This isn’t great, but solid fun, and gets better as it goes along (they credit New Lost City Ramblers for inspirational template, and the folk NLCR deftly lifted it from as well)(spoken stuff is is speedy, brief, and all at the […]
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Dolly Parton, Emmylou Harris, Linda Ronstadt—The Complete Trio Collection: the title isn’t quite accurate, as the Wikipedia article on this round-up points out: several more tracks from the original Trio and Trio II’s respective 80s and 90s sessions turned up […]
Merle Haggard’s Live In San Francisco 1965 opens with a series of endings, which work pretty well: the last 48 seconds of “Devil Woman” is about all I can take, especially since he clones the hair-oil sanctimony of Marty Robbins’ […]
Buck Owens’ The Complete Capitol Singles 1967-1966 starts with so-what songs and subdued settings, but his voice is already flexible and on point, mining each note and syllable just enough to check for whatever might be worth extracting–carefully but quickly […]
(more from Nashville Scene ballot comments re 2016) Chely Wright—-I Am The Rain: the title doesn’t mean she cries all the time; it’s a line from “You Are The River”, which, in a classic country way, develops logically and poignantly […]
(more from my Nashville Scene ballot comments) Elizabeth Cook: Exodus of Venus: If she has indeed experienced triumph over tragedy, as some some reviewers suggest or announce, that’s great, but part of the artistic triumph or effect of the album […]
(re Nashville Scene ballot, Top Ten Albums) Maren Morris, Hero: First heard as a single, out of the album’s context (unbidden, uncomfortable insights, updates, reminders: notes to self & others), radio bait “My Church” seems like it’s county in […]
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