adam ezra on the extended play sessionsThe connection between Adam Ezra, his band and whatever audience he happens to be entertaining is matched by few performers on today's music scene. The consummate entertainer, songwriter and band leader has been at the top of the Boston music scene for over a decade and has steadily built a national following through a relentless touring schedule. His sidekick and percussionist, Turtle, has been with him since Adam Ezra first started  with keyboardist Josh Gold joining soon after. A series of successful, critically acclaimed albums under their belt the band continues to electrify their fans with each live performance. Recent additions, Corina Smith on fiddle and Francis Hickey on bass along with stalwart drummer Alex Martin round out the sextet. This is one of the most memorable performances for The Extended Play Sessions and one we're grateful to have had the opportunity to experience.


girls guns and glory on alternate root tvThis week's show features Boston alt-country rockers Girls Guns and Glory. The Alternate Root ranked Girls Guns and Glory as one of the Top 5 Bands in Boston and one of the Top 35 Bands in the U.S. Their rise has been meteoric since the arrival of guitar ace Chris Hersch to compliment the unmistakable voice of front man Ward Hayden. Girls Guns and Glory have been significant all along but the tandem of Hayden and Hersch along with the powerhouse rhythm section of Paul Dilley and Josh Kiggens have brought the band to a new level. Their latest album, 'Sweet Nothings' was one of the Top Albums of 2012 receiving a ton of critical acclaim. The band came into Alternate Root TV Studios to open for the Del-Lords.


the band of heathens on alternate root tvA lot has gone on in the lives of Ed Jurdi and Gordy Quist over the past year. The co-founders of the Band of Heathens went through a near complete line-up change, fatherhood, moving from Austin and a host of other life shifting changes. During that span they wrote the most compelling and musically poignant album in the band's history, Sunday Morning Record. Touring with a new band and a brilliant new record has placed them right back at the top of the most important bands to carry the roots/Americana torch. Taking one of the best and most dynamic live shows and stripping it down to accommodate the small Alternate Root TV Studios was something the band, the audience and we, at Alternate Root TV, thoroughly enjoyed. "It's a great thing you have going on here," Gordy Quist mentioned, "taking this industrial space and turning it into a cool jazz club and inviting us in to play is pretty cool." We agree. The Band of Heathens performed the first side of the new album Sunday Morning Record for a small audience of fans and Alternate Root TV viewers in the very intimate setting of our Boston studio. "This was as close to a musical "religious" experience as I've had in some time." Bill Hurley, Producer, Alternate Root TV.


leftover salmon the extended play sessionsFor nearly three decades Leftover Salmon has been creating their own brand of music combining bluegrass, Cajun, country rock, blues and Rocky Mountain soul. There have been many changes in personnel along the way but the core of Vince Herman on guitar and Drew Emmitt on mandolin has remained solid and the addition of Andy Thorn on banjo has brought the Leftover Salmon sound to a new pinnacle. Back on the road after a host of successful side projects, Leftover Salmon has returned with a new-found vengeance and have reclaimed their spot at the top of the jam band circuit. The stopped into Alternate Root TV Studios on September 14 to tape the 'EP' Extended Play Sessions that will air on Monday September 23rd.


royal southern brotherhood on alternate root tvRoots, soul supergroup Royal Southern Brotherhood graced the stage at the Alternate Root TV studio in Boston to film this week's edition of 'EP' The Extended Play Sessions in front of a packed room of fans on August 26, 2013. Devon Allman (guitar), Mike Zito (guitar), Cyril Neville (percussion), Charlie Wooton (bass) and Yonrico Scott (drums) are all musicians of distinguished pedigree that bring together elements of blues, jazz, funk, soul and Gulf Coast rhythms to create some of the most sophisticated and complex music on the roots / Americana circuit. This set was one of the best we've ever had the pleasure of filming. This rich, soul and funk infused collection of songs appear on the debut album Royal Southern Brotherhood and the band performed a stripped down, intimate version for Alternate Root TV with some great commentary about music today, songwriting and being in one of the best bands in the world today.


peter mulvey on alternate root tvFor over two decades Peter Mulvey has been creating and perfecting a progressive blend of folk and indie rock music. He combines elements of rock, jazz and intelligent pop melodies with profound stories that penetrate the depths of the human condition. His music transcends the "folk" tag assigned as part of the Boston folk revival of the 1990's, foregoing traditions in favor of a more incendiary, percussive style of guitar playing and ethereal song crafting. Peter Mulvey is a master songwriter and musician and a consummate professional. He stopped by Alternate Root TV studios to film this week's edition of 'EP'-The Extended Play Sessions and it's one of the best shows of the year so far.


marcia ball extended playFor four decades the Queen of the boogie-woogie piano, Marcia Ball, has been gracing the stage worldwide. She's one the top female blues performers in the world, bringing the New Orleans/Mississippi Delta style to her unique brand of music. "It's what I know," she says, "I've been playing most of my life and I've been very fortunate." Marcia is also an activist, advocating for health care for musicians through the New Orleans Musicians Clinic and a similar program in her adopted hometown of Austin, TX. She also lends her voice to projects to reclaim the Louisiana wetlands and restoring New Orleans. In this week's edition of Extended Play she talks about her music, Irma Thomas, the plight of the wetlands and gives us a fabulous set of New Orleans style blues.


shannon mcnally on alternate root tvShannon McNally and her band Hot Sauce stopped by the Alternate Root TV studio in Norwood, MA to perform a set from the recently released album "Small Town Talk" A Tribute to the Music of Bobby Charles. Charles was one of the most prolific purveyors of the New Orleans sound from the 1950's through the last decade and the album, produced by Dr. John and Shannon McNally, is a brilliant tribute to one of the great songwriters of our time. Shannon McNally is one of the top female vocalists on the Americana/Roots music landscape, a great writer and immensely talented performer with an equally powerful backing combo featuring Will Sexton (guitar), Matt Hubbard (keyboards, trombone), Jake Fussell (bass) and Wallace Lester (drums). This four song set and words from Shannon is some of the hottest music we've had on Alternate Root TV this year!


gracie curran and the high falutin' bandGracie Curran has been featured on the Alternate Root lists for Top Female American Roots Vocalist, Top Roots Soul Acts and Top Bands in Boston and for good reason...she's a dynamic singer with a powerhouse voice. A blend of soul, blues, gospel and rock, she and her band mates, the High Falutin' Band defy description except for being a band to watch in the future. The sound revolves around Gracie's soulful voice and the solid guitar chops of Tommy Carroll with the strong rhythm section of Geoff Murfitt ion bass and Derek Bergman on drums, round out the quartet. The band ripped through a set of music from their debut album "Proof of Love" for this week's edition of "EP" - Extended Play on Alternate Root TV.


luke winslow-king on alternate root tv Call it a New Orleans gumbo of delta blues, traditional jazz, gospel and soul if you need a definition. New Orleans based Luke Winslow-King is a traditionalist that finds his musical soul melding musical styles nearly a century old with a contemporary improvisational approach. A master bottleneck slide guitarist with a vintage voice, his music is fresh, fun and infectious. He's joined on Extended Play by Esther Rose on washboard and harmony vocals and Cassidy Holden on the upright bass. Esther Rose's voice is the perfect compliment to Luke Winslow-King's music with a tone reminiscent of Eilen Jewell. This is a fantastic show with great music and thoughts from Luke Winslow-King.

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There are days that seem to go out of control just by opening your eyes in the morning. That is exactly what happened to Jenni Dale Lord. She tells the tale to kick off Never Let Go, the most recent release from the Jenni Dale Lord Band. As a raggedy guitar riff rages on, Jenni Dale spies, with her good eye, the empty bottle on the floorboard and a mailbox cuddled up against the car door. Imagine the worst and that is what she is facing as a new day greets her on “Crazy”. Never Let Go slows the dance floor on classic country rock’n’roll with “The Other Side” and buries the needle in the red as JDL Band pounds out a beat while Jenni Dale Lord speaks of late nights, smokey bars and heartbreaking times in “The Music Man”.

Jenni Dale Lord changed her mailing address and influence for Never Let Go, moving back to her Lubbock home from Austin, and digging into the West Texas music scene. She backs her songs with a full group of musicians that give her characters a high stepping beat for some hometown love “In This Town”, smooth the seasonal and relationship changes in “September”, seasons a forced writers block with Latin guitar riffs in “True Love”, and puts a backbeat behind the fear rising up in “Brick”. Jenni Dale Lord Band raise a honky tonk ruckus when Kent Mings steps in to share vocals on “There We Were” and closes Never Let Go on a piano and voice duet that exits on a whisper.

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Kelley McRae and Matt Castelein are traveling troubadours. They traded in an NYC apartment for a VW camper and became road musicians. Kelley was a Mississippi native, meeting Matt when she moved to Brooklyn. If spending hours together riding asphalt is as comfortable as the sound of Easy on My Mind, the latest release from Kelley McRae, then hitch a ride in the backseat….the trip will be a good one. The pair swing and sway to the country, rock’n’roll and mountain music that gathers in their songs.

Easy on My Mind is equally easy on the mind and ears. The music does not challenge, yet it does entice by its simplicity. “So Fine” celebrates a milestone anniversary that comes and goes without a blip on the radar yet there is little that could mean more to the two that are sharing the moment. Kelley McRae’s vocals match the lazy rhythm that grounds the title track. Sometimes there is more to see in answers than questions and “Fair Weather” looks out to sea watching for individuals seeking their own path rather than following the person in front of you. Kelley McRae shuffles a raw Roots rhythm in “Stay Close to Me”, pays tribute “At the Feet of Love” and admits that ‘she is not as much of a fool’ to miss a “Full Cup”.

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Worthy chooses its songs and walks around the original, allowing the partnering of Joe Henry and Ms. L to file the songs of Bob Dylan (“Unbelievable”) and Mickey Newbury (“Bless Us All”) under Bettye Lavette. The bluesier side of British Rock gets a nod as Bettye Lavtte takes hold of the Savoy Brown track “When I Was a Young Girl” and puts a Soul bump into The Rolling Stones’ “Complicated”. As Bettye makes her way through “Undamned” she sheds trouble with each note…there is a goal and as she sings ‘don’t count me out just yet” , letting you know that the ‘arms that love me’ are within reach, making the album more personal when a dead sister is the one that Bettye is talking to from behind the stories microphone.

Bettye Lavette reunites with producer Joe Henry after his work on her 20004 album release, I’ve Got My Own Hell to Raise. Bettye Lavette completely immerses herself into the Blues waters of “Just Between You and Me and the Wall, You're a Fool”, shuffles Soul into jazz on Joe Henry’s “Stop” and tames time to completely still as she renders a version of The Beatles’ “Wait”. The title track on Worthy re-visits a tune from Mary Gauthier and Beth Neilsen-Chapman, spreading Soul out on the track over echoed piano chords, finely tuned guitar chops and heartbeat pound of drums that make sure the song, and the message, make the light of one more day.

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It was an album three years in the making that was recorded over a period of twelve days. Nashville music men Craig Market and Thomm Jutz are both busy guys, as songwriter (Market) and producer (Jutz).  Nowhere to Hide is the result of the one-song-a-day recording captured in a log cabin and featuring the two men on the cover, their voices and two guitars (1937 Martin D18 played by Craig Market and a 1948 Martin D18 played by Thomm Jutz). The songs on Nowhere to Hide seem fragile with the intimacy created by acoustic playing and soft voices yet Craig and Thomm never let the softer tone overtake the upbeat mood in the sound.

The album title points to the fact that there is simply Nowhere to Hide for Craig Market and Thomm Jutz. It is two men playing and singing, and the make-up of the sound leaves no shadows or corners. A heightened pace of acoustic strums pushes “Midnight 402” as it ‘pulls out at 6AM’ and sails on a sea of iron from coast to coast. Guitar notes and voices play tag across the sad story in “WV Miner”, layer somber notes to sound “Thunder”, gently render soft textures to underscore the broken promises in “It Ain’t Over ‘Til Its Over” and use “Indigo Blue” to color a South Carolina past. Craig Market and Thomm Jutz immediately rev up Nowhere to Hide by driving “Every Pilgrim Needs a Highway” into the opening slot on the album.

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The foolishness comes to the fore right from the first cut, “Smack Dab In A Big Tornado,” as the band tells the unlikely story of a man who “lost his job after 18 years/When a big tornado carried him away.” On the jackrabbit two-step “Corn Pone Refugee,” the band calls for some of that “high-living” and “jubilee,” as they “tug until the need to tug falls away.” It’s a double entendre, of course, but as far as we can tell it’s the single string of a gut-bucket bass they’re talking about.

“This is not a song, this is a cry for help,” they sing on “Not A Song,” one of two or three genuinely inventive tunes that blends White’s cock-eyed poetry with the Packway’s flourishing harmonies. “Jim 3:16,” with its notion that “a bar is just a church (that) serves beer,” adroitly mixes the gentle singalong of New Riders Of The Purple Sage with the strange cowboy poetry of, well, New Riders of the Purple Sage. “Paranormal Girlfriend” is another standout, a story of distant preternatural connections that occur as roofs are caving in and boats are capsizing. (Yeah, you really have to hear that one to understand.)

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Not to say that The Mulligan Brothers are the teacher’s pets BUT their second album outing, Via Portland, has no traces of a sophomore slump. Via Portland takes lessons from The Mulligan Brothers self-titled debut and continues to blend imagery in their stories as easily as they offer sound as one fluid motion. Ross Newell curls his voice around the words that build his tales, as he gently lets go (“Run on Ahead”), basks in the glow of an evening sky as the Christmas lights sparkle at journeys end (“Road That Leads Me Home”) and sharpens his pen when talking about how the same blood can take different paths (“Not Always What It Seems”).

Via Portland came about on the road, as the band toured in support of their debut, its songs growing up in front of audiences. The acoustics of The Mulligan Brothers share emotion though never bow to one style. The four-piece adds fiddle, mandolin, viola, harmonica (Gram Rea), bass (Ben Leininger) and drums (Greg DeLuca) to Ross Newell’s guitar, with the entire band sharing harmony vocal credits. The Mulligan Brothers take a swing with an amped up beat on “I Don’t Want to Know”, hush to a whisper in the murderous tale of “Calamine” and roll the rhythms around amid the jangle of “Let Them Ring” on Via Portland.

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Like a siren call, Caitlin Canty seduces a note to draw you into Reckless Skyline, her most recent release. It is a second album for Caitlin, yet recording process was a little different to put together. She remembers that ‘It was a thrill to spend those long days in the studio with this team and hear the fire they brought to my songs,” says Canty. “Such generous, soulful players; there’s nothing like a top-notch band coming together to work and play, having a blast, and searing that energy into a record’. The players included Jeffrey Foucault as producer and player, and bringing in studio musicians like the mighty Billy Conway on drums, Rusty Belle siblings, Kate and Matt Lorenz among a sterling cast of Northampton, MA players. The instrumentation drifts to the edge of Roots, seeking the airy spaces of Americana and a rootsy palette of rhythm and stories.

The groove that underscores Caitlin Canty as she swears “My Love for You Will Not Fade” speaks of a threat rather than a promise. Producer Jeffrey Foucault buries the dial on edgy emotion so that many of the songs on Reckless Skyline see red. Over a mild heart beat, Caitlin Canty spins on the sway of love with “Southern Man”, raises her voice above the urban cacophony of machine grooves in “One Man”, whispers a tale of life slowly disappearing in “Wore Your Ring” and puts a quarter in the jukebox for one more late night, closing time slow dance to warm “Cold Habit”. Reckless Skyline softens to show a desert sky surrounding her version of Neil Young’s “Unknown Legend” as an endless rolling thunder echoes above a still landscape.

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In fairness to The Inebriations, we should point out that no bottles of alcohol were harmed in the making of Whiskey Wanderlust, their most recent E.P. release…those bottles were loved and cared for until the day they died. The Inebriations turn the calendar to “1955” on a rambling tune that heads back to the ‘right place, right time” as country jangle meets a guitar lead on a mission. That is right where Whiskey Wanderlust exists, to the spot where clean country guitar leads hang out with their slightly more loose and dirty rock’n’roll riffs friends.

Whiskey Wanderlust shakes off the dust of album opener “Flood Gate Drop” as the band head into “Loozianna” on a swamp crawl rumble of bass, scratchy guitar chords and non-stop drum beats. The Inebriations carve a Roots groove into Whiskey Wanderlust that shows its soft side, admitting that in love the guys ain’t nothing but a “Fool” and closing out the E.P with the title track as “Whiskey Wanderlust” heads into a dream sparkled with acoustic guitar notes.

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It is album number two for Austin, Texas folk duo, Judy Painter and Rose Kimball. The audio on, Goodnight Moon, clearly captures the pride that Rose and Judy take in the recording as well as loving way they tenderly cradle their songs. The title track leads the way into the album with bright notes and clear voices…. the heart and minds of Folk Music. Judy Painter and Rose Kimball use the tradition of Folk to deliver advice (“Life Has a Way”), options (“Call It Lightning”), finding your voice (“The Conversation”), and finding your heart (“That’s Love”). Rose Kimball and Judy Painter present a bigger picture than simply two women and instruments on Goodnight Moon.

Judy Painter had played open mics in Chicago before relocating to Texas in the 1980’s and continued to play out in Austin. She teamed up with native Texan Rose Kimball and the pair have been playing as a duo since 1990. Both women play guitar with Rose adding bass and Judy mandolin to the tracks that all find a center point in locking harmonies. They put touches of bluegrass and old time music into their songs. Goodnight Moon matches Folk with front porch Blues in “Blues in the Bottle”, troubadour tales in “Rattlesnake” and lays back to watch the show as “Stars Collide”.

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Swamp Dogg calls out ‘hit me Shorty’ to rev the motor for a funky ride through his more-than-imaginative mind on White Man Made Me Do It. He declares, defines and defers decision on the opening/title track. Swamp Dogg is no stranger to causing a mighty ruckus and roar with his words, and he will not disappoint either side of the lovers/haters in line for his new release. Swamp Dogg is many things to many people and the words that say it best are spoken by the man himself on himself…”"If your dog sleeps on the sofa, shits on the rug, pisses on the drapes, chews up your slippers, humps your mother-in-law's leg, jumps on your new clothes, and licks your face, he's never gotten out of character. You understand what he did, you curse while making allowances for him, but your love for him never diminishes. Commencing in 1970, I sung about sex, love, war, peace, dead flies, home wreckers, Sly Stone, my daughters, politics, revolution, and blood transfusions (just to name a few), and never got out of character".

Alive Naturalsound is releasing the first studio release since 1970 for Swamp Dogg….and the man’s grooves are still as sharp as is his wit. Swamp Dogg has so many challenges laid down in his songs that albums could easily have their own Game Show network program. “Hey Renae” wiggles and swivels on a reggae-funked up beat, “Let Me Be Wrong” crawls on a Blues plea for being wrong rather than wronged and “Yeah, Yeah, Yeah, Yeah” bumps and grinds a love song for the lecherous. Swamp Dogg sings soul into Steve Miller’s big blues band tune “Your Cash Ain’t Nothin’ But Trash” and shows he can be sweet in his version of Sam Cooke’s “You Send Me”. The White Man Made Me Do It finger points and scratches its chin with accusations in “Prejudice Is Alive And Well” and gives a special place to the man who created the funk that gave birth to Swamp Dogg as he asks “Where is Sly?”.

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Folk is where the songs of Echo Sparks are born though like much of life in 2015, once you are born you are anybody’s game. There is a sprawling Indie film story line to the songs on Ghost Town Girl, the group’s most recent release. What separates the songs, and the music, of Echo Sparks from its perpetual Indie screen peers, and the Folk or die legions that cradle fragile stories, is the way the band deliver the tracks on Ghost Town Girl. “End of the Line” is a murder ballad born in the best Mountain Music traditions. Echo Sparks have the unique ability to blend voices in a way that the bad news is delivered with a spoonful of sugar, or some sort of more contemporary mood adjuster. The tune sound tracks a Glenn Close cuddly attachment to a Michael Douglas-style Fatal Attraction. There is an animal-rights friendly ending where no hot water is on rabbits, just a perfectly acceptable bullets on humans.

Echo Sparks are a SoCal band that takes pride in heritage from the days of wash tub bass, coyote harmonies, cigar-box guitar, revolutions, Dust Bowl refugees and San Joaquin Valley rail riders. The songs of Ghost Town Girl haunt the street corners and coffee shops that make the world safer for intelligent and irreverence to lay down to make Hey! The bright light from a late-night Mexicali rhythm vies for attention with the equally glowing “Mexican Moon” while the black and white noir texture of “Torch Song” promises to ‘burn your ass down if that woman’s in sight’.  Echo Sparks put a turtle-neck sweater and a virgin smile on songs of revenge (“Broken Arrow”), booty call bravado (“Princess of Fresno”) and ethereal harmonies that drift together like the foggy mist gathering on the title track.

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West Side Stories traces the distinct lines between two sets New Yorkers…the ones who spent their whole lives getting to NYC, and those who were born on the island of Manhattan and can’t wait to get out. Back streets and corner bars peopled with men and women whose goals travel beyond the grids of concrete that they grew up in and under… and still inhabit. The difference is that The Westies are not peering between rips in the curtains or falling through the cracks in the sidewalk. They are on the inside looking out, and looking around at where they are standing while trying to find an exit route. On the night that Michael McDermott and Heather Horton met, West Side Stories was set in motion.

Michael McDermott’s words never put flesh to bar flies or lovable losers. The male and female characters walking his stories see themselves as being clear on where they are going and about the places they have been. Present time fades as the past becomes their story for today, and the future holds their goals. The Westies swing open the door to “Bars” to show the life of a traveling troubadour who made the right decision, finding the light in the darkness. West Side Stories circles Roots music with a rock’n’roll band behind the wheel as they follow rhythms into swamp grooves haunted by misty fiddles (“Death”) and seek solid ground as two sexes look at options on the moving percussion and beats of “Fallen”. The Westies vocals are both male and female. The distinct voices share equally separate opinions and never perform as a duo or chime in for a duet. Lines are drawn and sides are taken. The album’s most tender love story comes when “Say It..” reaches the end of its journey, showing that the couple in the tale as just as surprised as the listener that things ended happily. A rushed chord strum hustles in “Trains” as its story materializes in whispered dreams and “Rosie” puts up a ring that acts as a wall for the guy that sees each sneer as a smile. “Hell’s Kitchen” opens West Side Stories on an New York City street. The characters have changed names and share dreams with the ghosts of past songs though they never manage to get beyond two answers to all their questions….’”Hell’s Kitchen” or heaven’s door’.   

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Jim Ed Brown is In Style Again….that is cause to celebrate. Jim Ed does not just deliver musical echoes that caught air on AM radio on his most recent Plowboy Records release, he shows a ‘style’ that has been missing from the genre. Jim Ed Brown puts the class in Classic Country with In Style Again. More Eddie Albert than Eddie Vedder, the vocals that grace each song are well-rounded, curved notes that fit perfectly in the brushed snare, bright guitar notes and hushed harmonies of “Laura (Do You Love Me)”, the sharp-angled electric guitar and twanged notes of “Lucky Enough” and in the lush strings and acoustic guitar picked-notes of the title track.

Jim Ed Brown uses the word ‘again’ in his album title, though he has consistently been releasing music over his fifty-plus year career, so this is not a return to anything but deserved glory. Born in Sparkman, Arkansas, Jim Ed Brown was born to a struggling lumberman dad, and a mom who raised five children. Family gatherings were sitting around the radio for the Grand Ole Opry on Saturday nights. He began performing with his older sister (Maxine), and the pair later joined with younger sister Bonnie as The Browns.  The group immediately took off with #1 hit records, and scored a million seller with “The Three Bells” in 1959; the tune making history as the first top Country hit that crossed over to Pop and R&B charts. Jim Ed Brown still cradles a song to exist in varied formats with equal appeal. Sunshine peaks from behind any cloud in your path as “Watching the World Walking By” strolls through, “It’s a Good Life” shines all the facets that come together to make gems of day to day living, wonders “Am I Still Country?” as a city-livin’, wine-lovin’ good ol’ boy while “Older Guy” lays a resume on the table that is hard to beat.

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The most surprising thing about the Erin Harpe and the Delta Swingers album is that it is a debut. Kudos to Erin and D’Swingers that they have so integrated the music community that a first album release seems like it would be ancient history. The debut is Love Whip Blues and it contains shimmies, curves, bends and breaks….all in the right places.  The title could touch on the band mantra of taking the big love they have for 1930’s Mississippi Delta Blues and whipping it together with a Blues grab bag of sound that includes Soul, Funk and Reggae.

Erin Harpe and the Delta Swingers head to their spiritual home base of the delta, though they center the hot spot a little further north as they slow-roll “Charles River Delta Blues” across Love Whip Blues. The band shakes and rattles into the album with “The Delta Swing”, traveling from their Boston base as they buzz Jamaica Plains and Cambridge before heading down the mighty Miss to Memphis. The Delta Swingers offer a jug band shuffle as Erin asks that you “Pick Poor Robin Clean”, put a little sway in their swing as Erin whispers “Good Luck Baby”, and pound a beat for the dance craze “Virtual Booty Blues”. Erin Harpe and the Delta Swingers make John Prine’s “Angel from Montgomery” more into a goal for Erin as she takes the past and makes it into an audio wish-list with attitude. Erin grew up in Washington DC and learned music from her bluesman father, Neil Harpe.  She has had two solo albums and toured non-stop with her band, The Delta Swingers.

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The DUBBER sneaks “Behind Enemy Lines” using clattery rapid-fire notes to hide his passage, stretches notes to ask ‘what the future holds’ in “South Cackalaki”, and opens Cleaning Up the Dirty South with jazz textures and acoustic rambling on “Porch Pickin'”. While songs are the traditional manner of delivering music to ears, The DUBBER changes that model up as much as he re-configures the way we hear acoustic music on Cleaning Up the Dirty South. Since 2005, The Washington, DC-Columbia, South Carolina based artist has taken his guitar, original sounds, beats and message of Oneness to cities across the United States. The attention on field Blues has shown how original acoustics helped create music as we know it in 2015. The DUBBER taps into the same intentions, modernizing field Blues for a digitized world. He carries a mighty message, filling out the sparseness  of a one-man band with unique sounds and ways of approaching a song.

Cleaning Up the Dirty South starts at home as The DUBBER talks to a son in “Ezekiel's Eyes”, goes back to 1861 to clean up the past in “Southern Comfort” and heads north to spread the word to “New York City” before the songs heads south for Mexico. Over a bass thump and jittery guitar chords and lonely tambourine rattle, The DUBBER introduces us to “Black Male Americana” on Cleaning Up the Dirty South.

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On his most recent release, If I Was A River, Willie Nile forgoes the ‘one-guitar’ battering ram that he uses to break open the doors of apathy and mediocrity that his songs and stories attack. Willie has become branded by the same rock’n’roll chords that he uses to set fires underneath the status quo in the dozen albums that he has released since 1980. He has been fiercely committed to chronicling life without ever straying too far from the three chords and the truth model that he has championed and grandfathered.   If I Was a River adds more colors to the work of Willie Nile. His songs still have bite, particularly when he trashes every genre of music while drawing a line in the sand to dare anyone to cross with a differing opinion on “Lullaby Loon”. The album does out Willie Nile though, showing the man behind the curtain has tenderness in his pen as he scribes ten tales of introspection and self-assessment.

Willie Nile had songs that needed a home and found that eighty-eight keys served the needs of the songs in a way that his guitar could not accommodate. Willie recalled that ‘I’ve wanted to do an album of piano songs for some time. I’ve got drawers full of songs of all kinds, but these piano songs are close to my heart, and it felt like it was the right time to let them out. I love the simplicity of just sitting at a piano and singing a song, and I first started out in music playing the piano. Sometimes less is more, and this just seemed like one of those times.’ On “I Can’t Do Crazy (Anymore)”, Willie Nile cradles past memories while realizing that the dysfunctional mojo that got him going in younger days has passed its shelf life. Wearing the skin of an aged warrior, “Song of a Solider” looks at the past with a smile, “Gloryland” marches its chords in time to walk with head held high into better days, ragtime rhythms show the way when “Goin’ to St. Louis” seeks a path and the title track lights a perpetual candle in the window of love. Willie tied a personal knot to link the present and the past by playing the same Steinway piano that he had been using 34 years ago on the night of John Lennon’s assassination, when both Willie and John were recording at Manhattan’s Record Plant studios.

Listen and buy music by Willie Nile from AMAZON or iTunes


I read in the Josh Hoyer bio that there is a Funk, Soul and Blues youth movement in Lincoln, Nebraska. That is very good news; particularly, given that Josh Hoyer and the Shadowboxers call the NE city home. Over the course of fifteen years, Josh Hoyer has spent time as an in-demand session player, arranger and band mate, as well as booking and promoting the Roots scene in Lincoln. He is a man on a mission, and has created a fertile ground for both the music and his own career as leader of a nine-piece Soul band. Josh Hoyer and the Shadowboxers have carved out a spot in the mid-America Roots scene with a Soul-perfect style that represents all the genre has to offer music.

Living by the Minute is the latest release from Josh Hoyer and the Shadowboxers. Swooping guitar riffs and horn punches (“11:11:333”), what-he-said harmonies and beat chasing horns (“Blood and Bone”), Latin rhythm and metronome snare snaps (“Real Time”) and slowly simmered pleas for heart space (“The First One”) are a few of the examples of how Living by the Minute represents the diversity and depth of Soul. The music promises to draw you in with each note, whether it is the undertow of Jazz dappled Soul in “Over the City”, the marching steps in “Misfit Children” or the confessional advice of “A Man Who Believes His Own Lies”….and make sure you keep up because you will get run over by the downhill rush of “Let It Out”. Josh Hoyer and the Shadowboxers may have decided to check the clock hands to live life in sixty second bursts with the Living by the Minute album title yet the Soul the band brings to the world reads open 24/7.

Listen and buy music by Josh Hoyer and the Shadowboxers from AMAZON or iTunes


Before the Sun Goes Down is a special project for Rob Ickes and Trey Hensley. Rob Ickes is an International Bluegrass Music Association winner for Dobro Player of the Year, carrying fifteen of the trophies back home with him over the course of time. Rob discovered Trey Hensley in Tennessee, when the young singer was in his early 20’s. A joint project was inspired by the music the pair created and Before the Sun Goes Down is the result. The album joins the duo with a sound planted firmly in the future of bluegrass while returning to the sound of County music recordings from the 1960’s and 70’s that captured music in spare studio surroundings. Classic Country is a prime spot for Trey Hensley to deliver his equally classic vocals to breathe warmth into the tunes.

The dobro and guitar work on the album speeds by, notes flying through the songs and twinkling like night stars. Rob Ickes and Trey Hensley take a seat on Billy Joe Shaver’s “Georgia on a Fast Train”, plant fertile seeds to grow the ‘grass in the Blues of Stevie Ray Vaughan’s “Pride and Joy” and cast their vote alongside Johnny Cash and Waylon Jennings in their version of “There Ain’t No Good Chain Gang”. Before the Sun Goes Down takes a look at the state of the states in “Workin' Man Can't Get Nowhere Today”, sings sweetly as the door to love gets pushed shut by unloving actions on “More than Roses”, follows the quick click of a rail beat to track “Raisin’ Dickens” and takes advantage of an exit in Trey Hensely’s tune “My Way is the Highway”.

Listen and buy music by Rob Ickes and Trey Hensley from AMAZON or iTunes


There is another side to the how’s, why’s, what’s and wherefore’s that go into a marriage break-up. Offering only the first installment in 2014, Justin Townes Earle wisely let the tone of Single Mothers settle before releasing the another side to fill the story with Absent Fathers. Neither album takes a particular side though a decided male voice seems to be at the heart of the decisions and observations on Absent Fathers. On Single Mothers, the male vocal never took a stand looked at the woman’s perspective while reflecting on the break-ups, betrayals, abandonments or new relationships in the game of love. Society may not lend a hand to the plight of women raising children but the Single Mothers album title still generates more sympathy than hostility. Not so the branding of Absent Fathers. The jury weighs in with no trial, just the decision that a family was abandoned. Justin Townes Earle does not give excuses as much as stage scenarios that show that the decisions were not all as selfishly cold as those judging the actions of the father see them. The characters lining up on Absent Fathers talk about their humanity without defending their decisions, using the voices of all those affected by the results.

“When the One You Love Loses Faith” talks about losing the last person still in your corner, listing the tells of how covered-up doubt always finds a way to surface, “Farther from Me” removes the rules and focuses on the results of longer-distance love, “Why” seeks answers in the past while surrounded by the reality of the present and “Call Yo Mama” puts a pin in the bubble holding fairy tale endings. Justin Townes Earle has a way of channeling his characters in his words, the pen belongs to Justin while the threats (“Someone Will Pay”), last stands (“Looking for a Place to Land”) and the hope of turning a broken heart upside down into a smile (“Day and Night”) wear the skin of his characters. Absent Fathers is a puzzle piece that fits into Single Mothers, a companion that fills out the story to create a bigger picture.

Listen and buy music by Justin Townes Earle from AMAZON or iTunes


Kelly Pardekooper releases a dose of songs (24 tracks) as healthy as the album title for Milk in Sunshine. Kelly is a great example of the artists who make up the Roots community. Career artists who release albums that reflect their art at the time of each recording; the question is often how do these women and men support homes and families, and stay true to muses. As a musical small business owner, Kelly has placed tunes on television and film (from his seven album catalog), including True Blood, Justified, Cold Case, Sons of Anarchy, Blue Bloods, Sex and the USA and April Moon as well as Sundance Channel, CMT and HGTV. Music from Kelly Pardekooper’s ‘day gig’ of managing his songs appears alongside eight new tracks for Milk in Sunshine.

The songs on Milk in Sunshine bow to no specific genre though they share DNA with the pen and guitar of Kelly Pardekooper. Over a story of self-awareness arrived a little late, “Not in Iowa” gives a clue to its exact locale with a cantina backtrack, “I Still Cry” delivers a bright musical arrangement to match the tales glint of tears as dark clouds surround the smell of seduction on “Can’t Go There”. Kelly Pardekooper is a full service songwriter, delivering story and song, making sure to add pride for small town history (“Where I Come From”) and rock’n’roll local heroes (“Hayseed Girl”), sexual tension (”Yonder”) and finger-pointing self-analysis (“Authentic”). Kelly Pardekooper makes the common ground for his tunes the voice that guides each tale through rambling Americana (“That Girl”), teeth rattling Indie Rock (“Brand New Bag”) and the rumble of a slowly simmering rockabilly groove (“Crazy Girl”).

Listen and buy music by Kelly Pardekooper from AMAZON or iTunes




We lucked out and we knew it when Rosie Flores filled for an ailing Dale Watson to film The Extended Play Sessions. Backed by Dale's band, The Lone Stars, (Chris Crepps-bass, Mike Bernal-drums), Rosie delivers a riff that goes on forever for "Boxcars", written by Butch Hancock.

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Jonah Tolchin makes a collage in video form for his song “21ST Century Girl” in the video from his Yep Roc Records release, Clover Lane.

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Little Helen Rose sings that she has “Trouble Holding Back” in the video. A lady singing the Blues and playing a sax…..why is holding back a problem? Written by Sam Lorber and Marvin Etzioni, original Lone Justice member/producer, shows why HoB Hollywood nabbed Little Helen Rose for their Mardi Gras bash.

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It has been close to thirty years since Dave Alvin and brother, Phil Alvin, recorded an album together. One-off songs here and there and the occasional live shows of their shared history with The Blasters have put the brothers together in studio and stage. It was inspiration that took them back in to record for their recent Yep Roc Records release, Common Ground: Dave Alvin + Phil Alvin Play and Sing the Songs of Big Bill Broonzy . Friends don’t stay friends in bands, and in shared blood and ...

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Girls, Guns and Glory have steadily built their music on four solid album releases, each showing a band growing by fine-tuning what they were getting right and stretching to more right with each note. The boys spent lots of time in the van, logging over 200 dates a year, garnering awards that go from a hometown nod at the Boston Music Awards to the Independent Artist of the Year at the French Country Music Awards. Vocalist Ward Hayden is a smooth crooner who maintains a cool innocence in both hi...

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Down Where the Spirit Meets the Bone rattles the skeleton of music. The double album uses a rough-hewn cloth to polish the way Lucinda Williams delivers a song for the recording. Rhythm answers the call for “Wrong Number” as Lucinda crawls up from the bottom of a bad memory. Sprinkles of notes get coaxed into a marching line back to her tender determination as she decries “Foolishness”  as thinking anything but ‘what I do in my own time is none of your business and all of mine’. Confessions ...

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The Top 100 takes a full year to become a proper list. The number one spot changed hands several times in the past twelve months. Our mid-year list took a listen to albums released between January and June. The list seemed like it was running strong yet the releases in the tail end of the year came on strong. For me, Old Crow Medicine Show was number one when I received their July release, Remedy . Nothing against the other players on the 2014 chart, but band for band, Old Crow will always be in t...

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Roots musicians are as much fans as they are performers. We have had some friends call, write and text from the road with their own lists of songs. These lists will feature musician and friends sharing the must-hears, desert island favorites and songs they have loved since they woke up this morning. This week's special guest is East Nashville bluesman Mark Robinson with his Blues Records You Need to Listen to.....

1. Robert Johnson—“Traveling Riverside Blues” (from the album The Complete Recording...

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Welcome to the first installment of what will be a regular feature here at The Alternate Root. It’s an old fashioned Top 10 list.My name is Scott Kempner, and for most of my forty years here in the business of Show, I have also answered to the nickname, Top 10. Top 10’s Top 10 Countdown is the name. The subjects will vary - sometimes wildly. They may or may not even all be music related, or at least not necessarily be about music per se. I just don’t know. As if this needs to be said, there is n...

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Gris Gris comes from an African term for an amulet that brings good luck and wards off evil and Mac Rebennack was looking for luck when he landed in Los Angeles from his native New Orleans. Drug and law problems brought the musician west after he had established himself as a session player, songwriter and producer in the NOLA music scene. Recording Gris Gris , his debut, in Los Angeles, the idea was to form a band around a front man called Dr. John, named after Dr. John Montaine, a man who claimed ...

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There are moments that occur while listening to Moody Bluegrass, A Nashville Tribute to the Moody Blues when you have drifted into other thoughts and when you return, the initial reaction is “wow, that song sounds familiar”. The A-list band of Nashville players transform the songs of The Moody Blues and give the songs a Bluegrass, Country and Roots backdrop that fits their characters with different moods. The stories remain the same that the British group being honored brought to rock fans from th...

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There is little that can go wrong with the songs of Alabama and the current cream of Roots music heatseekers. High Cotton, A Tribute to Alabama was put together by Lightning Rod Records to honor the Alabama on their 40 th career anniversary. Having struck country gold with the fourteen tracks included on High Cotton , their tunes get treated to styles outside of the Country music that Alabama had as a default. Some seasonal Gospel Blues is offered courtesy of the Blind Boys of Alabama as they watch th...

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There is an emotional dust that covers the songs of Pieta Brown on Paradise Outlaw . It is not a sign of age, however. The trails the songs travel from now to the past lead to a time when love and foreplay were more conversational; an intelligent explanation of feelings. Pieta Brown writes and sings with the same pen on the album as she takes on the role of a Paradise Outlaw, letting the soft grace of her vocal balances the raw hearts on display throughout the release. Musically, the self-produced a...

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On the title track to his recent release, J.P. Harris heads towards the places that don’t allow ghost shadows ‘in the bright lights of the night life’. “Home is Where the Hurt is” comes up with new routes to get around the pain from lost love, staying warm by turning the heater up in the truck cab with soft country music. J.P Harris and the Tough Choices have logged thousands of miles proudly playing their Country music. The guys see no reason to add prefixes or genre switch-ups on to Country wh...

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As the fall signals an approaching winter, Whiskey Shivers are wondering whether to stay or go as they watch perfection on the next pillow balance their own dreams of death and destruction, seeing their love manifest as an “Angel in the Snow”.  The issue is common…one partner is bound for glory while the other is hitting a wall. Struggle continues to interests the songs of Whiskey Shivers on their self-titled release. Work, pain, sin, regret and death are the themes that throw pointed darts o...

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The Top 100 takes a full year to become a proper list. The number one spot changed hands several times in the past twelve months. Our mid-year list took a listen to albums released between January and June. The list seemed like it was running strong yet the releases in the tail end of the year came on strong. For me, Old Crow Medicine Show was number one when I received their July release, Remedy. Nothing against the other players on the 2014 chart, but band for band, Old Crow will always be in the top spot for their musicianship. Shovels and Rope moved into number one when they released Swimmin’ Time, and stayed there until just about the last minute. Sonically, S’n’R certainly delivered the year’s top album for blending the far edges of sound into songs that easily slip into familiarity. At the last moment, Lucinda Williams grabbed #1. Lucinda delivered an album well into a top shelf career that raised the bar for her own back catalog. Down Where the Spirit Meets the Bone is an album that shows dedication by its maker to not be satisfied until the final mixes match her version of rock’n’roll….and then she doubled down with a two disc set.  

Songwriting, stretching limits and honoring tradition in American Roots music was the theme for 2015. Many of the artists on the chart such as Mary Gauthier, Paul Thorn, Rodney Crowell, Janiva Magness and Justin Townes Earle take a seat on the list with each release. The artists take a stand for their own sound as well as firmly planting feet into what they view as their own brand. St. Paul and the Broken Bones gave us a new look at old school Soul, Israel Nash snagged sound textures from early Neil Young solo releases and gave them a wider screen to play on, Steelism were instrumental in displaying music that went for emotions and Chris Smither gave his own songs new sonic life. Nell Robinson collected family correspondence from generations of war, including letters home within her own family, and laid them out in a full album form.

The American Roots community continues to grow in direct relationship to the quality and diversity that its artists are handing over new music for a format where the only requirements are authenticity and  honesty behind the words and music. On the strength of the 2014 releases, life goes on and walks prouder for Classic Country (The Hello Strangers, Moot Davis), Blues Rock (Bob Seger), Funky Soul (Mingo Fishtrap). Rock’n’Soul (The Reigning Sound) and Indie Roots (The Felice Brothers). Pretty much by the magic of music, Hard Working Americans became a band we have known our whole lives. The big names on the chart are here because of the music they released, not because of their name. John Mellencamp, Keb' Mo', Lee Ann Womack and Robert Cray put out albums that threw a curve for what you might expect, which is really what each album release should reflect.

In 2014, artists showed hometown pride while making music that had worldwide appeal; expanding on the community without ever giving up the ghosts sitting in the back row. The Earls of Leicester re-visited the songs of Lester Flatt and Earl Scruggs, The Far West and Calico the band planted flags for California Country while Dave Alvin and Phil Alvin bonded over the music of Big Bill Bronzy. Though not first releases, Parker Milsap, Sturgill Simpson and Shakey Graves put out album that raised their presence. The Evangenitals re-worked the tale of Moby Dick and JP Harris and the Tough Choices took back Country music. Music Road Records gathered together artists such as Shawn Colvin, Paul Thorn, Bonnie Raitt, Ben Harper and Keb’ Mo’ to tribute the songs of Jackson Browne.

The American Roots releases of 2014 listed here could easily be listed as the first one hundred for an pretty amazing year for music. Coming up in 2015, new music is already beginning to appear with defining albums from Jorma Kaukonen and Anne McCue. I really like my job, and I hope you like the numerical list for 2014. This list the artists and albums in numerical order, with links to the Top 100 broken into four parts with images, music and  words for artists.        - Danny McCloskey

1 - Lucinda Williams – Down Where the Spirit Meets the Bone 

2 -John Fullbright – Songs

3 - Shovels and Rope – Swimmin’ Time 

4 - Girls, Guns & Glory – from the album Good Luck

5 - Robert Ellis – The Lights from the Chemical Plant  

6 - Hard Working Americans  -  Hard Working Americans

7 -Hurray for the Riff Raff – Small Town Heroes

8- Mary Gauthier – Trouble and Love   

9 - Mike Farris – Shine on All the People

10 - Joe Louis Walker – Hornet’s Nest  

11 - Paul Thorn – Too Blessed to Be Stressed 

12 - Justin Townes Earle – Single Mothers  

13 - Old Crow Medicine Show – Remedy 

14 -The Howlin’ Brothers – Trouble

15- Seth Walker – Sky Still Blue

16 – The Earls of Leicester- The Earls of Leicester

17 - JP Harris and the Tough Choices – Home is Where the Hurt Is

18 – Dave Alvin and Phil Alvin – Common Ground: Dave Alvin and Phil Alvin Play and Sing the                                              Songs of Big Bill Bronzy

19 – Sturgill Simpson – Metamodern Sounds of Country

20 - Rodney Crowell    - Tarpaper Sky 

21 - Parker Milsap  - Parker Milsap

22 - Janiva Magness – Original

23 – Calico the band – Rancho California

24 -Rosanne Cash   - The River and The Thread

25 -Candi Staton – Life Happens

click for images, music and words on artists # 1 thru #25 of 2014

26 – Steelism – 615 to Fame

27- St. Paul and the Broken Bones – Half the City

28 – John Mellencamp – Plain Spoken

29 – Chuck Mead - Free State Serenade

30 – Israel Nash – Israel Nash’s Rain Plans

31 – Bruce Springsteen - High Hopes 

32 – Frank Solivan and Dirty Kitchen – Cold Spell

33 -Brent Johnson – Set the World on Fire

34 -Jimbo Mathus and the Tri-State Coalition - Dark Night of the Soul

35 -Keb’ Mo’ – Bluesamericana

36 -Leftover Salmon – High Country

37 - Carlene Carter – Carter Girl

38- Will Kimbrough – Sideshow Love

39 - Queen Esther – The Other Side

40 -Lake Street Dive – Bad Self Portraits

41 – John Hiatt – The Terms of My Surrender

42 – Dom Flemons – The American Songster Dom Flemons, Prospect Hill

43 – Nell Robinson – The Rose of No-Man’s Land

44 – The Hello Strangers - The Hello Strangers

45- The Holmes Brothers – Brotherhood 

46- Angela Perley and the Howlin’ Moons   - Hey Kid

47 – Eric Brace & Karl Straub – Hangtown Dancehall

48 – Adam Carroll – Let It Choose You

49 – Bob Seger – Ride Out

50 - Eden Brent – Jigsaw Heart

click for images, music and words on artists # 26 thru #50 of 2014

51 – Doug Seegers – Going Down to the River

52 – The Psycho Sisters – Up on the Chair, Beatrice

53 - The Mastersons -  Good Luck Charm

54 – The Far West – Any Day Now

55 – John Nemeth – Memphis Grease

56 - Amelia White – Old Postcard

57  - Eliza Gilkyson – The Nocturne Diaries

58 - Bobby Rush with Blinddog Smokin’ - Decisions

59 - Lydia Loveless – Somewhere Else

60 – Chris Smither – Still on the Levee

61 – Ruthie Foster – Promise of a Brand New Day

62 – Royal Southern Brotherhood – heartsoulblood 

63 – David Olney – When the Deal Goes Down

64 – Lee Ann Womack – The Way I’m Livin’ 

65 – Ronnie Fauss – Built to Break 

66 – Ellis Paul – Chasing Beauty

67 – The Reigning Sound – Shattered

68 - Jarekus Singleton – Refuse to Lose

69 - Zoe Muth – World of Strangers

70 -Blackie & the Rodeo Kings   South

71 -Carrie Elkin and Danny Schmidt – For Keeps

72– Billy Joe Shaver – Long in the Tooth 

73 - The New Basement Tapes – Lost on the River

74 –Malcolm Holcombe – Pitiful Blues

75 -Robert Cray – In My Soul

click for images, music and words on artists # 51 thru #75 of 2014

76 – The Apache Relay – The Apache Relay

77 - Shakey Graves – And the War Came

78 – Trampled by Turtles – Wild Animals

79 -Moot Davis – Goin’ in Hot

80 - Looking Into You: A Tribute to Jackson Browne

81 - Susan Cattaneo  - Haunted Heart

82 - Drive-By Truckers – English Oceans

83- Jamestown Revival – Utah

84 –The Evangenitals – Moby Dick

85 - Amy Black – This Is Home

86 -Mingo Fishtrap – On Time 

87 – Corb Lund – Counterfeit Blues

88 – Cory Branan – The No-Hit Wonder

89 – The Felice Brothers - Favorite Waitress

90 -Matt Andersen  - Weightless

91 - Peter Mulvey – Silver Ladder

92 – Sarah Borges – Radio Sweetheart

93 –  Patrolled by Radar – Cool Your Jets

94 – Nathan Bell – Blood Like a River

95 – Whiskey Shivers – Whiskey Shivers

96 - Devon Allman – Ragged and Dirty 

97 – Bruce Robison and Kelly Willis –  Our Year

98 – Joe Fletcher – Songs for the Working Man

99 – Pieta Brown – Paradise Outlaw

100 - Chip Taylor – The Little Prayers Trilogy

click for images, music and words on artists # 76 thru #100 of 2014

Roots musicians are as much fans as they are performers. We have had some friends call, write and text from the road with their own lists of songs. These lists will feature musician and friends sharing the must-hears, desert island favorites and songs they have loved since they woke up this morning. This week's special guest is East Nashville bluesman Mark Robinson with his Blues Records You Need to Listen to.....

1. Robert Johnson—“Traveling Riverside Blues” (from the album The Complete Recordings) - Everyone knows the legend of Robert Johnson and his deal with the Devil. This legend was credible in rural Mississippi in the 1920’s because Robert Johnson was an amazing player and singer—with power and subtlety. His playing is more complex and beautiful and his lyrics are more sophisticated than his contemporaries. There is a reason he is called the “King of the Delta Blues Singers”.

Listen and buy “Traveling Riverside Blues” by Robert Johnson from AMAZON or iTunes

2. Willie Dixon – “29 Ways” (from the album The Legend of Willie Dixon) - Willie Dixon was the most prolific blues songwriter in the original group of Chicago Blues artists. Willie wrote a lot of the songs that we know by Muddy Waters and Howlin’ Wolf . He also played bass on, and produced a lot of records at Chess Records in the 50’s and 60’s.  He was not as well known as a singer or artist. “29 Ways” is a prime example of his fine blues songwriting. Willie is one of the great blues poets—using the language of the blues to tell great stories and to paint vivid pictures of the blues lifestyle.  This is an unusual recording- the cool jungle drumbeat and the doo-wop vocal backups are really different than most of what was coming out of Chess Studios at the time.

Listen and buy “29 Ways” by Willie Dixon from AMAZON or iTunes

3. Muddy Waters — “I Can’t Be Satisfied” (from the album Muddy Waters) -This Chicago recording pairs Muddy Waters with Willie Dixon on upright bass. It is a reworking of an acoustic song Muddy recorded for Alan Lomax called “I Be Bound To Write To You”. This song sits right in the middle—between Muddy as a Delta Bluesman and Muddy as the pioneer of electric Chicago Blues. And it rocks hard with just guitar and bass. Thisis the beginning of the electric Chicago blues sound.

Listen and buy “I Can’t Be Satisfied” by Muddy Waters from AMAZON or iTunes

4. Etta James — “I’d Rather Go Blind”   (from the album Tell Mama) - Etta James was one of the great singers of her time, or of any time. She was able to communicate emotion so completely that everyone hearing her sing could relate to her songs. Her singing on “I’d Rather Go Blind” is understated, but full of pain and emotion.  And it’s beautiful to hear her pain. We love to hear someone really let out their feelings in a song.

Listen and buy “I’d Rather Go Blind” by Etta James from AMAZON or iTunes

5. Howlin’ Wolf — “Howlin’ For My Darlin’” (from the album The Definitive Collection)  - I could pick any Howlin’ Wolf recording, and it would contain his power, his mystery and a sense that something sinister lurks just below the surface of the lyrics and the voice in every song. The recordings capture the Wolf’s primitive energy—70 years later his voice reaches through the speakers and grabs the listener.  Even on commercials for Viagra…

Listen and buy “Howlin’ for My Baby” by Howlin’ Wolf from AMAZON or iTunes

6. Tracy Nelson—Down So Low  (from the album Living With The Animals) - In the late 60’s Tracy Nelson was part of a rock band called Mother Earth. Their first album “Living With the Animals” had several members taking turns singing lead on their own songs. The song “Down So Low” by a young Tracy Nelson, was so deep and drenched in emotion that classic blues records paled in comparison. This was raw pain radiating from this young woman. It still stands as one of the most beautiful moments in popular music.  I know Tracy, and I have played music with her, and listening to this recording still stops me in my tracks.  Listen to some deep blues by a young white girl from Wisconsin. Transcendent!

Listen and buy “Down So Low” by Mother Earth from AMAZON

7. BB King — “Everyday I Have The Blues”  (from the album Live at The Regal) - BB King took the Delta blues uptown. And he took his arrangements, his vocal style, his horn section, and his sharp looking suit with him. He was swinging hard and playing with fire and finesse. He could deliver that fire to a high class white audience and they loved it. He escaped the chittlin’ circuit by classing up his act. But it didn’t diminish the power of his music, his singing or his playing. How many guitar players can be identified by their first note? That’s BB—unique. BB had a number one hit with “The Thrill Is Gone” in 1970 and everybody in America and Europe knew what the blues was about because of him.

Listen and buy “Everyday I Have the Blues” by B.B. King from AMAZON or iTunes

8. Sonny Boy Williamson — “Don’t Start Me Talkin’”   (from the album The Essential Sonny Boy Williamson) - Sonny Boy II (he was the second singer to take the name Sonny Boy Williamson) was a great singer and harp player, and an eccentric storyteller. “Don’t Start Me Talkin’” is a favorite of mine. I can’t follow the entire story, but I get the idea. A fine example of what I call Blues Poetry. Great lyric writing in a very different form than other popular song lyrics.

Listen and buy “Don’t Start me Talkin’” by Sonny Boy Williamson from AMAZON or iTunes

9. Blind Willie Johnson – “Dark Was the Night”   (from the album Dark Was the Night (Mojo Workin' - Blues for the Next Generation)) - This is an early recording of Blind Willie Johnson. It is an eerie melody, the beautiful slide guitar echoing and doubling the wordless vocal. One of my favorite early recordings of a bluesman. I think of this as “pre-blues”, almost more of a field holler than a true blues song. Maybe it’s not really a blues song, but I hear the blues in there.

Listen and buy “Dark Was the Night” by Blind Willie Johnson from AMAZON or iTunes

10. Freddy King  – “I’m Tore Down”   (from the album Blues - 20 Hits) - Freddy King was younger than the other Kings—BB and Albert. He was hipper—wearing bell-bottoms and playing surf rock instrumentals. This caused some blues people to think of him as a rock guitarist. But Freddy was deep and not to be taken lightly. One of the most formidable blues guitar players, ever. His piercing tone and swinging phrasing incorporated rock and jazz licks. His powerful, high voice took the blues to a new, cool place. Freddy lived hard and died fairly young. I often wonder what he would have done if he had lived longer. His ability to incorporate more modern ideas into his music might have taken him to some fantastic places. But we can still enjoy his instrumentals, slow blues moaning and rocking up-tempo shuffles.

Listen and buy “I’m Tore Down” by Freddy King from AMAZON or iTunes


Welcome to the first installment of what will be a regular feature here at The Alternate Root. It’s an old fashioned Top 10 list.My name is Scott Kempner, and for most of my forty years here in the business of Show, I have also answered to the nickname, Top 10. Top 10’s Top 10 Countdown is the name. The subjects will vary - sometimes wildly. They may or may not even all be music related, or at least not necessarily be about music per se. I just don’t know. As if this needs to be said, there is nothing scientific, Etched In Stone, didactic, going on here. This will be only marginally objective. It will be opinions (uh, mine), subjective as they come, out the yin-yang. We can discuss, argue a bit, have some fun with it, and maybe have some MORE fun with it. Please folks, no wagering. So, have fun, please check out some of these records.

TOP 10’S TOP 10 GARAGE ROCK RECORDS - (this one goes to eleven!)




1. PSYCHOTIC REACTION - THE COUNT FIVE - Numero uno. My very favorite Garage Rock classic. Here is the Yardbirds side of the YBirds/Stones Garage Rock mid-60’s scene) paradigm in full glory. First, the lead guitar & kick drum enter, then the harmonica, then the rhythm guitar, then the bass, & THEN THE DRUMS, the Godhead moment when Garage Rock Heaven cracks open and reveals itself to us mortals back on Earth. From San Jose to the Top 10. And yes, to the top of Top 10’s personal Top 10, too!!

Listen and buy “Psychotic Reaction” by The Count Five from AMAZON or iTunes

2. WHO DO YOU LOVE - THE PREACHERS - I dig this maniacal version of Bo Diddley’s oft-covered classic even more than Bo’s original. (Fairly) Crazed, (pretty much) out of control, and (positively) meant to freak out the neighbors. Play loud, although be warned – it could get you kicked out of your apartment!  Everybody scream along!


Listen and buy “Who Do You Love” by The Preachers from AMAZON or iTunes




3. THIRTEEN WOMEN - THE UK RENEGADES - A super-charged, freakbeat cover of what was actually the A-side to the B-side of Bill Haley and the Comets’ Rock Around the Clock. From Sweden, no less. Yes, The UK Renegades were from Sweden?!!?

4. I CAN ONLY GIVE YOU EVERYTHING- THEM - Van Morrison rides a three-note fuzz guitar lick into Garage Rock nirvana in what remains my favorite track he has ever recorded. My pal Little Steven’s fave Garage record of all time.


Listen and buy “I Can Only Give You Everything” by Them from AMAZON

5. RUMBLE - LINK WRAY - A little early in the game, as it was released back in 1958. Link Wray worked his voodoo guitar violence despite being one lung short of a set. He became a fixture on the CBGB scene in the 70’s, when he played with Robert Gordon. Rumble remains the only instrumental ever banned for obscenity. Howzabout THAT??!!


Listen and buy “Rumble” by Link Wray from AMAZON or iTunes

6. LEANING ON YOU -  THE SWINGIN’ YO-YOS - Not a Yardbirds/Stones paradigm here, but a rare Stones/Beatles collision. Could only have come from Memphis. British Invasion meets Memphis Soul. I never knew of this minor masterpiece until it came with the sampler cd from a special Southern Music issue of American Oxford magazine back in the late 90s.

7. 96 TEARS - ? AND THE MYSTERIANS - From the great year of 1966, this is the ultimate in Monotony-as-Godhead. Top to bottom genius, no, make that GENIUS!! Question Mark (Earth name: Rudy Martinez) was from Mars, you know, or was it Jupiter? I forget. The band, however, was from Michigan.

Listen and buy “96 Tears” by ? and the Mysterians from AMAZON or iTunes

8. PSYCHO - THE SONICS - A typical, ferocious, throat ripping, corrosive Jerry Roslie vocal and a song whose title says it all. An everythinglouder-than-everything-else mix that will knock your speakers right off the wall. Something hard to digest was obviously in the water in the Pacific Northwest in 1965. This went from being the B-side to The Witch to being an A-side later that year.

Listen and buy “Psycho” by The Sonics from AMAZON or iTunes

9. TALK TALK - THE MUSIC MACHINE - I love their look – the one-gloved hand on each member of this great and underrated West Coast band, fronted by Sean Bonniwell. The Yardbirds/Stones Garage Rock paradigm in full effect.

Listen and buy “Talk Talk” by Music Machine from AMAZON or iTunes

10. 7 & 7 IS - LOVE - Before the classic Forever Changes, and after their assault on Burt Bachrach & Hal David’s My Little Red Book, Arthur Lee and Love let rip with this firestorm of a minor hit single about, well, who the hell knows what it’s about??!!. It’s the only hit single I can think of that features the recording of a major explosion.  Let’s take a poll as to what it is at the end that combusts.

Listen and buy “7 and 7 is” by Love from AMAZON or iTunes

11. ARE YOU A BOY OR ARE YOU A GIRL? - THE BARBARIANS - From the Boston area, these guys asked the musical question that was still on everybody’s mind in 1965 after the double whammy of The Beatles and The Rolling Stones first appearances on American TV back in 1964. Their drummer, Moulty, had a hook for a hand, too. He tells us all the tale on their follow-up called, yes, MOULTY (which they perform in the great Rock movie of all time, The T.A.M.I. Show).

Listen and buy “Are You a Boy or Are You a Girl?” by The Barbarians from AMAZON or iTunes


the top 20 of the second generationBeing the child of a celebrity can often be a daunting life. Scrutiny is high along with expectations. When the chosen profession is the same as the parent, the expectations are doubled. The obvious opportunities to bypass certain rungs on the ladder to success are both the spoils and the pitfalls. They must be used wisely to avoid the claims that one is just riding on the success that was merely a coincidence of birth. The demons of the parent can surface in the next generation, becoming easy prey for the critics who circle above waiting for that shoe to drop. History is littered with children of celebrities who couldn't  overcome the obstacles or meet unrealistic expectations. History is also full of those who met or exceeded expectations, carved their own paths, used the opportunities and inherent gifts to create their own legacy, and passed it to third or even fourth generations. The more grounded the top level, the better the chances that subsequent generations will be successful at whatever the chosen path.

We've seen many stories and lists like the one we've compiled here. We tip our hat to the grand successes of Jakob Dylan, Roseanne Cash, Norah Jones, Hank Williams Jr., Julian Lennon, Jason Bonham and many others, but frankly, do any of them need any more press than what they receive regularly? We focused here on the next generation that is rising from the Americana Roots music world. This is the music we celebrate and the children of the lesser known celebrities is where we've concentrated our efforts. They are making innovative, forward-thinking music much like their celebrity parents and this is our spotlight on them.

Here is the Alternate Root Top 20 of the Second Generation

justin townes earle in the alternate root1. Justin Townes Earle born in Nashville in 1982, is the son of Steve Earle and Carol-Ann Hunter. He was raised by his mother in East Nashville after his parents split when he was 2. Justin inherited many of the enormous skills of his father and also, many of the demons. Like his father, he has faced addiction and rehabilitation and emerged the better for it. Unlike his father, his writing, at least at this point in his career, leans less on the socio-political side and more on the personal, relational side of the music spectrum. He's a consummate artist, always reaching for something new, challenging himself musically and spiritually. His music bridges soul, blues, country, rock and folk and never stays static from one project to the next, which is what makes him so intriguing and unpredictable.

Listen and buy the music of Justin Townes Earle from AMAZON or iTunes

shemekia copeland in the alternate root2. Shemekia Copeland  was born in Harlem, NYC in 1979, the daughter of Texas guitar slinger and blues singer Johnny Copeland. She got her start while in her teens as the opening act for her then ailing father. She scored a choice gig for a debut album with Alligator Records in 1998 and has released a continuous flow of award winning and critically acclaimed albums since. Dubbed "Queen of the Blues" to succeed the late KoKo Taylor by Taylor's daughter Cookie, Shemekia's voice is guttural and powerful like the blues belters Koko Taylor, Etta James and Bessie Smith, but she can also reach down range for emotion in the vein of her idol Ruth Brown.   33 1/3 is her most recent release.

Listen and buy the music of Shemekia Copeland from AMAZON or iTunes

sarah lee guthrie in the alternate root3. Sarah Lee Guthrie is both second generation and third. The granddaughter of the great Woody Guthrie and daughter of Arlo Guthrie, Sarah was born in Massachusetts in 1979. She did not seriously pursue music until her late teens when she worked as a tour manager for her father. Her first solo album was released in 2002 although she had already been touring with future husband and musical partner Johnny Irion, and the grandson of Pete Seeger, Tao Rodriguez-Seeger under the name RIG.Together Sarah Lee Guthrie and Johnny Irion have released a string of critically acclaimed recordings, won numerous awards and have appeared at nearly every notable music festival and venue there is. The two are working with Wilco founder Jeff Tweedy on an album slated for release sometime in 2013.

Listen and buy the music of Sarah Lee Guthrie & Johnny Irion from AMAZON or iTunes

holly williams in the alternate root4. Holly Williams, like Sarah Lee Guthrie, is both second generation and third. She is the granddaughter of Hank Williams and the daughter of Hank Williams Jr. and was born in Nashville in 1981. She did not instantly pursue a career in music despite her "royal" lineage, having a greater interest in modeling than music. Her parents separated when she was very young, but Hank Jr. began taking her to his shows when she was in her teens exposing her to the music business from a lofty plateau. Soon after, she began playing and writing her own music. Musically more attuned to Hank Sr. than her father, she released her finest recording The Highway earlier this year on her own label, Georgiana Records, to rave reviews.

Listen and buy the music of Holly Williams from AMAZON or iTunes

pieta brown in the alternate root5. Pieta Brown is the daughter of folk singer Greg Brown and like so many other offspring of a famous parent, she was raised by the one who wasn't famous. In this case, it was her mother, after her parents split when she was young. She was born in Iowa in 1973. She inherited Greg Brown's penchant for fine songwriting but tends to write from a more poetic, personal perspective than one of a story teller.  Vocally, she has a distinct style that blends a bluesy, jazzy timbre.  Unlike her father's folk style, her music is painted with strokes of blues, jazz and classic melodies.

Listen and buy the music of Pieta Brown from AMAZON or iTunes

ben taylor in the alternate root6. Ben Taylor is the child of not one, but two, monumental musical parents, singer songwriters James Taylor and Carly Simon. Despite that flawless gene pool, Ben Taylor was a latecomer to the music business that would eventually become his profession. A shy and somewhat reserved young man, he spent time traveling the world, gathering spiritual souvenirs that would later become the foundation for strong, confident music. After a couple of nearly non-existent releases on Epic Records and their subsidiary Work Group, Taylor signed with WEA's Iris Records and released Famous Among the Barns in 2003, which essentially brought him to, what is now, international recognition.

Listen and buy the music of Ben Taylor from AMAZON or iTunes

curtis mcmurtry in the alternate root7. Curtis McMurtry, the son of the brilliant singer songwriter James McMurtry, was born in 1991 in Austin, TX. His grandfather is the acclaimed screenwriter and novelist Larry McMurtry, and it takes just a few minutes into his songs to see that he inherited both his father's and grandfather's skill as a writer. Musically, he strays from the path of his father into territory more attuned to Tom Waits with heavy influences of Dixieland and New Orleans jazz and less focused on political posturing. He's a multi-instrumentalist who is currently studying music at Sarah Lawrence College in NYC but takes time to record and perform with his band Curtis McMurtry and the Chosen Ones.

Listen and buy the music of Curtis McMurtry & The Chosen Ones from AMAZON or iTunes

8. Dustin Welch is the son of the acclaimed singer/songwriter Kevin Welch. Born in Nashville in 1981, his beginnings saw him surrounded by musical treasures, songwriters, players, producers and the Nashville scene in general, and those riches would stimulate his musical upbringing and influence his music. Early in his life, he would team with musicians as diverse as Cary Ann Hearst, Justin Townes Earle, Travis Nicholson and Corey Younts in different bands, building a love for old country blues, folk and bluegrass. But it was his exposure to post punk and indie rock with San Diego-based band Scotch Greens that would put it all together. His music today infuses a lifetime of influences into a dizzying diversity of styles exemplified on his latest and best release, Tijuana Bible.

Listen and buy the music of Dustin Welch from AMAZON or iTunes

devon allman in the alternate root9. Devon Allman, the son of Gregg Allman and Shelley Kay Jefts, was born in 1972. Devon grew up in St. Louis, raised by his Mom in a typical suburban household. He didn’t meet Dad Gregg until he was in his teens. The pair bonded, but rebellion kicked in and in his 20’s, Devon's musical path was as far  from his Dad’s as possible. He saw the light in his 30’s and embraced the Blues and Roots Rock…..(can I get an amen here?).  Devon Allman keeps busy as the band leader for Honeytribe and a member of Royal Southern Brotherhood. And he still found time to  release his first solo album, Turquoise. The album samples smooth blues jazz (“Time Machine”, “Into the Darkness”), Southern Roots Rock (“When I Left Home”,  “There’s No Time”) and a country fried cover of Tom Petty’s “Stop Draggin’ My Heart Around” in a killer duet with Samantha Fish.

Listen and buy the music of Devon Allman at AMAZON or iTunes

jen chapin in the alternate root10. Jen Chapin is the singer/songwriter daughter of Harry and Sandra Chapin. Her folk moves away from her Dad's coffee house beginnings and, in her own words, into "jazz tinged urban folk... incorporating the funk, soul and improvisation of the city". Jen Chapin is Brooklyn-based, where she lives with husband Stephen Crump (who tours as her bass player in the Jen Chapin Trio) and two kids. Jen has four studio albums bearing her name, Ready,Linger, Open Wide and Light of Mine, all on Hybrid Recordings, and the real-time effort, Jen Chapin Live at the Bitter End from 2000. Multi-taskers take note-- Jen raises the bar adding to her Mom and touring musicians duties, by serving as chairwoman for the organization her dad formed, World Hunger Year.

Listen and buy the music of Jen Chapin from AMAZON or iTunes

shooter jennings in the alternate root11. Shooter Jennings is a child of the road. Born Walton Albright “Shooter” Jennings, the only child of Waylon Jennings and Jessi Colter, he grew up on a tour bus surrounded by Johnny Cash and Kris Kristofferson. Shooter played drums at five, took piano lessons at eight and started playing guitar at fourteen, sometimes playing percussion in his Dad’s band. Shooter headed to Los Angeles from Nashville in 2001, forming Stargunn, a band with music modeled and molded from a hybrid of Skynyrd, Bowie, G’n'R and The Screamin' Cheetah Wheelies. He was offered the lead vocalist chair for Velvet Revolver but chose Country, releasing “Put the “o” Back in Country”. He moved into Psychedelia in his music in 2009, deleting nothing but adding in the ability to grow his own in both sound and look. His latest release, The Other Life, is a homerun. It brings together all the notes and styles at his disposal for the business of making music. Rousing country ruckus (“The White Trash Song”), roots rock on an adrenalin rush (“Mama, It’s Just My Medicine”), back porch folk (“Wild & Lonesome”) and a condemnation of posers trying to share in the glory of those who changed country music (“Outlaw You”).

Listen and buy the music of Shooter Jennings from AMAZON or iTunes

amy helm in the alternate root12. Amy Helm was born in 1970 to dad Levon Helm and singer/songwriter mom Libby Titus, whom Levon had met while recording The Band’s second album.  Amy is a past and current member of the Levon Helm Band, the Dirt Farmer Band and the Midnight Ramble Band. She tours under her own banner, Amy Helm & The Handsome Strangers, and also as a member of the group, Ollabelle. Amy was part of  Blues Tribute to the Greateful Dead in 2001. In the late 2000's, with Ollabelle, Amy Helm participated in another Dead tribute as a member of The American Beauty Project, coordinated and released by FestivaLink at the Fine Arts Center, UMass in Amherst Massachusetts.

Listen and buy the music of Amy Helm from AMAZON or iTunes

cassie taylor in the alternate root13. Cassie Taylor is the child of Blues-trance master Otis Taylor and Carol Ellen Bjork, a union that produced two daughters. Cassie is the eldest daughter and is featured on many of her Dad’s releases. At 26, Cassie has spent ten years on stage playing bass and singing with Otis. Having a modern day Blues innovator as a father grants a lot of flexibility in your own music, and Cassie makes use of the Blues in all its forms on Blue, her 2011 release. Cassie Taylor will release Out of My Mind in May, 2013, claiming her own ground as an artist. The album will host a tune for her parents with the love letter, “Lay Your Head On My Pillow”. The track was written for the couple's twenty-third anniversary. Cassie says that “It’s about their commitment to each other. Lasting couples go through so much. Also, when you’re broke and don’t know what to get your parents for a present, but you can write a song like this… It’s going to last a lot longer than a toaster.”

Listen and buy the music of Cassie Taylor from AMAZON or iTunes

big bill morganfield in the alternate root14. Big Bill Morganfield was born in Chicago, Illinois, a town that his dad, Muddy Waters, made as a mecca for the Blues. Born in 1956, son William had little contact with his Dad and was raised in south Florida by his grandmother. Big Bill had about as much contact with music as with his Dad, and he worked as a teacher after earning a bachelors degree in English from Tuskegee University and in Communications from Auburn U. He did not begin playing music seriously until after his father's death in 1983, and then spent six years studying guitar. The recent Big Bill Morganfield release is Blues With A Mood. The album stays true to the styles of the founding fathers of the Blues, and the diverse ways they expressed the genre. Big Bill says of the project, “I wanted to put together a set of tunes with heavy grooves and deep moods which stay close to the musical genre of Howlin’ Wolf, John Lee Hooker, Muddy Waters, Junior Parker, Robert Johnson and several of my other musical heroes.

Listen and buy the music of Big Bill Morganfield from AMAZON or iTunes

the chapin sisters in the alternate root15. The Chapin Sisters, Abigail and Lily, are the daughters of folk singer, Tom Chapin, and nieces of Harry Chapin. They formed a band that early on included half-sister Jessica Craven. Before they were really even a band, The Chapin Sisters released a slow, acoustic version of Britney Spears' “Toxic” which garnered attention and radio play. They put together songs for an album and released Lake Bottom in 2008. As a duo, The Chapin Sisters have performed residencies of Old Time Country songs and soon will release a collection tribute to the singing brothers with  A Date With The Everly Brothers, the title taken from brothers Phil and Don’s 1961 album release. The Chapin Sisters do a great job on the album covering the well-known (“Cathy’s Clown”, “Crying in the Rain”) and tracks that never crossed The Everly’s over to mainstream (“Sleepless Night”, “Down in the Winter Garden”). Advanced technology puts the Sisters slightly ahead of the Brothers' originals with the chill factor. Their version of “Dream” re-invents the song to fit into a David Lynch film.

Listen and buy the music of The Chapin Sisters from AMAZON

lucy wainwright roche in the alternate root16. Lucy Wainwright-Roche was born in 1981, the daughter of musicians, Loudon Wainwright III and Suzzy Roche. Lucy chose a non-music path for a while, teaching elementary school in New York City. She recorded  two E.P.s, 8 Songs and 8 More, before releasing her debut album, Lucy, in October 2010. Lucy’s Mom, Suzzy, along with her sisters Maggie and Terre, were part of a folk harmony group, The Roches, that had a major influence on artists such as the Indigo Girls. The Athens, Ga.-based group returned the favor when Lucy Wainwright-Roche toured the U.S., opening for the Indigo Girls, who also appear on the Lucy release.

Listen and buy the music of Lucy Wainwright-Roche from AMAZON or iTunes

17. Savannah Welch is the daughter of singer/songwriter Kevin Welch. Her band, The Trishas, was brought together in tribute to her father when Jamie Wilson, Liz Foster, Kelley Mickwee and Savannah Welch first shared a stage in January 2009. Their plan was simply to perform a couple of songs as part of a musical nod to Savannah’s dad; a joint musical future was not where they were headed. They wound up calling themselves The Trishas on a whim-- the name popping into their heads because they were covering a  Kevin Welch-authored Trisha Yearwood hit. The Trishas' first full-length debut is High, Wide and Handsome. The band has made some good friends while touring outside of their Austin, Texas base, opening for Raul Malo and Ray Wylie Hubbard. Co-writes on High, Wide and Handsome include top-shelf names such as Bruce Robison, Jim Lauderdale, and Jason Eady and the guitar work on the album comes courtesy of Kenny Vaughan, Tammy Rogers, Harry Stinson and Viktor Krauss.

Listen and buy the music of The Trishas from AMAZON or iTunes

ivan neville in the alternate root18. Ivan Neville’s career has put him close to the household name of his Neville Brothers Dad, Aaron Neville. Ivan Neville had a Billboard Top 40 hit with his first solo album, If My Ancestors Could See Me Now. In addition to playing and recording with the Neville Brothers, Ivan was a member of Bonnie Raitt’s band from 1985 to 1987, contributed keyboards to The Rolling Stones' Dirty Work and Voodoo Lounge albums, and was a member of both Keith Richards' non-Stones project with Ron Wood, the X-Pensive Winos and The Spin Doctors from 1999 to 2000. 2003 saw Ivan Neville forming his own band, Dumpstaphunk. In 2013, in celebration of the groups' tenth anniversary, they will release Dirty Word in June, showcasing some of the songs at the end of April during the New Orleans Jazz & Heritage Festival.

Listen and buy the music of Dumpstaphunk from AMAZON or iTunes

liam finn in the alternate root19. Liam Finn is a New Zealand musician, the son of Split Enz/Crowded House front man, Neil Finn. Liam Finn came to fame as part of the New Zealand group, Betchadupa in 2007. His first solo effort, I’ll Be Lightning, broke Liam Finn into the Indie music world. The album is Liam bending and working sound into song. The album was recorded entirely on analog at his father's studio with the stories drawn from Liam’s time living in London. Live, Liam uses looping of his instruments in playback and performs with multi-instrumentalist Eliza-Jane Barnes.  He recorded a version of The Beatles' “Two of Us” with Dad Neil for the I Am Sam film soundtrack. He released his latest album, Fomo, in 2011.

Listen and buy the music of Liam Finn from AMAZON or iTunes

finley sexton in the alternate root20. Finley Sexton is the teenage daughter of singer and acclaimed songwriter Will Sexton. While not yet fully into a career as a professional musician, she's been raising ears and eyebrows around her hometown of Austin, TX of late at clubs as heralded as Threadgills, The Monkey's Nest, and Maria's. While following in her father's footsteps as a gifted writer and musician, her roots are  grounded in Indie rock, The Smiths, and Jimi Hendrix with a penchant for melody and keen lyrical expression. She may be the youngest performer on this list, but she's got a solid future ahead and a great foundation to build on.


2012 was a splendid year for music, especially American Roots Music. After careful thought, consideration and some date checking we came up with a list of our favorite 25 Albums of 2012. They are based on our own personal opinions, not who landed highest on fabricated charts or were media darlings. Some may be a surprise and some, of course, are not surprising at all. It was tough to narrow the list to 25 and even harder to list them in order...but, according to us, The Best Albums of 2012 are:



1. Peter Karp and Sue Foley - Beyond the Crossroads
Peter Karp & Sue Foley put music to their letter writing correspondence for 2010’s He Said, She Said. For the second recording as a duo, the pair brought solid songwriting to the studio and deliver Beyond the Crossroads, The Alternate Root favorite album of the year. Beyond the Crossroads breathes is about surviving with a smile and triumphing over what life throws your way.

Listen and buy the music of Peter Karp and Sue Foley from AMAZON or iTunes

2. Paul Thorn - What the Hell is Going On? - Paul Thorn was in a line of one when he got tired of hearing his own voice for What the Hell Is Going On?.  Listening to the words of the man called the Mark Twain of Americana is never an issue on any Paul Thorn album. What the Hell Is Going On puts Paul behind the wheel of the other songwriters material ‘cause he felt” "I wanted to take a break from myself, do something different, and just have fun." Paul Thorn stomps a gritty rock over songs by Buddy Miller, Ray Wylie Hubbard, Foy Vance, Wild Bill Emerson, Buckingham/Nicks and Paul Rodgers/Free.

Listen and buy the music of Paul Thorn from AMAZON or iTunes

3. Justin Townes Earle - Nothing's Gonna Change the Way You Feel About Me Now - Justin Townes Earle headed to the mountains of North Carolina to record Nothing’s Gonna Change the Way You Feel About Me Now. “I think it’s the job of the artist to be in transition and constantly learning more,” he said of the record “The new record is completely different than my last one. This time I’ve gone in a Memphis-soul direction.” He was absolutely right in the description change up and right to move in a direction that gave his soul time to shine.

Listen and buy the music of Justin Townes Earle from AMAZON or iTunes

4. Mad Buffalo - Red and Blue

Red and Blue is an angry album because Randy Riviere is angry. He, like many of us, is disheartened by the discourse that permeates throughout the country and threatens the very process of democracy. Riviere, the wildlife biologist, is semi-retired now to focus more on his music but keeps a keen eye on the events that are re-shaping America. Riviere the musician, who records under the soubriquet Mad Buffalo, has just released the follow up to the critically acclaimed ‘Wilderness’ (2008) with the brilliant Red and Blue.

Listen and buy the music of Mad Buffalo from AMAZON or iTunes

5. Corb Lund - Cabin Fever
Alberta-born Canadian Corb Lund went to a Rocky Mountain refuge to craft the songs for his sixth album, Cabin Fever. The words evolved from a combination of introspection and hard traveling. The music comes from as many different directions as the music. Rockabilly, western swing, cowboy ballads and country rock wrap around tales of vampire goths, gravediggers and traveling troubadours depending on the Lord to protect them from southern lawmen. Cabin Fever has Corb Lund backed by his longtime band, The Hurtin’ Albertans. Corb is the recipient of the JUNO Award recipient in his native land and the Canadian Country Music Association has named him Roots Artist of the Year seven consecutive years from 2004 – 2010.

Listen and buy the music of Corb Lund from AMAZON or iTunes

6. Carolina Chocolate Drops - Leaving Eden
Leaving Eden is the Carolina Chocolate Drops third full length CD, the follow-up to the group’s 2010 Grammy-winning Genuine Negro Jig which climbed to # 1 on the Billboard Bluegrass Chart. The group brought in Roots music guru Buddy Miller for Leaving Eden. The Drop’s Rhiannon Giddens says of the experience, “We already had a lot of pressure, and it was a lot of change at once and trying to do a record under that. We’ve never traditionally been a band that hooks up together in the studio so that was kind of a new thing, and that was I think where Buddy Miller really shined in suggesting this or that. He didn’t want to push us any way or the other. He didn’t want to put us in this narrow category. He just kinda let the music do it”.

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7. Kevin Gordon - Gloryland
Guitars gather like clouds on the horizon of Gloryland. Kevin Gordon forms chords that rise in black, white, and gray bursts and it is his use of sonics that makes Gloryland so seductive. Distortion weaves through the songs and coils around vocals that acts as a beacon to guide you through varied gusts and swells on his six-strings. There is calm to his voice, more conversational and personal rather than shouting a message or trying to be heard over the rolling headers of sound. Hallelujah, Gloryland!

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8. Ruthie Foster - Let it Burn
Ruthie Foster blends soul, blues, rock, folk and gospel in her music. Grammy Award-winning producer John Chelew suggested she record an album in New Orleans , handpicking Crescent City' talent  for Let It Burn. The album features special guests The Blind Boys of Alabama, Soul legend William Bell, and the rhythm section of The Funky Meters. Let It Burn was a 2012 GRAMMY Nominee for Best Blues Album.

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9. Shemekia Copeland - 33 1/3
Shemekia Copeland named her album for the vinyl that brought her tunes on 33 1/3. The album features guest appearances by Buddy Guy and J. J. Grey. Shemekia covers “One More Time” by her dad, Johnny Copeland, along with Sam Cooke’s “Ain’t That Good News,” Bob Dylan’s “I’ll Be Your Baby Tonight,” and J. J. Gray’s “A Woman.” “Lemon Pie” is an indictment of politicians who wave from the window of their trains at the rest of us who are eating bitter lemon pie for the poor and “Somebody Else’s Jesus” concerns a preacher full of hate who waves a Bible like a shotgun in the air.

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10. Lucy Kaplansky - Reunion
Lucy Kaplansky saves us the long road trip needed to get together with family and friends with her recent release, Reunion. Reunion acts as a diary for a traveling musician. The Woody Guthrie-worded and Slaid Cleaves-arranged “This Morning I Am Born Again”, gets a rebirth in Lucy’s arrangement and delivery. There is a softness to Lucy’s vocals, though the delivery never comes across as quiet. She has a mastery of words in her singing that allows the punch to be present without you ever seeing an arm drawn back to take the swing.

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11. Old Crow Medicine Show - Carry Me Back
Old Crow Medicine Show deliver Carry Me Back and follow their own advice back in time to the War Between the States for the semi-title track “Carry Me Back to Virginia”. OCMS songs go back decades but their personal history goes back a mere fifteen years. The band started life busking on street corners in New York state and up through Canada, eventually finding themselves in Boone, North Carolina where they caught the attention of folk icon Doc Watson while playing in front of a pharmacy. He immediately invited the band to play at his MerleFest and helped to launch their career. Old Crow Medicine Show relocated to Nashville for a residency at the Grand Ole Opry.

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12. Royal Southern Brotherhood - Royal Southern Brotherhood
Royal Southern Brotherhood counts top players among its members to create a supergroup for Roots with Cyril Neville, Devon Allman, Mike Zito, Charlie Wooten and Yonrico Scott. the name,and album title,  Royal Southern Brotherhood obviously is a reference to Cyril Neville and Devon Allman’s pedigree but there’s more Allman Brothers in this band than there is The Meters or Neville Brothers. That is if The Allmans sounded like The Rolling Stones. Devon Allman sees an opportunity with the name Royal Southern Brotherhood, “Maybe it’s time we took the connotation of “royal” away from the ruling elite and gave it to the musicians that help the masses get through the day with music.”  

Listen and buy the music of Royal Southern Brotherhood from AMAZON or iTunes     
13. Gretchen Peters - Hello Cruel World
Gretchen Peters took photos and laid them out as songs in her latest album, Hello Cruel World. She captures moments in time with her pens eye, snapshots that have a lot more below the surface than what can be seen in the image. Gretchen’s words are the thoughts that go through in a flash but still manage to stuff a whole lot into a small space in time. They are the moments in life that stretch out when on the inside of a daydream, living what could have happened, the better way an answer or question could have been stated. The images take a lot of time playing in your mind but are no more than a wink in real time.

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14. Fred Eaglesmith - 6 Volts
Fred Eaglesmith makes sure that on 6 Volts, that the music and the words are one. The instrumentation has the stories back; both are ragged but not torn. The production on 6 Volts matches the way Fred Eaglesmith stays with a story like a hungry dog going after a bone with a chunk of meat still hanging on. The characters in his tales wear their pain for the world to see and take in. If songs can take spiritual form, Fred’s tales are Buddhist, incorporating the basic principles of Buddhism by transforming spiritual hardship into joy.

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15. Don Gallardo and How Far West - The Art of Troublesome Times
On The Art of Troublesome Times Don Gallardo delivers songs that are visions from a time machine whose odometer is broken. We’re never quite sure where we are in his time line, but wherever it is, Gallardo is able to reduce the clutter of contemporary voices in our head into a quieter, simpler vision. His music references the Grateful Dead, Creedence Clearwater Revival, Uncle Tupelo, and Tom Petty. His Americana-styled arrangements are contemporary in their mingling of electric and acoustic blends. The songs are fluid, fully realized and as relaxingly luxuriant as a recliner with a built-in massage unit.

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16. The White Buffalo - Once Upon a Time in the West
Titled Once Upon A Time In The West, the album features songs that remain in the same vein as The White Buffalo's previous works, but perhaps not quite as dark. "Although the songs mostly remain on a darker side, I suppose, I think the themes are a little rounder, broader, and a little more topical, perhaps”. Smith said. "And we're now working with some different time signature stuff as well." The thirteen tracks on Once Upon A Time In The West depict a theme of growing up in suburban California, which can relate to no matter where you land in geography by translating the stories into their own childhood experiences. The songs convey a skewed truthfulness, leaving one to their own devices in deciphering the lyrics and imagery.

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17. The Coal Porters - Find the One
The Coal Portersclaim Alternative Bluegrass for their music and Find The One takes its sound outside to sip Mint Juleps and lose your blues by losing your shoes and dancing “Barefoot on the Courthouse Lawn”. The Alternative side of their music is painted over the bluegrass traditions that The Coal Porter’s hold close to their hearts. As fiddles and banjos pepper the air with notes, Sid Griffin’s lead vocal is joined with harmonies that offer a near ballad on “Ask Me Again”. “Farmer’s Hands” weighs family heritage against the decision of a life in music; “Red Eyed & Blue” sees Country in its delivery; “You Only Miss Her When She's Gone” hits the gas pedal for a fast-paced mountain reel, and “Brand New Home” keeps the speed going and follows road signs down to Tennessee for its story line.

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18. Otis Gibbs - Harder Than Hammered Hell
Harder Than Hammered Hell pushes and pulls. Otis Gibbs’ voice is carved from its surrounding but never polished to soften or curve the edges. His words are sharp, and the well they are drawn from is deep. You can hear the booming resonance coming up from the depths in the full power of Mr. Gibbs vocals. No rants, no bellows, just one big damn voice that uses passion to fuel words and phrases. The truth is given center stage in Harder Than Hammered Hell

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19. The Cash Box Kings - Holler and Stomp
Holler & Stomp does exactly what The Cash Box Kings promise in the album title. There is no hidden agenda, cryptic sub-plots or false advertising. The men of CBK are here to holler and stomp all over Chicago and country blues. The Cash Box Kings have spent ten years honoring the Chicago blues tradition as it could be heard during the 1940 and 1950’s stronghold that the music had on the city. On Holler & Stomp, the band follows the sound back a little further. The Cash Box Kings found country blues by tracing the trail from Chicago back down south to the Mississippi delta to noodle a little country blues into their recording output.

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20. Tommy Womack - Now What?
Tommy Womack sees his life ‘as is’ and offers observations as an opening line on Now What!, his most recent release. Breaking down where we are in the present is an art, one that is aided by Mr. Womack’s natural talent, and confidence in, seeing things as a realist. Tommy Womack is in the drivers seat onNow What!. “Play That Cheap Trick, Cheap Trick Play” is a laundry list of a day in the life, the good and the bad riding on the same roller coaster; “a hundred bucks to play three sets, this is as good as it’s gonna get”. The songs and the man offer a yin/yang look at life. The ups and downs are played as they lay, and that is the reason that Tommy Womack presses buttons on his listener’s lives as much as his own. Tommy has the knack of clearly stating the obvious and delivering the message with humor and pathos.

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21. Mr. Nick and The Dirty Tricks - Oh Wow!
Better pull up the rug ‘cause it will get trashed. Mr. Nick and The Dirty Tricks are having a party on Oh Wow and your name is on the list. A big fat sax and rollicking piano steer the course on the self-titled album opener. The constant on Oh Wow is change and Mr. Nick wears Italian shoes through any of the style stops as The Dirty Crew nod to big bands, rockabilly, and turn on the spotlight for a slow dance. Mr. Nick and The Dirty Tricks play blues of the stomping and swinging version in the vein of Little Walter, Howlin' Wolf and Wynonie Harris, shaking it with original rhumbas, jump blues, and boogies

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22. Girls Guns and Glory - Sweet Nothings
Girls, Guns and Glory offer an full frontal album experience on Sweet Nothings. The sweetest thing on the album is the way the songs slide from one to another. The dead air between the songs is never a jagged edge, the pauses seeming more like a breath being taken before the next words are spoken. Girls, Guns and Glory bring a lot of class to Alt Country.

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23. Steve Forbert - Over With You
Over with You is as much about experiencing loss as it is about overcoming it. In typical Forbert fashion the songs are sometimes sad and oft times the sadness is dashed with humor. Forbert's ability to scathe is at times so understated that the scathing goes unnoticed. Over with You is another solid effort from one of music's most reliable and solid performers...it's about heartache without being lovesick.

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24. Ray Wylie Hubbard - The Grifter's Hymnal
The Grifter’s Hymnal, like A. Enlightenment, B. Endarkenment before it, was co-produced by Ray Wylie Hubbard and George Reiff, with tracks recorded at both Reiff’s home studio in Austin and at The Edythe Bates Old Chapel, located on the scenic grounds of the Round Top Festival Institute halfway between Austin and Houston. Ray Wylie Hubbard says of The Grifters Hymnal “The album really does have a lot of attitude. We made it to play loud, and I think the sonic quality of it is just beautiful. Even if you don’t like the singer or the songs, you’ll like the way it sounds.”

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25. DL Marble - Not the One
The collections of tracks on Not The One have the feel and form of a greatest hits package. The stories do not connect as a theme and the music never quite lands on a consistent style. This leaves an opportunity for each story to stands on its own, and that might just be the plan hatched between D.L. and Roscoe when putting the album together.  The songs on Not The One are a marriage of music that defined by a path the notes follow  set up against D.L.’s vocals, his voice containing the perfection of Pop and the knack of putting emotion into each word, dipping the message into joy and spite and delivering the story with a wink and a sly smile.

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Soul music has long been the territory of cool cats; music, clothes, style…..smooth. Soul music shared more with our feline friends when it grabbed the extra-lifespan package and opted for a new life every time it seemed to be sputtering. In the 1960’s times of Soul Power, the music was a breeding ground for rhythm, rock and blues. Over the years, Soul has not lost its cool though it has not given as much cred to its sources the further it got away from home. In 2014, Soul music is still very much a part of the musical landscape. Nu and neo Soul pop up to help define studio sounds that move away from Soul’s more organic forms. The real Soul comes from inside the multiple musicians packed onto a stage with drums, bass, guitar, horns, keyboards, background singers and a front person who will use every square inch of space not accounted for by other band members. Labels like Alligator Records, Bloodshot Records, Anti- and other Indies are embracing Soul and bands are looking for bigger stages. Sharon Jones and the Dap-Kings are (once again) the bar for Soul in 2014. They have, and continue, to carve the way and make the world a safer place for Soul. JC Brooks and the Uptown Sound (Chicago, IL), St. Paul and the Broken Bones (Birmingham, AL), and Greyhounds (Austin, TX) are three of the younger bands keeping the flame lit for Soul music in an Indie universe. Justin Townes Earle digs deeper into his Country Soul with each album while Peter Karp and Sue Foley come at their Soul stew from the Blues.

Sharon Jones and the Dap-Kings – I Learned the Hard Way - Brooklyn’s Daptone label is a home to its artists who, in turn, manage the business of Daptone Records. Sharon Jones and the Dap Kings are the band that built a home for the musicians. The title track from the band’s 2010 release, I Learned the Hard Way, stars Ms. Jones in the mini-film, and on the stage, where she is always the star.

Seth Walker - "Lay Dpwn (River of Faith)" - Seth Walker is a blues crooner. His voice can claim dual citizenship in the blues and jazz. Where Seth’s vocals tend to jazz up the blues notes, his playing comes from a different direction and all the ends meet in his Soul. From the filming of his Extended Play sessions, a video from Seth Walker at Alternate Root TV studios.

St. Paul and the Broken Bones – "Call Me" - Like many others, Paul Janeway heard the call for glory later in life. Paul’s plan was to become a minister, a goal until he was 18 years old. He was seduced by an open mic night in Birmingham, AL, expanded his musical experiences beyond The Mighty Clouds of Joy and into Tom Waits and Nick Cave, and answered the call. It is Soul that crowned St. Paul, and The Broken Bones became the chariot that carried him and the Birmingham, Alabama sextet into the studio to release their debut of rock’n’soul, Half the City.

JC Brooks and the Uptown Sound – "Rouse Yourself" - On their second album release,Howl, JC Brooks & The Uptown Sound still lead with Soul, and take the sound further, showing all that it can be in a world primed for Indie Soul.  The confidence and bravado of Soul fuels the way the songs are put together and “Rouse Yourself” pulls love in with some shiny lines and heartbeat drumming.

Justin Townes Earle – "Am I That Lonely Tonight" - Justin Townes Earle has always brought an Indie feel and form to his music. On earlier albums, Justin let that Indie rearrange and remake itself amid songs that landed on the Americana side of Roots Rock. On his most recent Bloodshot album, Nothing’s Gonna Change the Way You Feel About Me Now, he trades open Country for Memphis Soul stew.

Greyhounds – “What’s on Your Mind” - As Greyhounds, guitarist Andrew Trube and keyboardist Anthony Farrell have been making music and touring for 15 years, refining and developing a sound Trube calls “Hall and Oates meet ZZ Top.” The band also has long ties to Memphis, home of the soul that inspires them. What’s on Your Mind” is from Greyhounds 2014 release, Accumulator.

Peter Karp and Sue Foley – More than I Bargained For - Peter Karp and Sue Foley’s recent release, Beyond the Crossroads is a loud celebration of triumph over tragedy, optimism over despair and faith over hopelessness. It delivers on the promise of their critically acclaimed 2010 song-cycle, "He Said - She Said"; an inspired and compelling anthology of original songs, adapted from long distance letters and e-mails the two shared over a particularly difficult and dark period in their lives.

2013 was a great year for American Roots music and putting together a list of the Top 100 was a long and arduous task. We went around and around about who should be on it and then around again when putting them in the order you see them now. The Top 10, truthfully, could go any way you want it but we had to pick an order...and a number one and we couldn't get past that incredible Band of Heathens record. Then there was the Wood Brothers. Equally incredible. And Over The Rhine and well so on and so forth. When you finish one of these  lists and you think you're done...the ones you forgot start popping up. "Holy shit, we forgot Barrence Whitfield!" So it starts again. Where to put the one's we forgot and who gets bumped. We've undoubtedly missed some that you think should be here and you're probably right, but this isn't science it's only our list of the Top 100 Albums of 2013 and here it is.
band of heathens1. The Band of Heathens - Sunday Morning Record -  The Band of Heathens head back to a time when the depth of a Sunday morning was taken apart your favorite song. Ed Jurdi and Gordy Quist were keeping a path forward amid personal and career hurdles. They found that space in their songwriting. The tracks are more personal; though quieter, there is sharp clarity to the album. There is no doubt, that this is music from The Band of Heathens brand. Heart and mind are both represented and appealed to in their songs, and Sunday Morning Record continues to deliver smart stories of real lives, with all the bumps, bruises, and smiles left in.

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the wood brothers2. The Wood Brothers - The Muse - Wood Brother Oliver has name recognition on a number of non-in-house albums, helming the production of projects such as Shemekia Copeland and co-writing the recent Tedeschi-Trucks Band album title track. For their recent release, The Muse, The Wood Brothers went outside of blood relations and chose a producer that uses all of his senses to capture the intricate diversity of the band. Buddy Miller turned the knobs behind the board for The Muse, and added baritone guitar work to the production. Buddy does a fine job in transferring the music to song in a way that nods to influence without needing to stamp the tracks with a particular sound style.

Listen and buy the music of The Wood Brothers from AMAZON or iTunes


over the rhine3. Over the Rhine - Meet Me At The Edge of the World - Meet Me at the Edge of the World uses the rural Ohio farmhouse of the husband and wife team of Over The Rhine, dubbed Nowhere Farm, as a backdrop for the stories and the music. The band’s previous works have showcased their art, and their ability to craft music that is full and vibrant. Over The Rhine, with producer Joe Henry,  dedicate themselves to making sure that every note and nuance surfaces in the songs for Meet Me at the Edge of the World. The album is the most song friendly effort from Over the Rhine and, luckily, it is a double disc.

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jason isbell4. Jason Isbell – Southeastern - The songs of Jason Isbell on Southeastern are handled with care, and the album announces Jason’s move to top tier songwriter and performer. His heart still beats Roots; he is after all, a son of Muscle Shoals. Jason Isbell comfortably wears the skin of an American songwriting force with Southeastern. He has equal command of his words and the ability to deliver them with all of their emotion intact. He turns heartbreak into the saving face of salvation in the story line of “Traveling Alone” and steers through a decade of memory glimpsed through the light of “Different Days”.

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5. Patty Griffin - American Kid – Patty Griffin has stated that much of her new release, American Kid, was written to honor her father. Musically. Patty uses her past recorded output as influence in creating something familiar emotionally that dwells in a musical future sound. “That Kind of Lonely” lanquishes in a lush sound collage that gathers strings and hard edge acoustic chords, using Patty’s voice as a beacon to lead the song across stark soundscapes. Patty Griffin has a voice that can whisper or soar with an equal presence. There is a subtle power in each note, a secret knowledge in every vocal tease.

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6. The Greencards - Sweetheart of the Sun - The Greencards have broken musical ground and established themselves as major players in the world of Roots music since they came into being in 2003 and on Sweetheart of the Sun, their musicality spreads out over the water-themed release. Their collective talents are not hidden nor kept to the background and kudos go to The Greencards for making Sweetheart of the Sun feel like one thought rather than individual tracks.

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7. Emmylou Harris and Rodney Crowell - Old Yellow Moon – Harmony between old friends is what drives Old Yellow Moon. Emmylou Harris had Rodney Crowell at her side for her own early solo work on seminal album such as Luxury Liner and Elite Hotel. The pair join their voices again with Old Yellow Moon.

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8. Trampled Under Foot – Badlands - Trampled Under Foot boast not one but two Soul force singers with sister/brother Danielle (bass) and Nick (guitar) Schnebelen. Their parents, Bob and Lisa, were fixtures on the Kansas City Blues scene. Nick describes what the father gave his children, “Our dad was in bar bands but he was also recognized as a great blues guitar player. He’d take us to blues jams where we’d meet some real old school artists and hear a cross section of roots music.” Early training shows through on Badlands. Danielle’s siren voice is a beacon light and a lamp in the window. Danielle fully inhabits her cover of James Brown’s “It's a Man's Man's Man's World” with a testifying claim on the crown that will make anyone within ear range a true believer. Badlands is smoldering Soul and Blues.

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9. Delbert McClinton and Glen Clark – Blind, Crippled and Crazy - Delbert McClinton and longtime friend Glen Clark made their last album together in 1973. Forty years on, and the guys decided it was enough fun to do it all over again. The time that has passed has not dulled their roots, and it has given them plenty of fodder for stories, though most of the tales are aimed right back at the two guys behind the microphones. Glen Clark says of the project that they are “a couple of guys who started playing together in ragtag bands around Fort Worth in the '60s,  so we like to poke some fun at ourselves for being older now."

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10. Steve Earle & The Dukes (and Duchesses) - The Low Highway - The Low Highway is the fifteenth Steve Earle studio album. The album style samples from a wide sound backing courtesy of The Dukes and Duchesses. The album showcases the songwriting abilities of Mr. Earle in a manner that cannot be heard in his more genre-specific albums. There is breathing room on The Low Highway, and Steve takes full advantage to stretch. “Pocket Full of Rain” dips its sound into Indie Rock; “21st Century Blues” wonders where all the promises went over a full forward rock rhythm; “Love’s Gonna Blow My Way” catches a Cajun fiddle wind that rides into “After Mardi Gras”, where it dips into a more swamp edge. “Calico County” cuts a path with guitars that leave marks like a chem trail across the album and “That All You Got” marries Blues riffs with Zydeco rhythms.

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11. Edie Brickell and Steve Martin - Love Has Come for You – The Steve and Edie (for our times) have created beautiful moments of song on Love Has Come for You. Given history and talents, the album’s quality is not a shock. What is surprising is how well the pair get the banjo and voice to interact. The title track mixes banjos notes and chords to give fullness as Edie spins a mountain tale that builds up instrumentally to bloom like spring flowers within the song. The story follows love through a life showing the strength of the emotion and finding joy even when it reaches the end of its time on earth.

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12. Valerie June - Pushin' Against a Stone – Valerie June refers to her music as Organic Moonshine. She is a major star across that big piece of water east of the US coast; her UK ‘overnight success’ arriving right around the same time as her album debut, Pushin’ Against  A Stone. Vocally, Valerie June can simultaneously give impressions of hurt while assuring that you can climb over anything in your path. Pushin’ Against A Stone crosses sonic borders and comfortably wears folk blues, jazz, rock and soul in its songs without ever having to swear fidelity to any one sound style.

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13. North Mississippi All-Stars - World Boogie is Coming - Pedigree opened doors but once inside, North Mississippi All Stars needed to rely solely on their music. Luther and Cody Dickinson grew up in North Mississippi alongside bluesmen like R.L. Burnside, Junior Kimbrough and the ghost of Mississippi Fred McDowell. The Dickinson Brothers got some advice from their buddy Seasick Steve, who told them they were the link to North Mississippi Blues for the next generation. Steve’s advice was to keep it primitive. The North Mississippi All Stars wanted to make a cultural statement, and to honor Seasick Steve’s request, and that is exactly what they have down with World Boogie Is Coming. Doing the right thing and giving it a beat.

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14. Guy Clark - My Favorite Picture of You - Guy Clark holds a photo up to the camera on the cover of My Favorite Picture of You. The image is Susanna Clark, who passed away in June 2012. Guy vivdly remembers the moment, "Me and Townes are in that house, just drunk on our asses, jerks. And she'd had enough, she walked out that front door. I think it was John Lomax who snapped that picture. I had it pinned on my wall, and Gordon [Sampson] came over. We were writing and he had a list of lines and titles and all that shit that most people carry around. I was going through it and I hit on this line that said, 'My favorite picture of you.' I turned in my chair and it was right there in front of me. The lyrics just poured out because all it boiled down to was describing the picture. We might written it in one day."

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15. Slaid Cleaves - Still Fighting The War - Slaid Cleaves is our inner voice and the guide that points us towards the light. His stories use the lives of others to help us make the way over the hurdles in day-to-day existence, and support decisions with the lives of those around us. Slaid starts off Still Fighting the War with its title track. The song follows memories back to Fallujah and addresses the central character in the tale with the observation that “you been home for a couple of years now, buddy, but you’re still fighting the war”.  The song zeroes in on the obvious and makes sure that the truth is present as it sings….”men go off to war for a hundred reasons but they all come home with the same demons”.

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16. Anders Osborne – Peace - Anders Osborne is on a Peace mission. Given the subject matter, it might seem that the title is what the man is championing….that is not the case. Anders relates the various stages, transitions, awakenings and pitfalls he has experienced in achieving his own personal Peace. Anders Osborne’s observations are street smart and do not pull punches. To support the realness of his words, Anders fills songs with determined rhythms marinated in the musical stew pot of his New Orleans home.

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17. Mavis Staples - One True Vine - Mavis Staples, and producer Jeff Tweedy, have created the gospel according to Americana with One True Vine. The pair received a Grammy nod and win with their first collaboration, and Ms. Staples wanted to create One True Vine in the same joyous spirit though with an evolution in the music.  The album completely embodies dark and light, both in words and music.

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18. The Milk Carton Kids – The Ash and The Clay - The Ash and Clay lets the guitars have their say, with tones that complement the purity of The Milk Carton Kids vocals. Kenneth Passengale plays a 1954 Martin and Joey Ryan uses a 1951 Gibson, making the guitar sounds sparkle with age in the echo of a thousand notes. The Milk Carton Kids tend to deliver their songs with a quiet power. There is softness to the tunes gathered but they have a bite that safely keeps them out of reach from an easy listening status.

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19. Nora Jane Struthers & The Party Line – Carnival - The stories on Carnival have their backdrop go from antebellum south to an old man walking a mountain trail in the present day. Nora Jane Struthers is comfortable in the literary side of her tales. Prior to undertaking a full time career in music, she was an English teacher. Nora Jane Struthers and The Party Line take you on a ride in Carnival that captures a lot in the space of fourteen songs and creating an album that will take them from the sideshow to the big tent.

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20. James Hunter Six – Minute By Minute - The James Hunter Six play hard though the rhythms of the band do not pound as much as penetrate. Double duty is a default for James Hunter in his songs. His voice guides and keeps the music on track with the happiness the narrator finds in getting it right shining through James’ vocals. James Hunter follows the path of great Soul singers like Al Green, Solomon Burke, and Otis Redding by selling the songs with an honest emotion that allows his vocal chameleon to inhabit his characters.

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21. Yarn – Shine It On – Contrary to Yarn yarns, the stories on Shine the Light On see the band traveling towards the warm glow found in the promise of the album title as they voice humble request in an attempt to strive for, and appreciate, a better life. The words of Blake Christiana and the emotional telling of his vocal delivery have found themselves a good home in the music making of Yarn.

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22. The Defibulators – Debt’ll Get ‘Em - Debt’ll Get ‘Em hits the ground over the speed limit with album opener “Holy Roller”, a tongue-in-cheek gut-kick to organized religion. The Defibulators raise a toast to blue-collar brothers and sisters with “Working Class” a soon-to-be jukebox favorite from the coal mines to the farm fields, stopping at every watering hole from the east to west with truck parking.

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23. Steep Canyon Rangers – Tell the Ones I Love - The Rangers never toss a riff over for someone to catch; each note volley included in their songs are hand carried from one member to another on Tell the Ones I Love. The mandolin, fiddle, guitar and banjo leads move between instruments with no bumps though there are some serious jumps in the way the band delivers, and we can hear, bluegrass. Steep Canyon Rangers honor traditions but do not view the sounds that have come before as a sentence but musical arrows that point towards a sonic changes for string bands.

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24. Jonny Fritz - Dad Country – Jonny Fritz went back to his origins, dropping Jonny Corndawg and reclaiming his real name for his ATO Records debut, Dad Country. Jonny paints himself as the outsider in his songs and backs the Southern literary story lines with classic country playing. He understands that his problems lie with the company he keeps (“Wrong Crowd”, “Social Climbers”), last night’s party (“Goodbye Summer”) and the welcome he gets after driving all night to help blow out the candles (“Ain’t It Your Birthday”).

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25. I See Hawks in L.A. – Mystery Drug – The gentlemen curators of California Country, I See Hawks in L.A. once again confine literary prose into the borders of a three minute song with Mystery Drug.  They are a giving group and help the songs stick with remember-me hooks in the chorus to take home with you. The Hawks turn the pages of real life in the tales and stitch the songs with Paul Laques psychedelic roots riffs.

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26. Willie Nile - American Ride - The title track for American Ride, co-written with The Alarm’s Mike Peters, finds the song in a New York City morning but this day holds an adventure. As the cities of America fly by across the easy rhythm of Willie’s guitar, his voice is a conductor calling out points of interest across the United States. “American Ride” stretches like the country it sings about; you can hear the slap of motorcycle tires and see the shadow of Willie Nile and his guitar moving across the prairies, crossing the mountains and deserts and hitting the shores of the coasts. Willie Nile presents a travelogue, and an album, penned with pride.

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27. Tim Easton - Not Cool – Tim Easton left the high desert near Joshua Tree to set up camp on the Cumberland River. After leaving a Ryman show in Nashville, Tim wandered into Robert’s Western World on Lower Broadway and left with a direction for his Not Cool album and the backing players for the vintage roots rockabilly temperament of the songs, all recorded in five days.

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28. Robert Randolph and the Family Band – Lickety Split – Robert Randolph took a break from a grueling 280-date-a-year touring with the Family Band to record and release Lickety Split, his first studio recording in three years. Playing every night diffused the group’s spontaneity and the rule for the new album was no rules. Robert Randolph fires notes from his sacred steel guitar that will leave skid marks on sound waves.

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29. Barrence Whitfield and the Savages – Dig Thy Savage Soul - The Savages do not back Barrence Whitfield as much as surround the man with a chaotic maelstrom of sound, true surround sound. Mr. Whitfield’s stands his ground with class and sass against the sonic force of The Savages. Barrence not only keeps his spot but he also owns the spotlight when he leads the band. Ferocious rock’n’roll and street tough R&B are the default sounds for Dig Thy Savage Soul.

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30. Carrie Rodriguez – Give Me All You’ve Got – On Give Me All You Got, Carrie Rodriguez wears the skin of an artist who is stretching beyond what is expected of her without completely shedding the sound that brought her to the party. The grace and poise that freely roam throughout Give Me All You Got grant the album a sonic texture that comfortably fits it into the roots world with subtly obvious influences of country, rock, soul and folk. The songs form a soundtrack for Carrie’s Texas years and the ten years she has spent in Brooklyn. The emotions in Give Me All You Got are as equally separate as her states of residence. Carrie describes the songs, “These new original tune run the gamut of intense emotions, from heartache to budding new love, from betrayal to resigned acceptance, and finally to the sheer joy of being alive.”

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31. Nikki Hill - Here's Nikki Hill – A few years ago Nikki Hill made a decision to add her voice to husband Matt’s guitar work and take to the stage with the force of Roots Rock’n’Soul raging from the amplifiers. Here’s Nikki Hill stamps North Carolina as the spot where raw, visceral roots soul has taken to ground. Nikki Hill holds the stage with a voice channeled from Little Richard and a poise that Mr. Penniman will envy.

Listen and buy the music of Nikki Hill from Nikki Hill

32. Drew Holcomb and The Neighbors - Good Light – Drew Holcomb and the Neighbors make Roots Pop that is lyrically sophisticated, contemporary and powerful. Musically, Drew’s wife and songwriting partner Ellie holds the harmonies as The Neighbors glide over a sonic landscape of Hammond organ, pedal steel, mandolin and guitars.

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33. The Blind Boys of Alabama – I’ll Find A Way – Gospel and Indie Rock set up camp for the recording of I’ll Find a Way with The Blind Boys of Alabama going with Justin Vernon (Bon Iver) to produce the release. Devotional music with an edge set on eleven for the sonic level and the messages.

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34. Jimbo Mathus & the Tri-State Coalition – White Buffalo – Former Squirrel Nut Zippers frontman Jimbo Mathus left North Carolina returning to his home state of Mississippi.  Jimbo, the Tri-State Coalition and producer Eric ‘Roscoe’ Ambel recorded White Buffalo in the studio that Mathus had set up using antique ribbon microphones and tube pre-amps. White Buffalo marries folk wisdom, southern roots rock and smart stories.

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35. Tim O’Brien & Darrell Scott – Memories & Moments – What began as two friends/players getting together on their debut album has moved into a full-on project for Tim O’Brien and Darrell Scott with Memories & Moments. It is a testament to the men behind the strings that sparks from the strings fly from the speakers still warm. The pair move into comfort zone the project that weaves their talent together in sonic quilt.

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36. Otis Taylor - My World is Gone – The man responsible for trance blues crafts an album that uses the American Indian experience as a back drop theme. With the use of repetitive words and guitar patterns Otis Taylor creates a meditative state that allows the stories of the past to come through as an echo. The blues weaves along a path constructed of winding grooves as Otis Taylor takes on the role of Soul Shaman.

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37. Noam Pikelny – Plays Kenny Baker Plays Bill Monroe – Noam Pikelny presents the first complete banjo adaptation of Kenny Baker’s 1976 seminal recording of Bill Monroe’s instrumentals. As with all Noam Pikelny album offerings, and with his work as a Punch Brother, his banjo playing combines bluegrass with elements of rock, jazz and classical music, expanding a genre that cut its teeth on Mr. Monroe’s paring of blues and hillbilly music.

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38. The Del-Lords - Elvis Club – In the late 80’s, NYC rock veterans Scott Kempner (The Dictators) and Eric ‘Roscoe’ Ambel (Joan Jett & The Blackhearts) formed The Del-Lords on Manhattan’s Lower East Side. A couple decades worth of calendar pages gathered on the recording studio floor for us but The Del-Lords have not missed a foot stomp in the 23 years since their last recordings. The boys do not make Elvis Club a comeback but a reminder of the glory found in Roots Rock’n’Roll.

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39. Jacob Jones – Good Timin’ in Waynetown – Jacob Jones knows how to construct, record and deliver Soul music. Add in bottles of wine, margaritas on the porch, greens cooking on the stove and chicken fried on the counter and you can see that the man also knows how to throw down. Good Timin’ in Waynestown is a party album, a reminder of how good it feels to have fun with music.

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40. Patty Larkin – Still Green – Still Green chronicles a personal journey in the life of Patty Larkin, a time of hurdles raised by the death of loved ones. For solace, Patty carved out a small spot of sand on the Outer Banks of the Cape Cod National Seashore, writing many of the songs in a primitive beach shack. Patty described her creative process as “from darkness to light, from a frozen winter where ice hampered every step, where halls were shadowed in sadness, to the sandscape of the seashore of Cape Cod.”

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41. Beth Hart - Big Bang Boom Boom - Beth Hart does not sing as much as she circles a song. Her voice is a force that warns her characters of dangerous passion plays or pulls them under to drown in their own tears.  Big Bang Boom Boom is a fire breather, with a wall of playing and production that are big but Beth Hart slaps the table to make sure that you know that her voice is bigger.

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42. Amanda Shires - Down Fell the Doves – Down Fell the Doves opens its jewel box of song casting gems that sparkle over sweeping beats and rumbly wobbles, rising up on assured power chords and hair-raising fiddle rolls. Amanda Shires is a presence the combines the magic of grabbing the right fiddle notes from the air and the story songs to give them a place to live and thrive.

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43. The Black Lillies - Runaway Freeway Blues - The Black Lillies can be softly seductive, hook you with a beat and spin tales scripted from family history. Runaway Freeway Blues takes a big step forward for The Black Lillies and further brings Roots music into its own spot in the world of Indie and Alternative sounds.

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44. Bow Thayer and Perfect Trainwreck – Eden – Eden was written almost entirely on Bow Thayer’s electric banjo. Perfect Trainwreck is an accomplished group of musicians and their talent made the transition from guitar to electric banjo for Bow choice of instruments a smooth one. The isolation of his Vermont home-base makes Bow feel like an outsider and that helped back story the songs on Eden. Bow cited the rural environment as “a part of my perspective on this record. It also feels like we are in a bubble trapped in time in many ways. It’s beautiful and weird.”

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45. Willie Sugarcapps - Willie Sugarcapps – Willie Sugarcapps combine seasoned musicians with sweet chops that blending with one another like honey in a potent cup of tea on their self-titled debut. Anthony Crawford and Savanna Lee of Sugarcane Jane, Will Kimbrough, Grayson Capps and Corky Hughes make up the group and the sound is just as good as seeing those names all together on the credits. There is an easy flow to Willie Sugarcapps with acoustic rhythms moving through each track with a fluid motion.

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46. Houndmouth - From the Hills Below the City - Houndmouth take the male/female duo sound that is filling the air and back it with the meaty rhythm section that adds bulk to the co-vocals. The band got attention with their self-titled E.P. release that featured calling card tunes such as “Penitentiary” and the heroin nod ride of “Houston Train”. Both tracks are included on their debut, From the Hills Below the City. The promise Houndmouth made with the four song tease from the E.P. is realized on the full length.

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47. The Steel Wheels – No More Rain  - The Steel Wheels formed around four friends in the Blue Ridge Mountains of Virginia and their music is rock solid soul for the masses. The Steel Wheels stitch good feelings and the truth of their delivery into the songs on No More Rain. The Steel Wheels are a touring machine and the songs come to you fully road tested from years of use.

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48. Shannon McNally - Small Town Talk – Small Town Talkis a tribute that Shannon McNally gives to New Orleans songwriter Bobby Charles. His music had a place at the birth of rock’n’roll, and though Bobby Charles had hits songs through the 50’s/60’s, his musical career extended beyond two decades. Shannon McNally, assisted by producer Dr. John, extends their shelf life.

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49. Mark Robinson – Have Axe Will Groove – OKay, so the release date was December 2012 but we didn't get the official release date until January so that explains it! Mark Robinson has long life line as a roots guitarist and blues artists, rounding out his resume with his well-deserved gig as educator for the past thirty years. He currently teaches classes in audio production, music theory and World Music at the Art Institute of Tennessee. Mark’s debut was autobiographical, Have Axe Will Groove is personal and the Nashville bluesman lays out the tales over some seriously dirty, funky, gritty grooves.

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50. Marshall Chapman – Blaze of Glory – Life lessons via personal experiences are parceled out in Blaze of Glory. The album takes a stand for the legion of Marshall’s forty-, fifty- and older year-olds that Marshall tags in her stories.  Sure, sixty is the new forty, but sixty still feels like sixty (and looks) when you are brushing your teeth and at least halfway through your first coffee. Marshall Chapman faces maturity with the heat of her barely-concealed inner rock’n’roll firebrand.

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51. Sara Petite –Circus Comes to Town – Sara Petite constructed the songs for Circus Comes to Town in the high desert near Joshua Tree, California, using the songs, and her recording, as a way to not get stuck in the moment. The sudden death of her best friend and partner hit Sara hard. The songs on Circus Comes to Town reflect her sorrows, her memories and her desire to incorporate tragedy into her life and not hide it away or ignore its existence. Circus Comes to Town never gets bogged down in the drama and its stories have pain and pleasure, bumps and bounces, moments when you need to be still and times when you race for the finish line.

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52. Hymn for Her – Present Lucy and Wayne’s Smokin’ Flames - For their new album Hymn For Her, Hymn For Her Present Lucy & Wayne’s Smokin’ Flames, Lucy Tight and Wayne Waxing wanted to take it up a notch. Hymn For Her have been touring highways, backroads and barely roads for the past few years injecting juiced-up backwoods country blues with a full dose of desert-rock psychedelia. The pair have been described as Hell’s Angels Meet the Amish.

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53. Rosie Flores – Working Girls Guitar – The album title perfectly sums up its star. Rosie Flores has stood behind her guitar, using it to cut a swath through a rockabilly landscape heavy on the testosterone. Beginning with LA cow punk and The Screamin’ Sirens, Rosie Flores signed a solo deal for a 1987 major label release, becoming the first Latina to enter the Billboard Country charts. Working Girls Guitar has an autobiographical lean with the title track, “I’m Little But I’m Loud” and “Love Has Passed Me By” as Rosie softens the blows of life by turning up the volume.

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54. Patrick Sweany – Close to the Floor - Patrick Sweany opens his mouth and soul just pours out. His voice has the fever, notes falling like drops of sweat. Patrick maintains a leadership in his delivery that gives an importance to every note, sung or played. It is the fire of a true believer. Though Soul is obvious in his singing, his songs do not always follow the path traveled by his voice. Patrick Sweany gathers a diversity of styles and sounds together on Close to the Floor

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55. Mandolin Orange - This Side of Jordan –  Mandolin Orange lead with passionate beliefs and are not afraid to frame tales about uncomfortable topics or to protest through the quiet revolution of their songs. The songs on This Side of Jordan lay themselves out over arrangements that are calming and supportive. Mandolin Orange put into play the adage that you get more bees with honey than vinegar and they liberally dip their songs into the sweet nectar.

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56. Cassie Taylor - Out of My Mind – Cassie Taylor has a past resume that lists bass playing for dad Otis Taylor as a teenager. Cassie wrote, arranged, produced, and performed on the songs for Out of My Mind. She moves the blues dial ahead on the album, but she really gives the needle for Roots music a shove with songs that hint at influence as they stake out new territories for a true blend of American Roots sounds.

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57. Moreland and Arbuckle - 7 Cities - 7 Cities has as its theme the world of Spanish explorer Francisco Vasquez de Coronado. The songs revolve around the search for the fabled seven cities of gold, a journey that ended on the Kansas prairie, the area native to the band. Moreland and Arbuckle have given the world a history lesson with 7 Cities, and fortified their look at the past with modern day trumpets by way of guitars to triumph the hidden treasures.

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58. Tommy Malone - Natural Born Days - The former front man and co-founder of the legendary New Orleans roots band The Subdudes ended a twelve year hiatus and released Natural Born Days. Tommy taps his trademark blue-eyed-soul vocals that are on full frontal display with this collection of carefully crafted, introspective and soul searching songs with topics touch on mortality, faith, love, loss and his beloved New Orleans.

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59. Eric Brace and Peter Cooper - The Comeback Album – Eric Brace and Peter Cooper add sly wit and carefully crafted asides to their tunes, giving the impressions that the songs are conversations with a beat, a sway and a toe tap. The tracks presenting themselves as The Comeback Album will have universal appeal, though the tales give a voice to men of an age where you are neither young nor old. They are not the voice of a generation, but Eric Brace and Peter Cooper do speak loudly for the ways of the men.

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60. Todd Thibaud – Waterfall - Todd Thibaud vocals have a good rock hold in the songs as the music moves over roots, folk, blues, soul, country and rock. There is a dedication to the songwriting that Todd adheres to with Waterfall. The art of the song is given free rein, and the tracks shed any style skin. The songs on Waterfall flow without coming to shore on any one particular category, much like the writers that Todd uses for inspiration-- Neil Finn, Elvis Costello, Johnny Cash and John Hiatt.

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61. Chip Taylor - Block Out the Sirens of This Lonely World - Chip Taylor is one of a few humans who is his own style. He is the voice and the pen that steers his song paint brush. Chip layers pain, humor, empathy and accusing fingers over his stories. On Block Out the Sirens of This Lonely World, Chip Taylor sculpts dark clouds from his songs; both the ink and weather doling out moodiness to the album, with the shadow of a silver lining peering beneath the story lines. Norway is a back drop for the tales results of the 2011 massacre, and its effect on Chip move through the album. He was in the country at the time and wrote and performed a new song, “This Darkest Day”, at a benefit honoring the victims of the killing.

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62. Mike Zito and The Wheel - Gone to Texas - Gone to Texas has Blues influences throughout its songs and its moods. That does not make it a collection that only lets Blues-based tunes through the door, however. The album offers folk blues, Bourbon Street Blues, breezy slides and slow jam love songs. Mike Zito lets influence guide his songs but does not feel the need to make it obvious. The Blues lives inside the man, it translates into the tunes on Gone to Texas as an ideology rather than a structure.

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63. Amy Speace - How to Sleep in a Stormy Boat - How to Sleep in a Stormy Boat was a risk that fan-based support for album production has helped make less stressful. Amy Speace gives her gratitude by the way she lets her muse drive the album. It is a beautiful rendering and traces a path to Amy’s pre-music life as a stage performer. Her stage directions are lines from William Shakespeare and her story songs act out their lives letting experiences give us a helping hand to suggest directions in our day to day lives.

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64. The White Buffalo – Shadows, Greys & Evil Ways – On Shadows, Greys and Evil Ways, The White Buffalo has an open casting call for characters though the songs still hold a spot for the big man taking center stage in his songs. The use of outside influences rather than personal experiences gives the tracks on the album a more cinematic feel with The White Buffalo clear relating of character study.

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65. Gedeon Luke – Perfection Perfect - At 23 years old, Gedeon Luke writes with a maturity that exceeds his time on earth. Boundless in its energy and message of peace, love and hope, it is music that only an 'old soul' with an un-tempered spirit could create. Like Sly Stone, Marvin Gaye and Curtis Mayfield, Gedeon Luke breaks strict barriers of classic music to set himself free and takes listeners with him on that freedom ride. You don't need a ticket, just climb on board.

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66. Tedeschi Trucks Band – Made Up Mind - Tedeschi Trucks Band are having a good time on their second studio album, Made Up Mind. They come in with a bounce in their step on the title track, a song was written by Susan Tedeschi and husband Derek Trucks with the help of Wood Brothers sibling, Oliver Wood. Derek felt that the song mirrored the band. The group believes that if you feel something strong enough then go for it and that sentiment is evident Made Up Mind. The album is not another album for Tedeschi and Trucks, it is the next step for a group that is evolving and growing.

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67. Buddy Guy – Rhythm and Blues - Buddy Guy lets the music do his talking and defines distinct tastes on the double-disc set, Rhythm & Blues, offering one side for each style. Buddy Guy collaborates with Aerosmith members Joe Perry, Brad Whitford and Steven Tyler and welcomes first-time studio partners such Gary Clark, Jr and Keith Urban on the album. Rhythm & Blues is the follow-up to Buddy’s 2010 Grammy winning Living Proof, and rides the tails of his 2012 Kennedy Center Honors. 

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68. Devon Allman – Turquoise - Devon Allman taps fellow Royal Southern Brotherhood bandmate, Yonrico Scott (drums and percussion), Samantha Fish (vocals) and Luther Dickinson (guitar) among others for the recording of his solo debut, Turquiose, There is an autobiographical feel to the tunes which Devon sees as representing “the last couple of decades forging my musical path. The last ten years I’ve spent in hotels, airplanes, taxis, truck stops, etc.”  The son of Gregg Allman, Devon Allman now calls St. Louis home.  

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69. The Roys – Gypsy Runaway Train - The Roys have easy vocals that remain calm as they fingers find strings and ride the wake of Gypsy Runaway Train. The album hosts six originals by The Roys and a bunch of bluegrass and country favorites. Elaine Roy has a sit down on her porch as night falls, picking a tune out of some guitar chords and singing a hello to the night time with a piece of “Blue Moon of Kentucky”. It is a beautiful setting and Elaine’s voice matches the peace……for exactly forty seconds. Brother Lee hops in and The Roys kick off a hi-test bluegrass version of “Blue Moon of Kentucky” that would make author Bill Monroe proud.

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70. Rory Block – Avalon - Rory Block retells the songs of Mississippi John Hurt on Avalon, the fourth release in her tribute Mentor Series which honors the great bluesmen at the heart of the genre. Mississippi John Hurt, born John Smith Hurt in either 1892 or 1893, began his recording career on the Okeh Records label in 1928. Rory Block lovingly performs songs from one of the major musical impacts on her career in music and her love of the genre. The songs on Avalon are tracks associated with the Mississippi John Hurt repertoire, and a love letter from a student to her teacher.

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71. Guthrie Kennard - Cross Your Heart  - Guthrie Kennard collaborates with the string soceror Marian Brackney on Cross Your Heart. Marian adds full, assured violin parts and hushed, whispered vocals to Guthrie’s fourth album effort. The album winds across a dozen tracks like bursts of a breeze through an open window. The tunes surround and support feelings as much as offer listening pleasure.

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72. Waiting for Henry - Ghosts and Compromise - The spirits that haunt Waiting for Henry’s Ghosts and Compromise make an early appearance in opening track, “Buy American”.  They rise up and materialize in the music, with faint wisps of Uncle Tupelo in the sound and the Middle American pride of one of Alt Country’s cornerstones. Waiting for Henry do not copy, mimic or outright steal the sound of the men of Uncle Tupelo. They use the stretched out notes from instruments and lyrics that inhabited the Roots forefathers No Depression days, and take steps to move Alt Country forward with songs unique to Waiting For Henry; honoring without feeling the need to re-invent any wheels to plow the genre’s fields.

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73. Luke Winslow-King - The Coming Tide - Luke Winslow-King is a guitarist, singer, composer, and lyricist known for his slide guitar work, and interest in pre-war blues and traditional jazz. Luke’s music focuses on an eclectic mix, taking in delta-folk music, classical composition, ragtime, and rock and roll; juxtaposing original songs with those from a bygone era. His has an original sound that is both rustic and elegant.

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74. Pete Anderson - Birds Over Guitarland - Pete Anderson glides in with a swooping twang of guitar notes on Birds Above Guitarland soaring on the airwaves of jazzy tones and textures. Clean playing and Pete Anderson are inseparable and Birds Above Guitarland continues the match of six strings and ten fingers that began in the Blues bars of Detroit while Pete was still working the blue collar factories of his hometown.

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75. Shannon Whitworth – Bring It  - Shannon Whitworth is an island on High Tide and she surrounds the ebb and flow of her swooning vocals with rhythms that lap gently, as on the title track. Motion is a key ingredient for Shannon Whitworth; there is a fluid curve to her vocal delivery with no sharp edges, notes are rounded and embrace the words carefully. Shannon Whitworth’s voice is an instrument that binds the songs of High Tide together as they drift like mist above sound waves.  

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76. Anna Popovic  - Can You Stand the Heat – To celebrate the release of Can You Stand the Heat, the heir apparent to Bonnie Raitt or Deborah Coleman as the top female blues guitarist/singer combo, Ana Popovic, played the New Orleans Jazz Blues and Jazz Fest. She used the set to introduce her new project, a nine-piece power blues and funk machine under the name Ana Popovic & Mo' Better Love. With AP & Mo' Better Love, Ana fronts a musical collaboration with Tony Coleman (drummer BB King) and John Williams on bass (Al Green). Can You Stand The Heat is Ana's ninth full-length album.

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77. Hot Club of Cowtown – Rendezvous in Rhythm - Hot Club of Cowtown take an album-long look at the Gypsy Jazz and French Swing of 1930’s Paris. Rendezvous in Rhythm was recorded in the hot jazz style of master violinist Stephane Grappelli and guitarist Django Reinhardt. Hot Club of Cowtown are an Austin, TX band and the album was recorded on home turf with production by Lloyd Maines at the Zone Recording Studio in Dripping Springs, Texas. There is a purity in the playing; the notes are crisp, each tone individual. The production work certainly helps separate and then join the instruments, but the secret weapon is the artistry of Hot Club of Cowtown.

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78. Bex Marshall – The House of Mercy - Bex Marshall was eleven years old when she received a 1963 Gibson Hummingbird. She tried on classical, then a little flamenco before the blues came to town and won her heart. She traveled the world dealing illegal poker games in Amsterdam, hitchhiking through Europe and finding a spare corner to busk for her supper. The House of Mercy showcases the big voice that the lady with the guitar wields. Bex Marshall’s voice demands attention, but don’t let the singing take away from her playing. Notes fly throughout The House of Mercy like sparks going from tree to tree fueling flames.

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79. The SteelDrivers – Hammer Down - If bluegrass was a BBQ buffet, then The SteelDrivers would be ribs with plenty of meat on the bone. On Hammer Down, The SteelDrivers show their musical muscle, grounding the bluegrass-based structure of their songs with a powerful bottom. The sound production lets the inherent darkness of The SteelDrivers words trigger an edge of tension throughout Hammer Down. At their heart, The SteelDrivers are a string band though their music offers a lot more than simply followers of bluegrass traditions. Soul and Country show more than just influence on the album, the band morphing and accessing varied forms of music and channeling it into a sound all their own.

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80. JC Brooks and the Uptown Sound – Howl - JC Brooks and the Uptown Sound combine JC Brooks’ starkly personal lyrics with the band’s ability to not second guess their role in the Soul sound evolution. The grooves fall onto the album from the willingness of The Uptown Sound to bare all their influences. Howl is the sound of Rock ‘n’ Soul expanding.

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81. The Howlin’ Brothers – The Howlin’ Brothers – Howl - The Howlin’ Brothers are a three-piece string band that marries tradition with a DIY Indie Rock attitude.  Howl puts a big sound to the band’s upright bass, banjo and fiddle courtesy of Raconteur Brendan Benson on production.


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82. Peter Cooper – Opening Day – Peter Cooper has a way with words. His stories look at the human condition through the eyes of a humorist, Opening Day starts with a team of heavy hitter songs that open doors to Peter’s past and peak though the windows of daily lives.

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83. Los Colognes – Working Together – Los Colognes are the backing band for East Nashville soul man Jacob Jones. Working Togetherhas the same love of classic soul and funk that hits sound waves circa 2013 as new music, not retro flashbacks. Los Colognes never let you stop moving with grooves that cradle, nurture and push you back out into the world all the better for the experience.

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84. Audrey Auld – Tonk – Tonk takes pride in its classic sound and serves as an answer to haters that claim Nashville no longer can produce good old country music. Audrey Auld proves that statement false on a release that backs her breathy whispers and salvation shouts with Nashville studio A-listers like Kenny Vaughan. Audrey Auld takes on tough topics with humor and turns heartache into happy with the tough love heart healing of her vocals.

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85. The Sojourners – Sing and Never Get Tired – The Sojourners turn our attention to the answers for contemporary problems, using faith to mend a broken heart or transform despair into hope. The choir The Sojourners lead wear is a Roots Gospel wings that will carry you high above your troubles and grant you a birds-eye view of the inspiration you are seeking. Though The Sojourners have the pipes to check into the Pop Gospel hotel, Sing and Never Get Tired uses dirty chords and gritty rhythms to establish its own street cred.

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86. JJ Grey and Mofro - This River - Love and the various territories it inhabits float by as This River flows through ten tracks, most of which were captured live in the studio. JJ Grey gives life into his well-defined characters with soulful vocals. The Mofro members add to the depth of the songs with crisp horn arrangements and committed rhythms.

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87. Dana Fuchs - Bliss Avenue  - The rawness of the songs comes from the natural blue tone of Dana’s delivery scrapping against her need to defy the Blues. Country twang and soul leapfrog for a shotgun seat as the songs on the album glide down Bliss Avenue. Dana Fuchs is a solid force amid the funky chunks of guitar chords and rock’n’roll preening as she shakes out her tail feathers.

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88. The Mallett Brothers – Land – The Mallett Brothers deliver a brand of Alt Country better defined as Northwoods Country Rock’n’Roll. The Portland, Maine-based band combine the folk influences of brothers Luke and Will from their dad, folk singer/songwriter David Mallett, with rock, punk and psychedelic roots.

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89. Blue Rodeo – In Our Nature - In Our Nature offers a moody musical backdrop in the title track, a rainy day film noir that moves through foggy reveries such as “it’s in our nature to fly”. High flying is what Blue Rodeo has achieved in their three decade career, selling four million albums and never seeing studio album release in their recording history go below Gold status. The band has designed In Our Nature as an album to be heard on vinyl.

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90. Garrett LeBeau – Rise to the Grind – Garrett Lebeau’s intuitive guitar playing draws circles around, accents, and walks alongside his voice on stories gathered on Rise to the Grind. Both deliveries are gentle, almost hushed. There is never any hesitation, his art is just careful about choices and the album benefits in being a listening experience that transports to a dream state decorated by words and music.

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91. Truth & Salvage Co. – Pick Me Up – The songs of Truth and Salvage Co. swoop and soar in a team effort. Four voices trade microphone duties and come together to underscore the stories while gluing the chorus to your brain. Living a good life and having a good time are timeless and that is the secret ingredient of Truth and Salvage, Co tunes.

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92. The Tillers – Hand on the Plow - The Tillers started making a roots music racket in Cincinnati in 2007. They were recovering punk rockers whose music had some Woody Guthrie, some southern blues and a bunch of anonymous tunes found in the Appalachian woods, churches, riverboats, and coal mines. The Tillers use string instruments as vehicles to mine music styles and trends, and translate the tunes to something born in the hills and in the roots of rock’n’roll.

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93. Wild Ponies - Things That Used to Shine - Wild Ponies expands on the power of two, husband and wife duo Doug and Telisha Williams. The band cultivates traditional sounds and instrumentation, use classic country as a guideline and craft a sound unique yet familiar, friendly and edgy.

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94. Gracie Curran and the High-Falutin Band - Proof of Love - Gracie Curran possesses an amazing voice that can easily smoke the competition. It is to the credit of the High Falutin’ Band that they can not only be seen but heard above the sunspot blast of Gracie on Proof of Love, the band’s debut album. Sharp-edges leads and funky chord chops are the perfect foil for Gracie Curran’s heat-seeking vocals.

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95. Spencer Livingston – Grow - Los Angeles native Spencer Livingston grew up on a steady diet of rock Americana with an early love of Neil Young, Tom Petty and Wilco. GROW serves up Alt sides of rock, folk and Americana using the backwoods of Los Angeles as a playground. Born and raised on the hem of Hollywood, Spencer Livingston has been nourished by a down-to-earth, artistic community supportive of his naturally rootsy inclination.

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96. Eric Bibb – Jericho Road  - Eric Bibb uses Jericho Road to deliver a message pointing out that, “the title refers to the road between Jerusalem and Jericho where the Good Samaritan stopped to help a stranger in need after better-off religious leaders had passed by and done nothing. On April 3, 1968, the night before his death, Rev. Dr. Martin Luther King urged us to follow the example of the Good Samaritan, saying:  ‘Ultimately, you cannot save yourself without saving others.’  If this record has a theme, that’s it in a nutshell: have a heart.”

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97. Xenia Dunford – His and Hers – Xenia Dunford dosed her debut liberally with jazz, piano ballads and pop, using the release as an experiment to test drive her teaching at Berklee School of Music. Her second album stretched into rock and acoustic sensibilities and with His & Hers, Xenia Dunford’s evolution adds musical hints of folk rock, country and Americana. She looks back on then from now realizing, “What drove me to play the piano in general was that I was a singer with no means of expression. My first EP was kind of like an experiment. I had a bunch of material, but I didn’t really look at the bigger picture of what my songs could be.”

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98. Fierce Bad Rabbit – The Maestro & The Elephant - Fierce Bad Rabbit circle a Roots sound; they are a rock band that dapples country riffs and twang throughout the songs. Chris Anderson’s vocals have the power for rock yet there are moments when the emotion weighs and the frail notes flutter without ever fully being extinguished. The songs on The Maestro and the Elephant are grounded with solid rhythms, bright jangly guitar leads and sweeping orchestral swooshes.

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99. Ghost Brothers of Darkland County – Various Artists – Co-conspirators Stephen King, John Mellencamp and T Bone Burnett have spent thirteen years putting the finishing touches on their southern gothic, supernatural musical Ghost Brothers of Darkland County. The musical features blues ‘n roots music performed by guest artists such as Elvis Costello, Phil and Dave Alvin, Neko Case, Kris Kristofferson, Rosanne Cash and more. The haunting tale involves fraternal love, lust, jealousy and revenge.

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100. Semi-Twang – The Why and The What For – In 2009, Semi-Twang celebrated their 20th anniversary as a band. Their 2013 release,The Why and the What For, puts together an album that Semi- Twang see as something that “ups the stakes as it traverses through the musical geography of Memphis, Muscle Shoals and New Orleans with passion and conviction. It's topical and personal with a bit more soul influence.”

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January 1 through June 31, 2014; just six short months with a staggering number of albums released in the American Roots format. The Top 50 albums released so far in 2014 got a running start with the Top 25 posted last week. This week, we are handing over number 26 through 50. It might seem strange to see Royal Southern Brotherhood and John Fullbright so far down on the list. It will not be like that at years end, we received the music late and thought that the release dates were after July 1….we were wrong and righted it with number #26 and #27. Disclaimer in place, we present the remaining albums for Top 50 2014 So Far

To view Top 50 albums #1 through #25 click here

26 – Royal Southern Brotherhood – heartbloodsoul    (6-10-14) - Heartsoulblood is the sound of a band that intuitively understands its Royal Southern Brotherhood. That is not really a difficult task for these guys. Touring, and being in a band, is a relationship. Heartsoulblood subtly showcases writers who can not only hear their parts but have an intuitive knowledge of their fellow band members well enough to predict the future for their parts. The music, and the songs, of Royal Southern Brotherhood is Blues Rock. The guys are not here to gently lull you, steady your nerves or give release from a tough work week. Those things will occur, of course, but only if your exit from your day-to-day is very real, and very loudly pokes a sharp, well-tuned stick at the status quo.

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27 – John Fullbright – Songs      (5-27-14) - On his second album, John Fullbright is the singer and songwriter for Songs; he is also the director, the set designer, the story editor, always the guy with clear observations, and sometimes the lead character.  He is a one-man production company performing many roles to present a complete piece of art for each of his Songs. Tension and comfort are both accounted for with well-placed notes and gently plucked strings, coaxing texture and tone from ivory keys; John Fullbright is a master craftsmen constructing with notes, words, and heart.

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28 - Susan Cattaneo  - Haunted Heart   (1-21-14) - Susan Cattaneo uses a hushed voice to greet her characters in Haunted Heart. She handles love with care as she introduces spirits of love past, present, future, with no fear of the dark spots, drawing back the curtains to expose the spins, twirls and missteps that occur in the relationship dance. Susan Cattaneo uses words and sounds to create stories as snapshots, and places them out for full view as songs in Haunted Heart.

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29 – John Nemeth – Memphis Grease   (3-25-14) - John Nemeth was planning a recording in Memphis for his next album. A couple of trips, meeting his backing band, The Bo-Keys and the overall vibe of Memphis had John heading back, family in tow. Since their inception, The Bo-Keys have been a band on the inside of a hot groove in their hometown of Memphis, Tennessee. Skip Pitts  laid down the wah-wah guitar intro to ‘The Theme from Shaft” in the 1970’s and trumpeter Ben Cauley was with school-kid funk band The Bar-Keys, backing band for Otis Redding and putting them on board for the plane crash that took his life, leaving Ben as the only survivor of the disaster. Drummer Howard Grimes’ can be heard keeping the beat for recordings by Rufus and Carla Thomas, O.V. Wright and Ann Peebles. Memphis Grease is the album the John Németh put together with the help of The Bo-Keys.

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30 – Bruce Robison and Kelly Willis –  Our Year    (5-27-14) - Kelly Willis and Bruce Robison have been a part of each other’s music for many years, Bruce stating that ‘Kelly has been singing (with me) since the first recording I made and she was the first person who ever recorded one of my songs. We’ve never stopped.’ The Robison family call Austin home, recording their most recent release, Our Year, in Nashville with producer Brad Jones. There is an excitement about Our Year that immediately comes through in the music. Kelly Willis and Bruce Robison share a life and intimacy born of years reaching mutual decisions, plugging up relationship leaks and sharing parenthood has a positive effect on the songs. Our Year reflects ‘a sound’ unique to the pair.

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31 - Amelia White – Old Postcard   (3-4-14) - Amelia White and her music established an early relationship that soon became at odds with parental guidelines. When she left home at eighteen years old, she packed her songs with her. She found a sense of family in her East Nashville digs; friends, outcasts, lovers who share the same musical drive, and sensitivity to heartache. The ghosts that take shape on Old Postcard all know Amelia by name, though some of the tunes share the thoughts of others. “Hollow Heart” is wisps of smoke that clear to show the longing of a motherless child, and “Big Blue Sun” rises over an ever-growing tide of incoming normalcy.

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32 - Bobby Rush with Blinddog Smokin’   (4-15-14) - Decisionscelebrates the sound of The King of the Chitlin’ Circuit, as dubbed by Rolling Stone for his 50+ year career. Bobby and Blinddog Smokin’ do a playful tease on “Skinny Little Woman”, strut a steamy slide through “If That’s the Way You Like It” as the story shows belief in asking for what you want. A career of fifty years and Bobby has got the whole tour thing down. He spends time talking about road life in the third person on “Bobby Rush’s Blues”, throws out a challenge to all comers as he proudly wears “Funky Old Man” and puts out his shingle over the bass-boom street beat of “Dr. Rush”. Decisions is an excellent party album and gets you ready for the morning after with “Too Much Weekend” and the laundry lists of alibis it provides, all boiling down to ‘I cannot come to work today’.  

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33 - Lydia Loveless – Somewhere Else   (1-18-14) - Lydia Loveless confidently offers songs that balance the love of classic country and the frank honesty of formative years spent in the ‘punk rules’ environs of Columbus, Ohio. Lydia Loveless could have easily taken the Sunset Strip of the late 80’s Cowpunk days that flew a Black Flag while saluting Hank Williams. Somewhere Else, however, does not need cubbyholes or categories to define it. The tracks lock arms with the same DIY punk attitude found in their stories; twanged flavor, distorted effect, three-chords-and-the-truth on Somewhere Else.

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34 - Jarekus Singleton – Refuse to Lose   (5-6-14) - You can hear the Blues in music of Jarekus Singleton and, like all players worth a listen, he makes his own Blues rules. Roots is in his music, and as an influence, one that has the same effect on cultural hotspots as the gospel and hip-hop that add touches to the songs of the twenty-something year-old. Jarekus Singleton may get some ‘young, Robert Cary’ descriptions and if using age and abilities are the qualifiers, sure. What the two more obviously share is an ability to take a heritage strain of music, like the Blues, and not only make it contemporary but also competitive with any other style claiming chart space in 2014.

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35 - Zoe Muth – World of Strangers   (5-27-14) - Zoe Muth has gotten attention for the details she uses to describe her characters as much as for the natural combination of Soul and Country that sound track the stories. The songs on World of Strangers, her recent release, continue to introduce gentle souls trying to hold on against stiff wind and weather of life.  The twang touch that Zoe Muth has loaded into past recordings is present on World of Strangers with songs like “Too Shiny”. “Make Me Change My Mind” has a percolating twanged groove set on automatic as a fuzz forms over the drumbeat sliding in and out of the arrangement with little fanfare but making for a big difference in the sound. Zoe Muth has a talent for giving her characters an inner glow from the spirits of her delivery. She is a welcoming host and makes sure that she is ready for visitors to stay a while by capably providing a full album listen.

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36 -Blackie & the Rodeo Kings   South   (1-14-14) - Blackie and the Rodeo Kings recent release, South, showcases all the possibilities the American Root format can hold by crafting an album with familiar twangs, string twists and rhythms that are take a rotating musical merry-go-round. South opens with dueling compass points. The direction is set in track number one by the song title, the Tom Wilson folk blues “North”, and its number two track in line taps the title track, a Colin Linden tune. A bass line thrust becomes an undertow as the seasons change in “Summertime’s Over”; Colin’s guitar throwing riffs as an entry for Stephen Fearing’s voice to float on the misty organ and slide guitar bends in “I'd Have To Be a Stone”, and an island breeze rhythm sways the curtain aside to two long-time partners who are trying to re-invigorate a relationship by “Reinventing the Wheel of Love”.  Blackie and the Rodeo Kings must light the studio up when they return from their tours and projects. There is a joy in the songs on South that is an obvious extension of the men in BARK.

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37 -Carrie Elkin and Danny Schmidt – For Keeps    (5-13-14) - For Keeps, the debut album from Carrie Elkin and Danny Schmidt as a recoding duo, stands as a present reflection of its songwriters lives as it reaches back to times when the pair were tangled up together on tour, unraveling enough of the world to become entwined romantically, then artistically. For Keeps spends a lot of time observing the love passing it by. Given the theme, it seems only right that “Kiss Me Now” makes the track listing. The song was Danny’s marriage proposal to Carrie during the 2013 SXSW festival. For Keeps, and the relationship of Carrie Elkin and Danny Schmidt, are linked; they share history, and listening is way better than home movies.  

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38 - Amy Black – This Is Home    (2-4-14) - Home is where the heart is, and the place where you are with those you love, family of blood or family of choice. Amy Black sings the many facets of life in bloodline base camp on This Is Home. The album is Amy’s second solo release, recording in Nashville with roots music lynchpins, Will Kimbrough and Oliver Wood, stopping by to plug in and play. The songs paint a picture on This Is Home, something to frame and hang over the fireplace in the family room….the sweet, the bitter and everything in between.

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39 -Robert Cray Band – In My Soul   (4-1-14) - Quality is to be expected when Robert Cray puts his name on an album cover. Robert is a 15x nominee, 5x Grammy winner and one of the youngest musicians, at 57 years old, to be inducted into the Blues Hall of Fame. In My Soul, the latest release by the Robert Cray Band, is delivered with the same attention to detail, relaxed playing, and smooth vocals found in the man’s previous sixteen studio albums and twelve million records sold.  In My Soul focuses on one influence in the music of Robert Cray and Soul powers the album. As In My Soul watches its needles edge towards the end of the album, the Robert Cray Band go down a little bit further into the blue mood that colors the Soul dance floor on the record. “Deep in My Soul” tingles like a chill up your spine and a cool breeze against your skin.

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40 -Moot Davis – Goin’ in Hot   (4-15-14) - Goin’ in Hot sends its title out as a signal that the latest Moot Davis release is looking for love. The tunes on the album find some heart as Moot shares that he has got one mighty ‘“Love Hangover” and it won’t stop ‘until they turn out the stars’. He warns “better hide your love ‘cause this town was “Made for Blood”’ over a non-stop groove rumble,  goes cantina quiet as the Mexican-tinged chords lay a supportive hand on his shoulder in “Hurtin’ for Real” and sifts through memories for a relationship that “Used to Call It Love”. After three albums of classic country, Moot Davis smartly chose Nashville’s front-of-line clean picking guitar man, Kenny Vaughan, as producer. Kenny tears down the honky tonk walls that surrounded Moot’s material and lets the music rock.

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41 - Looking Into You: A Tribute to Jackson Browne   (4-1-14) - The semi-self-titled debut, Jackson Browne (Saturate Before Using) gets a diverse tribute with American Roots inspiration from Paul Thorn (“Doctor My Eyes”), eclectic blues-folk-reggae-rock guy Ben Harper (“Jamaica Say You Will”), modern day bluesman Keb’ Mo’ (“Rock Me on the Water”) and another friend from the L.A. country rock days, J.D. Souther (“My Opening Farewell”).  Looking Into You (A Tribute to Jackson Browne) samples the work of Jackson Browne and is a great start to thanking him for years of music. The artists offering their own memories by covering the work of a personal inspiration span the same years that the songs claim. It is in the tender care that the performers take in the recording that softens the blow for the slimmed down gathering of great songs from JB’s catalog. Giving back is good and it is testament to Jackson Browne that the passion he put into his words is just as meaningful, and just as needed, in a 2014 tribute.

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42  - Eliza Gilkyson – The Nocturne Diaries (3-18-14) - The Nocturne Diariesis a meeting ground for Eliza Gilkyson. It is a place where her highest hopes and darkest fears face off. A line from Eliza sums up the stage where her songs to act out their tales, “for me, the challenge today is to remain human when everything around us compels us to shut down”. The strength in Eliza Gilkyson’s voice that makes these songs all feel like first person narratives. She stands beside the definition of the Folk Musician, the traveling troubadour who takes the times from town to town in her stories, lovingly passing on news through her music.

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43 - Drive-By Truckers – English Oceans   (3-3-14) - Core writers Patterson Hood and Mike Cooley created wrote songs individually for their new release, yet they naturally matched one another’s tuneson the Drive-By Truckers twelfth album, English Oceans. Patterson Hood was surprised by his bandmate’s involvement in the songs, and happy with the tracks and the beautiful imagery they brought to the album. Mike’s songs have a dual effect. Their tone is an obvious match for the music of Drive-By Truckers and they offer a new way to look at the band’s songs, while creating an unused road for The Truckers without having to re-invent wheels.  Patterson Hood certainly deserves the term songwriter yet the man does not seem to ‘write’ as much as chronicle, point out, compress and stretch his views of the world around him. The Drive-By Truckers sound is the canvas crunch that holds the slash and sweep of Patterson’s words.  The Drive-By Truckers are the songs they play and that is the parting gift they include for listeners on English Oceans.

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44 -Jim Mize – Jim Mize   (6-23-14) - Jim Mize has seen these people at their most resilient and vulnerable. He has spent thirty of his fifty-seven years as insurance adjuster traveling the south and the west, and as a native of Arkansas. His characters are eccentric and they walk a path of hypnotic Rock’n’Roll rhythms, as on the road that leads to “Emience Kentucky” and follows the rails back to Baltimore, MD, its pastoral views of dirt roads reflected as surreal images through a kaleidoscope of emotions. What Jim sees with his eyes plays on the big screen in his stories. He writes it as he sees it, so there is no favoritism in the extremes of its characters whether they are boozehounds or car parks, love-drunk couples or ever-present bar tenders. On his self-titled release, Jim Mize remains the romantic, seeing the heart in every story, cherishing every beat as much as he holds on to ‘This Moment with You” or suggests simply to find him you can ‘follow the blood trail to my heart’ as he swears “I Won't Come Back Again”.

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45 - Sad Bastards of Brooklyn  - Volume 1    (1-21-14) - Sad Bastards of Brooklyn is an acoustic side project for Charlotte McPherson and Mo Goldner. Volume One showcases tunes collected by the thread of sadness that weaves through the songs of Bob Dylan (“Ring Them Bells”), The Replacements (“Here Comes A Regular”), Jackson Browne (“These Days”)  and Patsy Cline (“Walkin’ After Midnight”). Gentle notes and whispered vocals join the haunting “Ghost in This House” (Shenandoah) while bright chords light the bad news that “You Can’t Put Your Arms Around a Memory” (Johnny Thunders). Sad Bastards of Brooklyn chose tracks for Volume One, recording in one night with producer Eric ‘Roscoe’ Ambel getting the emotion in the songs like he is snapping pictures rather than grabbing the notes out of the air. 

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46 - Matt Andersen - Weightless   (1-4-14) - Matt Andersen’s home is Perth-Andover, a blue-collar community in New Brunswick, Canada, a town of close to 2,000 residents. From the village resting on the banks of the St, John River, Matt Andersen and his music have logged over two million YouTube views, with close to one million for his version of “Ain’t No Sunshine” alone. Matt received a 2013 European Blues award and the Best Solo Performer award at the Memphis Blues Challenge. Weightless was produced by Los Lobos saxman/producer Steve Berlin and features Neko Case’s right hand man and guitarist Paul Rigby.

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47 -NRBQ – Brass Tacks   (6-17-14) - If NRBQ were part of a kindergarten class, and Brass Tacks was Arts and Crafts time, the band would be those kids that use of every square inch of available space on blank paper, and then color outside of the lines. The albumlets it percussion claim ownership with opener, “Waitin' on My Sweetie Pie”. Hit the dance floor or shake it where you stand to a country rhythm on “Fightin' Back”, chow down on a Doug Sahm TexMex groove in “I'm Not Here” and spin in the glow of sunshine Pop with “Can't Wait to Kiss You”. Originality is a default with NRBQ, and when the band decides to cover a track, the song will completely be absorbed.  The King and I tune, “Getting to Know You”, proved to be a good import for Brass Tacks.

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48 - Peter Mulvey – Silver Ladder    (4-1-14) - Peter Mulvey had some good things happen in a recent tough luck stretch. Peter’s latest release, Silver Ladders, is the show and tell used to hear how the bright spots sounded in the turbulent time. It would be limiting to dub his backing for the albumas folk-rock for a sound border. Peter Mulvey, folk singer, delivers Silver Ladder with fullness to the arrangements, and an added emotional layer to his characters, with the added players. Peter Mulvey committed to writing one song a week for the process of recording Silver Ladder. His stories use relationships as window dressing as they sell ways to cope and hint of harbors that welcome those who believe in love enough to let it go.  Silver Ladder samples and sprinkles the music with echoed Americana guitars and constructs “You Shoot at a King You Must Kill Him” to play out on a screen of cinematic sound scratches.

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49 - Steve Dawson – Rattlesnake Cage    (2-18-14) - Rattlesnake Cage , the most recent release from Steve Dawson, was recorded on a single (vintage) tube microphone recently rescued from decades of hanging in the dusty rafters of an old Detroit, MI theatre. Rattlesnake Cage opens with “Blind Thomas at the Crime Scene”, the name nodding to an alter-ego name tag that John Fahey used in his early years.  The tune shows Steve’s love and understanding of the music and confidently sets the bar for the album’s tracks. Canadian-based Steve Dawson is a top end producer and player. Rattlesnake Cage lets its focus fall on Steve’s playing and the album shows track after track what a good choice that was to make.

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50 -Tommy Malone – Poor Boy    (4-29-14) - Tommy Malone stamps quality on all of his songs on his most recent release,Poor Boy. What raises his personal bar on Poor Boy is the confident comfort that is a part of each track, and the album as a whole.  Tommy Malone is a cool chameleon on Poor Boy, wearing a wardrobe full of distinct styles, making each one fit like custom-made. The diversity of Tommy’s own tunes makes for little need to cover the tunes of others yet the exception is in album closer, “Big Brother”. The Stevie Wonder track pumps a linear groove as Tommy Malone takes the 1972 commentary and forms it into a soulful outlook for today without changing its original wording.

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We consider these to be the most important roots music recordings of the last 25 years. They are not the "best" albums or biggest selling albums. Some won prestigious awards and many did not. In fact many may have flown under the radar of even the most astute roots music fans.

Roots music has been around since Hank Williams and Woody Guthrie in many of the forms you see and hear today. Alt-Country didn't start with Uncle Tupelo it started in Bakersfield in the late 50's and was continued with artists like Poco, Pure Prarie League in the 70's and on to The Del Lords, The Beat Farmers and Jason and the Scorchers in the 80's. We narrowed it to the last 25 years and maybe some time we'll open up to all-time.

One of the struggles we had will no doubt be a point of contention from the onset. What about Robert Plant and Alison Krauss "Raising Sand?" Oh, what T-Bone Burnett can do with an aging rock legend and a bluegrass singer who happens to also be the most decorated artist in Grammy history. We have a tough time including this roots music but the fact is it made great strides in bringing Americana Music, a genre that was misunderstood, mislabelled and mishandled to the popular concience. It sold gazillions of copies, won a Grammy for Album of the Year and to this day is no more Americana music than Led Zeppelin IV. Many will disagree.

Without further ado, her's our list of the 35 Most Important Roots Albums of the Last 25 Years.

top 35 roots albums in the alternate root1. OMP Soundtrack - Oh Brother, Where Art Thou - (2000) - “Oh Brother, Where Art Thou?” One of the most if not the most influential roots music albums of the past 25 years, the soundtrack to the film “Oh Brother, Where Art Thou?” took the Grammy for Album of the Year in 2001 and almost single-handedly placed Americana Music on the map, at least for the general public. Produced by legendary producer T-Bone Burnett, the album featured Allison Krauss, Colin Linden, Gillian Welch, The Fairfield Four and John Hartford among others.
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top 35 roots albums in the alternate root2. Emmylou Harris – Wrecking Ball - (1995) - Wrecking Ball- Flying Burrito Brothers member and Byrds alumni, Chris Hillman, referred Emmylou Harris to Gram Parsons, who had been looking for a female vocalist to back him on his first solo record. History was made and a career was born. Multiple Grammys and a stellar recording career have made Emmylou Harris ground zero for country rock, Americana and roots music of every shape and form. Wrecking Ball was released well into her career and the experimental album was lauded as one of the most important releases of the decade. Country radio ignored her but alternative audiences found what country lost.

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3. Johnny Cash - American Recordings - (1994) - American Recordings - Johnny Cash is one of the most influential musicians of the 20th Century and could have staked a claim on a number of the spots on this list. We reserved his for American Recordings, a stripped down album performed by Cash with a guitar in his living room. The wild card in the equation was producer Rick Rubin who pulled out emotion, inflection and powerful performances by Cash with the end result being the best Johnny Cash album since the late 1960's.

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4. Bob Dylan - Time Out of Mind - (1997) -  Time Out of Mind- We're not much on the significance of Grammy Awards, but Time Out of Mind won 3 of them including Album of the Year in 1998 which almost redeemed the institution for us. Time Out of Mind could easily be at the top of this or any list of influential albums in terms of writing, production and performance. Producer Daniel Lanois along with session players Jim Keltner, Augie Meyers and Duke Robillard created atmospherics not heard before or since in the Dylan collection.

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5. Uncle Tupelo - No Depression - (1990) - No Depression - Uncle Tupelo 'sNo Depressionlaunched a thousand ships, influencing damn near every roots rock, alt-country band that followed, not the least of which are the two spinoff bands Son Volt and Wilco from band members Jay Farrar and Jeff Tweedy respectively. While Uncle Tupelo is credited by many as being the founder of the "alt-country" genre, we dispute that along with Jay Farrar. Alt-Country music existed before Uncle Tupelo but No Depression is a part of the history that is not in dispute.

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6. The Carolina Chocolate Drops - Genuine Negro Jig - (2010) - Genuine Negro Jig- Three young black virtuoso musicians have the entire world ahead of them musically, but they chose to go back a century and a half to find the lost art of black string band music. Add their breakout album Genuine Negro Jig to the mix along with a Grammy for Best Traditional Folk Album and you have one of the most important roots bands of the decade. Genuine Negro Jig inspired a host of albums honoring the old-time American music that has long been forgotten.

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7. Lucinda Williams - Car Wheels on a Gravel Road - (1998) - Car Wheels on a Gravel Road - Though Lucinda Williams had been recording music since the late 1970's, it wasn't until her monumental breakthrough album Car Wheels on a Gravel Road that she garnered the acclaim globally that she so rightly deserved. Known prior as a country artist, Williams infused blues, rock, country and roots together on Car Wheels... and found her signature groove. Time Magazine dubbed her America's Best Songwriter in 2002 based on the album's intense lyrics. She's become an influence to millions of women (and men) since.

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8. James McMurtry - Childish Things - (2005) - Childish Things- His novelist Dad, Larry McMurtry, gave son James a guitar at age seven and his English professor Mom taught him how to play. James McMurtry claims, "My mother taught me three chords and the rest I just stole as I went along. I learned everything by ear or by watching people." Childish Things in 2005 was a breakout for James McMurtry in a recording career that began in 1989. The album generated the song “We Can’t Make It Here” and a timeless anthem was born.

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9. Cowboy Junkies – The Trinity Session - (1988) - The Trinity Sessions- It was mostly a family affair for Cowboy Junkies with siblings Margo, Michael and Peter Timmins counted as band members. Their 1986 recording debut was blues inspired, but the sound culture clash of their 1988 release, The Trinity Session, brought a larger audience from a rock camp. The Trinity Session married classic country covers (“Walking After Midnight”, “I’m So Lonesome I Could Cry”) with classic rock (“Sweet Jane”) all played out of a moody groove and airy arrangements.

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10. Steve Earle - The Revolution Starts Now - (2004) - The Revolution Starts Now - We tossed and turned over The Revolution Starts Now or Jerusalem being the most influential of these two monumental Steve Earle recordings, and the truth is, both could be here. We picked The Revolution Starts Now because of its subsequent influence on popular counter-culture. The album took a hard stand against the war in Iraq, the death penalty, the policies of George W. Bush and became a megaphone for the left, inspiring Michael Moore's documentary Fahrenheit 9/11.

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11. Band of Heathens - One Foot in the Ether - (2009) - One Foot in the Ether- A shared bill brought the three core songwriters for Band of Heathens together at Momo’s in their hometown of Austin, TX in the mid-2000’s. After several live albums and a Ray Wylie Hubbard produced self-titled debut, Band of Heathens released One Foot in the Ether in 2009. The album continued to hone a sound that referenced rock, roots, soul and gospel in songs like “Shine a Light”, “L.A. County Blues”, “Somebody Tell the Truth” and “Golden Calf”.

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12. The Jayhawks – Hollywood Town Hall - (1992) - Formed in Minneapolis, MN in 1985, The Jayhawks released albums in their home base until their major label debut, Hollywood Town Hall, in 1992. The Alt Country group it produced had a softer tone than many of their feedback distorted brethren, and stuck to the California Country sound of Poco and the Burrito Brothers -- sounds that added a lot of folk to the twang. Hollywood Town Hall gathered the dual vocals and finely crafted songs of band members Gary Louris and Mark Olson.

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13. Sharon Jones & the Dap Kings – 100 Days, 100 Nights - (2007) - Former Rikers Island correction officer Sharon Jones was called in for session work as a backup vocalist. Sharon was the only one of the call outs to show up and impressed the production team by performing all three parts herself.  Daptone Records, the Brooklyn label owned by its musicians/producers, released their first recording, Dap Dippin’ with Sharon Jones & the Dap Kings in 2002. The grass roots popularity of the band expanded, and their song mix of funk, soul and roots music lined up perfectly with the 2007 release, 100 days, 100 Nights lighting a torch for a Soul revival.

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14. Old Crow Medicine Show – O.C.M.S. - (2004) - Old Crow Medicine Show busked across upper New York State and through Canada before finding themselves on a street corner in Boone, North Carolinapassingthe hat to Doc Watson. The musical statesmen helped Old Crow Medicine Show along and the band moved to Nashville, again finding luck with a Grand Ole’ Opry residency playing between shows. Produced by Gillian Welch and Dave Rawlings, O.C.M.S. was the band’s first studio recording, containing the song that has become the Old Crow Medicine Show worldwide greeting card, “Wagon Wheel”.

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15. Ryan Adams – Gold - (2001) - GoldRyan Adams moved from punk rock to Alt Country with the formation of Whiskeytown. The band made great music and drew critical acclaim before folding. Musically, Ryan Adams’ first release, Heartbreaker, seemed to follow in Whiskeytown’s critically favored footsteps. With his 2001 release, Gold, Ryan Adams hit mainstream love with songs like “When the Stars Go Blue”, “La Cienega Just Smiled”, “Harder Now That It’s Over” and “New York, New York”, in a video filmed with the NYC skyline in the background, captured four days before 9/11.

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16. The Bottle Rockets - Brooklyn Side - (1994) - The Brooklyn Side- Formed in 1992 with Uncle Tupelo guitar tech, Brian Henneman, leading the charge, The Bottle Rockets hit a good altitude with the Eric ‘Roscoe’ Ambel produced album, The Brooklyn Side, their second release. The Bottle Rockets music chronicles Middle America-- Brian Henneman referring to the band as ‘reporters from the heartland’. “Radar Gun”, from The Brooklyn Side, put The Bottle Rockets on radio charts.

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17. Todd Snider - East Nashville Skyline - (2004) - East Nashville Skyline - Todd Snider has released a continuous string of critically acclaimed albums; perhaps none more well-received than the introspective East Nashville Skyline. The album confronts a trail of poor decisions, addiction, rehab, controversy and a political shot across the bow of "conservatism" for good measure. Picking a "most" anything out of Snider's catalog is tough, but this one stands out for us as his best.

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18. Mumford and Sons - Sigh No More - (2010) - Sigh No More - Mumford and Sons emerged from what is dubbed the "West London Folk Scene" in 2007 and landed on the shores of America after receiving two Grammy nominations in 2010. Their performance at the Grammy's put "roots music" onto the lips of a generation that only thought of roots in the context of different colored hair or possibly cracks in the driveway. Their debut album Sigh No More is influential in that it opened the minds of a lot more people to acoustic based traditional music.

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19. Will Kimbrough - Americanitis - (2006) - Americanitis - Will Kimbrough is probably better known for his guitar skills and, more recently, as a top shelf producer than for his solo work, but that's reserved for those who have yet to discover Americanitis. In darker days, it could have landed him on the McCarthy Un-American List with other artists and musicians who dared to confront the issues America swept under the rug. This is what "patriotism" is all about, and it also places Kimbrough among the craftier lyricists in roots music where he justly belongs.

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20. Rodney Crowell - Fates Right Hand - (2003) - Fate’s Right Hand - Rodney Crowell has been one of Nashville's most prolific writers for over four decades. Considered a staple of country radio for much of his career, Crowell turned to a more roots-driven sound when country radio went down the toilet in the 1990's. He confronted a lifetime of demons on Fate's Right Hand and drove it home with a roots rock onslaught both musically and vocally. Lyrically, it's Crowell's finest hour in a career filled with many fine hours.

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21. Son Volt – Straightaways - (1997) - Straightaways- Formed in 1994, Son Volt was the group relationship that helped frontman Jay Farrar get over his time with Uncle Tupelo. The band caught instantly with their debut, Trace, and the momentum continued to build and percolate on album number two, Straightaways. Jay Farrar’s deep voice resonates and strains at its borders as the band bangs out Alt Country guitar riffs over a solid beat on “Picking up a Signal” and “Caryatid Easy”. 

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22. Drive-By Truckers – Southern Rock Opera - (2001) - Southern Rock Opera- Drive-By Truckers released their third studio album in 1991. Southern Rock Opera proudly stood for the duality of the south with the album’s cut, “The Southern Thing”, explaining “ain’t about excuses, or alibis, it ain’t about no cotton fields or cotton picking lies”. Southern Rock Opera took a look at topics from growing up in the south amid 70’s arena rock, race politics and Lynyrd Skynyrd, as Drive-By Truckers use the southern rock powerhouse as a cornerstone from which to build the album.

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23. Dave Alvin - King of California - (1994) - Dave Alvin has had a steady release of albums where the musical mood changes with the album art. Fans come to expect, and enjoy, the path of Dave’s muse in recording. When King of California came out in 1994, the album was the first to change up the pure, unadulterated, unapologetic, rock’n’roll force of his work with The Blasters and his first three solo efforts. King of California showcased acoustic instruments, but it was in no way an acoustic album. Dave Alvin showed that unplugging did not lessen the intensity of his playing. The album may turn down the volume, but it raises the flame on the old (“Border Radio”, “Little Honey”, “4th of July”), the new (“Blue Wing”, “Every Night about This Time”), and offers a classic country style romp with Syd Straw (“What Am I Worth?”).

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24. The Civil Wars – Barton Hollow - (2011) - Barton Hollow- The Civil Wars won both Best Country Duo/Group and Best Folk Album in 2012 with Barton Hollow. They moved the needle for Roots music the week after the Grammy’s with Barton Hollow selling 35,000 units and helping to take the duo to #10 on the Billboard album charts. The album continues to blur musical lines in the Roots genre, as musicians like The Civil Wars play what they hear in their heads, not what the industry decrees. The Civil Wars, comprised of singer/songwriters Joy Williams and John Paul White, met in a songwriters group in Nashville, TN.

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25. Mary Gauthier - Mercy Now - (2005) - Her early life provided Mary Gauthier with experiences for her true tales, fueled by the alienation that life handed her in the form of birth mother abandonment and dealing with her sexuality. Her late teens were spent in drug rehabs and jail followed by schooling and opening a Cajun restaurant in Boston, all before writing her fist song at age 35. Mercy Now (2005) is the fourth in a series of recordings that began in 1997. The album wraps the emotive passion of Mary Gauthier’s songs in the title track’s pleas, the world of non-stop alcohol consumption (“I Drink”), the perspective of a road weary traveler (“Falling out of Love”) and Mardi Gras in New Orleans (“Wheel Inside the Wheel”).

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26. Justin Townes Earle - Midnight at the Movies - (2009) -Midnight at the Movies- Justin Townes Earle hit his stride and album #3 nicely straddles the more roots feel of his earlier releases and the Indie Soul of the current. Midnight at the Movies visits extremes with folk blues (“What I Mean to You”), gospel Soul (“Someday I’ll Be Forgiven for This”), bluegrass (“Dirty Rag”) and Roots Rock (“Mama’s Eyes”).

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27. Blue Rodeo – Diamond Mine - (1989) - Diamond Mine- Formed in 1985 in Toronto, Canadians Blue Rodeo released their first album, Outskirts, in 1987, which would exclude them from our 1988+ list. Luckily, their second album, Diamond Mine (1989), is date friendly and keeps the same intentions of their debut. Blue Rodeo marry rock and country with a true Indie Rock feel and form, with organ swells sharing the sonic space with guitars and rhythm. Diamond Mine balances Indie Rock tunes (“God and Country”) with torchy twang (“How Long”) and a mix of both (“Love and Understanding” and the title track).

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 28. The Old 97’s – Too Far to Care - (1997) - Too Far to Care- The Old 97’s started their engines in Dallas, Texas before taking it on the road as a hard touring band. Too Far to Care was The Old 97’s third album release, the group’s first album for a major label (Elektra). Too Far to Care offered rock and twang together in Alt Country glory with frontman Rhett Miller’s wry humor and smart lyrics. It offered immediate classic status to the world with “Timebomb”, “Barrier Reef”, “Just Like California” and a duet with X/The Knitters vocalist, Exene Cervenka, on “Four Leaf Clover”.

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29. Hayes Carll - Trouble in Mind - (2008) - Trouble in Mind moved well-deserved recognition for Hayes Carll beyond his native Texas fan base. The album registered Hayes Carll as a member of a Texan singer/songwriter club that included artists such as Townes Van Zandt, Jerry Jeff Walker and Willie Nelson. Trouble in Mind gave the real life experiences in his songs a touch of wit and wisdom as evidenced in tracks such as “Bad Liver and A Broken Heart”, “She Left Me for Jesus” and “Drunken Poet’s Dream”.

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30. BR549 - BR5-49 - (1996) - Gary Bennett and Chuck Mead formed BR-549 and became the house band at Robert’s Western Wear in Nashville, TN. The Roots feel of their music and the humorous subject matter did not warm them to country radio, but it did give them an instant fan base. Their debut album, BR-549, gave the world covers of the Moon Mullican song, “Cherokee Boogie” and The Byrds/Gram Parsons “Hickory Wind”, the tunes bookending the band’s sound and influences. 

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31. Various Artists - Things About Coming My Way - A Tribute to the Mississippi Sheiks - (2009) - Things About Coming My Way- A Tribute to the Mississippi Sheiks - (2009) - The brainchild of producer and guitar virtuoso Steve Dawson, the Tribute to the Mississippi Sheiks not only brought the music of America's first "popular band" to the fore, but  it also was a music history lesson and civics lesson rolled into one. The Mississippi Sheiks were the first black musicians to play in the White House and were the first popular band to record and tour. The album was a who's who of Canadian and American roots musicians including John Hammond, Colin Linden, Bruce Cockburn, The North Mississippi All-Stars, Madeleine Peyroux, The Carolina Chocolate Drops and Jim Byrnes.
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32. Roseanne Cash - The List - (2009) - The List- When your dad is Johnny Cash and he hands you a list of 100 songs you should learn if you want to be a country singer...well, you stash that list away until the right moment. After her father's death, Roseanne Cash took out the list, picked twelve of those songs, and recorded them with the likes of Bruce Springsteen, Elvis Costello, Jeff Tweedy, Rufus Wainright and Neko Case. An album of covers might not be influential, but when the songs are hand-picked by Johnny Cash as "must knows", it deserves attention.

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33. Blackie and the Rodeo Kings - Kings and Queens - (2011) - Kings and Queens- The power of three caused a ripple in the solo careers of Colin Linden, Tom Wilson and Stephen Fearing when the trio came together to record a tribute album to Canadian singer/songwriter Willie P. Bennett. Taking their name from one of Bennett’s albums, Blackie & the Rodeo Kings continued after the success of the one-off recording project and released Kings and Queens in 2011. The album paired with Roots singing females such as Rosanne Cash, Exene Cervenka, Janiva Magness, Emmylou Harris, Patty Loveless, Lucinda Williams and Patti Scialfa. 

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34. Eilen Jewell - Boundary County - (2005) - Boundary County- Eilen Jewell busked on the street while attending college in Santa Fe, NM and then on Venice Beach when she made the move to California. Massachusetts club work in Cambridge, Boston and Somerville brought her attention and Boundary County let the rest of the world hear Eilen Jewell’s jazzy delivery over Roots and Americana arrangements. Eilen Jewell has a relaxed timbre to her singing that makes her voice memorable and immediately addictive.

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35. Wilco – Yankee Hotel Foxtrot - (2002) -Yankee Hotel Foxtrot- Frontman Jeff Tweedy continues to move Wilco further from the Alt Country of the band’s debut, 3AM (and even farther from his former band, Uncle Tupelo), with each Wilco release. Yankee Hotel Foxtrot remained true to roots with songs like “I AM Trying to Break Your Heart”, “Pot Kettle Black”, “I’m the Man Who Loves You” and stretched the genre on “Ashes of American Flags” and “Kamera”. Wilco became Indie banner wavers when Yankee Hotel Foxtrot was rejected by their Warner Bros. label heads for not having a commercial single. The band took the album from WB and took it on the charts with Yankee Hotel Foxtrot being their biggest selling album to date.

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the alternate root magazineThe decade of the 1980's can be looked at musically in a number of ways. On the surface it's easy to dismiss the decade as one of the worst in terms of popular music. What wasn't being dominated by the horror of Journey, REO Speedwagon, Survivor, Toto and Styx was being dominated by Duran Duran, Kenny Loggins, Culture Club and Michael Jackson. The rockers had their own mindless decade being fed a steady diet of Def Leppard, Van Halen, Molly Hatchet and Aerosmith.

We noticed that bands moved the Roots needle further than their album did. It was not a time when artists had the control over their music, or the ability to make music at home. If you were recording, you had someone attached to the project that saw things a different way. There were budgets and every album needed the 'hit single'. The artist development that had existed in the 1960's and 1970's was virtually gone. The major labels were simply showing up and collecting cash. The invention and proliferation of the compact disc started around 1982 when the discs became commercially available. Major labels were more interested in mining the catalogs and reselling hit records in a different format, so radio waves started championing the term 'classic.'

Soul music was either too Pop or too dance. Folk music was still riding high on the success of 1970's singer/songwriters, bluegrass was still traditional. Blues had some artists that were making noise and some were starting to expand with it and have some fun. Rock was the king and the genre took chances. Many of the artists on our list considered themselves to be rock bands but the groundwork laid would have a rippling effect. There were scenes rather than breakout artists. Los Angeles had cow punk and a roots scene that was very much part of punk rock with bands like X, Dwight Yoakam, Lone Justice, The Knitters, The Blasters, Rank and File, Cruzados, Blood on the Saddle and The Long Ryders all fighting for a small piece of ground. The lower east side of Manhattan was still taking pride in its birthing of punk but bands like The Del-Lords, Mike DeVille and Robert Gordon were playing their music and using their influences to create a more roots sound. Athens, GA had the rock of R.E.M., Pylon, The B-52's and Dumptruck. Nashville was set on taking country into modern times and away from the classic sound of Hank Williams. Lefty Frizell and others. The outlaw country was headed in the roots direction with a lot of steam but the music was still more Country than Roots.

As we set out to search for the albums of the 1980's that shaped the Roots Rock movement of today we found that the 80's thrived in terms of great music even though most of the albums we chose as our Top 40 Most Important by and large flew under the radar and we didn't even get into R.E.M., U2, The Alarm, The Clash, The Pretenders or The Psychedlic Furs. We left a ton of great albums off of our list that were in our stack to narrow down from a list of hundreds to a list of 40.

This is not a history lesson about Roots Music in it's purest forms. That music started in the early 1900's and we'll get to it in time. Everyone that followed was influenced by the great masters. These albums and these artists paved the way during the decade previous to our list of the last 25 Years but make no mistake, these albums and these artists were influenced by music from the previous decades and so on. We'll tackle the 70's, 60's and 50's in time and in order.

So here it is. The Alternate Root Top 40 Roots Rock Albums from 1980-89

1. Paul Simon - Graceland (1986) - Graceland brought the indigenous music of South Africa to the world stage and launched the International careers of  more than a few South African musicians. The album combined traditional American elements of pop, a capella, Tex-Mex and zydeco with traditional South African elements of isacathamiya and mbaqanga and the eclectic, critically acclaimed album changed the way the world looked at South Africa at a time when the world wasn't looking at South Africa very favorably. 27 years later this album still stands as a monumental achievement in music and continues to influence musicians around the world.

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2. The Blasters - The Blasters (1980) - The Blasters self titled album caught the music world by surprise...a mix of rock, country, rockabilly, mountain music and early rhythm and blues that burst onto the American music landscape in 1980, ripped your head off and screamed into your soul. It was sweaty, smokey, loud and so original that few people knew what to make of it. Brothers Phil and Dave Alvin along with John Bazz on bass and Bill Bateman on drums comprised the band that had more talent and energy than it should be legal to have in one band. Critics loved it and people associated with the industry shouted about it but the album never found it's way to the masses.

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3. Bruce Springsteen - Nebraska (1982) - Nebraska is a bit of an enigma and marks a turning point in the illustrious career of one of America's greatest musical treasures. Springsteen recorded the tracks as demos for an album that was to be recorded by the E Street band. The entire album was actually recorded with the full band but those recording were never released. Springsteen instead released the demos, recorded at home on a four track with very sparse instrumentation. The album's dark subject matter, centered around everyday American blue-collar characters facing challenges without hope or salvation, is unlike any other in the Springsteen catalog.

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4. Tom Waits - Rain Dogs (1985) - Rain Dogs was sandwiched between two other brilliant Tom Waits albums Swordfishtrombones and Frank's Wild Years forming a trilogy of sorts. Waits wrote the songs for Rain Dogs in a basement in Greenwich Village in 1984. The album documented the malaise and urban depression of New York City through sounds that included recordings of street noise and a wide range of instrumentation from Waits' dark piano to accordion, marimba, trombone, banjo and upright bass. The album was dark, drifting from old blues to New Orleans funeral dirge and a slew of points in between.
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5. Townes Van Zandt - At My Window (1987) - At My Window was the only release by Townes Van Zandt in the 1980's and was his first studio release in nearly a decade. By then his place on the pantheon of great American songwriters was already secure and the album re-affirmed that Townes still had the songwriting chops. At My Window was different in that it was richer musically than most of his previous material which can be attributed to the production of the legendary "Cowboy" Jack Clement. Clement brought in a host of notable session players including Mark O'Connor, Mickey Raphael and Roy Huskey Jr. and the result was a brilliantly crafted and performed album.

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6. Bonnie Raitt - Nick of Time (1989) - The appropriately titled Nick of Time came at a point in Bonnie Raitt's career where she needed a jolt both professionally and personally. She notes that Nick of Time was the first album she had done sober. Raitt's career was sliding backwards after a string of mediocre albums and  was being kept relevant by appearances on a series of political projects including MUSE, Amnesty International, Farm Aid and Sun City. Nick of Time took off after a sweep of the four Grammy's Raitt was nominated for in 1989 and her career has been on an upward trajectory since. The album was more soul than straight on blues and proved that Bonnie Raitt still had it all.

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7. Los Lobos - How Will the Wolf Survive (1984) - East L.A. has a long history of contribution to the American musical landscape with the influences of brown-eyed soul, R&B and Latino rhythms. Artists that rose up from the vibrant East L.A. scene including WAR, El Chicano and Malo combined Latino rhythms with funk, early R&B and blues. Los Lobos took it a step in another direction, combining traditional Mexican music, rock, folk and Latin rhythms together on their major label breakthrough album How Will the Wolf Survive. The album stands as a benchmark for Americana music and helped to usher in a new genre of music.

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8. k.d. lang - Angel With a Lariat (1987) - Though her albums Shadowland and Absolute Torch and Twang would spawn more 'hits' and radio success than Angel with a Lariat we chose it because it was Lang's coming out party for America and the rest of the world outside of her native Canada. Produced by Dave Edmunds, the album was seasoned with hints of rockabilly, country and British pop and mixed with Lang's unmistakable mezzo-soprano vocals to form a vintage that gets better with age. k.d.lang influenced millions of young women not only as singers but as social and cultural activists as well.

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9. Cowboy Junkies -  The Trinity Session (1988) - It was mostly a family affair for Cowboy Junkies with siblings Margo, Michael and Peter Timmins counted as band members. Their 1986 recording debut was blues inspired, but the sound culture clash of their 1988 release, The Trinity Session, brought a larger audience from a rock camp. The Trinity Session married classic country covers (“Walking After Midnight”, “I’m So Lonesome I Could Cry”) with classic rock (“Sweet Jane”) all played out of a moody groove and airy arrangements.

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10. Steve Earle - Guitar Town (1986) - Steve Earle's breakthrough album Guitar Town topped the country charts and garnered two Grammy nominations in 1987 and it was the first and last time that "country radio" would recognize Steve Earle. It also marks the starting point for one of the most prolific, politically charged and culturally significant careers in American music history. Little of the subsequent Steve Earle catalog even closely resembles Guitar Town musically but the album sparked a new era of country based rock with intelligent lyrics that continues today.

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11. Blue Rodeo Diamond Mine (1989)- Formed in 1985 in Toronto, Canadians Blue Rodeo released their first album, Outskirts, in 1987, which would have excluded them from our 1988+ list. Luckily, their second album, Diamond Mine, is date friendly and keeps the same intentions of their debut. Blue Rodeo marry rock and country with a true Indie Rock feel and form, with organ swells sharing the sonic space with guitars and rhythm. Diamond Mine balances Indie Rock tunes (“God and Country”) with torchy twang (“How Long”) and a mix of both (“Love and Understanding” and the title track).

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12. The Subdudes - The Subdudes (1989) - The Subdudes debut release The Subdudes proved a couple of things. One is that a major label in 1989 couldn't find it's ass with two hands and a flashlight when it came to roots music. Second was that the "music business" wasn't really about music at all. It was about cash registers although that was pretty much agreed upon by most people already. Had a label like Rounder or Sugar Hill had the album, the effect The Subdudes had on the musical landscape might be much different. The Subdudes combined a plethora of innovative musical styles to their music including blues, swamp rock, cajun, funk, soul, R&B, folk, country and just about everything else and their influence resonates still today.

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13. Stevie Ray Vaughan - Texas Flood (1983) - Blues music post WWII has a tendency to ebb and flow with periods of great popularity followed by periods where it searches for a popular voice and becomes seen as a historical genre. Like Jimi Hendrix, Muddy Waters, John Lee Hooker and The Bluesbreakers before him, Stevie Ray Vaughan arrived on the scene when blues needed a shot in the arm and a popular voice. His debut album Texas Flood may not have been well received by critics or blues purists but it resonated with the public and changed the way a million kids felt when they picked up a guitar. Vaughan's influence on blues based rock will be felt for generations.

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14. Danny Gatton - Unfinished Business (1987) - Danny Gatton was a monster guitar player that fused together a variety of styles including jazz, country, rock and blues to create a sound that mesmerized both his followers and his peers. His fans included guitar greats from Les Paul to Roy Buchanan to Eric Clapton and just about everyone in between. His album Unfinished Business never garnered him the commercial success he deserved although it was met with a mass of critical acclaim. His later releases 88 Elmira Street and Cruisin' Dueces put him on the radar screen and captured a legion of fans but depression would overcome Gatton and his life ended with his suicide in 1994. Unfinished Business would prove to be a prophetic title that many before him from Buddy Holly to John Lennon could have used.

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15. The Del-Lords - Based on a True Story (1988) - The Del-Lords rose up from the post-punk, New York City scene of the 1980's and changed a lot of the status-quo at the time. Ex Dictators guitarist Scott Kempner and ex Joan Jett guitarist Eric "Roscoe" Ambel along with bassist Manny Caiati and drummer Frank Funaro created a sound that melded rock, country, blues and a gritty form of garage together and became one of the most important bands of the decade. The Del-Lords would become the main innovators of the roots rock sound that resonated throughout the following decades and on to today. After two stellar openers, their third album, Based on a True Story would prove to be the Del-Lords crowning acheivement although one more album, Lovers Who Wander would follow.

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16. KoKo Taylor - Queen of the Blues (1985) - One of the original female giants to come out of the Chicago blues scene in the 1960's, Koko Taylor learned from the master himself Willie Dixon who discovered her in 1962. Although her music was well received by critics Taylor pinnacled commercially in 1965 with her song 'Wang Dang Doodle.' Queen of the Blues took the Grammy for Best Blues Album in 1985 and put the name KoKo Taylor back on the map of innovative and electrifying blues performers. In the 1980's Blues was again regaining popularity on the heels of Stevie Ray Vaughan, the Fabulous Thunderbirds, Robert Cray and KoKo Taylor.

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17. The BoDeans - Love & Hope & Sex & Dreams (1986) - The BoDeans emerged from the vibrant Wisconsin music scene that erupted in the 1980's with the Violent Femmes. Their debut Love & Hope & Sex & Dreams was an instant success and pushed the band too fast into territory they had scarcely earned. Jangly guitars, Beatle-esque harmonies, synergy and simple, light hearted lyrics all wrapped in a masterful work of production by T-Bone Burnett made Love & Hope & Sex & Dreams the BoDeans finest moment. Although they would have a long run as a band and amass a solid body of work, the BoDeans never matched the magic of Love & Hope & Sex & Dreams.

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18 (tie). Semi-Twang - Salty Tears - (1988) - Another band that broke out of the  Milwaukee music scene of the 1980's, Semi-Twang released only one record until re-uniting in 2009 resulting in a subsequent album due in 2013. Salty-Tears united an all star cast of producers, (Mitch Froom, Chris Thomas and Jerry Harrison,) a group of outstanding musicians, a budget from Warner Bros. records and a brilliant collection of songs. The result ushered in the alt-country movement and while it was lauded by critics, there was no radio outlet for it and it floundered commercially.

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18. (tie) Georgia Satellites – Georgia Satellites (1986) - Hair metal was king. and radio rocked. Top 40 was synth dance and lots of hair spray. Into this environment came the simple phrase, “I gotta little change in my pocket going jing-aling-aling”. The Georgia Satellites looked and acted like rock stars on holiday. The sound liberally borrowed from the Faces and The Stones. They took “Keep Your Hands to Yourself”, the Roots/Rock version of “if you like it, put a ring on it”, to Number 2 in Billboard and gave Rock’n’Roll another chance on the charts.

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19. The Neville Brothers - Fiyo on the Bayou (1981) - The follow up to the dbut album, The Neville Brothers, Fiyo on the Bayou incorporated more elements of funk, reggae and New Orleans, cajun flavored R&B than it's predecessor. The result resonated with critics and the public and The Neville Brothers have become synomymous with American R&B world wide as a result. It contains the monumental songs, 'Hey Pocky Way,' 'Sitting in Limbo,' and 'The Ten Commandments of Love' that have become 'standards' of the standards.

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20. The Stray Cats - The Stray Cats (1981) - Though the Stray Cats US debut Built for Speed was released in 1982, we chose the debut album and British release Stray Cats for this list. The Long Island band founded by guitar ace Brian Setzer along with upright bass player Lee Rocker and drummer Slim-Jim Phantom had a solid following in the New York City post-punk scene but hit their meteoric stride after re-locating to London in 1981. Stray Cats, both album and band, revitalized the rockabilly movement, created a sub-culture centered around vintage fashion and style and turned millions of American kids on to a forgotten form of American music. 'Rumble in Brighton,' 'Stray Cat Strut,' 'Rock This Town' and 'Runaway Boys,' could have made for a career alone.

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21. Richard and Linda Thompson - Shoot Out the Lights (1982) - After several critically acclaimed albums, Shoot Out the Lights ignited the careers of Richard and Linda Thompson just as the pair were falling apart as a couple. The album stuck with the folk with a strong rock side that Richard Thompson cultivated and shepherded since his first recordings with Fairport Convention. Darkness falls over the songs, like much of the material from Richard Thompson, with love songs taking on an edge in “Don’t Renege on our Love” and “Man in Need”. Richard Thompson can even bring danger to a day in the (amusement) park, with the high climbing tension of “Wall of Death”.

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22. Jason and the Scorchers - Fervor (1983) - Formed in Nashville in 1981, Jason and the Scorchers looked country, played hard rock and crafted songs with the attitude of a punk rocker. Their E.P., Fervor, raised and set the bar for Alt Country earsplitting volumes with six fire-breathing originals, including “Hot Nights in Georgia” and a blistering cover of Bob Dylan’s “Absolutely Sweet Marie”.

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23. The Morells - Shake and Push (1982)The Morells released Shake And Push in 1982 with a sound that relied heavily on good old rock’n’roll riffs, the simplicity of rockabilly and story lines that dug deeper. Based in Springfield, Missouri, The Morells gave the world producer/player Lou Whitney. Shake and Push has become one of those legendary releases, with new copies of the disc selling online for close to $200.

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24. Melissa Ethridge - Melissa Ethridge (1988) - Time magazine announced that ‘She’s the Boss’ when Melissa Etheridge became a contender in the crown formerly worn by Bruce Springsteen. Her self-titled debut showed a woman with spit and snarl to her tales of love gone wrong. She balanced her audio attacks with a teasing emotion that lets you think you just might be able to tame her. Don’t count on it!

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25. The Rave-Ups – Town and Country (1985) - The Rave-Ups began life in Pittsburgh, PA but took hold in a second incarnation that set up roots in Los Angeles. The group successfully took Roots/Rock into Pop without getting any of the Pop smear on itself. All four members were at a major label before any deal was signed. Each member of the group had mailroom jobs at A&M Records, and they rehearsed in the basement at night when the offices were closed. Town and Country met with critical acclaim, The Rave-Up’s were an MTV buzz, and they made their movie debut with an appearance in John Hughes’ film “Pretty in Pink”.

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26. T-Bone Burnett - Trap Door (1982) -  In the days before becoming the man set on moving Americana into the mainstream, the Grammy winning producer (O Brother, Where Art Thou?) was a guitarist for Bob Dylan on Rolling Thunder Revue. Trap Door was an E.P. released on the Warner Brothers label that showed how T-Bone Burnett performed on his own. Trap Door contained an in-your-face version of “Diamonds Are a Girls Best Friend” and the memory of a chance meeting with The Faces/Pink Floyd go-go dancer, Kim English (Kim Boston in England).

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27. Rockpile - Seconds of Pleasure (1980) - As a band, Rockpile made several records before their name appeare on the cover. Nick Lowe and Dave Edmunds brought name recognition to the four-piece which also included Billy Bremner (guitar) and Terry Williams (drums). Seconds of Pleasure was the only release from a band that got everything right in music, but could not get past the more human side of group management, ego. “Teacher, Teacher” used old Rock’n’Roll riffs, like many of the Rockpile songs, and let the rhythm tear. Rockpile created great music for a short space in time, but when the wind blows just right, you can still hear the sound hammering away.

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28. Lone Justice - Lone Justice (1985) - Maria McKee and Ryan Hedgecock were playing country covers on the tiny L.A. cow punk scene. Adding in veteran players like bassist/producer Marvin Etzioni helped the band to craft originals. A supporting hand by fan Linda Ronstadt helped them seal a Geffen Record deal, and U2 tapped the band as tour openers. Lone Justice self-titled debut is a roots/rock masterpiece with Maria McKee guiding the songs into Pop (“Sweet, Sweet Baby”), country rock (“After the Flood”) and lunch for the spirit (“Soap, Soup and Salvation”).

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29. Steve Forbert - Streets of this Town (1988) - Steve Forbert returned to recording after a legally imposed six year hiatus with his first release on Geffen Records, Streets of This Town. The album maintained and expanded on the smarts of his lyrics and laid a new found maturity over the story lines. Produced by E-Street bassist Garry Tallent, Streets of This Town further secured Steve Forbert’s  status as a singer/songwriter who would stick around rather than leaving the building when Pop had its fill of the genre.

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30. Joe Ely - Musta Notta Gotta Lotta (1981) - Joe Ely formed The Flatlanders with fellow Lubbock natives Butch Hancock and Jimmie Dale Gilmore in 1970. Following some great album releases in the late 1970’s, the singer/songwriter caught a big break from British punk rock gods, The Clash. The band talked about and championed Joe’s music after meeting during a 1977 U.K visit and tour together. Musta Notta Gotta Lotta received lots of love from underground rock radio due to The Clash thumbs up and became his highest charting album with rock friendly tunes like “Hard Livin’” and the title track.

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31. Beausoliel- Bayou Cadillac (1989) - Beausoleil have become world ambassadors for Cajun music. The band hit a creative groove in the 1980’s, and Bayou Cadillac was album number seven for that decade. Bayou Cadillac kept the French language lyrics in place, and amped up the rock punch, adding in English lyrics for crossover appeal. The album’s title track fused Rock’n’Roll classics “Not Fade Away”, “Bo Diddley” and “Iko Iko” into a zydeco reel.

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32. Lyle Lovett - Lyle Lovett and His Big Band (1989) - On his third recording as Lyle Lovett and His Big Band, Mr. Lovett took home a Grammy for best Country Male Vocal performance for the 1989 release. Lyle Lovett’s slightly hesitant delivery never sounded better and his take on classics such as “The Glory of Love” and the gender-bending “Stand By Your Man” took him to a new audience.

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33. The Paladins - The Paladins (1987) - The Paladins formed in the early 1980’s and set the knobs on their amps for rockabilly and roots. Their first, self-titled album was produced by The Fabulous Thunderbirds’ Kim Wilson and fanned the fires for roots and maintained a heart on for twang. The Paladins stands firm as a statement to the glory of Roots/Rock that the band maintained until Dave Gonsalez left in 2004 to focus on the Hacienda Brothers.

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34. The Del Fuegos - Boston, Mass (1985) - What was an in-house project for the kitchen workers at Boston’s Hoo-Doo BBQ took greater form when Chef Jimmy Ryan handed the microphone over to guitarist/songwriter Dan Zanes. Dan recruited his brother Warren (at Mom’s request) who took on lead guitar chores and the name OrkBoy. A Miller beer commercial gave them a national TV stage and hits from Boston, Mass such as “I Still Want You” and “Don’t Run Wild” from their second Slash Records release put them on the charts.

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35. Albert Collins, Johnny Copeland, Robert Cray - Showdown! (1985)  - “Three guitars, no waiting” could have been the sub-title for the 1985 Alligator Records recording of Showdown! by blues guitar men Albert Collins, Robert Cray and Johnny Copeland. Nine tracks and barely a moment of quiet throughout as Blues axes make quick work of everything in their path.

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36. Nanci Griffith - Once in a Very Blue Moon (1983) - Nanci Griffith brought in musical backing for her third album release, Once in a Very Blue Moon. The folk-fed sparseness of her earlier releases was replaced by a fuller sound that contained a little more Country. Guest musicians Bela Fleck (banjo) and Mark O’Connor (fiddle) bring in musical magic as support for the dream texture of “Year Down in New Orleans” and the nod to favorite venues “Spin Around the Red Brick Floor”.

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37. Joan Armatrading - Walk Under Ladders (1981) -  Joan Armatrading came further into the full-on rock world with the Steve Lillywhite produced Walk Under Ladders. The mix of studio personnel was all over the map with new wave representation from Thomas Dolby and Andy Partridge (XTC), Elton John percussionist Ray Cooper, reggae rhythm man Robbie Shakespeare and Orleans’ Peter Gabriel and Hall & Oates alumni, Jerry Marotta.

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38. John Mellencamp - Scarecrow (1985) - Pre-production for Rain on the Scarecrow was simple, and sounds like a lot of fun. John Mellencamp and his band spent a month playing about a hundred Rock’n’Roll songs from the 60’s before heading into the studio to record. The album took a stand in and for the heartland. Without changing the Roots/Rock sound, John Mellencamp brought lyrics that had meaning, talking about good lovin’ in Middle America (“Lonely Ole’ Night”) and touring ala Motown caravans (“R.OC.K. in the U.S.A.”). Rain on the Scarecrow would be the first volley heard for the plight of America’s farmers and for Farm Aid.

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39. Chris Isaak - Silvertone (1985) - Chris Isaak had the snarl and the chops to be the next in line for Elvis Presley comparisons. His band was equally stripped down but the resulting sound was more ethereal and dream like. The tone of the music was a good match for filmmaker David Lynch, whose work in films had the same dreamscape attached. The director’s use of the tune “Gone Ridin’” from Silvertone jettisoned the album to much deserved recognition.

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40. The Beat Farmers - Glad N' Greasy (1985) - The Beat Farmers traveled to England to record Glad N’ Greasy for U.K. label Demon Records. The album, produced by Graham Parker and Rumor keyboardist Bob Andrews continued to put cow punk, Roots/rock, twanging rockabilly and swampy Americana into a blender. Glad ‘N Greasy included a dance hall version of Neil Young’s tune “Powderfinger”, and fellow roots rockers Dave Alvin, Nick Lowe, Gene Taylor and Loudon Wainwright III joined in for the community chorus on “Beat Generation”.

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