You know those nights? The kind where someone ends up in jail, someone goes to the ER, and maybe you wake up the next morning with a whole bunch of bruises and a suspicious tattoo and why are your shoes so muddy and exactly what is that smell? The self-titled debut album from The Warden is the aural equivalent of that.
There’s a line in Bruce McDonald’s Hard Core Logo in which Pipefitter, drummer savant says, (and I’m paraphrasing wildly here) “No one ever writes checks to the bands who influenced them.” Upon listening to Everything Is Roses 1985-1989, an anthology of Nashville’s Raging Fire, it seems like a whole lot of bands should have written some checks. The music of Raging Fire sounds familiar (though I’d not heard them) because so many bands aped their style. Strong front women with their own eclectic voices owe a debt to Melora Zaner. She doesn’t have a bombastic voice, but she makes you listen because of her nuance and passion. Without Raging Fire, a whole slew of bands wouldn’t exist.
Croydon Municipal, as I have mentioned frequently, is an amazing boutique label. An offshoot of Cherry Red Records, Croydon Municipal is run by Saint Etienne’s Bob Stanley, who culls his gargantuan record collection to curate brilliantly themed, thoughtful compilations (like his Popcorn Girls collections, or the current Songs For Swinging Ghosts). On All About The Girls, the theme is lost girl group gems, and it is a delight through and through.
There’s something enormously comforting about a new Blitzen Trapper album. They’ve got a certain sonic texture, that coupled with lead singer Eric Earley’s distinctive, weatherbeaten rasp and slice-of-America lyrics, make them easily recognizable and inimitable. While they have experimented with looser, sparse sounds, their latest, All Across This Land, has that classic Blitzen Trapper feel. It rocks, sometimes gently, and the songs are immersive and evocative, conjuring up dusty back roads that stretch for miles, blue collar desperation, and youthful yearning.
There’s something amazing going on in Alabama. The bands coming out of the Cotton State are incredible right now. From the Banditos to St. Paul & the Broken Bones to, of course, Alabama Shakes, to the Drive-By Truckers and that nice fellow Jason Isbell, there’s an earthiness and a rootsy flavor in the music, and these bands are breaking in such an exciting way. Add to that list The Pollies.
Muscle Shoals keyboard stalwart Spooner Oldham (who has possibly the greatest name of all time) has had his fingers on myriad classic tracks. Co-writing hits like the Boxtops “Cry Like A Baby,” Percy Sledge’s “Out Of Left Field,” and James and Bobby Purify’s “I”m Your Puppet” with collaborator Dan Penn might be enough to secure a spot in The Rock and Roll Hall of Fame (which he was inducted into in 2009), but he also lent his keyboards to music from Wilson Pickett, Aretha Franklin, Bob Dylan, the Stones, and the Flying Burrito Brothers. He’s frequently toured with Neil Young and in 2007, toured with the Drive-By Truckers. His pedigree is incredible.
If there’s one thing Dr. John does well (though he does loads of things well), it’s setting a scene and creating a vibe. In listening to Omnivore Recordings’ Dr. John collection The Atco/Atlantic Singles 1968-1974, there is such a rich, immersive feeling—a deep swamp that reaches slippery fingers up to pull you down—that it is like taking a trip to the Bayou, sans surprise alligators. Dr. John’s mix of blues, funk, and psychedelia is inimitable, much like his trademark boozy vocal yawp. He’s a one of a kind.
The new Holly Golightly album, Slowtown Now! is a complete delight from start to finish. There’s a relaxed affability and a charming retro-ness to the songs, and Golightly’s voice is wonderful. She sings with an ease and grace, clearly enjoying the material, which ranges from girl group harmonies, to smart jazz, to throwback garage rock. It’s such a fun album and compulsively listenable.
Jason Heath and the Greedy Souls bear the trappings of the catch-all Americana label: banjos, mandolin, a gruff-voiced lead singer, excellent guitar with the occasional wildcard instrument (accordion, horns, kazoo—it’s been a very good year for the kazoo, musically). But the strain of Americana they play is filtered through the sometimes harsh light of L.A. There’s a grittiness to the music, a feeling of mid-1980s Sunset Strip crawling in the heavy guitar solos, and an anthemic quality that permeates many of the tracks on their second release, A Season Undone.
It would be all too easy to be cynical about Hee Haw, if you were that sort of person. Corny jokes, country music, Buck Owens wearing his overalls backward (he said it was in silent protest of the cheesiness of the show, but he cashed the checks just the same), all the animated dancing pigs (so many animated dancing pigs, kicking in a chorus line through musical performances, sometimes wearing bikinis. The mind simply reels). But to be cynical about Hee Haw would cause you, the viewer, to miss out on a great TV show, indeed a capsule of a moment in time (or several moments, because Hee Haw aired for 21 years).