Various Artists – American Songbook
Having previously anthologized genres such as alternative (via the Volume series), techno (Wasted) and metal (Metallurgy), the folks at UK-based Volume have now turned their attention to the burgeoning dustbowl of alternative country (whatever that is). The concept is this: Define the genre in question by compiling (mostly) hard-to-find or previously unavailable tracks from a solid cross-section of representative artists. Then package the resulting disc with a comprehensive 120-page book that features profiles, interviews, discographies and Top 10 lists of the highlighted artists and labels. Cool.
As you can probably imagine with such an undertaking, the musical results are somewhat mixed. For my money, it’s the women who stand out on this initial collection. Kim Richey’s new studio contribution, the emotionally crushing “Don’t Let Me Down Easy”, should leave folks longing for her new set due in early ’97; Kathy Mattea turns in a truly pretty cover of Dougie MacLean’s “This Love Will Carry Me”; and Freakwater’s Catherine Irwin and Janet Bean flat-out kill with the sumptuous “Lonesome Sound”, one of the few real country moments to be found here.
Other material most worthy of attention includes the world debut of Hello Strangers (fronted by ex-Blake Babies/Antenna guitarist John Strohm) with the Satellites-ish rave-up of Michael Martin Murphey’s “Geronimo’s Cadillac”, and a trio of tracks offered up by the omnipresent Dead Reckoning collective. Kevin Welch delivers an impassioned reading of “One Way Rider” recorded live at Nashville’s tiny Bluebird Cafe; Kieran Kane donates a new studio recording in the shuffling “I Cannot Give My Heart To You”; and Mike Henderson tears it up with recent live staple “Pay Bo Diddley” (also found on his new recording with the Bluebloods).
Less worthwhile are the plodding and dissonant alternate version of Joe Henry’s “Parade”, Golden Smog’s bootleg-quality version of “Glad & Sorry” recorded at this year’s South By Southwest festival, and Pam Tillis’ horrendous dance mix of “Cleopatra, Queen Of Denial”. You also might want to stop the disc before you happen upon the Dar Williams track that closes the disc, unless you’re predisposed to diggin’ her. (I’m not.)
The disc-sized companion book is chock-full of both interesting insights and inanities. Boo Hewerdine humorously reflects on his initial intimidation of Steve Earle as Earle showed up to produce the first Bible record, while Dan Murphy and Joe Henry both mention being big fans of Sly & the Family Stone’s “There’s A Riot Goin’ On”. I don’t rightly know what’s up with the CMT (Country Music Television) logos all over the place, though. Maybe they helped fund this worthy cause. If so, hopefully they’ll help fund more.