In 1892, he created a traveling show, "The Old Virginia Plantation Negro," including banjo tunes, nostalgic dialect stories and a lecture, without resorting to farce or black-face. The show glorified the plantation music and Negro spirituals that America was hungry for in the 'Gay '90s.' Mark Twain, upon hearing Miller and his Quartette exclaimed, "I think that Polk Miller, and his wonderful four, is about the only thing this country can furnish that is originally and utterly American." It is in this historical context that Tompkins Square reissues a CD of seven 1909 Edison cylinder records and seven 1928 QRS/Broadway disc recordings. The booklet includes photos and memorabilia with notes by African-American music scholar Doug Seroff. The CD package is designe...  (less)

Dallas, TX, in the early ‘90s. Their early singles and 1994 indie debut disc, Hitchhike To Rhome led to a trio of critically acclaimed and crowd-pleasing albums for Elektra, beginning with 1997’s stellar Too Far To Care and running through 2001’s Satellite Rides.  (less)

of the season--told through the voice of a small girl ("Jesus Gets Jealous of Santa Claus")--and other timely sentiments. Trouble is, Keith's not a great songwriter (although he's not bad storyteller). What adds to his shortcomings as a wordsmith are his melody lines, which generally sound punch pressed from that crass commercialized Nashville mold. Keith fans will enjoy the selections, however, and nearly anyone can appreciate the fact that he chose not to make a record of the same tired old standards played in the tired old contemporary-country way. --Martin Keller  (less)

are dramatized on these four, thematically programmed discs: Win, Place and Show: The Hits ; Old Favorites and New ; The Great American Songbook (mostly traditional songs); and Family and Friends (collaborations). For starters, consider the staggering depth and breadth of his repertoire (perhaps matched only by those of Bob Dylan and Ray Charles), embracing ancient folk tunes ("Streets of Laredo"), teen pop ("Ballad of a Teenage Queen"), mature contemporary rock ("Highway Patrolman"), gospel ("Were You There When They Crucified My Lord"), topical fare ("Ballad of Ira Hayes"), country standards ("Time Changes Everything"), novelties ("One Piece at a Time"), and more. Then there's the way his spare, spacious sound opens up to take in horns...  (less)

flexible rhythm section; wounded, piercing vocals; and unforgiving songs of rage, recklessness, and rejection. He then spends the rest of the CD refining it, song by song. As a writer, he has a real flair for imagery and the sturdy hook, and he also has good taste in remakes. Yes, there is some posturing; occasionally it feels like his nose for trouble, sense of despair, and wild eyes spring from listening to all the right records rather than out of anyone's real life. But for the most part, Hank III seems to come by these things the old-fashioned way: he earns them. Already. If he doesn't earn too much, he's going to do great things. --John Morthland  (less)

Overall, it's a set of amiable country pop, but the title track and "What About Georgia?," which open the disc, are rock songs at heart--driven by a hard-smacked snare drum and layers of guitar. But what's really at the core of these excellent performances is Lambert's romantic lyrics and versatile singing. When she's playing the angry lover in "Kerosene," she's loaded with punky attitude. When she's brokenhearted and moving on in "New Strings," her soft, delicate tones and gentle phrasing perfectly capture a rich blend of sadness and hope. There's even a bit of Dolly Parton's sweet vibrato and rustic charm in "Me and Charlie Talking," a nostalgic contemplation on love and life's simple virtues. Lambert authored or co-penned 11 o...  (less)

songwriter Bobby Braddock, also contains quite a few harder-hitting, meatier tunes. "Old Red," for instance, is a twangy and resolutely down-home prison tale that Shelton imbues with growling tongue-in-cheek humor. "Same Old Song" is a subtle but soulful Braddock-penned putdown of the current state of country music, to which Shelton brings all the passion and conviction the song deserves. On the socially conscious "Problems at Home" (which Blake cowrote with Billy Montana and Don Ellis), the young singer laments far weightier issues, like school shootings and the destruction of the Amazon rain forests, with similar fervency. On these songs and others, the twenty-something neo-honk-tonker shows just the kind of musical vis...  (less)

capture the country music legend at his most inspired. Commercial pressures meant that Williams rarely recorded gospel music for his releases; however, when he made these recordings for the Mother's Best Flour radio shows in 1951 Hank made sure that religious music was well represented. He performed old time jubilees, formal hymns, gospel songs and southern quartet music, and we've gathered them for this very special Hank Williams treasure. The Unreleased Recordings: Gospel Keepsakes includes a never-before-released version of one of the most popular hymns of the twentieth century, Williams classic I Saw the Light, as well as a previously unreleased version of the southern gospel standard Thirty Pieces of Silver.  (less)

growing up. Thus it feels natural for country's grand old hippie Willie Nelson to record a CD of blues standards--especially since he wrote some of them (see: "Night Life"). Producer and featured guitarist Derek O'Brien lays down a funky but relaxed bed for the King of Laid-Back and some serious musical synergy with veteran guests like Dr. John and the aforementioned King. Kenny Wayne Shepherd's incendiary guitar on "Texas Flood" notwithstanding, the contributions of the younger contingent (Susan Tedeschi, Jonny Lang, Keb' Mo'), while heartfelt, seem more like perfunctory marketing ploys. Those who buy Milk Cow Blues for those names will be disappointed. Those who buy it for Willie will be delighted as he proceeds to show the youngsters (and all of us) what soul...  (less)

after generation, through social and economic hard times--the dictator Machado considered son subversive--and good times; the current regime encourages cultural development and made the band "professional musicians" with a state income and support. The group developed the country music of Oriente, added brass in the late '20s, went to New York to record in the '30s, and became a cultural icon in the '80s as the cultural freeze between New York and Havana began to thaw. The sound has not changed radically from those old recordings made in New York, and this 1997 session shows the current band to be rock solid and true to the tradition laid down eight decades ago. Smooth, precise and full of soul, Septeto Habanero carries on. --Louis Gibson  (less)

unsuccessful results. "I Don't Have to Be Me (‘Til Monday)," an Everyman's exuberant celebration of calling in sick at work, scored at radio, and there's plenty more here, including the love ballad "Lay Your Heart Next to Mine," that could follow. But Azar's more interesting songs (some cowritten with producer Rafe Van Hoy) go the pared-down, Todd Snider route. "Damn the Money," for instance, a rockin' little shuffle about that elusive green stuff, could show up in a discussion in No Depression , as could "The Underdog." Azar isn't going to win awards for his serviceable vocals, but he may turn heads with the title track, which starts out as a likeable blue-collar lament and turns into a modern-day "Wreck of the Old '97." If that's not a bridge between mus...  (less)

before those terms existed. Each decade, he's been captured onstage, beginning with 1980's Live Shots and 1990's Live at Liberty Lunch , making 2000 the right time for number three. These muscular performances, recorded at Austin's famous roots-music club, show Ely's dauntless energy undiminished by time. Roaring performances of "Me and Billy the Kid," "Everybody Got Hammered," "All Just to Get to You," and his ebullient, gender-bent satire "Nacho Mama" make these old favorites seem new and fresh. Jimmie Dale Gilmore's "Dallas" revisits Ely's days in the Flatlanders with Gilmore and Butch Hancock, and his comparable good taste extends to his masterful interpretations of Tom Russell's cockfight epic "Gallo del Cielo" and Robert Earl...  (less)