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News Archive 2007-1
Take Me Home
A Sampler of American Artists for Peace

Scott McClatchy
talks about "Burn This"
(LIB Recordings)

by Johanna J. Bodde
Aldous Orwell Project

by Johanna J. Bodde
Marybeth D'Amico
"Waiting To Fly"

by Johanna J. Bodde
Edwin Jongedijk (Taneytown)
talks about "Taneytown"

by Johanna J. Bodde
Michael De Jong
  "23, Rue Boyer"
(CoraZong Records)

by Johanna J. Bodde
Iris DeMent
(Flariella Records)

by Johanna J. Bodde
Allan Taylor
"Hotels & Dreamers

by Johanna J. Bodde
David Roth
"Pearl Diver"

by Johanna J. Bodde
"The Nights Rewinds"

by Johanna J. Bodde
Mike Silver
"Solid Silver"

by Johanna J. Bodde
Patrick Crowson
"Patrick Crowson"

by Johanna J. Bodde
Paul Stephenson
"These Days"

by Johanna J. Bodde
Sara K. & Chris Jones
"Are We There Yet?"
Live In Concert

by Johanna J. Bodde
Terry Lee Hale
talks about
"Shotgun Pillowcase"

by Johanna J. Bodde
Truckstop Souvenir
"Leave Nothing Behind"

by Johanna J. Bodde
Hayward Williams
"Another Sailor's Dream"

by Johanna J. Bodde
Richard Dobson
"Back At The Red Shack"

by Johanna J. Bodde
Pamela Richardson
"Spaghetti Midwestern"

by Johanna J. Bodde
Anna Fermin's Trigger Gospel

by Johanna J. Bodde
Adam Snyder
"This Town Will Got Its Due"

by Johanna J. Bodde
Rachel Harrington
"The Bootlegger's Daughter"

by Johanna J. Bodde
"Hard-Headed Woman:
A Celebration of
Wanda Jackson

by Johanna J. Bodde
The Nashville Bluegrass Band
"Twenty Year Blues"

by Johanna J. Bodde
George Riser (The Pones)
talks about
"Dance While You Burn"

by Johanna J. Bodde
Wendy MaHarry

by Johanna J. Bodde
Hayseed Dixie
"Let There Be Rockgrass"

by Johanna J. Bodde
Richard Gilpin
"Loose Ends"
by Johanna J. Bodde

Barry McLoughlin

by Johanna J. Bodde

Brent Bennett
"Under My Own Power"
Brent Bennett / Rob York
"Crossing the Country"

by Johanna J. Bodde
Son Volt
In the best news I’ve gotten today “The Search” - the new album from Son Volt, is set for release on March 6. By all accounts The Search is the band’s most daring and diverse album yet. The follow-up to 2005’s acclaimed ‘Okemah and the Melody of Riot,’ ‘The Search’ is a departure from the band’s alt-country laden records, employing an exceptional variety of sounds, melodies, and arrangements.

“Instrumentally, the electric guitar was the focus of the last record ‘Okemah’, but for ‘The Search‘ we wanted to try something new, ” says songwriter Jay Farrar. “This time, we utilized different instrumentation to fit each song — from guitar pedal loops to various keyboard sounds to horns.”
Douglas Greer
talks about
"Just A Man"

by Johanna J. Bodde
John Amos
"Bending the Light"

by Johanna J. Bodde
Michael Whyte (The Blind Robins)
talks about
"The origin of the Wasteland"
"Panorama Valley"

by Johanna J. Bodde

Stone City Stragglers
"It's Never Too Late to Mend"
Reviewed by Linda Dailey Paulson
From the whimsical cover art featuring wacky calaveras, with Stone City Stragglers, you're in for what promises to be an interesting musical trip. The initial track - "Freakshow Addiction" - fully supports that observation.

On that and on the atmospheric title track, Phil Lazzari's mandolin is restrained and pleasantly lyrical. But these are about as bluegrass as this collection gets. The tracks, namely "I Fell Numb," have more in common with Shelby Lynne's rock-tinged "I Am Shelby Lynne." There's only one cover - "I'm So Lonesome I Could Cry" - in this wholly original project headed by lead vocalist and singer-songwriter Brent James.

What makes this attractive is its unexpected variety and inviting looseness. That's not to say that the music isn't absolutely tight. It is. And the vocal harmonies added by Lazzari, Karen Moats and Allison Moroni are as well.

The soaring guitar leads and solid rhythm section with interesting lagniappe percussive touches like maracas, cowbell (!) and shambling cymbals throughout also add significant texture. "Magnolia" and "Hot Tar & Rain" are the other requisite ballads, but most of the fare is of the uptempo hip-shaking sort. A surprise is "The Uprising" - an instrumental that can only be described as spaghetti western soundtrack on steroids.

Laura Gibson
"If You Come To Greet Me"

Laura Gibson's voice is haunting. Marrying the old-time elegance of Erin McKeown and the whiskey-swilling sarcasm of Lucinda Williams, Gibson's voice enters the picture with a haunting line in her first song, "This Is Not The End." She sings, "Forget about the end / Forget about what may have been." With all the hard-headed determination of a stubborn lover, If You Come to Greet Me begins with this undeniable insistence. Somewhere, in the midst of her broken-hearted verse, Gibson manages to lose herself, to lose her audience, and then entice them back in.

It's difficult to pin down the strongest moment, as each tune discloses a different dark room. The album is so full of longing, one feels inclined to console Gibson. The mood seems to rally toward the end of the CD with "Country Country," a tongue-in-cheek tribute to an affair with rural life. Then, as abruptly as it offered hope, the long dirt road of Gibson's heart-aching songs pulls her back to longing. She leaves off with "The Longest Day," wherein she sings, "When did I become this serious and solemn one?"

Despite the dreariness, If You Come to Greet Me hardly comes off as a total downer. As Gibson's songs would attest, even in the deepest love, there is room for lonely longing.


Barn Burning
"Werner Ghost Truck"

On "Werner Ghost Truck," Barn Burning's second full-length release, the band explores a darker and more diverse landscape than in their former recordings. The record was primarily engineered and produced at The Estate by Jim Reynolds (Jason Anderson, Tigersaw, Casey Dienel, etc.) in a big empty house during the middle of winter. Reynolds, also the caretaker for this estate, allowed Barn Burning to experiment and explore during the whole of the recording process, tieme being not much of an issue. Werner Ghost Truck is a journey through soundscapes, moods, and stark images - filled with the sounds of empty rooms, cold stairwells and shortwave radio frequencies. Som of the songs on the record are nearly three years old while others were worked out as the tape was rolling. "Long Dark Room" was actually written in a long dark room and sounds much like its title. "Friendship Fails You" features the rumbling baritone guest vocals of Robert Fisher (Willard Grant Conspiracy). "Put the Drunk Drivers on The Guest List" was written while Anthony had a broken hand and encompasses much of what you will find on the record; whispered, quiet finger-picking exploding into loud guitars and distorted violins then dying back down into again into whispers and piano pieces. This time around Barn Burning is much louder yet also considerably quieter than it has ever been.
-Press Release-

Audrey Auld Mezera
"Lost Men And Angry Girls"
 “Lost Men and Angry Girls” chronicles the past three years Mezera has spent living on the coast of Northern California. It's 'Ameri-kinda' music - traditional American Country and Folk influences with Australian roots; a beautiful mix of acoustic and electric instrumentation. Producer Bill Chambers retains the sparse arrangements that characterise Mezera’s work

Mezera’s writing has evolved to be less about the state of her heart and more about the path we all share as human beings in this time of great political upheaval and global imbalance. But there’s no finger-pointing in these songs of small towns, self-help, lives gone awry, death of heroes, lost men and angry girls. Mezera travels her path with humor, insight, pathos and compassion.

The Rosy Nolan Band
"Phantom Hymns"

Even though Rosy Nolan is based out of New York, she seems to be perfectly aware that her country roots may seem a bit geographically out of place. Regardless, who ever said that the creation of contemporary Southern rock was limited to the South? Following in the footsteps of fellow Southern influenced revivalists Neko Case and Jenny Lewis, The Rosy Nolan Band are the latest to emerge from the thriving scene. Much like Rilo Kiley and The Corn Sisters, the group’s most immediate and recognizable feature is the powerful vocal performance and stage presence of the frontwoman. In this case, it is the talented Rosy Nolan. Ever since a young age, Nolan has incorporated herself with the creation of music. At the age of fourteen, she was the drummer for the all-girl punk band The Rape Utic. After she grew tired of percussion, she started playing guitar at the age of sixteen and has found it hard to put it down since. Throughout her later teen years, she played with a variety of alternative bands as she continued to mold her own musical style. With inherited experience and a luminous vision, Nolan brought together the members of The Rosy Nolan Band, consisting of herself on vocals and guitar, Jeff Bailey on bass and piano, Jason Chester on percussion and harmonica, and Dan Weber on lead guitar and backing vocals. Their debut album Phantom Hymns was written almost entirely by Nolan herself, as the songwriting process usually consisted of her writing the song on an acoustic guitar and then showing it to the rest of the band in order to orchestrate it into something much larger. Much like the previously mentioned Neko Case and Jenny Lewis, major influences include Stevie Nicks, Lucinda Williams, and Neil Young...

Andra Suchy
"Patchwork Story"

"Patchwork Story" (releasedindependently in August of 2006) is Andra Suchy's (ann-drah soo-key) debut solo CD, although she has been performing, writing and recording in Minneapolis since 1996. Her recording credits include Soul Asylum's "The Silver Lining", The Honeydogs' "10,000 Years" and "Amygdala" among others.
"Patchwork story" is loaded with soulful vocals and soul-baring lyrics. Hookers & Blow fans accoustomed to Suchy singing '70s rock and R&B covers every week at Gluek's might be surprised by the disc's twangy sound.
- Chris Reimenschneider, Star tribune.

Captain Yonder
"Good Bye, Woland!"

Captain Yonder will release its fourth record, "Good-bye, Woland!", on May 2, 2007! The record was recorded over the 4th of July at Tucson's Wavelab Studios (of Calexico, Neko Case, Howe Gelb, and Robyn Hitchcock fame).
"Captain Yonder sounds like ghosts from some distant past, singing about the present...In one song, the lyrics sound like a journal entry from a 19th century American pioneer. In another, the listener is transported back to Medieval times. City Pages music writer Rick Mason says it's hard to tell whether Pfeiffer is projecting himself through his songs, or creating characters. 'Either way, the lyrics are very effective in creating sort of this strange gothic atmosphere, where there's this sort of unsettling feeling or feeling of grim portent or whatever you want to call it,' Mason says. Some music critics have described Captain Yonder's music as psychedelic folk. Mason refers to it as chamber folk music mixed with heavy "Americana" or "roots" influences. 'And the way they approach it, in this very refined but scary manner, I think is what sets them apart,' Mason says."
--Minnesota Public Radio (Chris Roberts interviews critic Rick Mason)

Christine Smith
"Tomorrow Blues"
It's as eerily beautiful as a night lost somewhere deep in the bowels of New York City. Traversing territory that seems at once familiar and foreign, dark and troubling yet undeniably lovely, Christine Smith's Tomorrow Blues is a triumph of a debut record. Best known for her work as a keyboard player and backup singer with artists like Jesse Malin, Ryan Adams, Marah, and Crash Test Dummies, Smith steps out on her own for the first time with the record, announcing her presence as a songwriter worthy of far more critical attention than she is likely to receive.

Full of startling twists and turns, Tomorrow Blues thrives on the unexpected. "Evil" opens with a light-hearted, "What A Day For a Daydream" feel before heading into its chorus: "You're evil and you know it/now I know it, too." "I Don't Care" is a crisp, folk-sounding piece, complete with "doo-doo-doos," but ends with Smith and longtime musical companion Jesse Malin singing, "Wouldn't it be nice if we/Went on a drunken killing spree/And cuddled up in the bloody memory?" While it's not unusual to find charming, Gershwin-esque piano lines punctuated with dark images of wounds and death on Tomorrow Blues, not all songs take things to such extremes. "Let You Go" is tenderly poetic and cinematic in such a way that it would fit in nicely on a film soundtrack, while "Red Tricycle" is structured around a chorus you could listen to for hours on end.

"Once or twice a year I come across a CD from new artists that simply blows me away. Carrie Hassler & Hard Rain have done it with their debut self-titled effort. Backed by an extremely talented group of young players, Carrie, who has been gifted with a voice that produces a rich and powerful vocal performance, and Hard Rain have a very bright future. This is one of those CDs I'll have to replace because I've played it so many times at home, in my car and at the office." (C.J. Snow – Country / Bluegrass Buyer – Borders Group, Inc.)

Uncle Earl
Waterloo Tennessee
Haunting, playful, elegant, relentless...on their sophomore album Waterloo, Tennessee, the four women of Uncle Earl awaken the sleeping giant of old-time stringband music and hold it as a mirror to our present era. Resolutely modern, yet preserving the luminous mystery of its ancient origins, their music illuminates what is timeless in the everyday. Produced by John Paul Jones, Waterloo, Tennessee laces raucous fiddle tunes and jug band blues with ballads of loss and exile, love songs, and a profound longing that can only be echoed in the strains of fiddles, banjos, mandolins, crystalline tender harmonies, and the occasional wobbleboard. (Rounder)

On his umpteenth album, seventy-nine-year-old Country Music Hall of Famer Louvin turns out highly likable collabos with people such as Elvis Costello, Jeff Tweedy and Will Oldham. Well-penned and dustily tuneful, the songs -- many of them older than the guest stars -- benefit from some extra spice: Dig the dissonance between Louvin's crusty drawl and the nasal come-ons of Eef Barzalay on "The Christian Life."
Christian Hoard (

The Silos
Come On Like The Fast Lane

On Come On Like The Fast Lane, recorded in Phillip Glasss Looking Glass Studios, The Silos put their power-trio to the test. The band employs layered guitars to add depth and transcendence to the albums introspective tracks, switching to ferocious, hook-laden rock to part the clouds and land back on terra firma. Its this ability to draw on an inexhaustible well of emotions with turn-on-a-dime transitions that sets The Silos apart; naked honesty and joyous melodies never sounded so good together. Darryl Smyers from the Dallas Observer calls Come On Like The Fast Lane ". . . the band`s best effort as a trio. . . proof positive that even (obscure) alt-country legends can age gracefully and continue to be relevant." (Bloodshot Records)

David Picco
"Saturday Night Sunday Morning"
Canada`s David Picco, rightfully, gets lumped in with Steve Earle, Jay Farrar, and Jeff Tweedy. His way with melody, lyrics, and Saturday Night, Sunday Morning`s overall sound puts him squarely in that place where Uncle Tupelo ended is all: Anodyne. Producer by Don Kerr (Ron Sexsmith) captures that place where melancholy and exuberance meet. Picco`s sound might feel derivative of his well accomplished predecessors, but it is both not back company to keep and shows him as an artist with something to say. -- Jeff Weiss, Miles of Music (Mag Wheel)
"Man Who Owns The Sand"

"Shades of Drive-by Truckers, the Jayhawks, and other notables from the crestfallen frontier can be found in this local quartets sorrowful harmonies and feisty tangle of guitars.... a spirited collection of wistful Americana" -- John Chandler, Portland Monthly Magazine

Signal Hill Transmission
"An Empty Space"
After power pop, my favorite musical genre is alt-country, which has about as loose a definition as power pop can, at least as I interpret it. When these two genres intersect, it can result in some of what I think have been the best discs of the past 10 years; think The Jayhawks' Smile, The Old 97's Fight Songs, Wilco's Summerteeth, etc. And while it may not be the near-perfection found on those discs, Signal Hill Transmission has made a similar breakthrough with their new disc, An Empty Space. This California band put out a fine alt-country disc in 2005 with Tomorrow, The Stars but An Empty Space is a sonic leap forward into a more pop-oriented sound, merging the best of alt-country and power pop.

While opener "Pipe Dream" might have fit on their first album, with its languid beauty, "Alright" announces that a new SHT has arrived with its rocking guitars and 70s-style swagger. Things don't let up with "Polyvinyl Acetate", another rocker, while "Cherry Is a Girl" is true straight-up power pop a la Velvet Crush or Fountains of Wayne. Their alt-country roots resurface with the title track, which reminds me a bit of "I've Just Seen a Face". Other highlights include "Salt In The Store", a Superdrag-style rocker, "On and Off", which sounds like one of Dave Grohl's midtempo numbers, and the anthemic closer "Ordinary". Another definite Best of 2007 contender.
posted by Steve
Grainne Ryan
"All The Money"

by Johanna J. Bodde
Adam Balbo
"6 Outta 9 w/Beats"

by Johanna J. Bodde
"Made Me Glad"

by Johanna J. Bodde
Joe Ely
"Settle For Love"

by Johanna J. Bodde
John Pinamonti

by Johanna J. Bodde
Liz Meyer
"The Storm"

by Johanna J. Bodde
Shannon Lyon
"Safe Inside"
by Johanna J. Bodde
Bob Kemmis
"Arena Ready"

by Johanna J. Bodde
"Rebel Beat" is the first documentary to capture LA's oldest underground music scene: LA Rockabilly. LA Rockabilly is more than just a music scene. Today it's part of the growing "low brow kustom culture" movement that includes hot rod and custom car clubs, tattoo art, pinup modeling, burlesque, comic book and illustrated art and retro fashion. Where the "swing" fad of the 90s embraced a "yuppie" version of American retro, rockabilly tells a working class story. This documentary uses the 50-year story of LA rockabilly to showcase an unlikely cast of rebel cohorts who intersects in a parallel universe LA flung far from the Sunset Strip.
The laid back cousin of the more commercial psychobilly, LA Rockabilly remains a low brow, low-fi, sexy culture with a passion for its retro roots.  "Rebel Beat" captures LA Rockabilly's small town soul at car shows, swap meets, barbecues, barrio cafes and hidden juke joints - far from the Strip - before pulling up to the West Coast's biggest rockabilly party of the year, Viva Las Vegas, to meet an only-in-LA mix of ex-punks, ex-pats, cowgirls, record collectors, pinup models, musicians, artists, hot rodders, DJs, record producers, promoters, swing dancers and kids from LA's Latino barrios with a taste in musical that spans from 40s western swing to 60s Mexican strolls...."
Nathan Hamilton
SIix Black Birds

Arrives February 27th!
Born out of a debilitating breakup and the death of her mother, Lucinda Williams’ eighth disc, West, is chocked full of mournful songs, loneliness and grief. If you find yourself currently coping with either or both, West will feel like lyrical therapy, a soul-stirring shoulder to cry on (and it cries to be filed away to be used for just this reason in the future). If this isn’t where you are, and if you’re expecting lighter, fastermoving gems like “Right In Time” or “Metal Firecracker,” you may find it to be a glacially moving downer record. If you can get past that, there is plenty to love here. Sonically, the disc sounds somewhat like the link between Essence and World Without Tears, bearing a lot of the care and thought of the former and a smaller portion of the grit marking the latter. What you’re hearing, more often than not, is a crushed, pissed (“Come On”) and emotionally wrecked Lucinda. And, more often than not, that makes for great art. Yet it’s the moments where hope shines through that make for the album’s best moments, à la the easy strumming “Learning How to Live” and the lovely daydream “What If.”
Kara Suzanne`s expressive, emotionally wide-ranging voice gives this release its kick. One moment she is melting your heart with a mournful torch song, then she`s shaking her sassy finger at you. The Gojo Hearts never let Suzanne get too far out in front. Suzanne is the show, but much like the original Lone Justice kept Maria McKee in line, The Gojo Hearts keep this from becoming all about Suzanne`s terrific voice. Through the course of the album they explore country balladry, bluegrass, jazz, and turn-of-the-century Western barroom music, all of which Suzanne masters. A terrific debut from a talented band. -- Jeff Weiss, Miles of Music (Ksue Productions)
There’s a fine, sometimes indistinguishable line between sultry/tortured singers like Jesse Sykes and her more mainstream Lucinda Williams-inspired brethren; somehow Sykes has thus far managed to transcend the dreaded singer-songwriter moniker and all that implies. On her third album, the Seattle songstress returns with some of her trademark beauty, and it’s when she consciously transcends the confines of alt-country (or ersatz Stevie Nicks) that her talent is evident. When she doesn’t, some of its feels rote. Indeed, where Sykes really shines is on songs like “Station Grey,” where the more complex instrumentals complement her strong vocals. This album doesn’t break any new ground, per se, but is a solid effort by an often-underrated vocalist.
By Doree Shafrir
Southern California native Jaimi Shuey might have grown up in the big city. But, she`s a country girl at heart. Her debut release, largely a country effort with some blues and jazz mixed in, spins stories of independence, wonder, worry, and loss. Shuey`s voice has a weariness and the occasional "little girl" sound giving `Wrong Girl` both an innocence and a weathered feeling. Shuey is joined by Don Heffington, John McDuffie, Mike Baker, Kip Boardman and Danny McGough. Charlie McGovern provided a clear production that highlights Shuey`s best asset: her voice and stories. -- Jeff Weiss, Miles of Music (Boronda Records)
Nobody does sultry like Eleni Mandell. Whether she’s singing about the “Make-Out King” asleep in her bed, the fling with a “Perfect Stranger,” or just holding hands with a lover on the title cut, passion fuels Miracle of Five. But the L.A. singer’s sixth record is free from Harlequin banalities or Girls Gone Wild excess. These are country shuffles, late-night lullabies and jazzy torch songs for real adults, where mystery and subtlety leave the best bits to your imagination. In keeping with her hometown’s noirish legacy, the affairs may seem doomed from the first kiss, but burn all the brighter for their fate. Some of L.A.’s best session players add all the right accents to Miracle of Five, which also makes judicious use of guitar wiz Nels Cline. But it’s Mandell’s alluring whisper that weakens knees and wills, and these songs reminds us why men fall for smart, sexy women in the first place.
By John Schacht
Cracker & Camper Van Beethoven
First Annual Camp Out Live
On Septmeber 9 & 10, 2005, the bands Camper Van Beethoven and Cracker hosted the first Camp Out in Pioneertown, Calfornia. Led by singer David Lowery, the bands celebrated two decades of work by coordinating special concerts with lineups featuring the original members. The event also included rare sets from such notorious side projects as Monks of Doom and performances by Johnny Hickman, Victor Krummenacher, Jonathan Segel, Porch Stock Footage, Stephen Brower, Greg Lisher and David Immerglck. This is the DVD that documents this special event, and the first of what this talented family of bands hope will be many.
When an album gets its title from ultrableak playwright Samuel Beckett, you expect to suffer through the plaints of a suicidal folkie or a bunch of pathetic art rockers. Instead, Los Angeles quintet the Broken West (formerly the Brokedown) craft good ol' unironic pop on their debut full-length, proudly echoing everyone from the Beatles to Big Star to Matthew Sweet. Drunk on ringing guitars, crashing drums, and swooning harmonies, singer Ross Flournoy and crew try to compensate for their shortage of fresh ideas with boundless enthusiasm -- and almost pull it off. 
Jon Young
Sisters doing it for themselves
Identical twins Sarah and Claire Bowman have been lifelong musical partners since their parents noted a rare ability to harmonise at the age of 3. This is their debut CD, with Sarah, already established as a solo artist in her own right, responsible for lyrics, lead vocals, cello and guitar, and with Claire supplying fiddle and vocals. The harmonies are indeed stunning, especially during unaccompanied moments in songs such as “Make It Last”. Classical influences show on “The Kitchen Song”, where the choral purity of their voices lends a hymn like quality to the song. Generally speaking, the twins play a folky americana, but with more straightforward singer-songwriter and classical influences, and Sarah cites Gillian Welch, Hank Williams, Allison Krauss and Cat Power among her inspirations. You can see the influence of Gillian Welch in “Forever”, but opener “On The Road” has a jazzier feel and “You’re Right” is more in the realm of straightforward rock. Throughout the songs are lifted and shaped by the twins’ impeccable harmonies, which are always delicate, especially on the beautiful melancholia of “Williamsburg Bridge”, but never saccharine and on a song like “Pick One Piece” can sound slightly eerie. The strength of the material and those amazing voices, which blend so seamlessly it’s hard to tell where one starts and the other begins, has ensured The Bowmans have a growing following on the New York folk scene.
"This album is more than we could have hoped times ‘Exile On Main Street’ Stones influences come through and even the Byrds come to mind at times...twelve excellent songs, outstanding playing and production, two of the best singers to emerge from Britain in recent years and exceptional songwriters make this one of the strongest albums we are likely to hear all year"

"This London-based band do alt-country rock better than many US acts"
"Take Me Home is a great Alt.Country album full of cliché-free songs that set The Redlands Palomino Company forever on the map as a great band!"

"4.5/5 - Probably the best americana/country album of album every reader off Maverick should have in their collection"
JB Baartmans
"Where Lovers Go"
by Johanna J. Bodde
Brian Webb
"Broken Folk"
by Johanna J. Bodde

Rod Picott

"Girl from Arkansas"
by Johanna J. Bodde

Concert Review
Brian Webb, JB Baartmans and Rod Picott
Q-Bus, Leiden (NL)
 October 29th 2003
by Johanna J. Bodde
Marisa Yeaman
"Pure Motive"
by Johanna J. Bodde
"33 1/3"

by Johanna J. Bodde
"Speak of the devil"
"A close watch"

by Johanna J. Bodde
The Smithereens
"Meet The Smithereens!"

by Johanna J. Bodde
Kreg Viesselman
"The Pull"

by Johanna J. Bodde
Paul H. Taylor & The Montara Mountain Boys
"Lonely For You"

by Johanna J. Bodde
Townes van Zandt
"In The Beginning"

by Johanna J. Bodde
Dan Smolla
talks about
"There's A River (Evergreen)"
"Sky Of My Mind"

by Johanna J. Bodde
The Sirens of Berlin

by Johanna J. Bodde
"Posing as Human"
"Uncertain Wonders"

by Johanna J. Bodde
The Possum Trot Orchestra
"Harbor Road"

by Johanna J. Bodde
The Bambi Molesters
"Sonic Bullets, 13 From The Hip"

by Johanna J. Bodde
Michael Friedman
CD Reviews

Insurgent Country Homepage - Top 30 - 2006

01 Johnny Cash - A Hundred Highways
02 Bob Dylan - Modern Times
03 Jeffrey Foucault - Ghost Repeater
04 Chatham County Line - Speed Of The Whippoorwill
05 Sadies - In Concert Vol 1
06 Solomon Burke: Nashville
07 I See Hawks In L.A.: California Country
08 Kris Kristofferson - This Old Road
09 Mike McClure Band - Foam
10 Carrie Rodriguez - Seven Angels On A Bicycle

11 Wade Bowen - Lost Hotel
12 Old Crow Medicine Show - Big Iron World
13 Chris Thile - How to Grow a Woman from the Ground
14 Crooked Still - Shaken A Low Sound
15 Eric Hisaw - The Crosses
16 Grayson Capps - Wail and Ride
17 Honeybrowne - Something to believe in
18 Micky and The Motorcars - Careless
19 Be Good Tanyas - Hello Love
20 Wrinkle Neck Mules - Pull The Brake

21 Sam Bush - Laps In Seven
22 Vivian Linden - Watch The Light Fade
23 Scott Miller - --Citation
24 Alejandro Escovedo - The Boxing Mirror
25 Tim Easton - Ammunition
26 Markus Rill - Price of Sin
27 Shannon McNally - North American Ghost Music
28 Hank Williams III - Straight to Hell
29 Calexico - Garden Ruin
30 Neko Case - Fox Confessor Brings The Flood

Lost Highway Germany Top 20 2006
Postcard2 Top 100 - 2006
Postcard Top 99 - 2006
FAR Top 2006

2006 Top Lists

*Anddon't forget*
JerryGarcia, Townes van Zandt
Gram Parsons,Hank Williams,
Bill Monroe,Lowell George
TammyWynette, Rose Maddox,
WoodyGuthrie, Carter Family
Carl Perkins, Jimmie Rodgers, 
Roy Huskeyjr., Shel Silverstein,
Hoyt Axton,Doug Sahm, 
Rick Danko,John Hartford,
Fred Neil, John L. Hooker,
ChetAtkins, Mimi Farina
Dave vanRonk,Waylon Jenning,
Alan Lomax, Dave Carter, WarrenZevon,
June Carter, JohnnyCash

and so many others