Clyde Wrenn hails from the Blue Ridge Mountains of Virginia, where he developed is songwriting and guitar playing skills. On his latest release, 'The Blue Cliff Record', his sound leans towards a spacey folk/acoustic country mix that at times sounds like the Vulgar Boatmen meet the Grateful Dead. 'Opaline' starts the album off in fine fashion and is the disc's most up-tempo tune. After this opening, things slow down and for the most part stay that way until the finale. Wrenn has a penchant for writing of life's and love's struggles as evidenced in songs like 'Sawdust in the Mash'. A happy boy Mr. Wrenn ain't, as he sings "there is evil in love when love is what you need/and when they say my name I'll take another oath/solemn and profane like liquor in my throat." While his songwriting is strong throughout the album, many of the songs tend to blend together because of the lack of variety in pace. Though several of the cuts are really nothing more than instrumental introductions, at 18 songs totaling 60 minutes, the album suffers from being too long. Ultimately, this is mood music for those who believe misery loves to ride with company. As you hop on, be prepared to meet an interesting cast of downtrodden characters. I just wish the scenery offered a little more variety. 
(by steve schmidt) 
Visit Clyde Wrenn's website @ www.clydewrenn.com
25.Jun.2001

V/A | CONCERTS FOR A LANDMINE FREE WORLD
CD, Vanguard)

This partially interesting compilation of live songs draws from a series of sold-out acoustic performances held in late 1999 and early 2000 in California and Canada. Fronted by Emmylou Harris, who first became actively involved with the Vietnam Veterans of America Foundation (VVAF), these successful concert series were held to raise money for the Campaign for a Landmine Free World, an important organization that is doing a great job by cleaning up landmines and educating the public on this worldwide impact of the problem. Bruce Cockburn explains the problem in his song 'Mines of Mozambique', but unfortunately this is one of the less interesting songs on 'Concert for a Landmine Free World'. And although Emmylou Harris, Guy Clark, and John Prine are not showcasing their best work, it still seems as if Bruce Cockburn can't keep up with them. I'm also not sure what a song about morphine is doing on a charity CD to benefit a campaign  for a world without landmines, but this dead-slow yodelling song from Gillian Welch and David Rawlings is not the only song that is slightly out of place on this compilation. Emmylou Harris starts out promisingly with 'The Pearl'. John Prine sings about a woman that smokes like a chimney and drinks like a fish. 'Big Ol' Goofy World' is wonderful and striking enough though, as you would expect from someone as John Prine. Of course, another excellent songwriter that is included here is Guy Clark, who shows up here with Verlon Thompson, playing one of the highlights of this CD with 'Cold Dog Soup', which is the title track from his long-awaited latest release. But then again, while Mary Chapin Carpenter is just passing time with a decent performance of 'This Shirt', Kris Kristofferson's 'Shipwrecked' is just too embarrassing. This album is also a disappointment as a showcase for the singers and songwriters. However, Steve Earle, as always, finishes this collection in his own style with an extended and very strong version of 'Christmas in Washington', accompanied by the soulful vocals of Emmylou Harris, which is always an excellent way to forget about these less interesting tracks. Another highlight is a lovely song from Patty Griffin. So, while there's no questioning that the quality of these songs is sometimes uneven, I would definitely recommend to purchase this CD for the good cause of a landmine free world. This CD surely has its stirring moments, but they are not always easy to discover and - besides that - not all of them are as memorable as you would expect. 
by maurice dielemans)
Visit Vanguard's Concerts for a Landmine Free World website
Buy this album from Miles of Music @ www.milesofmusic.com
01.Jun.2001

V/A | PAPA NEZ: A LOOSE SALUTE TO THE WORK OF MICHAEL NESMITH (CD, Dren)
 Robert Michael Nesmith, born in 1943 in Houston, started his career as a teenage rock'n'roll and television star with the legendary Monkees throughout the 60s, but he turned out to be one of the most groundbreaking songwriters in country rock. But while most kids still remember the Monkees' sing-a-longs from their mammies and daddies, such as 'I'm a Believer', 'A Little Bit Me, a Little Bit You', and 'Last Train to Clarksville', the work of Michael 'Papa Nez' Nesmith with the First National Band and his work as an accomplished solo artist as one of the pioneers of country rock didn't quite get it on with commerce. He did receive a lot of critical acclaim for his career and some commercial acclaim for his top 30 single 'Joanne'. 'Different Drum' was a hit single for Linda Ronstadt, and it has been covered by the Lemonheads, among others, as well. His best work, however, can be found on the classic albums 'The Hits Keep On Coming' and 'Pretty Much Your Standard Ranch Stash', which were respectively released in 1972 and 1973. Although he mainly concentrated on making movies for television and music videos throughout the 80s and 90s, which took up most of his time, he continued with producing interesting music until today. It has probably been said many times before, and you will hear it again, but Nesmith's influence is as important as Gram Parsons, Gene Clark, the Flying Burrito Brothers, and the Lovin' Spoonful, but his successful mission to bring together the opposites of rock'n'roll and traditional country was also a big influence on such important artists as the Byrds, Gram Parsons, Poco, and many others that defined the genre that is known as country rock for many years now. So, if there is one artist who deserves a tribute album, it clearly has to be Michael Nesmith. Now, we all know what the main problem is with most tribute albums. It's simply true that you really expect a lot from them, but that's because such tribute albums also seem to promise a lot. What else would you expect from your favourite artist playing a song by a legendary performer? Anyhow, most of the time it turns out as a disappointment, because it's nowhere near the original, and everybody should be doing what they are doing best, right? However, 'Papa Nez' doesn't promise anything, because the musicians that are featured here, such as Buddy Woodward, Sixty Acres, Rust Kings, June Star, Sid Griffin's Westen Electric, the Mary Janes, the Heavy Blinkers, and so on, who pay tribute to Michael Nesmith are primarily unknown, and that's one of the reasons why this collection contains some songs that are unexpectedly good in its own way. It's another good thing that no one is trying to sound better than Michael Nesmith, and even better - nobody is trying to sound exactly like Michael Nesmith. So, this is not just a solid collection and one of the better tribute albums that I've heard in years, but most importantly, it proves that the work of Nesmith has stood the test of time, and although some of his songs might be a little too pretentious or ambitious for the usual country listener, the excellent performances on this disc are here to make you curious what what the original songs sound like. Of course, not all artists included on 'Papa Nez' can keep up with Calico Bind's interpretation of 'Propinquity' or Frog Holler's excellent remake of 'Different Drum', to name just a few highlights, but overall this is surely a loose salute to the work of Michael Nesmith.   (by maurice dielemans)
 Visit Dren's Papa Nez website
 Buy this album from Miles of Music @ www.milesofmusic.com
21.May.2001

CARL JACKSON | SONGS OF THE SOUTH (CD, Sugar Hill/Munich)
 Do you remember that excellent scene from John Boorman's movie 'Deliverance' that involves an albino kid plucking at a banjo with one of the main characters from this classic 70s movie? Well, Carl Jackson could have been the albino kid, because he is that good with plucking the banjo. Believe it or not, but this beardy cowboy from Louisville, Mississippi, really knows how to handle banjo, fiddle, guitar, and he is a damn fine singer and songwriter as well. But what else would you expect from someone who has been accompanying many groups in the Grand Ole Opry ever since he was a young kid? This latest release for Sugar Hill records is simply a beautiful selection with the best songs from his early albums 'Songs of the South' and 'Banjo Man', which is a tribute to the great Earl Scruggs, who is best known for his work with the classic bluegrass traditionalists the Foggy Mountain Boys. Carl Jackson is a traditionalist, and therefore you shouldn't expect any groundbreaking music, but if you don't listen to music to be cool or whatever, you might find some very nice tunes on Carl Jackson's 'Songs of the South'. Although these songs are well chosen by Jim Mills, it has to be said that it's kind of weird to make a 40-minute compilation out of two albums, instead of combining these classic albums on a single 70-minute disc. I know, it's all pretty contemporary country and bluegrass stuff that you'll find here, but still 'Songs of the South' didn't turn out be as boring as I expected it would be by looking at this beardy cowboy. No, not bad at all, but there ain't nothing cool or new about the Carter Family, John Henry, Earl Scruggs, and his version of 'Home Sweet Home'. Still, Carl Jackson is not that kind of banjo player that can make you nervous with his plucking, because his songs are well crafted, and there's a strength of pureness in his music that makes everyone with a certain interest in music listen to his banjo plucking.   (by maurice dielemans)
 Visit Sugar Hill's website @ www.sugarhillrecords.com
21.May.2001

ED PETTERSEN AND THE HIGH LINE RIDERS | SOMEWHERE SOUTH OF HERE (CD, Split Rock/Tangible)
 This CD escaped me for a while, and that's not to say that this is an uninteresting album or that there aren't any catchy songs on 'Somewhere South of Here'. Take, for instance, the excellent 'What a Little Love Can Do', which opens the record and sounds as straightforward as most tracks on his first album. What I hear is a singer-songwriter with no apologies, who definitely speaks the universal language of music. He writes his songs. Some of them are happy. Some of them are sad. But, all of them are very well written in that good ol' Southern style, which we all love so much. While the familiar steel guitars and fiddles weave through the well-crafted songs, his recognisable way of singing and songwriting is clearly honest and true. Driving by the romantic images of the South, he also sings about such icons as Jesus and Elvis. Yeah, yeah, we all know that it's easy to say that all of this has been done before, and that's probably true. Still, 'Somewhere South of Here' is a highly entertaining album. Ed Pettersen speaks volumes, and his band the High Line Riders are doing a stunning job as well. While listening to songs such as the title track, 'Run Away', and 'How I Lost You', it's obvious that he and the band had a good time in the studio. Although the Vigilantes of Love, John Hiatt, and Bruce Springsteen influences are clearly present in these ten straightforward songs with strong melodies that are made up with a familiar verse-chorus-verse formula, Ed Pettersen still sounds like no one else but himself.   (by maurice dielemans)
 Visit Ed Pettersen and the High Line Riders' website
18.Apr.2001

EASTERLING & GILDERSLEEVE | THE HIGH LIFE (CD, E&G)
 Steve Easterling sings his country songs just like he was some kind of crooner, with his pearly white teeth shining and a big black cowboy hat that perfectly sits on top of his head. Accompanied by Freddy Gildersleeve, it takes only four hands to produce the ideal and dreamy soundtrack for the Western life. Steel guitar, mandolin, violins, drums... It's all there to create a rich sound. But, unfortunately, no bright Las Vegas lights or Grand Ole Opry for these two guys. In 'Strawberry Blues' they sing about picking underneath Budweiser signs and playing every smoky honky tonk in town. However, this is also where most of the inspiration comes from on their third and homegrown album 'The High Life'. Just like their previously self-released albums, 'Fallen Angels' and 'Sad Cowboy Blues', this new release is an extremely beautiful collection of songs for the working-class. "There's a shirt out on the clothes line/the rain came down and it never got dry", Easterling beautifully sings in the opening line of 'Raven', just one of the many memorable moments that you'll find here. Along with 'Raven', you'll discover several unforgettable gems such as the dramatic 'The Sons of Dawes Carter', 'Girl at the Drive-Thru', 'Country Highway', and 'The Henshaw House'.   (by maurice dielemans)
 Visit Easterling & Gildersleeve's website @ www.eandgmusic.com
 Buy this album from Miles of Music @ www.milesofmusic.com
18.Apr.2001

JUAREZ | JUAREZ (CD, New Beat)
 These guys sound like they've been listening to the Jayhawks for much too long. Anyhow, roots-rockers Juarez' self-titled debut is probably better than anything the Jayhawks have put out in a long time. At the same time, Juarez deliver a very careful record with nothing that I would call exceptional. This doesn't mean that this record is not without its own highlights, but you'll probably have to listen to this album more than once before Juarez reveal everything here. However, you'll have to take your time and - besides that - don't expect that this record will change your life whatsoever. Still, Juarez try to keep the fan of alternative country music satisfied with main ingredients such as nasal vocals, a well-tuned pedal steel, and - of course - the drama of an empty beer bottle. It's no wonder that these guys are thirsty all of the time, because the music itself evokes images of hot desert sand and endless prairies. Clocking in at over 40 minutes, this solid collection includes ten songs; some of them are good, some of them are less remarkable, but all of them are slow. So, it's all pretty standard in a lot of ways. The first half of the album is very promising with several strong songs, but with a song such as 'Lupe (Las Vegas)' it's more obvious that they are having some problems with crafting the songs and creating an innovative sound that is their own. All in all, it's a good album with a few disappointments that I would surely recommend to any fan of the Jayhawks.   (by maurice dielemans)
 Visit Juarez' website @ www.juarezona.com
 Buy this album from Miles of Music @ www.milesofmusic.com
18.Apr.2001

SHOT TO HELL | THIS BAND RIGHT HERE IS CALLED... (CD, Quadra)
 'This Band Right Here is Called...' is an introduction to Shot to Hell, a three-man band from Wisconsin. While this debut album suffers from a poor production, the main problem throughout the whole album are the weak vocals. All of the band members prove that they are definitely in need of a better vocalist. You could say that it is part of their attitude, but unfortunately the irony seems to be missing here. Despite all of this, they know how to approach their music with a certain pissed-off rawness, which is somehow attractive. For some reason, their song 'Super Thoughts' reminds me of a Pixies song, but mostly their music reveals influences of Crazy Horse, the Rolling Stones, and Johnny Thunders. Despite the weak vocals and poor sound quality, this 15-song CD offers some nice tunes though: the melodramatic 'How It Was', the straight-ahead rock'n'roll of 'Mama Drove a Mack Truck', and some kind of odd drinking song called 'The Devil's Game', but you'll hear nothing groundbreaking or at least memorable here. On the other hand, Shot to Hell demonstrate that the spirit of punk is not buried yet and still alive in today's country music, which is not a bad thing at all.   (by maurice dielemans)
 Visit Shot To Hell's website @ www.shot2hell.com
 Buy this album from Miles of Music @ www.milesofmusic.com
18.Apr.2001

DRIVE-BY TRUCKERS | ALABAMA ASS WHUPPIN' (CD, SecondHeaven.com)
 As the great Gram Parsons once said to us: "There is no boundary between 'types of music'. I see two types of sounds, good ones and bad ones." Well, what we've got here is a damn good one by the Athens-based Drive-By Truckers. 'Alabama Ass Whuppin'' is subtitled "Live and Loud way down in Georgia 1999", and you can bet your Alabama ass that this is live and goddamn loud! If you already know them, you probably already love them. And for those who have never heard of this great band, it's never too late to get on this truck. First of all, the playing of the Drive-By Truckers is superb, raw as raw can be, and also very tight. 'Alabama Ass Whuppin' is a live compilation. While most live recordings range from less essential to absolute crap, 'Alabama Ass Whuppin'' is the Drive-By Truckers' best release so far. However, there is no substitute for the real excitement of playing live, but it is surely one of the more essential live albums. It's that kind of live album where you can actually smell the sweat of the band members and crowd. It simply rocks! Here is a record not to be missed if you are looking for some noisy, yet melodic redneck blues. What you'll get is more than 70 minutes of great live music with some very nice surprises as well. This record kicks off with a slowly rising wall of guitars, and then it climaxes with 'Lookout Mountain'. At times it sounds like Neil Young is playing right alongside them. There are so many highlights to note about this release. One of these highlights and most emotional moments here is a song called 'The Living Bubba', a deeply moving tune sang in tribute to a friend, musician, and founder of the Bubbapalooza festival. This beautiful homage to Greg Smalley ends with the words sang: "I can't die now, because I've got another show to do." It ain't over yet with 'The Living Bubba', because with songs like 'Too Much Sex (Too Little Jesus)' and 'Don't Be in Love Around Me', the band breaks into more than seven minutes of true redneck blues with the storytelling '18 Wheels of Love'. It's probably a good example of what we can expect from their forthcoming album 'Betamax Guillotine', Which should become a redneck opera to pay tribute to Southern rockers Lynyrd Skynyrd. They finally continue their spoken word on 'Alabama Ass Whuppin'' with a jazzy piece called 'The Avon Lady', a song that reminds me of the early Tom Waits before he turned insane with 'Swordfishtrombones'. The tenth song on 'Alabama Ass Whuppin' is the exciting 'Steve McQueen', which the Drive-By Truckers provide with a little portion of Lynyrd Skynyrd's 'Gimme Three Steps', and it nicely goes into the classic song by the Jim Carroll Band, 'People Who Died'. I know it's hard to believe for a live recording, but every song here is an instant classic. According to the liner notes, the last song on the album is beautiful in the same way as an English bulldog is. You can say the same thing for the band. Sweet like a glass of Jack on the rocks, and that surely ain't no lie, because with 'Love Like This', the Drive-By Truckers end this superb album in style. Probably the only thing better than this album is to see and hear the superior Drive-By Truckers play live. I'm already on my way to get some tickets. You can't go wrong with them.   (by maurice dielemans)
 Visit Drive-By Truckers' website @ www.drivebytruckers.com
 Buy this album from Miles of Music @ www.milesofmusic.com
13.Apr.2001

WILLIAM LEE ELLIS | THE FULL CATASTROPHE (CD, Bellwether)
 I've never been a huge fan of blues music, but I must say that Memphis-based William Lee Ellis' release 'The Full Catastrophe' surely is a fascinating and enjoyable ride through the rural West. His apocalyptic approach of old-time music combines ragtime, Delta blues, country, bluegrass, folk, and even gospel, but no matter what the ingredients, William Lee Ellis makes it his own, and that is what keeps him from being just a wannabe blues musician. While listening to gospel songs such as the only traditional - all of the other songs are written by Ellis - 'In My Time of Dying', you get the feeling that Robert Johnson can show up at any time to sing a duet with him. I call this spooky. Yes, here is one of the very rare late-night albums that will scare the hell out of you. Especially 'Until the Last Train Comes Along', which is an ambitious homage to Gary Davis. It brings Ellis' sincere love of swampy gospel that once sounded through the South of America. This piece of art also features the Vance Ensemble, a Memphis group of veteran female gospel singers. 'Bouncing Ball' is another excellent tribute, but this time to the rockabilly masters of the washboard. Does anybody here still remember Tarheel Slim? William Lee's father, Tony Ellis - who used to play banjo with Bill Monroe's Blue Grass Boys - can also be heard on the heartbreaking closing track 'Trouble I Once Knew'. Alive and doing damn fine is the legendary (also Memphis-based) Jim Dickinson, who plays piano on 'That Angel Trumpet Sound'. Not that many musicians use a washboard or a dolceola nowadays, but William Lee Ellis knows how to use these instruments perfectly to create an eerie atmosphere that reflects the darker side of preaching gospel blues in an intelligent way. To hell with synthesizers and electric guitars - Give us back the washboard and doleceola! Seriously, this is more than an historical tribute: It's a rare piece of art.   (by maurice dielemans)
23.Mar.2001

THE LONESOME TRAILERS | NEIGHBORHOOD NOIR' (CD, self-released)
 After releasing a self-titled six-song demo cassette and a full-length CD titled 'It's Not What You're Thinking', the Lonesome Trailers have a brand-new album out, mysteriously named 'Neighbourhood Noir''. While this band has also gone through some changes, they manage to continue their honest roots-rocking alternative country music with only three lonesome trailers left. Aside from the strong musical influences of well-known artists such as Uncle Tupelo and Neil Young, it must be David van der Zanden's excellent songwriting that brings the Lonesome Trailers to a higher level of entertainment. Upon realizing that the music of the Lonesome Trailers is nothing new under the Americana sun, I must admit that I really liked most of the songs on 'Neighbourhood Noir''. Therefore, it would be unfair to criticize the band only for the lack of originality. After all, what can go wrong with a band that combines harmonica, pedal steel, mandolins, guitars, and (backing) vocals? One thing I know for sure is that there isn't anything wrong with that familiar old tune that most of us love so much and could be played over and over again. Even when some of the songs on their second album sound more of the same and deal with many cliches in country rock, there are just no bad tracks on 'Neighbourhood Noir''. We must wonder whether this CD is worth your hard-earned money, but at least this is a nice collection of good hard-driving country rock music that will slowly grow on you, although it probably would never become a real masterpiece. At their brightest moments the music hits you in the face like a country cliche, just like the singer is singing in the chorus of the first song 'When The World Comes Around'.  (by maurice dielemans)
 Visit the Lonesome Trailers' website @ www.lonesometrailers.com
08.Mar.2001

They don't come much more promising than here. The fourth Tandy kicks off with  New Candy Necklace', stripped down to the bone and chilling from beginning to end. As 'Becky California' continues the revival of the acoustic guitar, it's getting even more adventurous and chilling than the opener, with the  introduction of a sitar and tabla by the co-founders of the Church of Betty,
Chris Real and Deep Singh. So, I guess that it's about time to get to know a little more about what's going on here, because no one could afford to miss out on Tandy's excellent 'The Bloodroot Transcriptions'. 'Fidelis', for instance, starts out nicely, but towards the end it sounds as if it's Bob Dylan himself who is going crazy. My favorite song here has to be the playful 'The Truth is Better Than a Lie', but then again, there are so many treasures left to discover. The album reveals more and more with every spin. And I should not forget to mention that there is something for everyone, because Tandy don't get stuck inside of their own folky roots. Aside from multi-instrumentalist Drew Glackin (Silos, Crash Test "mmmmmmmmm" Dummies), Scott Yolder (Star City, Blue Chieftains, Amy Rigby), and drumming vocalist Tom McCrum (Yep, Irish as can be.), there many more special guests showing up on 'The Bloodroot Transcriptions', which is a welcome surprise. To name just a few special guests: Singer-songwriter Malcome Holcombe is singing on 'Fidelis', and even Frog Holler drops by on the homage to 19th Century American author, philosopher, inventor, and banjo picker 'Louis Green'. Can you really ask for more? Well, for those people who can't get enough, the CD comes with an interactive section. It features videos of three previously released songs, recent live versions of 'Ship To Shore', 'The District Doctor', and 'Far From Home', which can be found on their second album 'Some Summer's Day' (originally released in 1999). All in all, a more than sublime album, and you know what? Life is so much harder without Tandy. 
by maurice dielemans)
Visit Yellow Slipper's website @ www.yellowslipper.com
Buy this album from Miles of Music @ www.milesofmusic.com
01.Jun.2001

THE WAYBACKS | DEVOLVER (CD, Fiddling Cricket)
 If you like the David Grisman Quintet or the Tony Rice Unit, you are going to flat love the Waybacks. 'Likkus Inteerruptus', the first tune on their 'Devolver' CD, sounds like it could be a Sam Bush, Grisman, Rice jam classic. It's just full of wild joy and abandonment. The rest of the record is equally as good (It's really good.). Whether they are covering Charlie Parker, Kenny Baker, or a song from the Jungle Book, these guys smoke. This is nothing short of acoustical mayhem. Each one is a master of his respective instrument. In addition to all the great instrumentals like John Fahey's 'The Last Steam Engine Train' and Parker's 'Scapple from the Apple', there are several excellent vocal numbers as well. The Riders in the Sky's 'Compadres in the Old Sierra Madre' swings. 'Cluck Ole Hen', with its dirty nasty electric mandolin, showcases what fun that this band must be live. If you get the chance, catch them live at a show or rehab near you.  (by jeff wall)
 Visit the Waybacks' website @ www.waybacks.com
 Visit Jeff's fine Twangzine @ www.twangzine.com
29.Mar.2001

DOLLY PARTON | LITTLE SPARROW (CD, Sugar Hill/Munich)
 Dolly Parton has been making great music for about 40 years. That's a pretty good career for a 35-year-old woman. She's redefined, rediscovered, and rebuilt herself more than any person I can think of in the music business. Her early work with Porter Wagoner, her solo country work, her movie career, and even that pop crap she did with Kenny Rodgers, have kept Dolly gainfully employed and in the forefront of our hearts and minds. Say what ever you want to about Dolly Parton, but there ain't no denying that she's a survivor. Dolly says she had to get rich to be able to make the kind of music she wanted to. I wish more folks would follow her lead. 'Little Sparrow' is Dolly's second release on Sugar Hill records. Her first, 'The Grass is Blue', won her the Album of the Year award at the International Bluegrass Music Association Awards. 'Little Sparrow' is better. Oh my God, this album is good. I think it's the best thing she's ever done. I'm starting to think it's the best thing anybody's ever done. 'Little Sparrow' isn't straight Bluegrass like 'The Grass is Blue' was. Most of the same pickers are back. Smiling Jim Mills, Jerry Douglas, Bryan Sutton, Barry Bales, and Stuart 'Stu-Bob' Duncan all returned. Chris Thile is playing mandolin this time. The Celtic band Altan joins for two numbers. Rhonda & Darrin Vincent, Alison Krauss, Claire Lynch, Becky & Sonya Issacs, Carl Jackson, Rebecca Lynn Howard, and Dan Tyminski all provide harmony vocals. A crowd like this could make anybody sound good. In fact, with a crowd like this, it would be difficult for a lead vocalist to not get overshadowed by everyone else's phenomenal talent. Not to fear, not even the sun can outshine Dolly Parton. There are 14 tracks, of which Dolly wrote half. The title track, 'Little Sparrow', is a Dolly-penned bluegrass number about heartbreak and loss. There's a lot of heartbreak, loss, dead babies, and insanity on this record. Dolly has the most delicate voice. When she sings about heartbreak, you can feel it. It makes you want to go hunt down the man who done her wrong. Fortunately, there are songs of hope and joy mixed in as well. 'Shine' is one of the most ambitious covers heard in a long time. After hearing Dolly's version, you wonder why Collective Soul didn't cut it with a banjo, fiddle, and dobro. Frankly, Dolly's version rocks harder than the rock version does. The Louvin Brothers' 'I Don't Believe You've Met My Baby' and Cole Porter's 'I Get a Kick out of You', a song normally associated with Sinatra, both get the Dolly treatment to great success. She also chose to cover Steve Young's classic 'Seven Bridges Road' to great success. One of the most beautiful covers is Dolly doing the Amazing Rhythm Aces' Butch McDade's 'The Beautiful Lie' with just the great Stu-Bob accompanying her on the fiddle. The Dolly-penned songs are just as strong as the covers. 'Bluer Pastures' with its reference to Monroe, the Mountain Gothic Witch tale 'Mountain Angel', the old-timey feel of 'Marry Me', and 'Down from Dover' have no trouble standing alongside the cover tunes. There's not a weak song on this record. If you have ever wondered what heaven was like, listen to this record with your eyes closed. Imagine streets paved with gold and being surrounded by perfect love. Listen to the joyful sound of the Celestial Angels. They wish they could sing like Dolly Parton.  (by jeff wall)
 Visit Jeff's fine Twangzine @ www.twangzine.com
 Buy this album from Miles of Music @ www.milesofmusic.com
29.Mar.2001

THE TONY RICE UNIT | UNIT OF MEASURE (CD, Rounder/Continental)
 It's been too long since the last Tony Rice Unit record. For those of you unfamiliar with music that doesn't suck, Tony Rice is a genuine certified legend. Many years ago, he was just a snot-nosed little kid in California, hanging out at the Ash Grove and watching Clarence White. Since then, he's played with the Bluegrass Alliance, JD Crowe and the New South, the David Grisman Quintet, and just about everyone else in acoustic music. He has taken what Clarence and Doc Watson started and carried it further than any mortal human being could ever have been expected to. He's THE flat-picker. Every kid who picks up a Martin guitar wants to play like Tony Rice. 'Unit of Measure' is a welcome return of this genius. Joined by the Simpkins brothers, Ronnie and Rickie, his brother Wyatt, and mandolinist (and fellow Crowe alumni) Jimmie Gaudreau, Tony proves that he still has lights in his fingers. The neat thing about this record is that there are no new songs on it. That doesn't mean that it's just another lame compilation of classics. Instead Rice has thrown his unique stamp and made these songs new again. The disc's first track is a reworking of 'Manzanita', the title track of the Tony Rice Unit's classic first album from almost 20 years ago. This time, the arrangement has a jazzier feel. It's a wild ride that threatens to lose control at any second, yet is perfect in timing and tone. 'House of the Rising Sun' was lifted from a version the great Jerry Reed (a person who has not received near the credit he is due as a guitar slinger) did. 'Shenandoah' is performed with chords that I never knew existed. Tony follows the melody pretty closely, yet really allows one to hear the tone and beauty of the vintage Martin D-28 that he plays (which previously belonged to Clarence White). 'Gold Rush' is a song that is required learning for any flat-picker. At the World Flat-Picking Championships in Winfield Kansas, 'Gold Rush' is one of the required tunes for each contestant. I've heard this tune at least 2000 times over the years, but I've never heard it like this. The first time through it's played pretty straight. I'm not sure if Tony or Wyatt is playing that break. The second time through it's pure Tony. The melody is just hinted at, instead of followed exactly. You know what it is he's playing, but you also know he's playing it differently. The most amazing part, however, is the rhythm that he is playing behind Rickie Simpkins' fiddle and Gaudreau's mandolin. Tony Rice is quite possibly the best rhythm guitar player alive. There are other chestnuts on this record as well. 'Jerusalem Ridge' (which I've never heard without a banjo to help carry the melody), 'Sally Goodin', and 'Beaumont Rag'. The original lead guitarist Djanjo Reinhardt's 'Swing 42' and 'Danny Boy' are covered as well. Hopefully, one day soon, Tony's voice will be recovered enough to give us another vocal album. But until then, his D-28 does enough talking and singing to make anyone happy. (by jeff wall)
 Visit Jeff's fine Twangzine @ www.twangzine.com
 Buy this album from Miles of Music @ www.milesofmusic.com
29.Mar.2001

WAYLON & THE WAYMORE BLUES BAND | NEVER SAY DIE - LIVE (CD, Lucky Dog)
 Stick a fork in his ass, he's done. Radio doesn't play his records anymore. Most folks would say Waylon has had his turn in the spotlight and needs to step out of the way and let the young guys in skin-tight Wranglers have their turn. Waylon ain't really got a problem with that. He'd rather spend more time with his wife than a bunch of hairy-assed hillbillies riding around the country on a bus anyway. So Waylon has decided to hang it up. He has sold his house and all of his stuff and moved back to Arizona with Jesse. But anything Waylon does, he does with style. Waylon decided to make one last record and show the folks that he's still an old curly wolf. This is quite possibly the best record of his career. If you're going to do it, do it right. That's what he did. Longtime Waymore drummer Ritchie Albright is back. A full horn line joins Robby Turner, Jerry Bridges, Rance Wasson, and the legendary Tele picker Reggie Young. The Waymore Blues Band RAWKS! Recorded live at the Ryman Auditorium in Nashville back in January of 2000, Waylon put on a couple of the best shows of his life. Joined by John Anderson, Travis Tritt, Montgomery Gentry, and his wife Jesse Colter, it's readily apparent that Waylon was having the time of his life. His vocals are strong and clear. It's a treat to listen to Waylon sing harmony behind Anderson on 'Waymore's Blues'. Waylon's harmony work has always been much overlooked and under appreciated. Jess Colter has been Waylon's opening act for years. I've seen her flat blow his ass off the stage, she's so good. She comes close to doing it again this time. Travis Tritt sang his heart out on 'I've Always Been Crazy'. I've never heard his voice so pure and perfect before. This is my favourite track on the record. Reggie Young's guitar ride in the background is perfect, until he steps out to take a break and shows why he's a legend. I've rewound and listened to that break at least 30 times. The Waymore Blues Band receives equal billing on this record for good reason. Besides, Reggie's amazing Tele work, Robby Turner's steel work, and Jenny Lynn's electric fiddle work blend exceptionally well with the horn work of Jim Horn, Charles Rose, and Steve Herrman. Turner's steel work is exceptional. Every blues band needs a fiddle and a pedal steel. If you don't own any Waylon records, you should be ashamed of yourself. This is the one you need to own, so that you no longer have to go through life knowing that you are a scumbag. Waylon, I doubt that you'll ever read this review, but I love you Hoss. Never say die, Hoss. Never say die. (by jeff wall)
 Visit Jeff's fine Twangzine @ www.twangzine.com
 Buy this album from Miles of Music @ www.milesofmusic.com
29.Mar.2001

DANNY FLOWERS | FORBIDDEN FRUITS AND VEGETABLES (CD, Groovetone)
 I got this record in kind of a weird way. You see, I was at the Americana Convention in Nashville. I was standing there, talking to some record label weasel, when this little home-wrecker walked by with a leather-covered ass I would have killed for. Just then, somebody introduced me to Danny. He's this little short quiet guy in glasses. I thought he was some kind of computer geek or something. I didn't want to be rude, but I had an appointment with the future owner of my record collection. The weasel told me that he wrote 'Tulsa Time', that Eric Clapton and Don Williams both had hits with. I was told that he also wrote 'Gulf Coast Highway', that Nanci Griffith did. Great. So he's a geek who also writes songs. Can you tell me what's wrong with my piece-of-shit 486? Or better yet, can you introduce me to that leather-covered goddess? When I finally got home with both my clean time and marriage intact (Regretfully, Ms. Leatherbritches disappeared into the crowd.), I started listening to all the swag I recieved at the convention. Most of the discs got listened to for almost a minute or sometimes even two, before being ejected and thrown into a box under the desk. I was getting pretty bored listening to mediocre music, when suddenly I heard Bonnie Bramlett doing a little rap and this ripping version of 'Tulsa Time' done a la Johnny Winter. Holy Mother of Muddy Waters, who is this rocking my ass off? I'll be damned if it wasn't that little geek sumbitch Danny Flowers. This disc kicks ass. The afore-mentioned 'Tulsa Time' rocks harder than Clapton ever dreamed of. 'Ready' is another that jump-starts your adrenaline gland. There's more than just ripping blues on here. 'Gulf Coast Highway' gets redone, there's some pop with 'Back in My Younger Days' and the Southern Gospel-tinged 'Read On'. Flowers is a hell of a musician and songwriter. He also has a pleasurable voice. If you like a well-crafted song as well as some rocking roadhouse blues, then this is the disc for you. Play it loud.   (by jeff wall)
 Visit Jeff's fine Twangzine @ www.twangzine.com
29.Mar.2001

THE GOURDS | BOLSA DE AGUA (CD, Munich)
 If you've heard The Gourds' rambunctious hillbilly rendition of Snoop Doggy Dogg's 'Gin and Juice', you're only scratching the surface of one of America's most underrated bands. One must realize, however, that the Gourds are of a different breed. Their lyrics reflect the band's boundless ability to create batches upon batches of hilarious masterpieces. The Gourds go above and beyond the songwriting call of duty, writing personal tales about folk mythology, mud, insects, Oregon motels, Spanish poetry, dogs (that turn into ravens), US currency, Curtis Mayfield songs, wet pillows, shaking hands, pickles, the NFL, liquid gold, and Old Testament Bible stories, just to name a few. On their fifth album, 'Bolsa de Agua', The Gourds prove themselves both lyrically and musically to be at the top of their innovative production. The album's 15 tracks employ a range of catchy musical accompaniments, including contributions from the accordion, banjo, uke, mandolin, lap steel, fiddle, resonator slide guitar, and Wurlitzer organ. Kicking off the album, Max Johnston (on the resonater slide guitar) cuts through 'El Paso' with gripping dexterity among the steady beat of a JJ Cale-like muffled electric guitar. 'Big Santiago Bust' tells a brief memoir of a busted tobacco-sawdust trade with the accompaniment of several catchy funk riffs by bassist Jimmy Smith. In 'Pickle', giving his strict directions to pickle-making, Smith tells it like it is: "It ain't Chinese algebra/It's easily done/Why, you can pickle anything/Pickling is fun." Influences of 'Hallelujah Shine' can undoubtedly be attributed to the syncopated African-American gospel. However, the Gourds put an original twist on the religious content of the song. If you're looking for a band to sing you to sleep with cheesy love songs, the Gourds will have to wait. If you can handle good ole road-trippin', back porch sittin', house partyin' music, we're in business. These guys will be around for a while to entertain the masses.   (by doug waterman)
 Visit the Gourds' website @ www.thegourds.com
 Buy this album from Miles of Music @ www.milesofmusic.com
23.Mar.2001
 

FOREVER GOLDRUSH | HALO IN MY BACKPACK (CD, Cargo)
 I immediately garnered a liking to this band when I heard that singer/songwriter Ryan Adams was interested in producing their next album. They evidently tore things up in Austin, Texas, at this year's SXSW Festival and caught a lot of people's attention. I encouraged myself to pick up the album. It was well worth it. Founded in Sacramento, CA, only three years ago, Forever Goldrush has played with acclaimed acts such as Neko Case, the Backsliders, Mother Hips, and Train. They won two Sacramento Area Music Awards (SAMMIES), one for "Best New Band" in 1999, and one in 2000 for "Album of the Year." Forever Goldrush capture a sound on their new album that glows with a sense of the "New West". All four band members grew up together 60 miles southeast of Sacramento in Amador County, right in the heart of the old goldrush country. The music flows at times like the rugged mountain landscape, and other times it mystically unfolds with an eclectic rural sound. The band undoubtedly draw on old country and folk influences, as well as an assortment of classic rock guitar riffs. The new release 'Halo in my Backpack' is definitely a step in the right direction. Its production quality far surpasses that of their debut album 'Unknown Territory', which is characterized more by an acoustic folk sound with the use of traditional country music instruments. Nevertheless, 'Halo in my Backpack' is a genuine artistic assortment of songs that I expect will reach a broader audience. The first track on the album, 'Vicious Ways', gets things started out with a rolling rock progression, exalted by Josh Lacey's cutting guitar riffs and solos, very similar to those of Neil Young during his electric periods. In 'In my Rebuilding' we begin to hear just how mysterious and innovative the vocals of lead singer Damon Wyckoff are. In a tonal quality somewhat like Eddie Vedder, he sings: "I found you in my rebuilding year/Come to find you was rebuilding too/You took my bitch of a heart into your arms/And we're drifting away at last." The seventh tune on the album, 'In the Graveyard', is a witty, self-pitying honk-tonk that features some creative work on the pedal steel. 'Brothers Give Me Arms', probably my favourite track on the album, is an all-out rock'n'roll gem that is highlighted by a bridge version of the Beatles' 'Octopus' Garden' intro. The final track, called 'The Bitter End', is a vocally-emphasized, brooding number with high pitches of the pedal steel and Wurlitzer droning in the distance. Forever Goldrush muster up a sound that is very distinctive on 'Halo in my Backpack'. Their influences run deep, and their musical spirit soars high on this powerful collection of songs. Working with musicians like Ryan Adams in the near future will only serve to heighten their artistry and sound production.   (by doug waterman)
 Visit Forever Goldrush's website
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08.May.2001