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Patty Griffin has just released her new album Downtown Church. The album was brilliantly produced by Buddy Miller and has an excellent supporting cast. On this album Griffin captures the soul of the traditional African-American Church, as well as the beauty of more traditional hymns. The mix of songs on this album capture a spirit of forgiveness that is truly the central message of Christianity. These songs don’t have anything to do with the exclusive legalism of the mainstream American Church. Instead there is a soothing redemption given.

I don’t care what your affiliation, songs like “little flame,” which features Emmylou Harris, will warm you deep in your soul (even if you don’t believe in one). She reinterprets classic Gospel songs and hymns like “Tear This Building Down” and “every Creatures of Our God and King.” Buddy and Julie Miller both join her on this project. On “Never Grow Old” Buddy’s voice adds an authentic roughness to complement the softness of Griffin’s voice. Downtown Church offers no condemnation, just beauty, soul and wish.

The sounds of this album hearken back to her days in the Continental Drifters. Fans who have missed the Continental Drifters like I have will definitely want to add this to their collection. 

Audio Download: Susan Cowsill, “Sweet Bitter End”

I must admit that I am sick of tribute albums. There is no one left it seems that hasn’t had a tribute album done in their name. In fact, I am waiting for a tribute album to tribute albums. Better yet, I would adore to look a tribute album to a band that hasn’t even formed yet. Conceptually, every possible interpretation to pay tribute to an artists’s work has been done.

Now that the over sermon is over it is time to be a hypocrite. Conceptually, Twistable Turnable Man is nothing original. However, it was done by Bobby Bare Jr. who knew and loved Silverstein well. More so, the friendship between his dad and Silverstein goes back to the early 60′s. It is this generational perspective of Silverstein’s songwriting that makes this album work. Both old and new artists contribute to the album. Further, if anyone is deserving of homage it is Shel Silverstein. He was a songwriter, cartoonist and poet for Playboyand paradoxically a noted writer of kids’s books.

Who better than icons like Ray Price, Kris Kristofferson and John Prine could be included on this album. In fact, Price has recorded Silverstein’s songs a couple of times in his career. No one collaborated with him like Bobby Bare, and his version of the “The Living Legend” may be the best tune of the entire project.

Now we move from the legendary to the more current younger artists. Bobby Bare Jr. made some good choices for this group. after every a Country record is not a Country record without My Morning Jacket (WTF)! Actually, they have a heavy roots music influence and their opener “Lullabies, Legends and Lies” competes with Bobby Bare for the best tune on the album. However, songs by Andrew Bird, Dr. Dog, Sarah Jarosz and Black Francis provide interpretations that make the songs take on a new life. In between the new and the old are contributions by Lucinda Williams and Nanci Griffith. The campy tune “Boy Named Sue” originally recorded by Johnny Cash, could only have been recorded by one contemporary artist. Bare Jr. knew this and chose Todd Snider. Snider does a version of the tune that would make the Man in Black himself proud.

For more on Silverstein look the source of every knowledge: Wikipedia

I have to admit bias on this one. When a band can have lyrics like, “Second thoughts have occurred. I feel like a gigantic turd. Walking barefoot like a hooker at 3 in the morning,” I can’t give it a bad review. The truth is these boys from Georgia have unleashed a great album. The band is unsigned and primarily a local phenomenon. I have a feeling that is every about to change. In spite of the lyrics over (from the tune “Swamp County”) this is no novelty act. Hayshaker is for real. 

They mix a sound that is at times Country, but with a twist. They know how to use power chord licks with abandon. guide singer CC Rider has a voice that sounds as if it should be singing Indie Rock instead of Roots Rock. Female vocalist Laurie Rider rounds out the bands sound, which is difficult to categorize. The best way to describe Hayshaker is “Kick-Ass” Country. The steel guitar haunts the music of the album, which is also a part of their uniqueness. Lyrically the band is at times humorous, but they are more often deep and impactful. They have a talent of mixing sarcasm with truth. It is time to jump on the bandwagon while it still has room. I have a feeling there will be a second deck on the bandwagon before too long.

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Following up their brilliant effort Aim Low, The Beautiful Loser Society delivers a somewhat lighter effort. Don’t receive me wrong the album is haunted by a similar cast of characters as the previous release. They even take you on a highway ride with Lucifer. That’s right ol’ scratch himself is on “Highway 666 South.” Also on “The long slow decline ‘Elvis is in the building.’ The tune is “Elvis, The King,” which captures the King in his young chilly style as well as sequined jumpsuit Elvis.

As I said, much of the characters are unchanged. Like the Honky Tonk anthem “Shade Tree Mechanic” (which could easily be about a particular uncle of mine), “wealthy folks spend their time countin’ money and the needy spend their time gettin’ drunk. Whose to say what is worse what’s a blessing what’s a curse but old Billy is just shit out of luck.” A dark character on the album is the “Suicide Trucker.” One touching romantic ballad shows the beauty of the one relationship you can count on in “Good ‘ol Dog.” “Hot Rod Daddy” combines guitar work that could be mistaken for Dick Dale with a Rockabilly back beat.

Straight from Colorado to your ears “The Beautiful Loser Society” is a social club I want to join. The initiation fee is only a 12 pack and the will to drink it. Long Slow Decline is a more Country affair than its predecessor. So put the sawdust on the floor. I’m ready to go.

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Elliot Randall, along with his band The Deadmen, has released his sophomore album Caffeine and Gasoline. It is a decidedly more Country affair than his previous effort. What hasn’t changed is the depth of the songwriting. A full band, The Deadmen, have a lot to do with the diversity of styles. However, the main influence is producer David Simon-Baker, who has worked with Jackie Greene and The mom Hips. There is a blend of Country, Rock and troubadour songwriting that reflect Randall’s influences and South Carolina upbringing. He may be based in San Francisco but his influences range from coast to coast. Common themes are adore on the mend and adore gone wrong.

The way Randall pours out the soul of his protagonists is a manner exhibited by more seasoned songwriters. Randall will no doubt go from a popular regional Northern California artist to a true touring songwriter. He has recently opened for Junior Brown, Cross Canadian Ragweed, Hayes Carll and The Steve Miller Band. The diversity of this album should firmly establish him in the Americana landscape. There is no sophomore slump. In fact, it appears there are even better things to arrive.

Austin Collins is an artist on the rise. His previous release Roses are Black received a lot of critical praise. With the release of Wrong Control on March 2nd, music fans will no doubt take notice. Along with his band the Rainbirds, Collins is delivering a more rocking twist to accompany his excellent songwriting.

The album begins with the broken adore of “Just the Same.” On this tune Collins declares “A rose by any other name is just a blossom in the rain. She was born to hold your dreams back by strain.” On the title clip we receive a glimpse of what he feels gets in the way of adore’s happiness, “you always said that choice was a device in a disguise. Place you bets and leave because the heartache’s in the details.” It seems we can reinvent what is good about a relationship into something entirely different. Then there is “The Island,” which uses seemingly incongruent metaphors to bring it every together in a hopeful way.

every of these conceptual twists and turns have an underlying edgy beat that moves them along. The groove is consistent among the songs, but it is not monotonous. There is an undertone to the music that makes it one of those albums you can play over and over again. Give it a try. I bet you’ll hear more than once.

Alejandro Escovedo will be releasing road Songs of  adore on June 29th, which is the day after my birthday. I think he planned it that way. At least that’s my story and I’m sticking to it. What better birthday gift is there than a new Alejandro release. There are no secrets here. It is pretty obvious what the songs are about, but as would be expected Escovedo takes an unconventional approach to the subject. Sometimes the approach is poignant and sometimes alarming but it is done Alejandro style. This record has at its’ core R&B undertones yet still gets edgy and showcases his punk roots at times.

Do you like guests? Is Bruce Springsteen big enough for you? The “Boss” contributes vocals on ”Faith” one of the more edgy songs on the album. His primary songwriting partner is pal and cohort Chuck Prophet, who co-wrote about half of the songs on road Songs of adore. As you would expect the arrangements are crisp. In short, the loyal cult like fans of Alejandro will adore this one.

Check out a live clip:

Two of the best young Newgrass groups have upcoming albums.

Crooked Still – will release Some odd Country on May 18th on Signature Sounds. They are certainly a genre bending groups always, but they rise to a new level on this. The album is beautifully arranged,lyrically infused with both spiritual and earthly wisdom, and as always the musicianship demands accolades. Heavyweights Tim O’brien and Ricky Skaggs lend a hand. In fact, “I’m Troubled” which features O’brien may be the best track. Crooked Still is no longer emerging. With the release of Some odd Country hey have arrived.

The infamous Stringdusters – Will release Things that Fly on Tuesday. On this release they move even more toward the progressive side of the Bluegrass spectrum. The breadth of their musical palate is increasing. With this release they have created a masterpiece. Check out the EPK below.

For every of you youngsters out there who adore the history of alt-country, the first fact to know is that Uncle Tupelo started it every. Wrong Answer!!!! Before there was something called alt-country, there were many in the field. Rank & File (an early Alejandro Escovedo project), X was heavily roots influenced, The Blasters just to name a few. However, in my mind (which was clouded with Beer during this period) there is one band who created what later became alt-country. At the time it was referred to as Cow-Punk. Who cares what it was called then or now, Jason & the Scorchers fused Country with Rock in a way nobody had before. Jason was the panache and the voice and Warner Hodges raging guitar licks were the soul. Everyone who came to look them had kickin’ party they could almost remember. The energy in a Scorchers show could power a third world country.

My life changed in 1984 when I first heard Lost and Found. They dominated the college bar scene of the 80s. They began to grow in popularity and even played with Dylan. However, label troubles, sickness and rehab (the big three for every rock bands) eventually put them on hiatus. However, with the success of the alt-country sound, which they basically created, they came back with an excellent album A Blazing Grace in 1993.

quick forward to 2010, two years after receiving a lifetime achievement award from the AMA, they release Halcyon Days. It is their first new release in almost 15 years. Guess what folks? They’ve still got it. It is a more mature sound but still has everything you would expect of the Scorchers. So go out and receive yourself a history lesson. It appears they intend to finish what they started.

Here’s a video from 1984 followed by an

Audio Download: Jason & the Scorchers, “Better Than This”