1) R.E.M. – Collapse Into Now

 2) Old Californio – Sundrunk Angels: I keep coming back and listening to this album.  It’s rock ‘n’ roll, and twangy, and a little bit funky.  There are slide guitars and harmonicas, ballads and ditties.  It’s a veritable jambalaya of Americana music.

 3) Suzanna Choffel – Steady Eye Shaky Bow: Choffel, a guitarist as well as singer, manages to put a very jazzy spin on some tunes that are otherwise more country and pop, all while maintaining an Austin sensibility to the production.  Normally when someone says music is hard to classify it’s because the music is all over the map.  In this case, the songs are in a consistently similar vein, albeit not something you hear very often.  Undoubtedly the best Americana album of the year to play for someone who says they don’t like country and twangy.

 4) Gillian Welch – The Harrow & the Harvest: I was a little bit meh about this record when I first heard it.  But it’s grown steadily on me since it came out.  I think what I like most is that it’s so different from just about anything else I heard all year, and yet it’s still so essentially Gillian.  If you just listened to this once or twice and then put it away, go back and listen again 6 months later.  You’ll see.

5) Sons of Fathers – Sons of Fathers: And speaking of great harmonies in the vein of Welch & Rawlings, check out the debut release of David Beck and Paul Cauthen, otherwise known as Sons of Fathers.  These guys have a crack set of musicians behind them and give a vocal performance that is mesmerizing.

6) Milk Drive – Road From Home: Sometimes there’s no substitute for the ability to shred.  Milk Drive consists of members who collectively have probably won more picking awards than any band in existence.  They’ve put a jazz spin on a bluegrass sound and are seriously pushing the envelope of how sophisticated Americana music can sound.  Not to mention that instrumental virtuosity.

7) The Bottle Rockets – Not So Loud: An Acoustic Evening: Just as the unplugged MTV performance by Pearl Jam defined the very plugged-in sound that was grunge, this acoustic performance by a normally loud band shows why they’ve been so successful.  With all the amplifiers stripped out, the songs are still well written and well performed and stand the test of time.

8 The Decemberists – The King Is Dead: Lots has been written about the early 2011 release by one of the darlings of the indie crowd.  For me, this album showed how wide ranging they can be with its twangy influence that simply presents Colin Meloy and his mates in a new light that’s an easy extension to their previous catalog.

9) Dave Alvin – Eleven Eleven: No real surprises here, it’s another solid effort from Alvin who proves that, first, he can without fail drum up a supporting ensemble that’s so incredibly tight you’d swear they’ve played together for years.  And second, he keeps writing songs that convey such a sense of time and place that you’re transported with him to the moment in time so carefully documented in the lyrics.

10) Sarah Jarosz – Follow Me Down: Jarosz’ vocals have gained strength and capability on her second release.  Combine that with mandolin (and other strings) chops that may be the best in Texas even though she’s barely old enough to vote and you have a winner.  She just gets better every time you see her.

11) The Band Of Heathens – Top Hat Crown & the Clapmaster’s Son: I liked this album as a follow up to their two previously acclaimed efforts, but the real reason it’s in the years top was that it provides new material for them to perform live.  You have to catch them in a club to experience the full joy of TBOH.

12) Robert Earl Keen – Ready For Confetti: Another album that’s here because it’s just full of good songs.  Keen has his sound and his fans and no one’s going home disappointed from this.

13) Sinful Savage Tigers – The Last Night Of The Revels: A really solid effort from a group that’s bound to start gaining more notice.  They’re just too good and the tunes too catchy to fall into some regional bucket where they only play for the locals.

14) Great American Taxi – Paradise Lost: Sort of an Americana supergroup, Great American Taxi is a little retro and a little progressive and someone you need to go hear live.

15) Wilco – The Whole Love: The year off did these guys right.  There’s more excitement in this record than I’ve heard from Tweedy & company in a while.

16) Beirut – The Rip Tide: Another good release from one of the kings of the neo-Balkan indie sound.

17) Hayes Carll – KMAG YOYO (& Other American Stories): Carll continues to craft a unique sound and there are some real keepers on this album.

18) The Gourds – Old Mad Joy: Kevin Russell and his band mates have pushed out the boundaries on what most people would consider “Gourds music”, which was a pleasant surprise.

19) Allison Krauss & Union Station – Paper Airplane: Krauss is back into her groove from the rock-royalty side projects and as much as I enjoyed those, this seems to capture her spirit better.

20) The Wailin’ Jennys – Bright Morning Stars: When it’s all about the vocals, you can’t do much better than the Jennys.  Another group I have to recommend seeing live.

When My Time Comes, Barnstar! (from the self-released C’Mon!)
I somehow missed this song when it was released on Dawes’ debut back in 2009. My bad. I’ve corrected that now thanks to the guys in Barnstar! Even better, they’ve taken an already great song and made it even greater. Even Dawes agrees.

Audio Stream: Barnstar!, “When My Time Comes”

Time Spent in LA, Dawes (from the ATO Records release Nothing Is Wrong)
The best songs do more than catch one’s ear, they create an experience that takes you away from where you are. The fact that this song is about Los Angeles misses the point. The melancholy of melody and lyric becomes a destination of its own. “You got that special kind of sadness, you got that tragic set of charms, that only comes from time spent in Los Angeles, makes me wanna wrap you in my arms.”

Audio Stream: Dawes, “Time Spent In Los Angeles”

More Like Them, Lydia Loveless (from the Bloodshot Records release Indestructible Machine)
If you had any doubts that Loveless was a free — and feisty — spirit, look no further than this song.

Why can’t I be more like them, the kind of people who feel sad when relationships end
Well honey I don’t want you now, but it’s not about him
Why can’t I be more like them

Audio Stream: Lydia Loveless, “More Like Them”

The Understanding, Jones Street Station
If you’re going to release only one song in a year, it had better be a good one. By that standard, this Brooklyn quintet doesn’t disappoint. What starts with some quiet harmonies and an acoustic guitar builds into a pop song of epic proportions.

Turn to a stranger, take her hand, then you’ll understand. Where are my friends who are lost and alone. May they find their way back home.

Audio Download: Jones Street Station, “The Understanding”

Mannequin Man, Kingsley Flood (from the self-released ep Colder Still)

I was born to be a mover, not a mannequin man
Sworn to shake the sugar, not like a mannequin man
I’ll be damn before you take me like a mannequin man

Audio Stream: Kingsley Flood, “Mannequin Man”

Daydrunk, Butch Walker and the Black Widows (from the Dangerbird Records release The Spade)
I went back and forth between this track and “Summer of ’89.” It was a photo finish to say the least. In typical Walker fashion, this song is a power pop slap in the face – loud, brash and totally awesome.

Audio Stream: Butch Walker and the Black Widows, “Day Drunk”

Stopping By, Jason Isbell and the 400 Unit (from the Lightning Rod Records release Here We Rest)
Isbell is at his best when he explores the thoughts and emotions of troubled characters. He has an innate ability to provide an honest portrayal that captures the tension in both lyric and music. This track is a prime example, the tale of a child making a surprise visit to an estranged father.

I think the best of me’s still standing in the doorway
Counting cars and counting days and counting years
I could say you made me go through life the hard way
But it might’ve been worse if you were here…

Audio Stream: Jason Isbell and the 400 Unit, “Stopping By”

No Easy Way Out, The Duke and the King (from the So Recordings release The Duke and the King)
I was first enchanted by the sense of wanderlust that permeates this song. Repeated listens, however, showcase the band’s impressively nuanced musicianship.

Audio Stream: The Duke and the King, “No Easy Way Out”

Guilty Girls, Buffalo Tom (from the Scrawny Records release Skins)
From the opening guitar riff to the final fade, the band impeccably combines sparkling harmonies with an edgy rock sound. This is the kind of song that was made to be played loud. And often.

Audio Stream: Buffalo Tom, “Guilty Girls”

Maybe, Paul Collica (from the self-released It’s Not Me, It’s You )
This is a great high-energy power pop song but that’s not the sole reason that it is on this list. Collica infuses the song with a sonic quality that should make many “top 40″ artists green with envy. All the more impressive, he wrote, performed and produced it entirely on his own.

Audio Download: Paul Collica, “Maybe”

#1. JASON ISBELL & THE 400 UNIT, Here We Rest (Lightning Rod)

I’d be lying if I said that I wasn’t hoping for a full-on rock assault from Isbell and crew. What I got was something better — a nuanced musical tour of his home state of Alabama. From the back porch acoustic sway of “Codeine” to his soulful swagger on the Muscle Shoals classic “Heart on a String,” Isbell proves that his musical talent is boundless. (Twangville reviews here and here and here.)

Audio Download: Jason Isbell and the 400 Unit, “Codeine”

#2. LYDIA LOVELESS, Indestructable Machine (Bloodshot)

Here’s to a newcomer who established her presence with authority. Her debut burst from the gate with a fire-cracking, rabble-rousing confidence. (Twangville review here.)

Audio Download: Lydia Loveless, “Can’t Change Me”

#3. KASEY ANDERSON AND THE HONKIES, Heart of a Dog (Red River)

This January release has held a steady spot in my musical rotation. Anderson and the Honkies run the table with an outstanding collection of rockers furious and ballads forlorn. (Twangville review here and here.)

Audio Download: Kasey Anderson and the Honkies, “Mercy”

#4. DAVID WAX MUSEUM, Everything is Saved

A potent mix of Appalachian and Mexican folk music makes for one of the year’s most vibrant musical celebrations. “Some of us come with new hearts, most of us come with used hearts, baby, why do you look so sad?” (Twangville review here.)

Audio Download: David Wax Museum, “Born With a Broken Heart”

#5. THE DUKE AND THE KING, The Duke and the King (So Recordings)

Although these songs were technically culled from the band’s two earlier UK releases, they are finally getting a proper US release. I’m not sure what took so long but it was well worth the wait. We’ll call this Americana soul, filled with beautiful harmonies and haunting melodies. (Twangville review here.)

Audio Download: The Duke and the King, “Shine On You”

#6. THE DECEMBERISTS, The King Is Dead (Capitol)

The Portland, Oregon band intentionally shifted away from the song-cycle approach that defined 2009’s The Hazard of Love. Simpler doesn’t mean less striking, as this release gloriously proves. Guests Peter Buck and Gillian Welch are just icing on the cake. (Twangville review here.)

Audio Download: The Decemberists, “Down By the Water”

#7. NATHAN HAMILTON, Beauty, Wit & Speed

Austin, Texas songwriter Hamilton just gets better with age. His latest is filled with songs of lyrical intelligence and musical restraint, delivered in a style that is warm and assured. (Twangville review here.)

Audio Download: Nathan Hamilton, “The Heart That Aches To Open”

#8. BARNSTAR!, C’Mon!

This is how music is supposed to sound, fresh and carefree. These five talented folk and bluegrass musicians serve up engaging covers ranging from the Louvin Brothers to the Traveling Wilburys and from Paul Simon to Neil Young. And don’t miss their brilliant take on Dawes’ “When My Time Comes.” Then, of course, are the handful of originals which more than hold their own alongside the covers. (Twangville review here.)

Audio Download: Barnstar!, “Northern Rail”

#9. BUTCH WALKER AND THE BLACK WIDOWS, The Spade (Dangerbird)

Walker proves yet again why he is the master of melody. He and his crack outfit crank out another collection of sing-along rock anthems. It’s like power pop fueled by a case of Red Bull. (Twangville review here.)

Audio Download: Butch Walker and the Black Widows, “Summer of ’89″

#10. JO WYMER, Living With Scars

Explosive is the best word to describe Wymer and this release. Her voice is strong and forceful, an intensity matched by her crack band. And the songs? Tales of love gone wrong delivered with immensely catchy hooks. What’s not to like? (Twangville review here.)

Audio Download: Jo Wymer, “This Ain’t Love (Love and War)”

#11. CARRIE RODRIGUEZ AND BEN KYLE, We Still Love Our Country (Ninth Street Opus)

Americana has a rich tradition of male-female duets, from Johnny and June Carter Cash to Graham Parsons and Emmylou Harris. Add Rodriguez and Kyle to the list. Their vocals blend magically as they wrap them around this collection of six classic covers and two originals. (Twangville review here, here and here.)

Audio Download: Carrie Rodriguez and Ben Kyle, “Your Lonely Heart”

#12. BUFFALO TOM, Skins (Scrawny Records)

The fact that this Boston-based power trio just celebrated their 25th anniversary (with the same line-up!) would be an impressive enough milestone. Commemorating it with yet another in a long line of raw rock and roll records makes for quite the celebration.

The opening song is Chocolate Cake with its newgrass instrumentation and tight harmonies.  It sets some good expectations for the rest of the album with a well-balanced mix of vocals and tasty instrumental licks.  And yet there’s more than meets the ear when an otherwise upbeat song about finding one’s place in the world ends with an admission that the singer is “looking for something I can believe” and also “looking for something I can betray.”

Most of the songs on the disc have that similar toe-tapping groove of mandolin, guitar, and bass, with some fiddle, harmonica or banjo thrown in.  The lyrics tend to more of a poetic and experiential nature than of the narrative variety.  In addition to Chocolate Cake I’m enamored with End Of The Horse Drawn Zeppelin with its lazy Sunday feel and rat race observation that “everything slow becomes mere scenery”.  Still Waiting In Line is a humorous little ditty that probably has a pretty good story behind it.  The record finishes with Kentucky Steel, a bluesier number that loops back to the beginning of the album and its theme of searching for where you belong.

With their mix of Colin Meloy lyrics and Avett brothers harmonies, Sinful Savage Tigers are a side stage appearance at Coachella or Bonnaroo away from being the next darling of the indie grass crowd.  The Last Night Of The Revels is good primer on their ability and with it you’ll be able to gloat that you knew of them back when.

Beauty, Wit & Speed, by Nathan Hamilton
“Give me the mad ones, the sad ones, the ones who’ve got nothing to lose,” sings Hamilton in “Through Ether and Time” from his latest release. It is a telling comment and a great introduction to an album that deftly explores the search for comfort and contentment in one’s passing years.

“In All That We Might Find” finds Hamilton longing for the past, recalling the excitement to be found in earlier times. “In the age of information the screens of isolation, Bathe us in a cool blue glow,” he reflects, “The network imperfection, the lack of real connection has left us feeling more alone.”

“Fire to Metal” is a haunting reflection on the wound’s left by an ex-lover. A drum beat that echoes a heart-beat starts the song, soon joined atmospheric synthesizers and an acoustic guitar. “There is no greater pain or consolation than the memory and phantom feeling of your touch,” he sings as the song’s musical accompaniment and intensity increase.

The piano and muted trumpet on “Rust of Age” recall a late night jazz club, the perfect feel for the confessional tone of the song. “We all must face our grave mistakes of body, mind and soul,” he sings, “But I believe I’ll take the dirt and leave behind the hole.”

The tempo, if not the sentiment, quickens on “The Heart That Aches to Open.” Electric guitar solos at the beginning, middle and end of the song weave a shimmering melody as Hamilton takes a more assured tone in his quest. Don’t get me wrong, Hamilton is still feeling lonely and alone, but there is a welcome sense of contentment on this track.

Amy Cook joins Hamilton for the slowly burning “Days of Caution.” The song perfectly captures the swirl of emotion between two lovers:

The days of caution rise
And lift themselves to show
Surrender in our eyes
And a hunger in our soul

It is a rare find to encounter an album that commands attention with an alluring blend of intelligence and restraint. Put this one down on that list.

Audio Download: Nathan Hamilton, “The Heart That Aches to Open”

Number Seven, by Will Hoge
Can anyone guess what studio album release this is for Hoge? I thought that you could. Looking at this release in the context of its predecessors shows the evolution of the artist. If the early years were spent as an carefree rocker, Hoge has mellowed and matured over his last few releases. That said, his songs have lost little of their charm and appeal.

“Fool’s Gonna Fly” finds Hoge saying goodbye to a lover. Longtime readers know that I have a sarcastic streak and love a good “kiss off” song, so there should be no doubt that I would enjoy this one:

Shakespeare was a traitor as far as I’m concerned
He wrote a bunch of stories ’bout stuff he never learned
He never loved a woman least not one as mean as you
Romeo would’ve just split town and tried to find somebody new

If “Fools Gonna Fly” is his break-up song, “No Man’s Land” is his ode to falling short in a quest for love. “I count my blessings on the days we get along, but I can count on one hand the days that I do nothing wrong,” he laments. The song becomes a fine bar-room sing-along as Hoge kicks into the chorus, “She’s like a fine wine, I’m like whiskey from a jar…”

“Too Old Now to Die Young” finds Hoge reflecting on the wild years of youth with the perspective of middle-aged maturity. “I loved the pleasure and cursed the pain, oh, foolish things I’ve done, I’m too old now to die young,” he sings while a bristling slide guitar wails.

Hoge slows things down for “Trying to Be a Man,” a tender ballad that chronicles the celebration and tragedy of a young man finding love and family. Vince Gill guests with some solemn acoustic guitar accompaniment for added effect.

While a part of me misses the more raucous songs of Hoge’s early career, it is refreshing to see an artist explore new musical horizons.

Audio Stream: Will Hoge, “Too Old Now to Die Young”

THE PLAYLIST
Midwest Winters, Bradley Wik and the Charlatans (from the forthcoming release Burn What You Can, Bury the Rest…)
“Those midwest winters will suck your soul away,” sings Wik on this song that starts off melodic and brooding before exploding into a cathartic guitar fury. Although he now resides in Oregon, these songs were born from growing up in the Midwest and have the hearty rock feel of that region. Burn What You Can, Bury the Rest… is filled with this heartland rock and roll, rich with tales of hard-working, well-intentioned characters.

Audio Download: Bradley Wik and the Charlatans, “Midwest Winters”

Pine, The Poison Oaks (from the self-released Pine)
What happens when you gather together a large group of Americana musicians in the studio to “experiment”? Apparently you end up with some great pop tunes and performances. Boston-based fiddler Laura Cortese, the cornerstone of this new collective, is joined by a talented group of friends whose musical pedigree includes Crooked Still, The Low Anthem and Josh Ritter’s Band, among others. If this is an experiment than we will call it a resounding success.

Audio Download: The Poison Oaks, “Pine”

Good Luck and True Love, Reckless Kelly (from the No Big Deal Records release Good Luck and True Love)
Austin’s Reckless Kelly have always been a bit of a paradox. The boys established themselves in Austin with songs rooted in the Americana storytelling tradition. Yet the boys clearly live to rock and roll. Don’t believe me? Check out their latest release. Pure rock and roll, Texas style.

Audio Stream: Reckless Kelly, “Good Luck and True Love”

Gimmie Back, 13ghosts (from the This Is American Music release Liar’s Melody)
My recollection of 13ghosts was a band that produced music dark, brooding and demanding. Well, this doesn’t sound like that band. The tempos are faster and the songs are grittier. All the better, I say. As singer-songwriter Brad Armstrong says, “I got my radio tuned to the independent rock and roll station.”

Audio Download: 13ghosts, “Gimmie Back”

The Weight of Changing Everything, Tim Easton (from the self-released release Since 1966, Volume 1)
Easton has blessed us with two albums this year, the first a rollicking rocker and the second an acoustic gem. This track is from the latter release and is a shining example of Easton’s powerful songwriting. In a single song he deftly tackles politics, both personal and national, with a message of positive change.

Nobody’s perfect, nobody should be
Nobody can get it right every day
Maybe you happen to have some answers
Please shine your light to help us spread
The weight of changing everything.

Audio Download: Tim Easton, “The Weight of Changing Everything”

Maybe, Paul Collica (from the self-released It’s Not Me… It’s You)
I’ve always had a musical sweet tooth and this track – and album – is downright cavity-inducing. The guitars sizzle, the bass pounds and the chorus soars. Knowing that Collica recorded all the instruments himself, mostly in his home studio, is just icing on the cake. This is a sonic boom of the best kind.

Audio Download: Paul Collica, “Maybe”

Punchline, The Farewell Drifters (from the Heart Squeeze release Echo Boom)
If you like your bluegrass with a pop sensibility, this just may be the band for you. The instrumentation may say bluegrass, but the vocals and songs have a clean-cut 1960’s pop feel.

Audio Download: The Farewell Drifters, “Punchline”

American Tune, Crooked Still (from the Signature Sounds release Friends of Fall)
The Boston folk quintet celebrate their 10th anniversary with a splendid ep, placing their distinctive stamp on some cover songs and sharing a few originals. This take on the Paul Simon classic is a prime example, with Aoife O’Donovan under-stated vocals accompanied by the band’s sublime arrangement.

Audio Download: Crooked Still, “American Tune”

Message To Ya, Daryl Hall (from the Verve Forecast release Laughing Down Crying)
It’s been seven years since Hall’s last solo release and a few more than that since his last proper release with John Oates. Yet Hall hasn’t been idle, hosting a web series “Live From Daryl’s House“, a cool show that finds Hall hosting veteran and emerging artists for song and conversation. Perhaps those collaborations sparked the creative burst behind fun-loving tracks like this.

Audio Download: Daryl Hall, “Message To Ya”

I Am Trying to Break Your Heart JC Brooks & the Uptown Sound (from the Bloodshot Records release Want More)
It may seem odd for Bloodshot Records, notorious for a roster full of outstanding Americana artists, to sign a soulful old school R&B artist like Brooks. It isn’t, though, when you consider that Bloodshot’s hallmark is music as accomplished as it is authentic. Brooks fits right in when measured against that criteria. His soulful croon, matched with the rich grooves of the Uptown Sound, makes for some potent R&B. And what better introduction then to hear the band’s killer take on this Wilco classic.

Audio Stream: JC Brooks & the Uptown Sound, “I Am Trying to Break Your Heart”

The album starts off with Old Ten Broeck, a traditional song that has a Monroe version.  Lewis’ version includes additional lyrics uncovered by folk archivist (and half brother to Pete Seeger) Mike Seeger.  Lewis’ notes give a little bit of the history of the song and the horse the song is named after.  In a microcosm, this is what the whole record is like.  A song, with some changes to the original, and notes on how they came about.

From Old Ten Broeck the record moves to What’s Good For You, a tune recorded originally by Flatt & Scruggs, and featuring Linda Ronstadt on harmony on Laurie’s version.  Next up is The Pharaoh’s Daughter, a Lewis original that elevates the courage of the woman who rescued tiny Moses in the reeds.  Then comes Harfordtown 1944, about a tragedy that killed many people that’s made a little more personal by the anecdote included in the notes.  Musical highlights abound here, but others worth noting are the vocals on Jimmie Rodger’s Tuck Away My Lonesome Blues, the Lennon Sisters-like harmony with Nadine Landry on I Don’t Care Anymore, and the tasty instrumental solos on I Ain’t Gonna Work Tomorrow.

Skippin’ and Flyin” is an extremely personal album, maybe best highlighted by the reprint of the picture Monroe autographed for Lewis that leads off the liner notes.  The record is filled with traditional and traditional-sounding bluegrass.  Unlike Gillian Welch’s release earlier this year, it doesn’t have a modern production sound: it could have been recorded yesterday or 40 years ago.  But it’s that lack of technical identity along with the song selection and the insights from Lewis herself that transforms a tribute album into a love letter to Bill Monroe that’s being shared with the world.

The album was produced by Marvin Etzioni, a former member of Lone Justice who has worked with Steve Earle, Counting Crows and Lucinda Williams. Lennon is a North Carolina native but he now resides in California. In the title cut, Lennon gives a powerful portrait of life in post-depression America, and the desperation of the time. Other songs on the album are modern in there setting, but the parallel between then and now is clear. “Blues Forever (in Your Eyes)” is simply one of best songs I have heard this year. A Country tune “California Calling”, presumably refers to his own move to California. The move has been a good one for him, at least musically. His sound is now complete and he is establishing himself as a rising star in the roots music community of the area. Look for the buzz to get louder on future releases. Mark W. Lennon’s music needs to be heard.

“Blues Forever (in Your Eyes)”

Blues Forever from Mark W. Lennon on Vimeo.

Old Mad Joy, by The Gourds
The Gourds latest is a bit deceiving. The band has built a reputation as a bluegrass and backporch country band, but things aren’t always what they seem.

The album open as one would expect. “I Want You So Bad” is built around an accordion and a bouncing beat. “We all know that life ain’t fair,” the band sings, “but we forget it when desire becomes despair,” with the latter line sung in rich multi-part harmony.

But then things start to change. The guitars emerge and the traditional sound fades into the background. “Haunted,” the fifth track on the album, opens up into what could easily become an extended jam. Electric guitars, particularly a steel guitar, glisten as they wander around a classic southern rock riff. A steel guitar and a Southern drawl stand mostly alone as the connections to the band’s roots base.

“Ink and Grief” is a gem, a ballad both tender and bittersweet. Steel guitar and fiddle intertwine beautifully as Kevin Russell plaintively counsels, “when love is gone, carry on.”

“Your Benefit,” the closing track, reaches a pinnacle of the jam-band sound. The song has an angular chorus that is complimented by some great harmonies. The song has, dare I say it, a Grateful Dead feel. Given Jerry Garcia’s penchant for bluegrass, I suspect that the Gourds – and certainly this release – would have had his seal of approval.

Download “I Want It So Bad” here.

The Spade, by Butch Walker & the Black Widows
If there is one thing that is clear about The Spade, it is that Butch set out to have a good time. The electric guitars are a blazin’ right out of the gate on “Bodegas and Blood.” As if removing any doubt about his intentions, Walker sings “It’s days like these that keep me on my winning streak.”

“Day Drunk” raises the festivities to an epic level. The band’s harmonies on the chorus are downright aggressive, daring the listener to not break into an ear-to-ear grin. I know that I couldn’t resist.

“Suckerpunch” finds Walker lamenting a disastrous drunken bar brawl. This being Walker, of course, it crackles with a playful attitude. “I hope I said something really good just before I got suckerpunched,” he sings, “somebody’s fist took my face to lunch.”

Listen closely and you’ll hear some great pop references. “Every Single Body Else” would musically fit well on the “Rocky Horror Picture Show” soundtrack while “Synthesizers” hearkens back to the Dexy’s Midnight Runners classic “Come On Eileen.”

And then there’s “Summer of 1989,” Walker’s play on Bryan Adams’ “Summer of 1969.” In Walker terms, this track took a bit longer than usual to claw its way into my head. By that I mean it took maybe three listens, but now I can’t get it out of my head. The track finds Walker spinning tales of spirited teenage antics, “we would listen to Kiss (with rockets for fists), acting like Saturday’s fools.”

For some extra amusement, Butch and the crew leave some of the studio banter in the mix. You hear them debating the opening riff to “Bullet Belt” and coaching one another mid-song on “Suckerpunch.” The fun is infectious.

My only regret? That it wasn’t released in June as it would have been the perfect summer sunshine soundtrack. Ah well, at least it will bring me back to summer mode for a few fleeting moments.

Audio Download: Butch Walker and the Black Widows, “Summer of ’89″

THE PLAYLIST
Girl on the Beach, Jack Oblivian (from the Big Legal Mess/Fat Possum Records release Rat City)
Memphis rocker extraordinaire could almost rival Guided By Voices’ Robert Pollard in the prolific musician category. It would be easy, and in many cases true, to describe Oblivian’s output as garage rock, but that isn’t a full reflection. That is, in part, why I gravitated to this track from his latest release. The bass-infused pop melody would have been enough, but the addition of banjo, accordion and violin make the song irresistible.

Audio Download: Jack Oblivian, “Girl on the Beach”

Destroy Me, Tommy Stinson (from the Done to Death Records release One Man Mutiny)
Stinson is perhaps best known for the bands with whom he has worked throughout his career, from his formative years as a founding member of the legendary Replacements to his more recent work with Guns N’ Roses. This, only his second solo release, shows that he stands just as tall on his own. The pure emotion of this song as it builds from acoustic introduction to electric rocker is a shot in the gut. And you should buy this album for another reason: Stinson is donating half the proceeds to Timkatec, an organization that houses and educates homeless children in Haiti. Pretty damn impressive.

Audio Download: Tommy Stinson, “Destroy Me”

Never Enough, John Doe (from the Yep Roc release Keeper)
I saw John Doe in concert a few months back and he talked about the inspiration for this song. Listen to the lyrics and you can probably guess – the tv show “Hoarders.” The song reflects Doe’s antipathy toward both commercialism and reality tv. And therein lies the allure in his songs – he marries rough-hewn melodies with lyrics that don’t shy from tough topics, from social commentary to difficult relationships.

Audio Stream: John Doe, “Never Enough”

Na Na Nothing, Mike Doughty (from the Snackbar Records release Yes And Also Yes)
Former Soul Coughing principal Mike Doughty is a songwriter with a distinctive edge. You’ll hear it in his music, usually led by acoustic guitars with a percussive fringe. You’ll also hear it in his lyrics, intelligent and challenging. “Well your man won’t dance but I will, he’s just a cup of punch that you’ll spill, “he tells an apparent former lover, “You got Na Na Nothing, I found out that I’m a chump and you were cold, cold hearted to me.”

Audio Download: Mike Doughty, “Na Na Nothing”

Typhoon, Crooked Fingers (from the Merge Records release Breaks in the Armor)
“There’s a typhoon blowin’,” sings Eric Bachmann against an ominous musical backdrop. It is a potent reminder of the band’s musical prowess. Bachmann’s songwriting is raw and evocative; his voice nearly as expressive as the songs themselves.

Audio Download: Crooked Fingers, “Typhoon”

Sing Your Own Song, John Wesley Harding (from the Yep Roc release The Sound of His Own Voice)
It’s been a few years since Harding’s last album, a period that saw him focusing on Charles Jessold, Considered as a Murderer, his novel release earlier this year. Now returning to music, his latest release is an enjoyable romp from an artist who brings a literary eye to music. This track, the album opener, offers words of encouragement arguably about music but with a deeper perspective. “‘cause if you do what you like and you like what you do, then someone somewhere knows you’re there and the world may come to you.”

Audio Stream: John Wesley Harding, “Sing Your Own Song”

Late Nights with the Power Pop, Matthew Sweet (from the Missing Piece Records release Modern Art)
It’s been awhile since we’ve gotten new music from power popster Matthew Sweet. They say absence makes the heart grow fonder and this case the statement rings true. Even better, Sweet’s latest incorporates all the elements of his classics from sugary pop harmonies to scrappy dueling electric guitars. Ah the sweet sound of electric guitar (pun intended).

Audio Download: Matthew Sweet, “Late Nights with the Power Pop”

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First, there are the indie parts of the record.  The beginning cut, Middle Ground, seems to take the perspective of a no-longer-teenager confronting the idea of growing up and life requiring some compromises.  Heading Out covers the angst and desire to just leave while Planes, Trains, and Automobiles is about the long trip home.  Hey Guess What speaks to the pain and confusion of learning you’re adopted.  These are all tunes that would be right at home on a college radio playlist.

The other side, figuratively, of the album is its bluegrass roots.  Whiskey Strut and Roadkill Jerky are excellent bluegrass instrumentals with catchy hooks and finger snapping rhythms that bring to mind a sunny summer day.  Eighteen Years is a fun/sad song about getting laid off that’s just as easily a James McMurtry anthem.  But my favorite of the album is the title cut.  It’s a story that you just know has to be more truth than fiction about being pulled over by the cops in Mexico.  It’s got a Marty Robbins feel and just kind of leaves you happy you’re not *that* guy.

Big Trouble is a fun album with a lot of different angles you can listen from.  In many ways it’s bluegrass for people who don’t like bluegrass.  It has none of the high lonesome sound that’s just a bridge too far for some folks.  But it also has enough instrumental highlights to remind you the band has deep roots in all varieties of American music.  This is a ground that was very successfully tilled last year by Mumford and Sons, and I for one would be happy to hear more bands exploring that tact.

Download these tracks first: Big Trouble, Middle Ground, Whiskey Strut