and set about introducing it to the country's college kids. Four decades later, the members of OCMS fit the profile of those early revivalists, yet if anything they have tapped deeper into the primal elements of an American art form. As demonstrated on their debut, they have assimilated not just the sound--banjos, harmonicas, acoustic guitar and bass--but more importantly the haunting spirit of music that was made to keep hard times at bay. How else to explain their ability to take a well-worn chestnut like "CC Rider" and infuse it with an energy that reveals once again why it is a classic? Not content to live completely in the past, they wrote "Big Time in the Jungle," which, though it is about Vietnam, could easily be transposed to 2004's de...  (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)

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)

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)

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)

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)

response: Shania Twain, Joss Stone, LeAnn Rimes, Macy Gray, Indigo Girls, k.d. lang, and more have each packed the collection with previously-unreleased music. With half of the disc recently-written songs and half covers of old classics, the originals ultimately prove to be the highlight. Shania Twain's "Shoes" is a future line-dancin' classic, analogizing men to shoes ("a girl can't never have too many of 'em"). Joss Stone's "Treat Me Right" is nothing short of sexy, soul perfection, while SheDaisy's performance of the Jann Arden -penned "God Bless the American Housewife" kicks things off in a dark country style. The "who's that girl with the voice?" award goes to Idina Menzel ( Rent , Wicked ) for her powerhouse performance of ...  (less)

career--accord him a respect that few other major labels show to past country greats who once enhanced their profits. That's why the 87-year-old Arnold's return to the studio for album #100 is nothing less than courageous. His producer, legendary Nashville eccentric Cowboy Jack Clement, combines low-key acoustic accompaniment with vintage material, including a remake of Arnold's 1956 hit "You Don't Know Me" and Roger Miller's "King of the Road." While Arnold imparts class, dignity, and youthful spirit to every tune, even this vocal master isn't exempt from aging's inevitable toll on every human voice. Hearing him valiantly struggle to achieve what once seemed effortless is profoundly moving and occasionally painful. Nonetheless, his magni...  (less)

removed all pretense and preciousness from his music; instead, he attacks his tough twang with fire and vitality, putting forth rumbling rockabilly, garage country, and full-on rock swagger. His lyrics show a self-deprecating maturity and a keen sense of humor. Best of all, he doesn't need to sing like a 25-year-old trying to sound like a 50-year-old: his raspy, worn, throaty voice has got real mileage on it. With reference points that range from Dylan to Ely to the Stones, Lee's debut is a thick and meaty treat. --Marc Greilsamer  (less)