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Country

Son Volt Trace	As the frontman for Son Volt, Jay Farrar further refines the rugged but reflective songwriting that was a hallmakr of his work for disbanded country rockers Uncle Tupelo. Trace is full of tales of the struggles for a decent living and some measure of dignity along the forgotten towns and boackroads of rural Americal. Gritty and painfully empathetic, Farrar’s songs strike a resounded chord free of sentimentality or affection. Honest, hardworking music.
Emmylou Harris Wrecking Ball	Wrecking Ball marks an adventurous career turn for Emmylou as she redefines her vision of country music in this, her most personal and explorative album. The songs, mostly from the ranks of rock/country/folk vanguards such as Bob Dylan, Neil Young and Lucinda Williams, evoke the dark spiritual hunger at the root of country music. The sound however (fashioned by sonic sculptor Daniel Lanois of Peter Gabriel and U2 fame) is decidedly modern-ethereal and ringing with faint echoes of bluegrass and country. A work of deep passion and thoughtfulness, it may just prove to be the benchmark record of Harris's career.
Jo Carol Pierce Bad Girls Upset by the Truth	A distinctively Texan piece of country/rock surrealism by one of Austin’s true cult heroes. Bad Girls. . . is a poignant, darkly screwball comedy of the search for truth and love fueled by a consuming and unashamed sensual appetite. Part monologue, part song cycle and always compelling.
Steve Earle I Feel Alright, Train A Comin’	Steve Earle’s much heralded comeback album, I Feel Alright is a harrowing account of a tortured soul’s descent into self-distruction and the heroic climb towards redemption. Earle’s hungriest, sharpest work in over a decade, with a purgatorial wisdom and raw lust for life that is unavoidably affecting. While you’re at it, check out Train A Comin’, Earle’s post prison/rehab dry run and possibly best album. A from-the-hip acoustic mix of new, old, borrowed and long lost songs recorded with a small group of friends (Emmylou Harris, Peter Rowan, Norman Blake and Roy Huskey) the record has an honesty, looseness and sturdy craftsmanship distinct from the rest of Earle’s work.
Freakwater Old Paint	This Chicago-based band crafts raw, old-time country steeped in equal parts of heartache and hope. Singer/songwriters Janet Beveridge Bean and Catherine Irwin’s warbling harmonies and stark, desperate lyrics harken back to the desperation and faith that characterized the timeless music of the Carter Family and Hank Williams. The arrangements and production are suptuous yet the twang and rough edges remain intact. Even in their wry moments, Freakwater handles the material with intelligence and grace. Just as impressive, they display rare sensitivity and dead-eye instincts for their roots with exquisite covers by Woody Guthrie and Loudon Wainwright.
Wayne Hancock Thunderstorms and Neon Signs	Wayne Hancock plays an infectious blend of honky-tonk, rockabilly and swing. Full of tales of hot rods, booze and hard lovin’, *Thunderstorms and Neon Signs* evokes a mythical Western landscape wherein the bleary-eyed ghosts of Hank Williams, Jimmie Rodgers and Bob Willis load up their ‘55 Chevy with a couple of cases of mean whiskey and go roaring through the desert night in search of the spirit of Billie Holiday. Retro with heart, guts and style to burn.
Speedy West & Jimmie Bryant Stratosphere Boogie: The Flaming Guitars of Speedy West & Jimmie Bryant	Speedy West virtually introduced the pedal steel to country music in the late ‘40’s. Jimmy Bryant was a bop-influenced C&W picker with mean ability and imagination. During the middle ‘50’s West and Bryant recorded as a duo for Capitol Records, producing a slew of wooly, often deranged instrumentals. Imagine a corn-fed version of The Ventures or Dick Dale with better honed chops and you get the picture. Amazing.

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