Twangville

A music blog featuring Alt-Country, Americana, Indie, Rock, Folk & Blues. Est. 2005.

Now & Then: The Red Clay Strays’ Grateful and the reach of The Del Fuegos’ Boston, Mass.

By

The Red Clay Strays’ Grateful and The Del Fuegos’ Boston, Mass. are both band records in the practical sense. The appeal starts with a singer, but it depends on the group around him: guitars that answer instead of crowd, rhythm sections that keep the songs moving, and arrangements that sound built from stage time. Grateful was released in 2026 and produced by Dave Cobb, while Boston, Mass. was The Del Fuegos’ second album, released in 1985 on Slash Records. 

Now & Then: Joshua Ray Walker’s Ain’t Dead Yet and the reach of Guitar Town

By

Joshua Ray Walker’s Ain’t Dead Yet and Steve Earle’s Guitar Town are separated by four decades, but they share a clear country music lineage. Both albums come from writers who use traditional country materials without treating them as fixed rules. Earle’s 1986 debut helped open space for country records with tougher guitars, direct storytelling, and singer-songwriter focus. Walker’s new album works in that same lane, with a more personal and present-tense sense of survival.

Now & Then: The Deslondes’ Don’t Let It Die: Vol. 1 and the reach of The Blasters’ American Music

By

The Deslondes’ Don’t Let It Die: Vol. 1 is a covers album with a clear purpose: to show where the band comes from and who they listen to. The record draws from country, soul, R&B, swamp pop, and roots music, with songs associated with artists including Swamp Dogg, Johnny Cash, Clifton Chenier, Shelby Lynne, Pat Reedy, and The Kernal. For a “Then” comparison, The Blasters’ 1980 debut American Music is a strong match. It is also a roots-minded record built from older American styles, balancing original songs with covers that show the band’s musical foundation.

Now & Then: Ryan Bingham & The Texas Gentlemen’s They Call Us The Lucky Ones and the reach of Doug Sahm and Band

By

Texas music has always had a loose gate policy. Country can walk in with muddy boots, blues can grab the good chair, and somebody will eventually find an accordion. Ryan Bingham & The Texas Gentlemen’s They Call Us The Lucky Onesfits the house-party tradition: a road-worn singer stepping into a band that knows when to lean hard and when to let the dust hang in the air. Its clearest ancestor is Doug Sahm’s 1973 solo debut Doug Sahm and Band, the big-hearted Atlantic Records record that treated Texas roots music like a borderless language. 

Now & Then: Whitehorse’s All I Want Is All of It and the reach of Barton Hollow

By

Whitehorse have always made tension sound like a room two people refuse to leave. On All I Want Is All of It, Luke Doucet and Melissa McClelland return to early folk-rock romanticism with the mileage of a long musical and marital partnership, recorded with a ragged, farmhouse-studio looseness that lets the floorboards speak up too. The “Then” that helps frame it is The Civil Wars’ Barton Hollow, a 2011 touchstone for modern male-female roots duos built on intimacy, friction, and the dangerous sport of singing very close together.