Dr. John has recorded steadily over the years, weaving a tapestry of work featuring the various strains of music prevalent in his native New Orleans.  But with his latest release, Locked Down, Dr. John returns to that familiar foundation he laid down in Gris-Gris.   With the support of The Black Keys’ guitarist Dan Auerbach, Dr. John has created a work that would fit in well with those earlier works. 

There are numerous strong tracks on Locked Down, each of which reveals Dr. John’s penchant for exotic rhythms and eery sound effects.   The opening title track incorporates a familiar groove reminiscent of Dr. John’s more mainstream funk of In the Right Place, as does the second track, “Revolution.”  But the third track, “Big Shot,” takes the next step into a spaced-out weirdness that at moments echoes Gris-Gris.  For a taste of Dr. John’s delicious keyboard work, check out ”Ice Age.”  ”Kingdom if Izzness” is classic Dr. John, and “Eleggua” incorporates the kind of rhythmic cool madness that made Gris-Gris so memorable.             

With Locked Down, Dr. John proves he is still in top form.

I’ve been fortunate enough to have attended quite a number of multi-day music festivals over the years, from the Veiled Prophet Fair to the Monterey Jazz Festival and Telluride to Hardly Strictly Bluegrass.  For my money, though, it’s really hard to beat the Old Settler’s Music Festival.  Held 20 miles or so outside of Austin in mid-April, it has an unparalleled selection of music, a reasonable size crowd, and a solid enough vibe to keep everything together even if the weather turns bad.  This year was no exception, and here are a few of my favorite moments from the 25th annual celebration.

The Blue Hit

 Eating From the Palm Of His Hand Award.  The last few years Old Settler’s has branched out some from its historic focus on Americana, and organizer Jean Spivey has been brilliant at bringing in indie acts that keep things fresh without leaving you scratching your head on the line up.  Local up-and-comers The Blue Hit and Lissie are examples, but better still Saturday night main stage closer Iron and Wine.  But for the sheer number of “I Love You Amos” shouts, the Philadelphia native was no doubt an honorary Texan for at least one Friday night.

Brian Henneman of the Bottle Rockets

 Back To My Roots.  There’s always a healthy dose of roots rock at OSMF, and this year was no exception.  James McMurtry blistered the stage Friday night.  Ozark dwellers Ha Ha Tonka did a cover of the Leadbelly song made famous in the 70’s by Ram Jam, Black Betty.  Three hours later walking back to my car people were still singing it.  For outright magnetism, though, the prize has to go to The Bottle Rockets, who did a pied piper number on anyone in the common area about dinnertime Saturday night.

 Audience Participation Award.  You have to give kudos to the Steep Canyon Rangers for their campground set on Thursday night.  What had been an engaged, but slightly sedate, audience for the earlier acts was stirred into a frenzy with the traditional bluegrass and awesome picking of the North Carolina quintet.  And their rendition of The Weight, the night after Levon’s passing, was clearly the best of the many covers honoring the man done over the weekend.  However, for the second year in a row this award has to go to Gaelic Storm.  They don’t just get people singing and dancing, they have people waving their arms, trying to outdo each other shouting, and, last year, riding a donkey (you had to be there).

Kimberly Zielnicki

 Youth Talent.  One of the things that sets OSMF apart from many larger events is the youth talent competition on Saturday morning.  This being Austin, the bar is pretty high, and past winners have gone on to their own recordings and performing with national acts in short order.  This year’s winner was fiddle player and singer Kimberly Zielnicki, who got a cheer from the crowd with her comment before the last song of an encore set, “you can never have enough fiddle songs”.  Tradition is that Miss Zielnicki will get a slot on the main stage next year, and I’ll look forward to seeing her with another year’s experience and some notoriety under her belt.

Sarah Jarosz with Darrell Anger

 Best Festival Moment.  This was sort of the year for NPR darling Sarah Jarosz, what with her main stage return playing to a clearly partisan crowd, and her mandolin workshop with Joe Walsh (not that one, the other one) that drew hundreds of people, most of whom have never even picked up the instrument.  For the real feel of the event, though, my vote goes to the kind of impromptu moment that’s the heart of a festival, yet witnessed by very few.  Woody Platt and a couple of his Steep Canyon Ranger mates were jamming with mandolin virtuoso Frank Solivan (who turned in a really, really sold set with his band Dirty Kitchen earlier in the evening) behind the bandstand long after the lights were off and most people had gone to their campsite.  The minstrels decided they needed a banjo and so walked over to the car where Frank’s banjo player, Mike Munford, was asleep.  They lit into a tune and before they were halfway through, Mike had his instrument out and had joined the fun.  You couldn’t help but grin as wide as the band was.

Initially formed in 2005 after meeting at the Black Banjo Gathering at Appalachian State University in North Carolina, the Drops have changed personnel but maintained that raw, old-timey flavor with multi-instrumentalists Don Flemons, Rhiannon Giddens and Hubby Jenkins playing a variety of banjos, fiddles, guitars, jugs and bones.  In performance, the presence of vocal percussionist Matta creates a deceptive aural cue - listening, one keeps expecting to see someone on stage with a drum set (I saw the Drops open for Bela Fleck and the Flecktones last year, which, with Futureman tapping his drumitar, creates a similarly deceptive sound vs. appearance).  

The musicians are all excellent, but it is Giddens that puts the attitude into the music.  On Genuine Negro Jig, their Grammy-award winning 2010 release, Giddens’ singing on “Hit ‘Em Up Style” was a highlight of that recording.  On Leaving Eden, she belts out lead vocals on “Ruby, Are You Mad at Your Man?,” ”Country Girl,” and “West End Blues” with the verve of a Janis Joplin.  But she is not a hoarse torch singer – the crisp, clear musical quality of her voice is steady throughout her excellent solos.  

 The Drops were formed as a traditional-style string band like something John or Alan Lomax might have stumbled upon during the Depression, but with the inspiration of their mentor Joe Thompson they have taken their music to a place all its own.  Leaving Eden, which was produced by Buddy Miller, is another special record by a special group of young people.

Audio Download: The Carolina Chocolate Drops, “Country Girl”

Taylor’s career, like his musical style, has been unconventional. He was active in the 1970s but gave up his career to be come an antiques broker for many years until friends convinced him in 1995 to get back into music.  Thus, Taylor is relatively new on the scene despite his years.  After a couple of independently released albums, Blue Eyed Monster in 1997 and When Negroes Walked the Earth in 2000, Taylor produced his early masterpiece with White African in 2001.  Each successive effort has moved a little further away from  traditional blues influences.  On 2007′s Definition of a Circle, the tune “Long Long Life” can best be described as a sort of free-form jazz.  In 2008, Taylor produced Recapturing the Banjo, which was a sort of concept album intended to feature the banjo in various African-American music forms from ragtime to rock, thus “recapturing” the instrument that originally came to America with the slave trade from West Africa.  Recapturing the Banjo featured collaborations with several of the best of the next generation of African-American bluesmen, including Harris, Alvin Youngblood Hart, Guy Davis, Don Vappie and Keb’ Mo’. 

Contraband moves in a direction similar to Taylor’s 2010 album, Clovis People, Vol. 3, but with a more consistent musical focus.  It explores rich musical roots, sometimes haunting and otherworldly.  The album features the talents of several several of Taylor’s regulars, cornet player Ron Miles, keyboardist Brian Juan, violinist Anne Harris, guitarist Jon Paul Johnson, pedal steel player Chuck Campbell, djembe player Fara Tolno, drummer Larry Thompson, and bassists Cassie Taylor (Taylor’s daughter) and Chuck Edmunds.  But Taylor also incorporates the services of a full gospel choir on several of the numbers, such as the opener, “The Devil’s Gonna Lie.”  As always, Taylor takes on serious subjects, including the quandary of slaves captured by the Union Army during the Civil War, who were free yet not free – contraband.  Many of the songs on Contraband, especially “Look to the Side” and “Blind Piano Teacher,” are beautiful and spellbinding.   The combination of cornet, choir and electric and pedal steel guitar make a for an equally complex, yet more upbeat recording than Clovis People.   Contraband should stand alongside his early more rustic, White African, as a creative career highlight.       

#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.

Too Drunk to Truck, by Roy Sludge
This album was tailor-made for Twangville. Old school in all the best ways, it might as well be a collection of lost classics from the Sun Studios archive.

The title track kicks off the album with a strong indication of what will follow. Yup, songs about trucks, drinking and ornery women, although not necessarily in that order.

Well I drive all over this country, roaming from town to town
When day is done I’m gonna have my fun I’ll pick ‘em up and put ‘em down.
I’ll flirt with some old waitress, try to push my luck.
But when push comes to shove I’m too tired for love ‘cause I’m too drunk to truck.

The song also unleashes Sludge’s secret weapons: Boston-based guitarists Duke Levine and Kevin Barry. Both have a sound pristine and precise, yet filled with character, Barry on the lap steel and Levine on the electric guitar. And I shouldn’t neglect bassist Jim Haggerty, who brings his own rockabilly cred from his role as bassist for Wanda Jackson.

Sludge sings of drinkers remorse on the amusing “I Got Hammered (Then I Got Nailed).” Haggerty’s walking bass line mimics the pounding that comes from a bad hangover as Sludge laments, “spent the next five days in jail, but the rest I can’t recall ‘cause of too much alcohol.”

I’m sure that there are two sides to every story, and “Hell Hath No Fury” provides Sludge’s perspective on a love gone wrong. “She lives to hurt me, she lives to make me mad,” he sings, “she loves to burn me, when I’m sad it makes her glad.” Ouch.

Sludge and crew bring out the country shuffle as on the swinging “Eight Would Be Great.” A few tracks later, the band cranks it up in fine Sun Records fashion on “If You Can’t Rock Me.” Levine, in particular, lets it fly with some magnificent guitar licks and solos.

The record closes with a mighty fine cover of Johnny Cash’s “Drive.” It is the perfect capstone to a release that showcases a classic sound with skill and flair. But don’t take my word for it. Bruce Springsteen recently stopped by to check out Sludge during a recent run of residency shows.

Audio Download: Roy Sludge, “If You Can’t Rock Me”

This Round Is On Me, by Maxim Ludwig and the Santa Fe Seven
My favorite musical discovery this year was LA-based Maxim Ludwig and the Santa Fe Seven. The band has the perfect combination of great songwriting and playing that is playful and loose. As we move towards the close of the year, Maxim and the Seven have just released a new ep that features his strongest songs yet.

“Stacy C’Mon,” the opening track is one that should be familiar to Twangville readers. Maxim was kind enough to share it with us earlier this year. I, for one, can’t get enough of it – from the catchy riff to the sing-along chorus, it has simply lodged itself in my head.

“Nothing At All” adds a bit of R&B shuffle to the mix, in large part courtesy of a soulful sax that joins the fray. Maracas give the song an extra flair, complimenting the wailing slide guitar. Ludwig leaves no doubt where he stands on the future of a relationship: “Between you and nothing, I choose nothing at all.”

The opening of “On Bunker Hill” teases with a mournful woman’s voice set against a somber synthesizer. When a piano joins the mix, the song builds into a majestic rocker reminiscent of the Band. The maracas return on “Red Eyes,” which has a restrained boogie beat that hearkens back to Little Feat.

Take a shot, this round is on me,” Ludwig sings on the rousing closer “From the Alley View.” I’ll join in with a toast to this ep and more great music to come!

Audio Download: Maxim Ludwig and the Santa Fe Seven, “Nothing At All”

THE PLAYLIST
Mannequin Man, Kingsley Flood (from the self-released ep Colder Still)
I’d forgotten how potent the Kingsley Flood live show was until I saw them light up the Lizard Lounge in Cambridge this past weekend. Although acoustic guitar and fiddle are part of their instrumentation, they are way more than a roots band. They pack their songs with an aggressive yet infectious edge. I’m lovin’ this track that reminds me a bit of the Violent Femmes.

Audio Stream: Kingsley Flood, “Mannequin Man”

Parade, Oldjack (from the self-released Maxi-Single)
The headline on Oldjack’s web site says “Old Soul Rock and Roll” and damn if that ain’t what they deliver. This is classic rock – think Joe Cocker, Leon Russell, the Rolling Stones and maybe even some Lynyrd Skynyrd – played to perfection. Lead singer Dan Nicklin howls while a bevy of female singers wail. Throw in multiple guitars, an organ and a rock solid rhythm section and you’re primed for a rock and roll revival.

Audio Download: Oldjack, “Parade”

One Guitar, Willie Nile (from the River House Records release The Innocent Ones)
“I’m a soldier marching in an army, got no gun to shoot but what I’ve got is one guitar, I got this one guitar,” sings Nile on this stand-out track from his latest release. It is a fitting lyric for an artist whose songs are filled with an unbridled passion for rock and roll. Rock on, Willie, rock on!

Audio Download: Willie Nile, “One Guitar”

Turn It Up Or Turn It Off, Harrison Hudson (from the Favorite Gentlemen Recordings release American Thunder)
There is some music, loaded with hooks and overflowing with energy, that is just tailor-made to be the soundtrack of any party. Put this one down on that list. The songs on Harrison Hudson’s latest have the feel of classic 1960’s rock and roll while maintaining a modern-day sound. And did I mention the hooks?

Audio Download: Harrison Hudson, “Turn It Up Or Turn It Off”

Westside Street, The Deep Dark Woods (from the Sugar Hill Records release The Place I Left Behind)
This quintet from Saskatchewan, Canada was a pleasant surprise at the recent Americana Music Conference. Their songs are like aural pictures, soundscapes regal yet forlorn. In the Robbie Robertson tradition, these boys prove that some of the best Americana comes from North of the border.

Audio Download: The Deep Dark Woods, “Westside Street”

Bite Your Tongue, High on Stress (from the self-released Living Is a Dying Art)
Let it not be said that they don’t know how to rock in Minneapolis. And High on Stress will be happy to prove it to ‘ya. The band’s latest serves up a healthy dose of Midwestern rock and roll, the kind that sounds better the louder that you play it. And I mean that as a compliment.

Audio Download: High On Stress, “Bite Your Tongue”

Says Lately, Scotty Alan (from the Spinout Records release Wreck and the Mess)
The Michigan native went to Los Angeles to record his latest release. Arriving in LA, Alan gathered an impressive group of players, including long-time Jackson Browne and Ry Cooder collaborator David Lindley and legendary Ian McLagan among others. The results speak for themselves, songs vibrant and pulsing with energy.

Audio Download: Scotty Alan, “Says Lately”

Based in Austin, Nelson has put together a collection of elements in his sound that certainly reflect influences from the area, like the Tex-Mex horns of the hill country that comes through in Dreams In the Desert and the title track.  There are also ingredients from further east, like the Cajun fiddle in Anna Lee or the multiple lead guitar southern ballad of There’s Time.  The flexibility of the entire band shows up best, though, in Daydreamers with it’s reggae beat and Norteno trumpet part.

San Juan Street isn’t just about musicianship and instrumental prowess.  Nelson is honing his singer-songwriter lyric chops much like one of his inspirations, Robert Earl Keen.  The protagonist in many of the songs on this record is the familiar hapless guy who just reacts to his current predicament.  There’s the man who loses his wife to the flood in Anna Lee or the pollyanna who sees nothing but happiness ahead “there’s no end to me and you” in Daydreamers, but then realizes “that don’t bring back them damn old good old days” in the next song, the record’s title track.

San Juan Street has something that will appeal to just about any Twangville reader.  Even better, there are some surprises with the horns, the accordion arrangements, and some sweet guitar licks, that have the album really growing on you with subsequent listens.  Currently there’s a link on Nelson’s web site where you can buy the album for whatever you feel its worth.  How can you go wrong?

Listen to these tracks first: Nobody Got A Hold On Me, Dreams In the Desert, Anna Lee, Daydreamers

The set was loose and fun, with 14 musicians crowding the stage. The fact that many of the original players participated only added to the excitement for both musicians and audience alike. In fact, at times it seemed as if the musicians were having the most fun.

And the performances? Some were a bit rough around the edges but all were spectacular. Among the artists who rose to fame in Muscle Shoals were Dan Penn, performing his composition “I’m Your Puppet,” and Candi Staton, who sang her 1971 hit, “He Called Me Baby.”

Contemporary performers who jumped at the chance to sing with the Muscle Shoals band included Lake Street Dive’s Rachael Price, who captivated with her take on the classic “I Never Loved a Man the Way I Love You,” and Gary Nichols of the SteelDrivers covering Wilson Pickett covering the Beatles’ “Hey Jude.”

Soulful singer Mike Farris stole the show with a stunning take on Etta James, “I’d Rather Go Blind.” Wet Willie’s Jimmy Hall, the poor soul who had to follow Farris, summed it up best, “I don’t know why I have to sing after Mike Farris. He put a hurt on me.” Amen, Brother Jimmy, amen.

Alas, there is no video of Farris, but here is Gary Nichols take on “Hey Jude.”

He joked that with the limited time he needed to get right to the hits. But the comment isn’t as funny as it seems when you consider the depth of his catalog. And McMurtry was in fine form as he mined it for some gems. “You Can’t Make It Here” and “Levelland” were stand-outs among many.

And his between-song quips are hysterical, but more on that later this week.

WILL KIMBROUGH
I’ve long been a fan of Will Kimbrough, both for his exceptional Americana pop songs as for his outstanding musicianship. He’s even made it up to the Northeast, where I live, a few times as a solo performer.

Seeing him with a band, however, and on his home turf, no less, was a special treat. And the Mighty Kimbrough didn’t disappoint. He sampled songs from throughout his career all the while proving why he is the go-to guitarist for artists from Rodney Crowell to Jimmy Buffett to Emmylou Harris. He has a great sense of melody that permeates both his songs and his solos.

BUDDY MILLER & JIM LAUDERDALE
Miller and Lauderdale took advantage of the Americana Conference to do something that they had never done before – co-headline a gig together. While feigning a lack of rehearsal time, the duo led their talented crew through an enticing set that leaned heavily on classic country covers. “If you don’t believe me, then listen and you’ll believe me,” laughed Lauderdale on their limited preparation. To celebrate George Jones’ 80th birthday, the boys pulled a few gems from the Jones songbook.

The set ended with the two promising to work together on a proper release. Judging from how well they sounded together and the ease at which they performed, it will undoubtedly be a release to savor.

THE DEEP DARK WOODS
One of my pleasant surprises for the week was Saskatoon, Canada’s The Deep Dark Woods. They are one of those bands whose music has a distinctive feel to it, strong songs that create their own ambiance. Their live show brings these songs to life with extended solos from the band’s two guitars and keyboard player. The show took place in the aptly named venue The Basement, a room that added an additional dark feel to the music.

And standing next to me were Buddy Miller, Gurf Morlix and Greg Liesz. If that isn’t a testament to the quality of the music, I don’t know what is.

THE BOTTLE ROCKETS
The Bottle Rockets were the only band whom I sought out twice during the Conference, first at the Mojo Nixon Radio Performance and then for their own official showcase. It was a testament to how much I enjoy their music and that they rarely make it to the Northeast when touring (hint, hint gentlemen).

The band performed as a predominantly acoustic trio, recreating the sound of their recently released live acoustic album. Perhaps because of the acoustic feel or maybe because they were performing before a rapt audience of fans and fellow musicians, the set had a warm, laid-back feel to it. They mixed it up between their prepared set list and some choice audience requests.

HAYES CARLL
There are artists that are musicians and there are artists that are entertainers. Hayes Carll straddles the line with skill and grace. His songs blend intelligence and humor while his live show fills the time between songs with uproarious banter.

Carll’s mid-set performance by his “other” band the Ego Brothers was a great example. “For the longest time, I was labeled as Americana because I wrote all these depressing songs,” he explained, “I was always jealous of those rapper who wrote all those happy songs.” With that background, Carll and co-conspirator John Evans introduced the comically narcissistic “There Ain’t Enough of Me to Go Around.”

The rest of the set was loaded with more entertaining moments. In the absence of duet partner Cary Ann Hearst (of Shovels + Rope), Carll sang both parts of “Another Like You,” turning his head left or right depending on which role he was playing.

A cover of Tom Waits’ “I Don’t Wanna Grow Up” was just icing on the cake.

Here’s a previously recorded performance by the Ego Brothers.

And because their set was so darn good, here’s a bonus video from Buddy Miller and Jim Lauderdale.

Bromberg’s career has been the oddest, with long periods of withdrawal from public performance to pursue his passion as a violin-maker. Between 1971 and 1980 he released no fewer than ten albums (check out Demon in Disguise and Wanted Dead or Alive for some of his best), but since 1980, he has entered a recording studio only a handful of times. Between 1990 and 2007 he released no records (although his old record company rereleased most of his back catalog and produced a retrospective in 1998). In 2007, he released his ‘comeback’ album, the all-acoustic Try Me One More Time, which featured a bit more slide guitar playing than his 1970s efforts but otherwise was totally in character. With his newest release, Use Me, Bromberg has upped the ante, this time calling on longtime associates Levon Helm, John Hiatt, Keb’ Mo’, Dr. John, Tim O’Brien, Vince Gill, Los Lobos, Linda Ronstadt and Widespread Panic to collaborate. For those who are songwriters, he asked them to write him a song to play on the album. The album includes songs by Bromberg, Hiatt, O’Brien, David Hidalgo (of Los Lobos) and Dr. John. Then he performed each number with its songwriter, and collaborated with the non-songwriters. And Use Me was no acoustic effort. The cover photo of Bromberg clutching a Telecaster was the first indication this album would be different than the last. Its up-tempo tone makes puts it among the most listenable Bromberg albums ever – equal to his radically eclectic early work (R&B and bluegrass on the same disc!). Bromberg’s singing style makes his him an acquired taste, but to the initiated that doesn’t matter. Among the album highlights are “Blue is Fallin’” (with O’Brien), “Diggin’ in the Deep Blue Sea” (with Keb’ Mo’), “The Long Goodbye” (with Los Lobos) and “Lookout Mountain Girl” (with Vince Gill).

Ry Cooder has mined many of the same veins of roots music but has gained more notoriety with the wine and brie set with his forays into movies and world music (most of which, don’t get me wrong, are excellent). But Cooder’s own work is more down home, and his guitar playing distinct (check out Into the Purple Valley or Paradise and Lunch among his 1970s work). In recent years, he has been focusing on concept albums that spotlight Cooder’s populist political bent. Although Pull Up Some Dust and Sit Down is not a concept album, it does feature some of the populist themes of those recent effort and takes a tone somewhat similar to 2007′s My Name is Buddy. Featuring all original songs, it opens with Cooder’s musical diatribe about the financial crisis – “No Banker Left Behind.” The album runs from the gamut from folk to Spanish-tinged ballad to rock to blues. As always, the playing is excellent. Check out “John Lee Hooker for President” for an uncanny homage to both the singing and guitar playing style of Hooker.

I’ve also included a bonus clip from Twangville faves Shovels & Rope. The South Carolina duo opened for Walker and invited him to join them for this rave-up.