably drawn into the music. The Chicks are the best Nash-country act going right now -- if they keep it up they'll be legends.
Fred Eaglesmith - 50-Odd Dollars (Razor & Tie)
All you FredHeads will love this, but it's got a lot of appeal for the uninitiated. Some hard-driving bluesy numbers mixed with quieter stuff make for a great collection of Americana/roots/alt-country tuneage. It can get a bit silly at times (Fred's fixation with wheeled vehicles is still apparent), but not silly enough to spoil things. Overall, it's probably Fred's best yet.
Steve Earle and the Del McCoury Band - The Mountain (E Squared)
Like Steve's comeback of '95, this is an acoustic jam with an all-star cast, namely, the Del McCoury Band. Steve's goal here was to make a bluegrass record worthy of the best of the genre. Mostly, he succeeds. With Del and the boys providing able backup, Steve delivers a bunch of tunes that sound like they could become standards.
Robbie Fulks - The Very Best Of Robbie Fulks (Bloodshot)
Don't let the title fool you -- this ain't no Greatest Hits package. The songs are (apparently) odds and ends from Robbie's past, but given the goofy (and hilarious) liner notes, they could've come from anywhere. They do continue in the novelty-country-rock vein, naturally. The duet with Kelly Willis, "Parallel Bars," is a gem, as is "Sleepin' On The Job Of Love," which sounds like Buck Owens. There are also a couple of bawdy cuts which can't be broadcast over the air (yes, Robbie's warped sense of humor is intact), so if you have delicate ears, beware. ;-)
Guided By Voices - Do the Collapse (TVT)
I've generally found previous records from Robert Pollard's outfit barely listenable, not only for the deliberately poor audio quality (I ain't buyin' the "lo-fi" aesthetic) but for the lack of very many fully realized songs. The former problem is thankfully gone under Ric Ocasek's guidance, and this album is chock-full of hook-crazed new-wavey tunes that are instantly hummable. Pollard is a great rock vocalist, and the instrumentation is finally up to snuff. A lovable record for those who grew up with punk, new wave, and indie-rock and now crave excellent music with that same spirit.
Old '97s - Fight Songs (Elektra)
By far the best yet from these Dallas boys who aren't afraid to sound twangy in a rocky sort of way. It is more poppy than their previous records, but that's no bad thing. The melodies and guitar playing get you humming along and tapping your feet, and Rhett Miller's vocals are better than ever. A real treat!
Pavement - Terror Twilight (Matador)
Pavement's latest is a great indie-rock record. Been quite a while since I heard something from the genre worthy of an enthusiastic recommendation, but the superb musicianship evident here deserves recognition. Some real pretty stuff interspersed with more angular yet appealing sounds means this is Pavement's most accessible disc yet.
Kelly Willis - What I Deserve (Rykodisc)
Finally, we have an album that shows just how good Kelly can be. The Nashville gloss on her previous albums is thankfully gone, and the songs and production reflect authentic American country/folk values. Songwriters include Nick Drake, Paul Westerberg, and Kelly herself (solo and with the Jayhawks' Gary Louris) -- a stronger selection is hard to imagine. The musical backup is flawless. Did I mention Kelly's luscious voice? This is my favorite album of the year.
XTC - Apple Venus Volume 1 (TVT)
Not quite the masterpiece that Skylarking and Nonsuch were, but the new one from the most underrated band of the last two decades is worth the wait. I've said it before, but if the Beatles were still together and released what Andy Partridge and company have put out over the years, no one would be saying they'd lost whatever they had in the Sixties. That includes this record. Don't let the odd leadoff track throw you; the subsequent numbers bear the flashes of genius that mark each XTC album ever made.
Honorable Mentions:
Fountains of Wayne - Utopia Parkway (Atlantic)
Buddy Miller - Cruel Moon (HighTone)
Julie Miller - Broken Things (HighTone)
Built to Spill - Keep It Like A Secret (Warner Bros)
The Flaming Lips - The Soft Bulletin (Warner Bros)
Favorite Albums of 1998
Billy Bragg & Wilco - Mermaid Avenue (Elektra)
Here's a concept album for you: Bragg and Wilco take some unrecorded Woody Guthrie lyrics, invent music for them, and record the results. It works! Bragg's vocals aren't always my cup of tea, but here he sounds great; alt.country darling Wilco have always been able to craft good sounds. Guest vocalist Natalie Merchant also acquits herself well. Nicely done, mates!
Richard Buckner - Since (MCA)
Richard follows up his masterpiece disc from '97 with the more rocking, complex sounds of this haunting continuation of his journey through despair -- well, not all of it is that dark, but this still ain't no party record. The lyrics are as cryptic and beautiful as ever, but the production isn't nearly as spare as on Devotion + Doubt or Bloomed. Lots of meaty electric guitars (Dave Schramm is a prominent player) plus a terrific rhythm section make you want to crank it up and -- dare I say it? -- tap your feet (at least!). But the quiet tracks like "Ariel Ramirez" and "Once" are arrestingly lovely, full of pure human emotions. I love this record.
Stacey Earle - Simple Gearle (Gearle)
Proving once again that the simplest productions are often the best, Steve's sister has a disc here that's utterly charming, a thing of unpretentious beauty. Her voice and songwriting style recall the early work of fellow Texans Nanci Griffith and Betty Elders. The waltzes "Tears That She Cries" and "If It Weren't For You" are particularly affecting. If this sounds like something up your alley, give this album a chance to grow on you. It'll do that.
Robbie Fulks - Let's Kill Saturday Night (Geffen)
Stepping away a bit from the hard-country and novelty numbers that brought him attention from the "No Depression" crowd, Robbie turns in his first major-label effort with an eye towards more mainstream acceptance. Not to worry -- his songs are as sharp as ever, despite being played in a loud, rough and ragged manner this time. There's a duet with Lucinda Williams that will either astound you or repulse you, and "God Isn't Real" harks back to his good ol' days of warped humor. Go, Robbie, go!
Mike Ireland & Holler - Learning How to Live (Sub Pop)
Former Starkweather Ireland and his crew have put together a record that contains the spirit of the true country, complete with heart-tugging lyrics, impassioned singing, and soulful instrumental work -- they've even got gen-yoo-wine strings on a few cuts (but don't worry; nothing cheesy). First time I've heard anything like this on Sub Pop!
Chris Mills - Every Night Fight for Your Life (Sugar Free)
It's a fun mix of rock/pop, alt.country, and quiet acoustic tracks -- all with inventiveness and wit. A little on the ragged side, just right for all you post-punkers out there (you won't hear this dude on the radio, even though "Funeral Date" would make a cool single). Chris sings in a voice that's part Jay Farrar and part J Mascis (Dinosaur Jr.), and his quirky songwriting fits in the same space.
Beaver Nelson - The Last Hurrah (Freedom)
Here's an Austinite who's been around a while, out with his first CD on the small Austin-based Freedom label (who also brought us Jon Dee Graham's excellent debut last year). Nelson's songs are of excellent quality, with many memorable lines and melodies, and he sings them with an expressive (if rather thin and raspy) voice resembling Freedy Johnston's, but with more of a kick -- there is a bit of a Stonesy feel to a few of the rocking numbers. A solid, musical, and endearing disc.
Son Volt - Wide Swing Tremolo (Warner Bros.)
Jay and the boys haven't lost their ability to come up with ear-catching chunks of alt.country. While not quite as memorable as their debut, it surpasses Straightaways in adventurousness and richness. It makes good driving music, serving as a nice soundtrack for unhurried trips through the unspoiled countryside. There's still no telling what Jay's singing about, though -- better to just soak it in as abstract imagery.
Gillian Welch - Hell Among the Yearlings (Almo Sounds)
Not the modern classic that Revival was, but Gillian and David do make some timeless music here. It's even more spare and retro-sounding this time, believe it or not -- apart from the lone incongruous rockabilly number, the whole record sounds like it could have been recorded on someone's back porch, one furnished with a few wooden rocking chairs. The lyrics are darker as well, lending an Appalachian Gothic feel to the proceedings. If you can't abide "killin' songs," this would be a disc to avoid.
Lucinda Williams - Car Wheels on a Gravel Road (Mercury)
You can believe the hype. This disc is just about perfect -- strong, honest songwriting with memorable characters, moods, lines, and hooks; flawless arrangements and production; excellent musicianship. You might not warm up to Lucinda's bluesy, laid-back vocal style at first, but give it a chance to get under your skin and it won't let go. Listening to her spin these tales of Deep South life, you'll feel as though you're down there with her. I have no problem in proclaiming this album the finest I've heard this year. Well worth the six-year wait, Lucinda!
Dwight Yoakam - A Long Way Home (Reprise)
Dwight's albums are always good, but I wasn't expecting this one to exceed anything else he's ever done. There's nary a track on the disc that doesn't sound like a contender for "Song of the Year", something made more remarkable by the fact that this is Dwight's first album of all self-penned tunes. His vocal performance is incredible. Dwight makes real honky-tonk-style country music -- classic-sounding stuff -- in an era where that kind of thing is becoming more and more rare. Hats off to Dwight! (Or, keep your hat low and over your eyes.)
Honorable Mentions:
Allison Moorer - Alabama Song (MCA Nashville)
Neko Case & Her Boyfriends - The Virginian (Bloodshot)
Cheri Knight - The Northeast Kingdom (E-Squared)
Eric Taylor - Resurrect (Koch)
Dixie Chicks - Wide Open Spaces (Monument)
Favorite Albums of 1997
Richard Buckner - Devotion + Doubt (MCA)
Hello, I'm crazy about this record. It's been years since I've heard anything that's won me over so completely. This disc is hard to describe. It's intense, honest, original, beautiful -- it has a similar feel to Neil Young's Tonight's the Night, minus the chemicals. The arrangements and instrumental work are flawless and gorgeous -- every single note sounds perfectly placed. My expectations for this album were high, as Buckner's 1995 disc was so good (see below), but this one goes far beyond Bloomed, far beyond anything else released this year, and may turn out to be my favorite of the decade.
Steve Earle - El Corazon (Warner Bros.)
Possibly his best yet. Steve's comeback just keeps coming -- the third superb album in a row from a Texan-turned-Tennessean who's been there, wherever "there" is. The songs and musicianship continue to be among the best you'll find, ranging from acoustic ballads to full-out rockers, plus a poppish number or two.
Robbie Fulks - South Mouth (Bloodshot)
A great mix of hard-country material and novelty songs, Robbie sings, plays, and writes well enough to be considered one of the biggest talents in the business. He's got an attitude -- his Nashville-bashing number will let you know where he's coming from -- but he does respect the core of country music; many of his songs sound like classics. Did I mention that he's one of the most entertaining live acts you'll ever see?
Geraldine Fibbers - Butch (Virgin)
This is a very different album from the others on this list. Unless you can handle somewhat avant-garde, grungy, psychedelic, new-wavey art rock, skip to the next listing. If you appreciate originality, superb musicianship, catchy tunes, and a no-holds-barred attitude, then consider this disc. Even the long music-box track at the end is somehow captivating.
Jon Dee Graham - Escape from Monster Island (Freedom)
An Austinite with a raspy Jack Hardy-style voice and detailed, cliche-free songs who puts them down on record with confidence. Exceptionally nice arrangements -- never flashy, but always fitting to the song. The sheer musicality of this album sets it apart from most other new stuff coming out these days.
Buddy Miller - Poison Love (HighTone)
A fantastic country album. If you enjoy the real thang, here ya go. Buddy sings wonderfully and is backed by Emmylou Harris and his wife Julie on several cuts -- they sound fantastic. The songwriting is traditional-style without being boring; he's got a song about land mines, f'rinstance. Better recording quality than his previous album (although that one's still highly recommended).
Bruce Robison - Wrapped (Boar's Nest)
If it's genuine straight-ahead country you like, this is the album for you. Bruce is an Austinite, Kelly Willis' hubby, who's an heir to the good ol' Texas sound of folks like Jerry Jeff Walker. He and Kelly duet on a Louvin Brothers song; the rest are originals by Bruce (with one by Kelly). This Lloyd Maines production is mmm mmm good.
Ron Sexsmith - Other Songs (Interscope)
Superb songs (if these are Ron's "others," then I've got to hear his good ones), much like Elvis Costello's poppier side with some Brian Wilson thrown in. Ron sings in a dreamy, laid-back style that might be an acquired taste -- he ain't a great vocalist, but you get used to his style. Excellent arrangements and recording quality. Really grows on you. A keeper.
Richard Shindell - Reunion Hill (Shanachie)
This Northeastern folkie with the rich, smooth voice has put out his best album yet. Incredibly good production from Larry Campbell and lovely backup from the likes of Lucy Kaplansky, a more countryish style on many cuts (Richard covers Merle Haggard and Townes Van Zandt), and just great songwriting all around. What more could you ask for?
Jim White - Wrong-eyed Jesus (Luaka Bop/Warner Bros.)
This album is not for everyone, but if you give it time to grow on you you'll find a unique mixture of innovation and originality with moments of real beauty. Style-wise, it's sort of a laid-back jazz/country fusion. Go for it if your tastes run to the offbeat and eclectic.
Honorable Mentions:
Son Volt - Straightaways (Warner Bros.)
Matraca Berg - Sunday Morning to Saturday Night (Rising Tide)
Trish Murphy - Crooked Mile (Raven)
Joy Lynn White - The Lucky Few (Little Dog/Mercury)
Matthew Ryan - May Day (A&M)
Favorite Albums of 1996 (alphabetical order)
Shawn Colvin - A Few Small Repairs (Columbia)
After so many years without any new material, Shawn comes back and delivers her best work ever on this powerful yet tuneful disc. Working again with John Leventhal, she shows us all the phases of a painful breakup (she speaks from experience), pulling no punches with the lyrics but employing arrangements that evoke the best of '70s pop. Unlike her earlier studio albums, there isn't much synthetic music here (thanks!) -- it's all quite real. Great to have her back.
Steve Earle - I Feel Alright (Warner Bros)
Steve's second album after getting his head straightened out is another gem, more rocking than last year's Train a Comin' but just as essential. There are a lot of great songs here, including some harrowing tales from his bad days ("CCKMP", "South Nashville Blues") and even a love song or two. Don't miss the closing duet with Lucinda Williams!
Robbie Fulks - Country Love Songs (Bloodshot)
For those who have a thang for a little twang, this album offers gen-yoo-wine countreh sawngs, the way they used to make 'em. Robbie's reverent one minute ("The Buck Starts Here"), and goofy the next ("Scrapple"), but always entertaining, never annoying. He can sang with the best of 'em, and his bandmates have their stuff down. A hoot!
Annie Gallup - Backbone (1-800-PRIME-CD)
Here's a sleeper for you. Annie possesses a unique style, a charming voice, and delightful songs that are presented in a most tasteful way. They're smartly written, quirky vignettes of everyday life, expertly arranged and played, and sung in a breezy West Coast manner. Fans of Christine Lavin (her not-so-silly side), Dar Williams, and even Laurie Anderson should check this out.
Patty Griffin - Living With Ghosts (A&M)
Maine native Patty Griffin, who's been singing backup for the likes of Ellis Paul, went and did a most unusual thing: she put out a completely solo acoustic album -- nothing but voice and guitar -- and had it released by a major label. By itself, that's pretty cool. But what makes this album great are the songs and Patty's vocal performance. Singing in a style that's part Rickie Lee Jones and part Bonnie Raitt, she delivers a dozen astonishing numbers about real people. These songs are some of the best heard all year.
Haynes Boys - Haynes Boys (Slab)
Columbus' Tim Easton and his band are doing the grunge-country thing as well as anyone out there. This is the best record of the year for fans of early Uncle Tupelo -- it's melodic, uncompromised, non-slick, smart, and rocks harder than most Seattle-wannabes.
Lynn Miles - Slightly Haunted (Philo)
Ontario's Lynn Miles makes her American debut with this brilliantly musical disc, a gem of exuberant, infectious singing, soaring melodies, and perfect instrumentation. Lynn's guitar partner Ian LeFeuvre uses masterful technique and tasteful effects to complement Lynn's expressive voice; together they create some of the loveliest sounds heard this year. "I Loved a Cowboy" and "The Ghost of Deadlock," among others, are irresistible. The Joni influence is there, but Lynn possesses her own style. Gorgeous.
Gillian Welch - Revival (Almo Sounds)
I'll say it right off: this is the best album of the year. Gillian Welch's debut is a masterpiece of songwriting, playing, and production -- it has the sound of a timeless classic. Gillian gets her inspiration from the greats of American songwriting, and her work can already be mentioned alongside that of Ralph Stanley and Townes Van Zandt and ... oh, there's no use comparing her to others. Just listen. She and David Rawlings make the perfect duo -- she sings in a laid-back Lucinda Williams style and plays rhythm, he plays lead and sings backup beautifully -- as they introduce you to songs you'll want to learn and sing yourself. Magnificent.
Whiskeytown - Faithless Street (MoodFood)
Ryan Adams is a youngster who's quickly gained a following for his sharp songwriting and (already) world-weary vocals. He and his band have a Son Volt-like sound, with more energy and more straightforward lyrics. There's a lot to like here, from the ragged-but-right playing to the infectious guitar riffs and singing. Fiddle player Caitlin Cary adds lovely accompaniment, and even takes the lead vocals on the old-timey "Matrimony" -- she should've been given a couple more tunes to sing. File this one with the equally good Haynes Boys disc and you'll have the best of alt.country for the year.
Dar Williams - Mortal City (Razor & Tie)
Dar's sophomore disc is packed with the kind of songs that either leave your mouth agape with their insight and intensity, or make you smile and chuckle with their wit and originality. The opening "As Cool As I Am" is a right-on declaration of self-worth; "February" is a stunner about lovers who hit the deep freeze; "The Ocean" is a dark and swirling number about the dangers of preconceived notions; "The Blessings" reminds us that things are never as dark as they seem. The lo-fi production job is the only real fly in the ointment here (but it's a pretty big and gnarly fly).
Honorable Mentions:
Ani DiFranco - Dilate (Righteous Babe)
Rosanne Cash - 10 Song Demo (Capitol)
Fred Eaglesmith - Drive-In Movie (Vertical)
Lyle Lovett - The Road to Ensenada (Curb/MCA)
Johnny Cash - Unchained (American)
Favorite Albums of 1995 (alphabetical order)
Richard Buckner - Bloomed (DejaDisc)
Here's a newcomer from Frisco who goes to Texas and records one of the year's best records; a stark, uncompromised, authentic piece of Americana. Buckner's voice is on the raw side -- no pop crooner, he. His songs are darkly brilliant, from the stunning opener "Blue and Wonder" to the closing "Cradle to the Angel." The spare and intimate production, courtesy of the great Lloyd Maines, features the likes of Butch Hancock. This album is a must for fans of the real thing.
Kate Campbell - Songs From the Levee (Compass)
Campbell is from the school of literate Southern songwriters -- she quotes Eudora Welty on the album cover -- who tie the lives of ordinary folks to great music. The songs are simply written, with a deft melodic touch. "Lanterns on the Levee," "A Cotton Field Away," and "Trains Don't Run From Nashville" sound like country classics; "Bury Me In Bluegrass" is one of the most beautiful songs in quite a while. Kate's singing is a real joy -- her voice is one of the finest instruments you can hear. The arrangements serve each cut perfectly. A winning debut.
Stacy Dean Campbell - Hurt City (Columbia)
It's merely coincidence that two Campbells show up this year (I think), but Stacy Dean certainly belongs here. One thing in common he has with the other Campbell is a superb voice. Think Everly Brothers / Buddy Holly and you'll get the idea -- he's miles away from the typical Nashville crooner. While his singing is the main attraction, the material and the production are also top-notch. It's country music the way it used to be done, back in the 60s -- none of that wretched 70s-rock nonsense or overly sentimental balladry. Yecch to that! Put Stacy Dean right up there with Dwight Yoakam and the Mavericks for his true-country sensibilities.
Ani DiFranco - Not a Pretty Girl (Righteous Babe)
This is probably Ani's best, most accessible album to date. There's no one else doing what Ani does -- she's utterly radical, aggressive, up-front yet subtle -- she's hard to describe. You need to experience her live act to get the full picture, but this record will do nicely as a substitute. It's gripping, intense stuff from the New York streets; from the jazzy "Worthy" to the anthemic title tune. It's not for all tastes -- within the realm of what can be considered "folk music," it's the antithesis of the effete lite-rock style favored by some of the big names in the biz. Ani will either repulse you or, if you're willing, astonish and amaze you.
Steve Earle - Train a Comin' (Winter Harvest)
This dude's been on a rollercoaster of ups and downs in his career, but this is his peak, his finest achievement. A heartfelt, honest collection of incredible songs played in a live-in-the-studio, totally acoustic setting. Steve's voice sounds as if it's been dragged through the gutter a few times, but it's no Dylanesque mumble job -- the lyrics come through loud and clear. His band, consisting of Peter Rowan, Norman Blake, Roy Huskey, and Emmylou Harris (and no one else), is right on. In addition to Earle's own superb numbers such as "Hometown Blues," "Goodbye," "Tom Ames' Prayer," and "Ben McCulloch;" there's Lennon & McCartney's "I'm Looking Through You" and Townes Van Zandt's "Tecumseh Valley," nicely done. Very nicely done.
John Hiatt - Walk On (Capitol)
This is probably Hiatt's best work since his 1987 masterpiece Bring the Family. Walk On avoids the tendency towards generic pop-rock that appeared on some recent discs and takes a harder edge, particularly in the lyrics. He's clearly at the top of his game, writing honest, vivid, memorable tunes like "Shredding the Document" and "Wrote It Down and Burned It" and playing them with gusto. This album should remove any doubt that John is a genius. And it rocks!
The Jayhawks - Tomorrow the Green Grass (American Recordings)
The 'Hawks have made here what could be their best album. The music is consistently engaging -- the guitars, voices and backup playing combine for a most pleasant sonic experience. The songwriting is melodic and hooks you with a gentle but sticky grip. I could do without the cover of the old Grand Funk tune ("Bad Time"), but the rest of the tracks are right up there with the best that "heartland rock" has to offer.
Kim Richey - Kim Richey (Mercury)
This is one stunning debut, one of the best things to come out of Nashville in a while. It's country music with a style unique to Ms. Richey, mixing in some rock and pop in just the right way, never sounding contrived or compromised. Kim's Ronstadt-esque voice, the incredible songs (all co-written by Kim), and the meaty production job add up to a record you can savor from start to finish. Let's hope Nashville can keep artists like this in mind when it's searching for new talent to present to the masses.
Son Volt - Trace (Warner Bros.)
This album, from former Uncle Tupelo co-anchor Jay Farrar's new band, has really grown on me. The opener, "Windfall," is about a lovely a tune as I've heard all year. The rest range from rockin' to pleasant to merely infectious. Yeah, half the time I have no idea what Jay's singing about, but he does manage to evoke the intended moods. The sound is about what you'd expect: like the Farrar half of an Uncle Tupelo album, with that good ol' "insurgent country" flavor that UT pioneered (the other half of the UT creative force, Jeff Tweedy, also released a decent record this year with his band Wilco -- it's OK, but I like Jay's effort better).
Bruce Springsteen - The Ghost of Tom Joad (Columbia)
I'm about as pleasantly surprised as anyone that such a megastar has chosen to make a full album of real folksongs, none of which has a ghost of a chance of being a radio hit. After enduring years of hype and bombast, we finally have another reminder that Bruce is one of the very best (if not THE best) at this game. The songs are incredibly evocative and engrossing, letting us into places we might otherwise never have known. They tell the stories of genuine "folks," people you might pass by on the street or highway, people whose lives aren't talked about much in pop culture. Bruce's delivery is subtle (no yelling here), and the production envelopes you in the music. There's no doubt that this is one of the year's best records -- let's hope Bruce can do this more often.
Eric Taylor - Eric Taylor (Watermelon)
This is Eric's first record since 1981's Shameless Love. Not sure what took him so long, but it's good to have something new from this denizen of the Houston songwriter scene. The songs are excellent -- what else could you expect from Eric? -- and the execution is typical of his laid-back yet riveting style. His guitar playing is as good as ever, and he employs some of Texas' finest in support -- Iain Matthews, Gene Elders, Glenn Fukunaga, et al. The classic "Deadwood" is included; the rest of the cuts are very satisfying. It's been a very good year for Texas music -- Joe Ely, Guy Clark and Tom Russell each released fine albums; I just like Eric's style better.
Honorable Mentions:
Betty Elders - Crayons (Flying Fish)
Buddy Miller - Your Love and Other Lies (Hightone)
The Mollys - This is My Round (Apolkalips Now)
Cheryl Wheeler - Mrs. Pinocci's Guitar (Philo)
Dwight Yoakam - Gone (Reprise)
Favorite Album of the Year:
OK, so this was the year I discovered Ani DiFranco. First at Falcon Ridge, then Newport, then Lyons, and finally her own concert with 2,800 other fans at Boston's Orpheum Theater. Each time, I was swept up in her energy, her originality, her incredible voice and guitar playing, and her ability to connect with her audience. Ani's a phenomenon. She demands and deserves attention -- if anyone can make "folk music" as big as it was 30 years ago, it's artists like Ani who will do it. Her songs always ring true; they're amazingly insightful, never phony; they appeal to a new generation of fans. They sound like no one else's, though it could be argued that they tend to sound like each other. Still, with so many other artists all trying to sound alike, how refreshing it is to have someone willing to go against the grain! Ani's kept her uniqueness and her integrity intact and she's a flat-out brilliant artist. For being the most uncompromising, original, visionary record I've heard this year, Not a Pretty Girl is my favorite of 1995.
Favorite Albums of 1994 (alphabetical order)
Greg Brown - The Poet Game (Red House)
This is Greg Brown at his best. The album is full of the vivid imagery and sly wit familiar to Greg's fans, done in his unique folk/blues style. Greg's gravelly growl grows on you (how's that for alliteration?), and the songs rank up there with the best in his amazing body of work. "Brand New '64 Dodge" captures the feel of the early '60s so perfectly, it almost transports you there. The recording quality is superb, with a rich deep bass and pristine guitars. This album is a must for any Brown fan, or any fan of good music.
Johnny Cash - American Recordings (American)
What better way to experience a legend than with an intimate, spare, couldn't-be-simpler production with lots of great songs and heartfelt singing and playing? If you haven't ever appreciated Mr. Cash, give this album a listen, preferably late at night with the lights off. You may gain a real respect for the man as a performer and musical presence.
Iris DeMent - My Life (Warner Bros.)
If you can warm up to Iris' voice (it's really not that hard to do), this album will reward you with poignant lyrics, gliding melodies, and a vocal performance that demonstrates how to get the most out of a song. Iris writes and sings from the heart. She's not trying to sound like anybody else, she's not writing songs just to have something to sing. She does what she does because she believes in it -- that's the mark of a true artist. Iris is most affecting when she writes from her personal experiences, as in "No Time to Cry," about her attempts to deal with the death of her father. Her fictional songs about common folk living life day by day are also memorable. And Jim Rooney's production is exemplary. A great disc.
Connie Dover - The Wishing Well (Taylor Park)
If you have any interest at all in traditional Celtic-style music performed by someone with an exceptionally beautiful voice, then you must hear this album. Connie has researched her material amazingly well, and she knows what will sound good to the serious listener. If you liked Enya's or Loreena's stuff but found it a bit overdone, check out Connie's album (as well as its predecessor, Somebody). Connie also draws on the likes of Bill Staines for her songs -- she's not just into the Celtic sound. She's an incredible talent.
Ferron - Driver (EarthBeat!)
If you require lots of hooks and singalong choruses in the music you enjoy, you might not care for Ferron's songs. But if you appreciate poetic, heartfelt, truly original lyrics, then this album is for you. Ferron can write -- she's a true poet. The album's lyric sheet alone is worth the price of the disc. But most of the songs come together with lovely melodies -- when that happens, it's a marvelous thing to hear. This is most evident on the album's centerpiece, "Sunshine." It's a heavy song, a mother's last words to her loving child. In the hands of a less capable artist this kind of thing could become way too maudlin, but Ferron pulls it off beautifully.
Adie Grey - Brand New Old Time Music (Hey Baby!)
The first thing you notice about Adie's music is that voice. A clear, smooth, winsome soprano in the DeMent vein (but not nearly as, um, earnest), it's perfect for her material -- old-style tunes that sound like authentic nuggets from the '20s and '30s. Adie's lovely singing and exuberant dulcimer playing are rounded out on this perfectly-produced album by the likes of Wynonna Judd (returning to her roots?), John Hartford, Tammy Rogers, and Albert Lee. Dave MacKenzie, Adie's main songwriter and guitarist, really knows his craft. This record is a must for fans of country/folk/roots music.
Lucy Kaplansky - The Tide (Red House)
A gorgeous debut album from an artist who's been around a long time performing solo, singing backup for the likes of Shawn and Nanci, doing jingles, and taking time off to become a psychologist. She's back now, and this Colvin-produced album begs the question, "Where have you BEEN?" This is a BRILLIANT disc, without a single misplaced note. Lucy's simple, direct singing style, the superb song choices (no overdone standards), the flawless arrangements, and the marvelous production job (hey Shawn, how come YOUR records don't sound like this?) add up to an album that's just about perfect. Well worth the wait, Lucy (but please don't wait so long to do the next one)!
Patty Loveless - When Fallen Angels Fly (Epic)
This is one of those rare examples of when the Nashville hit-making machine gets everything right: Patty's wonderful vocal style, some of the best writers in the biz (Gretchen Peters, Jim Lauderdale, Tony Arata, et al), Nashville's finest musicians, and a producer who knows what he's doing (Emory Gordy, Jr). All add up to an undeniably great album. Sure it's slick and big-sounding -- but sometimes that works, too.
The Mavericks - What a Crying Shame (MCA)
You say you're less-than-impressed with the current crop of Nashville-style bands? Give this disc a listen and you'll regain hope for the future of country music. This is the good stuff, possibly the best Nashville release of the year (close call with Patty around). Raul Malo's voice, which has been compared to Roy Orbison's, is majestic. The songs are genuine future standards -- Malo did most of the writing, but there's Springsteen's "All That Heaven Will Allow" and a couple of other songs by Jesse Winchester and Harlan Howard. May the Mavs set the standard by which all other country groups are judged.
Dar Williams - The Honesty Room (Waterbug)
Every once in a great while, an album comes along that is so rich with lyrical images, original ideas, and pure emotion that you can spend hours listening to it and not hear it enough. From the childhood remembrances of "When I Was a Boy" and "The Babysitter's Here" to the gentle maturity of "You're Aging Well" and "I Love, I Love," Dar presents a unique voice and vision that will be appreciated by anyone who has ever led a real life. "The Great Unknown" is perhaps the most effective piece of sociopolitical commentary since the '60s protest heyday. Dar co-produced the album, and there's neither too much nor too little accompaniment -- the arrangements are nearly perfect and include brilliant touches (that distorted cello in "The Great Unknown" -- goosebump time). Of the new crop of young singer/songwriters, Dar gets my vote as Most Likely to Succeed, and I'm happy to declare The Honesty Room Album of the Year.
Honorable Mentions:
Vince Bell - Phoenix (Watermelon)
Lyle Lovett - I Love Everybody (Curb/MCA)
Mary McCaslin - Broken Promises (Philo)
Ellis Paul - Stories (Black Wolf)
Richard Shindell - Blue Divide (Shanachie)
Favorite Albums of 1993 (alphabetical order)
Betty Elders - Peaceful Existence (Whistling Pig)
No one's ever made a record that defines "stark beauty" better than this one. Austin's Betty Elders, along with hubby Gene, has put together a collection of gorgeous songs and sung them with such delicacy and sweetness that it's almost too good for you. There's nary a note on the whole album that doesn't sound perfectly placed. The songs are gorgeous -- "Long Bed from Kenya" is stunning; "Falling Rain" is deceptively simple; "Sometimes" is heartbreaking; "Light In Your Window" is classic. Betty's voice may be a bit precious-sounding to some -- it ain't exactly suited for blues or opera, but in this Texas-style folk context it shines brightly. If you like this style of music (think early Nanci Griffith), Peaceful Existence is essential.
Jimmie Dale Gilmore - Spinning Around the Sun (Elektra)
This legendary Texan, with the, ah, unique voice, continues his winning streak with a big-time label, a big-time producer (Emory Gordy, Jr.), and a "big" but great-sounding album. There aren't as many Gilmore originals here, but that's OK -- all the songs are fine and get treated very well. From the '50s-style ballad "I Was the One" and the rockabilly workout "Mobile Line" to Butch Hancock gems "Just a Wave" and "Nothing of the Kind," Jimmie & company acquit themselves in a "real roots" fashion. Excellence in country music right here, y'all.
Nanci Griffith - Other Voices | Other Rooms (Elektra)
This is Nanci's tribute to those songwriters who have inspired her to choose the life she's been leading all these years. Masterfully produced by Jim Rooney, the disc has Nanci making each tune her own and showing that she's as much an song-interpreter as a songwriter. The lead track, Kate Wolf's "Across the Great Divide," is as perfect as they come, and it's followed by many fine examples of the craft: Bob Dylan's "Boots of Spanish Leather," John Prine's "Speed of the Sound of Loneliness," Gordon Lightfoot's "Ten Degrees and Getting Colder," and Jerry Jeff Walker's "Morning Song for Sally" are a few of the tunes getting the Griffith treatment. Most of the tunes aren't that well-known -- part of Nanci's thing is getting the more obscure songs out there to be discovered by a new audience. It worked for me! A magnificent album.
Emmylou Harris - A Cowgirl's Prayer (Asylum)
Continuing with the country-flavored folk style, this album has Emmylou at her best -- it compares favorably with her finest work. Emmylou sounds wonderful, the production is hard to fault, and the songs are excellent. One the best ever of Emmy's own tunes, "Prayer in Open D," is itself worth the price of the disc. Other standouts are Lucinda Williams' "Crescent City" and Leonard Cohen's "Ballad of a Runaway Horse;" even the old Eddy Arnold chestnut "You Don't Know Me" sounds great.
Katy Moffatt - The Greatest Show on Earth (Philo)
Yet another Texas-style folk record (what a year!); put this on your list if you like excellent singing, beautiful songs, and spare production. You could put this one with the Elders, Griffith, and Staines albums and pretend to be spending a full evening at a peaceful Texas folk venue. Katy's been doing this for years, of course -- her voice and songwriting always win raves. (Note: this album was later released as Evangeline Hotel, due to legal problems with Ringling Brothers. No joke.)
Smith Sisters - A Canary's Song (Flying Fish)
This one's a live album. It showcases Debi and Megan's tremendously entertaining act, featuring superb vocals, excellent instrumental work (check out Debi on that bodhran!), and tasteful songs. The sisters choose their material well -- in addition to a few of Debi's originals, there are tunes by Buddy Mondlock, Pete Kennedy, Cheryl Wheeler (the Smiths' rendition of "Arrow" gives Cheryl's version serious competition), Robin & Linda Williams, and older standards like "The Bramble & the Rose" and "Hard Times." Every track is performed splendidly. The album succeeds in providing that elusive "you-are-there" feeling missing from most live recordings.
Bill Staines - Going to the West (Red House)
Bill's new one contains some fine new material -- "Child of Mine," "Distances and Miles," and "Crossing the Water" are great additions to the Staines songbook, and there's some choice outside material from compadres Harvey Reid and Doug Clegg. Fredericksburg, Texas provided the recording location; Brian Wood handled the production and contributed his guitar work. Other Texans like Gene Elders and Bill & Bonnie Hearne also appear -- the result is what you might expect: a very Texas-style record! Oh, and Bill's classic "River" gets a shiny new wrapping, too. What more could you ask?
Uncle Tupelo - Anodyne (Sire/Reprise)
Uncle Tupelo, whose creative force is supplied by singer-songwriters Jay Farrar and Jeff Tweedy, is the most original, innovative, and risk-taking "rock" band in America. They started as sort of a punk/grunge/country band (and traces of that style are still around), but lately have been going more to the roots of American music. Who else but Tupelo would write and record a song called "Acuff-Rose?" There are several flat-out rockers here, too: "Chickamauga" and "We've Been Had" echo the UT of old, but "Slate" and the title tune signal a new direction into quieter pleasures. Hey look, it's Doug Sahm, playing guitar and singing on his own "Give Back the Key to My Heart!" Whatta record!
Kelly Willis - Kelly Willis (MCA)
Best thing to come out of Nashville this year, that's all this record is. Kelly's latest effort, produced by Don Was and Tony Brown, shows off her fabulous pipes -- that would be reason enough to buy it, but the songs ... Kelly co-wrote a few, including the catchy "Get Real," and other writers like Kevin Welch, Marshall Crenshaw, and Jim Lauderdale are well-represented. Players include Welch, Kieran Kane, Mike Henderson, Benmont Tench -- the coolest cats in Music City, in other words. There's life in that town yet.
Dwight Yoakam - This Time (Reprise)
Suffice it to say that Dwight is the master of what true American country music is supposed to be. No hat acts here -- you'll find classic songs, perfect arrangements, and tasteful pickin' on his records. This is one of his best, and includes the gorgeous "Try Not to Look So Pretty" plus other cool cuts like the title track. Unless you harbor some illogical aversion to "twang," check it out.
Favorite Album of the Year:
1993 was the year I "discovered" folk/acoustic music, thanks to a friend who dragged me to the Newport Folk Festival in August. It was there that I first witnessed Nanci Griffith's live performance, and it was her album Other Voices | Other Rooms that made me realize there was a wealth of great music out there that I'd been missing. Yes, OV|OR is a masterpiece, will always be on my Desert Island Discs list, and is without question the album that brought me the most enjoyment this year. BUT, Betty Elders' disc is so incredibly good (and has original songs!) that I can't choose between the two ... I'll have to call it a tie.
Honorable Mentions:
Bobbie Cryner - Bobbie Cryner (Epic)
Diane Taraz - Shoes That Fit Like Sand (Beacon)
Eleventh Dream Day - El Moodio (Atlantic)
Dinosaur Jr - Where You Been (Sire)
Madder Rose - Bring It Down (Seed)
The Incredible Mr. Fulks
It's rare to find a performing musician who has it all: an effective singing voice, mastery of an accompanying instrument, a winning stage presence, and natural songwriting talent. It's even rarer to find one whose abilities surpass most others' in most of these respects. Robbie Fulks is the only "rising star" I know of who fits this description.
For two of the past three years, Robbie's showcases at Austin's South-by-Southwest music conference were, by far, my favorites. In 1997, he wowed an outdoor crowd at Stubb's with a tremendously entertaining set that included tunes from his debut album Country Love Songs plus a few from his then-yet-to-be-released South Mouth (both on Bloodshot records). Robbie's songs are instantly infectious. Hearing such should-be classics as "The Buck Starts Here" and "Cold Statesville Ground" makes you wonder why this guy isn't already in the Country Music Hall of Fame. Hearing him play them onstage with his band really gets you caught up in the sheer joy of hearing great music played as it should be played. The band is fine, but Robbie's own talent on the guitar frequently outshines his sidemen -- when his lead guitarist experienced a temporary problem at the Stubb's showcase, he nonchalantly took over with the appropriate fills on his acoustic while still strumming and singing. Plus, his expressions, gestures, and between-song banter keep you grinning for the duration.
At Stubb's, Robbie's fans requested humorous songs like "She Took a Lot of Pills (and Died)" and "F$#@ This Town" -- crowd-pleasers that elicit lots of laughter. After a few of these, however, Robbie said, "All right, we need to get away from the novelty songs for a while now ... oh f$#@ it, let's do another funny one!" and immediately started the spoken-word intro to "The Scrapple Song" after counting it off with a quick "One two three four!" That's just a sample of the wackiness that makes a Fulks show so much fun. It never degenerates into silliness -- there's more than enough straight material presented to prevent the feeling that you've spent the show at a comedy club. More to the point, Robbie's '97 showcase was the only one I saw that year that left me wanting more.
His deal with Geffen, which produced 1998's Let's Kill Saturday Night, allowed Robbie to skip that year's SXSW. But unfortunate trouble with that label led him to come back in 1999. We were lucky enough to see him three times in Austin during that year's conference -- once as a solo acoustic performer at a Cheapo Records in-store, and twice more with electric band at the Broken Spoke and Liberty Lunch, two of Austin's most storied venues.
I was expecting the solo show to be good, knowing that Robbie could easily provide all the guitar accompaniment he needed. I wasn't wrong. He charmed the decent-sized crowd with his twangy tenor, sharp wit, and amazing fretwork. A straight rendition of Abba's "Dancing Queen" had us nearly rolling in the aisles. He didn't have time to get to all the requests -- "There are so many great hits, aren't there?" -- but the surfeit of good songs to choose from meant that the show never dragged. If you ever have the chance to see Robbie solo, please take advantage of it.
Robbie's short electric set at the Spoke, most notable for the sight of tall Mr. Fulks hitting his head on the ceiling while performing, was a preview of his official showcase the next night at Liberty Lunch. His band rocks hard, providing the needed energy for newer numbers like "Let's Kill Saturday Night" and "Little King." These tunes show that Robbie might just be a rocker at heart, a suspicion that's strengthened when you see him kick them out onstage. At the Lunch, he mixed the new pop-rock with the old country to great effect -- the show was a true showcase of Robbie's amazing range of talent. His vocals and guitar solos were perfection as he gave his fans and admirers all he had. If I may use a trite expression, he "owned that stage!" At the end, he tossed his SXSW badge into the crowd. Too cool. ;-)
Recommended Recordings: The first two Bloodshot records are country music with an attitude, including some beautiful classic-style songs mixed with hilarious novelty numbers. The Geffen is a mix of pop-rock (possibly too unrestrained at times) and hard country. The fourth album is more spotty but still very enjoyable -- the liner notes are worth several laughs. All are highly recommended.
How Nanci Griffith Turned Me Into a Folk Fan
There may be technically better singer/songwriters around, but there's something about Nanci that's unlike any other artist I know. Her charisma is unique. When I first saw her concert -- at the '93 Newport Folk Festival, which a friend had to drag me to (I was mostly into indie-rock at the time) -- I instantly became a Nanci-head.
Nanci had it all. She must have cast a spell on me, because I spent the next several weeks buying all her albums and listening to nothing but Nanci. No other performer has ever had such a profound impact on my musical tastes and listening habits -- because of her, I got heavily into "folk" music for several years, I started an Internet mailing list ("NanciNet"), and traveled around the country to several folk festivals, including the one (Kerrville '96) where I met my wife!
How did Nanci do this? Well, her charm comes largely from her performing style. She projects a unique combination of guileless sincerity, vulnerability, and passion. She exudes real emotion, without pretentiousness or cynicism. She knows how to make a direct personal connection with her audience, never trying to present herself as something she isn't.
Perhaps the one quality that I find most appealing about Nanci is her voice. Frequently childlike, sometimes passionate, always mellifluous and soothing -- it's a uniquely beautiful instrument. It can be argued that she sometimes gets too precious and "cute," but that's just how she is; I don't think there's contrivance there. And yes, she can let loose a Texas-sized twang that may take some getting used to, but for me it quickly became endearing. Her Southern manner contributes to her masterful phrasing and the unique way in which she shapes words.
My favorite quote about Nanci is from Paul Mather of Melody Maker. He says, "Nanci Griffith gives us dreams ... that affect because of, rather than despite, their traditionalism. There's no urge here to reinvent, to introduce a new pop vocabulary, simply a pure joy in her own ability to make music that touches all those places that make you sigh and stuff."
To anyone interested in great musical performances, I would highly recommend seeing one of Nanci's concerts. It can be a transcendent experience. For the next best thing, one of her videos can give an idea of why her fans are so devoted. Then there's her long list of recordings, a description of which may be found at the Nanci Griffith FAQ page. If you love good music -- not Top 40 trash -- I suggest you sample a few of these albums. If you happen to become a major fan, you may want to join NanciNet, an open Internet forum. To do that, send e-mail to majordomo@world.std.com with the command subscribe nanci in the message body. For an edited Digest version, use this command instead: subscribe nanci-digest. Enjoy!
NANCI GRIFFITH -- RICHARD ROGERS THEATER, NEW YORK CITY
November 2-5, 1994
The American debut of Nanci Griffith's new tour was greeted here with a lot of enthusiasm among her loyal fans who turned her four-night run at the Richard Rogers Theater into a smash success. She and the Blue Moon Orchestra gave solid performances full of powerful, genuine emotion and the kind of grace that few artists can match.
The set started off with an announcer's voice thanking the audience for "flying the Richard Rogers Theater," followed by a simulation of a jet takeoff with spotlights rising from the stage. "The Flyer" was the opener, followed by a perfectly lovely rendition of "There's a Light Beyond These Woods." Nanci mentioned that her childhood friend Mary-Margaret, to whom the song is sung, had been on tour with the band and was making her first visit to New York in 25 years. Lee Satterfield handled the second vocal part, doing a fine job.
Speaking of Lee, it was good to see her back with the band, as she adds a nice complement to Nanci's vocals and guitar playing. Other Blue Moonies included Ron de la Vega on bass and cello, Fran Breen on drums, Pat McInerney on percussion, and of course James Hooker on keyboards and vocals. The newest member of the band is Doug Lancio, an electric guitarist from Nashville. New Yorker Frank Christian joined the band for a few numbers, including his own song "Three Flights Up." There sure was a wealth of musical talent on that stage.
Among the new songs, the most enjoyable performances were "Say It Isn't So," "Don't Forget About Me," "On Grafton Street," and a powerful "These Days in an Open Book." James Hooker had a nice duet with Nanci in "Going Back to Georgia." "Southbound Train" was lovely, with Lee and James handling the harmonies and Nanci's voice in particularly strong form. A surprise number was the Beatles tune "Things We Said Today," with Nanci playing a Stratocaster electric guitar and Ron playing a McCartney-style Hofner bass.
Of course, Nanci didn't neglect her rich catalog of earlier material. "Trouble in the Fields," "Gulf Coast Highway," "Listen to the Radio," and "It's a Hard Life" were wonderful, and the night's most emotional moments came during "Tecumseh Valley" -- Nanci was nearly in tears while singing this one. The final encore was a beautifully tender rendition of "The Wing and the Wheel."
The sound in this smallish theater was excellent, but this was by no means a laid-back, subdued "folk-style" show. This was a BIG and LOUD show, with pounding bass and drums on many songs. In fact, the tom-toms were so loud during Thursday's performance that I suggested to the sound man before Saturday's show (I attended those two nights) that they should be pulled back a bit. He may have taken my advice -- they didn't seem to be quite so overpowering for Saturday's finale. (The shows were otherwise identical in nearly all respects, but Nanci was more elegantly dressed Saturday in a burgundy/black velour outfit.)
The standing ovations were unanimous, extended, and very well-deserved. This is a spectacular concert, two hours of pure joy, and should be witnessed by all who have an interest in great musical performances. Nanci's talents are as wondrous as they've ever been. She's a knockout.
Set List: The Flyer, There's a Light Beyond These Woods, Say It Isn't So, Always Will, Across the Great Divide, Trouble in the Fields, Don't Forget About Me, Southbound Train, Time of Inconvenience, Speed of the Sound of Loneliness, Tecumseh Valley, On Grafton Street, These Days in an Open Book, Three Flights Up, Nobody's Angel, Gulf Coast Highway, Outbound Plane, Listen to the Radio, Going Back to Georgia, Things We Said Today, This Heart. Encore1: It's a Hard Life Wherever You Go. Encore 2: The Wing and the Wheel.
And now, for all you NanciNuts, THE REST OF THE STORY ...
While driving into Manhattan for Thursday evening's show, we were treated to an unexpected display of spectacular fireworks over the East River. I have no idea why they were there -- somehow I doubt they were in honor of Nanci's appearance -- but I imagined the display as a sign of good things to come, which in fact it turned out to be.
I had never met Nanci. Not that I hadn't tried, but she seems to be quite reclusive and well-protected by her management. Her road manager, a man named Nineyear Wooldridge, does his job very well -- he keeps all the riffraff like me at bay. :-)
But I had a plan this time. I had heard that Nanci didn't have her own copy of the B.F. Deal Sampler -- the record on which her earliest recordings appear. Seeing as how I had an extra sealed copy lying around, I figured this could be my ticket backstage.
After Thursday's show, I went out to the stage door and asked the guard if I could see Mr. Nineyear Wooldridge. He happened to know who I was talking about, and went inside to get him. Nineyear came out, I showed him the record nicely wrapped in a silver ribbon, and asked if I could present it to Nanci. I guess he was pretty impressed, because I heard him say those words that I'd been hoping to hear -- "OK, come on back."
The backstage area wasn't exactly fancy. A group of music-biz types were hanging out in a sort of locker room having drinks. After wandering around a while, trying to blend in, I went up the stairs leading to the room where Nanci was supposed to be. There were a few familiar faces outside that room, including Lee Satterfield, Frank Christian, and Julie Gold. I met a few folks who were interested in the record I was holding (including a very nice woman named Debbie), and enjoyed just hanging around with the in-crowd.
Finally, after some folks who were speaking with Nanci exited the room, Nineyear motioned for me to come in. There she was, relaxing in a chair. I had the album out, and the first thing she said was "I don't have one of those!" I handed the thing to her, and she thanked me and said "I'll treasure this." I proceeded to babble. Well, not really -- I managed to introduce myself at least. When I told her about our little Internet group, she said she has a friend in Houston on the net who told her how much is written about her -- "You guys talk about me a lot, don't you?" I admitted that we do, and that I was one of the biggest perpetrators. :-)
Seeing that Nineyear was standing there with an "Are you about finished?" look, I didn't have time to chat much. I did manage to have her sign my program, though. I thanked her profusely and left, feeling like I was walking on top of the skyscrapers. Nanci was very gracious and sweet while we were chatting, just as she appears onstage. She's very much in demand, naturally. I guess I should count myself extra-lucky to have had the chance to meet my favorite artist.
And now you know THE REST OF THE STORY. Just another night on the town ...
The First Dar Williams Concert Review I Ever Wrote -- March, 1994
Dar Williams played for about 20 people last Saturday night at the Luthier's Workshop in Waltham, Mass. The venue felt like a private living room -- definitely an intimate setting, all the better to appreciate Dar's songcraft. She sang most of the songs on her CD, plus several others that were quite impressive.
Indeed, what sets this artist apart are her songs. Her work sometimes recalls Suzanne Vega, Jane Siberry, and even Elvis Costello, but she's got her own unique style. Her lyrics are thoughtful, poignant, playful, evocative, wistful, and above all, sincere. There aren't any cliches; these are some of the most original lyrics you're likely to hear. There's also a lack of traditional song structures, so if you're expecting lots of sing-along choruses, look elsewhere. Still, the tunes are memorable and always fit the subject matter.
She can write a catchy pop number about a punker who goes to heaven ("Alleluia"), a plea for spoken kindnesses ("You're Aging Well"), a wistful remembrance of childhood free from the pressures of forced gender roles ("When I Was a Boy"). She can write a subtle yet effective protest song ("The Great Unknown") that doesn't preach at you, but makes you feel what she's feeling. She can even write about her favorite babysitter ("The Babysitter's Here") without making you think she's trying to be cute or precious; she genuinely captures the innocence of youth here!
Her performing talents shine at her live show. She projects a sort of nervous innocence that convinces you she's absolutely sincere, not trying to be something she's not. She simply expresses her own visions, memories, and emotions in a most beautiful way. She may not be the most polished performer around -- don't expect to be dazzled by her guitar playing (though her voice is lovely). Even so, she gets across to her audience, which is the whole point, isn't it?
Dar's CD, entitled The Honesty Room, is one of the best works of "contemporary folk" music available. It's recorded with just the right amount of instrumental accompaniment -- it definitely does not suffer from the problem of overproduction that afflicts so many folk recordings. It's a marvelous album.
The other great thing about seeing Dar live is that you get to hear a lot of her songs that aren't on the CD. "February," a story about lovers who hit the "deep freeze," is particularly affecting. She also does an amusing song about student protesters ("What kind of name is 'Students Against the Treacherous Use of Fur?' It doesn't even make a good acronym!"). What's amazing is that the songs are so consistently excellent -- we're obviously seeing a rare talent here.
Dar Williams is so impressive, so accomplished, yet so full of potential, that there's no hesitation here in calling her one of the finest contemporary singer-songwriters in the business. She really is that good. She will be touring around the country this spring, so if you have the chance to see her, do so!
IRIS DeMENT -- OLD VIENNA KAFFEEHAUS, WESTBORO, MASS.
July 9, 1994
If you're one of those who appreciates traditional country-folk music in the style of the Carter Family, Kitty Wells, and Jimmie Rodgers, you probably are already a fan of Iris DeMent. Her music captures the same spirit of those early giants, and she sings with a pure, heartfelt delivery that frequently activates your tear generators.
Iris favored the packed Old Vienna Kaffeehaus with a full set of songs from her two albums, plus a few others. She duplicated her vocal performance from the records -- no small feat. Her voice is what makes her music so outstanding, in this reviewer's opinion. There just aren't that many singers out there who can get every ounce of feeling from a song the way she does. She quickly established a warm rapport with the crowd, interspersing her songs with humorous anecdotes.
Highlights of her set included "God Will Forgive You, But I Won't," which got some laughs from the audience, as did her song about her French pen pal. "Troublesome Waters" transcended the album version -- stripped down to just acoustic guitar and voice, it became a thing of real beauty. Her own numbers were just as affecting as they are on record. "My Life" was powerful in its guitar-accompanied version (no pianos here).
An indication of the timeless appeal of her music was the composition of the audience, which included teenagers, young adults in their 20s and 30s, plenty of baby boomers, and quite a few senior citizens. Everyone appeared to enjoy the show immensely -- many stood while giving her a long round of applause after the last song.
After the show, Iris spent some time giving autographs and chatting with fans. She was very pleasant and friendly, generously signing CDs and giving away autographed 8x10s. She and her husband (who works as her road crew) will be on tour for several more months, but plan to take the winter off. About her recent Leno appearance, she confirmed her apparent nervousness, but was grateful for the experience.
A more exquisite performance of music has rarely been witnessed here. If you enjoy Iris at all, her show can safely be considered a "must-see." Catch her at one of these intimate venues before she becomes too big of a star -- you won't regret the distance you may have to travel. She's worth it.
Set list: The Shores of Jordan, These Hills, Let the Mystery Be, You've Done Nothing Wrong, Childhood Memories, Mama's Opry, After You're Gone, Sweet Forgiveness, Hotter Than Mojave in My Heart, God Will Forgive You, Infamous Angel, Easy's Getting Harder Every Day, When Love Was Young, Calling for You, No Time to Cry, Troublesome Waters, Sweet is the Melody, My Life. Encore: Our Town, Je Besoin de Mon Garçon Français, Keep on the Sunny Side.
1995 ROCKY MOUNTAIN FOLKS FESTIVAL -- LYONS, COLORADO
August 18-20, 1995
This was the festival to end all festivals. I doubt a better show could possibly be put together anytime soon -- the lineup was fantastic enough, but nearly every artist was in rare form. I saw some of the greatest performances here that I've ever seen -- anytime, anywhere. An incredible weekend. The best music fest I've ever been to. I'm not kidding.
It all got started Friday afternoon with the ten finalists for the Troubadour competition. I was pleased with the judges' final verdict: ERICA WHEELER was named the winner, with CAROLYN CURRIE and KIM FOREHAND rounding out the top 3.
The first official act of the day was Texan JACK INGRAM. His sound is very Texas -- he and his band made us feel like we were someplace in Austin or Houston. If you like Robert Earl Keen or Iain Matthews, you'll dig Jack Ingram.
BEN HARPER followed with a very intense show that combined blues, gospel, and songs of political protest. His guitar style is spellbinding -- lots of slide work. His vocals reminded me of Ritchie Havens at times.
The headliner Friday was ANI DIFRANCO. She had some problems with the stage sound early on, but the sound out on the field was great. Still, it seemed to have an effect -- she wasn't quite as "on" as she can be -- but that's not to say that she failed to rock the joint as few performers can. If you've never seen Ani live, you're missing out on one of the most exciting and powerful forces in music today. Yes, she's that good.
Saturday and Sunday featured a lot more music -- so much that it's hard to remember it all -- and it was all of the highest quality. I'll briefly mention some of the highlights:
CELESTE KRENZ TRIO -- Celeste has one of the most gorgeous voices I've ever heard, and she writes songs to match. Kind of a country/folky sound -- if that sounds at all appealing, you must seek her out. For me, she was THE find of the weekend.
LUCY KAPLANSKY did a great job combining songs from her album The Tide with newer numbers. "Scorpion" is particularly good.
KEB' MO' -- a master of the Delta blues. Carrying on the tradition Robert Johnson, Taj Mahal, and other blues greats, and a very entertaining showman.
CHERYL WHEELER did her usual hilarious/beautiful act, sending many in the audience into fits of laughter/tears. What a brilliant performer and songwriter she is.
JOHN HIATT headlined Saturday, and proved he deserved the top billing. His new songs are excellent -- he has a new album out next month entitled Walk On. It should be rather good. ;-)
DAR WILLIAMS was at her very best for the hour she was on the main stage Sunday. She invited Katryna and Nerissa Nields to sing backup on "As Cool As I Am," one of her best new songs. When she saw a bunch of us familiar net-folkies in the audience, she mentioned some of us by name. That was cool. ;-)
THE NIELDS' own act was rockin' as usual, but the volume wasn't quite as earsplitting as it was at Falcon Ridge. I really like their new stuff, particularly "Cowards." They had Dar come out to help with "Lovely Rita."
DOUGIE MACLEAN knows how to involve his audience in the music -- we were all singing along to such catchy tunes as "Rescue Me." His guitar playing and voice will send you to the Scottish Highlands -- not that he's a traditionalist, but his style evokes the spirit of the old country. One of the best performances of the weekend, and that is really saying something.
GREG BROWN -- I've seen Greg several times, but this time it was like he was on a higher plane. His spoken monologues within songs like "Good Morning Coffee" were incredibly vivid and delightful stories. He played the old classic "Early" at the request of Nanci Griffith. Greg is pure genius at work.
NANCI GRIFFITH closed the weekend on a very high note. She's playing a lot of her older material on her current tour -- she had old bandmate Lucy Kaplansky onstage with her for the first time in many years and the result was beautiful. "Trouble in the Fields" never sounded better. The inclusion of the Vince Bell tune "Last Dance at the Last Chance Saloon" was a highlight, as was the final encore of "Across the Great Divide," dedicated to both Kate Wolf and Jerry Garcia. Interesting tidbit: she mentioned that her mom is on the Internet (on the NanciNet e-mail list, as is Nanci's keyboardist James Hooker).
One of the great things about this festival is the generous set length. Nearly all the mainstage performers got at least an hour apiece, with the bigger names getting even more. No folkus interruptus here! And after the stage closes down for the night, that's when the campfires get going. We net.folks were lucky enough to see no fewer than five mainstage performers play at these wonderful gatherings. Sunday night, we found the campfire to end all campfires -- Celeste Krenz, Judd Grossman, Deborah Gottesman, and many others on guitars, standup bass, mandolin, fiddle, harmonica, and percussion were jamming late into the night. You really haven't experienced folk music until you've sat next to someone like Celeste as she sings one of her exquisitely beautiful songs with superb instrumental and vocal backup coming from all directions, all under the stars on a perfect Colorado night. This is what it's all about.
1996 HARVARD WINTER FOLK FESTIVAL (Kate Campbell Steals Show)
February 25, 1996
The 7th Annual Harvard Winter Folk Festival, held last Saturday night at the splendid Sanders Theater, featured the Burns Sisters, the Mollys, Diane Zeigler, and Kevin Connolly. All were quite entertaining, especially the energetic Tex-Mex-Celtic fusion of the Mollys. But the main reason I'm posting this is to sing the praises of Kate Campbell, who opened the show.
In the space of six songs, Kate convinced me that she belongs in the very top echelon of all performing songwriters. She came on the stage just as the crowd was getting settled, but instantly quieted everyone down as soon as she began to sing. Kate has that kind of immediately appealing and arresting voice that holds you rapt with every mellifluous note. Couple that with lovely, melodic, vivid songwriting and an easygoing, winsome, confident stage manner and you have one of the finest practitioners of the art I've ever had the pleasure to see.
Kate hails from Mississippi and currently makes her home in Nashville. Her songs are full of charming Southern characters and imagery, making comparisons to Nanci Griffith and Iris DeMent quite apt. But if those songbirds' singing styles aren't your cup of tea, have no fear of Kate's voice. She definitely will NOT hurt your ears. ;-)
Kate will team up with the great Bill Morrissey on a Spring tour around the country. Catch them if you possibly can. You can also purchase Kate's debut album Songs from the Levee (Compass) -- it's a superb piece of work, if not quite as good as the live experience. And if you happen to meet her, say hi to her from me. She actually remembered my name from when I introduced myself a good five months ago. :-)
1996 KERRVILLE FOLK FESTIVAL - WEEKEND ONE
May 23-27, 1996
Greetings from the Texas hill country!
The 25th edition of the Kerrville Folk Festival has already been something to remember -- and it's not even halfway through yet. It'll be in business through the 16th of June, so y'all still have a chance to make it down here.
Many commemoratives have been prepared for this event: new shirt designs, a limited edition print of a watercolor poster, a special Merlot wine, a huge star-shaped cake which was cut and served on the first night (the 23rd), and the release of 2 new high-quality CDs of past live performances. The spirits of folkies who have passed on were remembered, particularly that of Walter Hyatt.
The first long weekend of the event featured a pretty impressive lineup on the main stage. Arch-Kerrvert ALLEN DAMRON opened the first day's concert, which turned out to be a very Texas-style show. Highlights included a surprise set by JERRY JEFF WALKER, a subtle and poetic turn by RAY WYLIE HUBBARD, and a very late but enjoyable closing set by MICHAEL MARTIN MURPHEY. The show ended at 2:15 AM.
Friday's concert was opened by one of last year's New Folk winners, TIM BAYS. His rapport with the audience, his rich voice, and affecting songs were very impressive. SHAKE RUSSELL & JACK SAUNDERS were also enjoyable. But this night JAMES KEELAGHAN and his band were most memorable. James' powerful delivery and the energy of the band pretty much blew the crowd away. "Cold Missouri Waters" gave me chills.
VANCE GILBERT astonished everyone by singing an a cappella number *unmiked*. This was in a large outdoor theater, folks, but I'm sure he could be heard clearly back at the concessions. The rest of his set was entertaining as usual.
Fellow New Englander ELLIS PAUL was also excellent, and he brought a bunch of his Camp Nashville buddies along to help out. More about them later.
SARA HICKMAN, who's very pregnant, had jaws dropping and heads shaking as she displayed more energy than most non-pregnant people have. We were afraid she was overdoing it -- she was bouncing around the stage with wild abandon. She sure sounded great!
BUTCH HANCOCK and his band closed the night with a pure Texas flavor. But the day's winning performance (for me) was by LUCINDA WILLIAMS. She's been known to deliver lackluster shows at times, but I couldn't believe how good she sounded tonight. Her band was spectacular, and she put everything she had into her singing and playing. Her new songs sounded great! Rumor has it that she'll have another CD before the decade is out. ;-)
Sunday was Nanci day. NANCI GRIFFITH and Kerrville go way back, and she drew a huge crowd who lined up outside the gates well before showtime. Of course, she did one of her inimitably lovely jobs as the night's headliner. The highlight was when fellow NanciNetter Kirsten Schrull, age 11, joined Nanci onstage for "It's a Hard Life." Other memorable Sunday shows were turned in by veteran songsmith (and great singer and guitarist) MICHAEL JOHNSON and Nashville country singer GAIL DAVIES. Johnson had Nanci join him for "That's That."
Monday, Memorial Day, was another great day of music. BARBARA KESSLER did a great job opening the show, STEPHEN ALLEN DAVIS was frequently stunning, CELESTE KRENZ's singing was gorgeous, and GARY P. NUNN and headliner ROBERT EARL KEEN kept the Texas traditions alive with their sets. Keen and his band were great, cheered on by a rabid contingent of "Keenagers." They rocked the joint.
The mainstage concerts will resume Friday the 31st. Until then, another big attraction for the folk purist is ongoing: CAMPFIRES! We NanciNetters had a well-attended one of our own -- none of us is a pro, but the beauty of folk music is that you don't need to be one in order to participate. One pro who did join us was the aptly-named JANINE REGAL, from Chicago. She has no real recording out, but blew us away with her powerful voice and guitar playing, not to mention her great songs. It's a lot of fun to discover these "unknown" artists this way.
Other impressive campfire jam sessions were all over the grounds, lasting literally all night long. Camp Stoopid, composed mostly of Houston folkies, was very entertaining, and Camp Nashville held the greatest number of familiar faces. Ellis Paul, Greg Greenway, Vance Gilbert, Buddy Mondlock, Michael McNevin, Janet Feld, Paul Kamm, Michael Lille, and Don Conoscenti were some of the artists sharing songs around that fire. Really amazing, a folk junkie's heaven. Y'all come!
1996 KERRVILLE FOLK FESTIVAL - WEEKEND TWO
May 31 - June 2, 1996
This will be my final report from Kerrville; my stay at this wonderful place has ended. It's been a blast. I suspected it would be fun, but it exceeded my highest expectations. I'm a Kerrvert now. ;-)
It was pretty quiet during the week -- nightly concerts at the small Threadgill Theater, each featuring 2 acts, were the main "official" attraction. I managed to catch CROW JOHNSON and DANA COOPER, both quite worthwhile. I especially enjoyed Dana's performance. He's got songs that stand out, and a guitar style that mesmerizes.
Friday we were back at the main amphitheater, anticipating another good night of music. We got that, but CHERYL WHEELER's absence was a big disappointment. Apparently she was under the weather and couldn't make it. However, KRISTINA OLSEN was excellent by all accounts (missed her myself -- drat), and MARY McCASLIN gave a charmingly quirky performance. ARTIE & HAPPY TRAUM were enjoyable, but headliner WYCKHAM PORTEOUS, who played with a full electric band and had that Mellencamp/Petty thang going, was more enjoyable solo at ...
CAMP CUISINE!! Friday night (actually Saturday morning) here was magic. The ever-colorful Sarah Elizabeth Campbell and Jon Ims hang out here, and they were trading songs and good-natured barbs all night. Folks who showed up included Peter Yarrow, who led us in a few singalongs; Stark Raving Chandler, whose folk-rap act wowed everyone; and a terrific trio from the Bay Area called the Westerleys. Yarrow was impressed enough with those two acts to have them with him in his closing mainstage set the following Sunday.
Saturday night's concert saw a good but short set from RICHARD SHINDELL, a beautiful country-style set from the golden-voiced CAROL ELLIOTT, the irrepressible JON IMS (whose effects-enhanced "Stairway to Heaven" sendup is just about the most dead-on piece of satire I've ever witnessed -- absolutely hilarious!), a wonderful western-style performance from PETER ROWAN and his brothers (his song about the events on Ruby Ridge is bound to generate much debate -- it's sung from Randy Weaver's point of view), and a solidly brilliant set of twang-folk by KEVIN WELCH. The weather was gorgeous that evening, helping to make it one of the best nights I had at the festival.
Unfortunately, I was too busy to see the New Folk winners play their sets Sunday afternoon; perhaps someone else can share their opinions. That night's big show was notable mostly for the fierce thunderstorm that shut down the stoic TOM PAXTON mid-set. After the theater closed for about an hour while the wind, lightning, and rain did their spectacular show (doing a number on more than a few tents), he was able to finish. He was followed by DAR WILLIAMS, whose "When I Was A Boy" got just about the best treatment I've ever heard from her. As she left the stage, MC and Head Kerrvert Rod Kennedy called her a "living angel." Who am I to argue with Rod? :-)
Rounding out Sunday's show, the magnificent GUY CLARK with son TRAVIS were superb, sounding spectacular in the cool post-shower air. That's true Texas music, y'all. Finally, PETER YARROW, with a stageful of guests in tow, closed the night with a traditional 60s-style flair, even employing Washtub Jerry on bass. Yes, "Puff the Magic Dragon" and "If I Had a Hammer" were the last 2 songs.
That's all, folkies! See ya next year ...