Alejandro Escovedo's family tree includes former Santana percussionist Pete Escovedo and Pete's daughter, Sheila E (also Prince's former drummer and later a pop star). He began his music career with the Nuns, a mid-'70s punk band based in San Francisco. He co-founded the pioneering cowpunk band Rank and File in 1979, which moved to Austin,... [+] Read More

Alejandro Escovedo's family tree includes former Santana percussionist Pete Escovedo and Pete's daughter, Sheila E (also Prince's former drummer and later a pop star). He began his music career with the Nuns, a mid-'70s punk band based in San Francisco. He co-founded the pioneering cowpunk band Rank and File in 1979, which moved to Austin, Texas, in 1981 after a stint in New York City. The band released Sundown on Slash Records in 1982, but shortly after, Escovedo left to form the True Believers with brother Javier. The band recorded two albums for EMI and toured the country, often as an opening act for Los Lobos. However, EMI opted not to release the second album, which eventually led to the group's break-up. (It eventually surfaced as a bonus item when Rykodisc reissued the first set on CD in 1994.) Escovedo released a solo album in 1992 on Watermelon Records, Gravity, uniting his wide variety of styles; the album was produced by Stephen Bruton of Bonnie Raitt's band. Escovedo also began gigging periodically with the band Buick MacKane, who fused old-school punk with 70's glam rock; after Rykodisc released Escovedo's With These Hands in 1996, they followed it up with Buick MacKane's long-awaited album. After Escovedo parted ways with Rykodisc, he signed with the Chicago-based alt-country label Bloodshot in 1998, who released the live album More Miles Than Money: Live 1994-1996 and the acclaimed studio set A Man Under The Influence. In April of 2003, Escovedo collapsed following a show in Phoenix, AZ, and he was subsequently diagnosed with Hepatitis C. An outpouring of support from musicians led to a series of successful benefit concerts to help pay Escovedo's medical expenses and keep his music before the public, followed by a tribute album, Por Vida: A Tribute to the Songs of Alejandro Escovedo, which was released in 2004. ~ John Bush, All Music Guide [-] Hide

Bill Kirchen is best known for his work in the '70s with the rebel band Commander Cody & His Lost Planet Airmen. Leading the way, this gang of rock & roll honky tonkers cut a wide path through country and rock, creating an intersection where both could meet and meld together their many guises effortlessly.

Bill Kirchen was a... [+] Read More

Bill Kirchen is best known for his work in the '70s with the rebel band Commander Cody & His Lost Planet Airmen. Leading the way, this gang of rock & roll honky tonkers cut a wide path through country and rock, creating an intersection where both could meet and meld together their many guises effortlessly.

Bill Kirchen was a dominating force behind the success of the Airmen. Meeting up with George Frayne, later known as Commander Cody, in his hometown of Ann Arbor, MI, set the wheels of Kirchen's musical career into motion.

Born and raised in Ann Arbor, the future guitar god first learned to play the trombone. While in high school he meet folksinger David Siglin and proceeded to place himself in the middle of the local folk scene. This was a training ground for Kirchen's prospective endeavors. He learned to play banjo and guitar. His fascination with folk eventually segued into an interest in the blues and string bands. While still in college, Kirchen started his own band, an outfit best described as "psycho folk-rock." It was around this same time that Detroit-based Frayne and future airman John Tichy decided to put a country band together. Having gone to the University of Michigan, Ann Arbor, Kirchen, Frayne, and some of the other Airmen knew each other, thus Commander Cody & His Lost Planet Airmen were born.

By 1969 Kirchen knew something had to be done or the band would idle away in obscurity. Aware of the music coming out of San Francisco, he convinced the rest of the band to move to the West Coast, where they took off and became legendary outlaws, lauded by Waylon Jennings and Willie Nelson as well as the Allman Brothers and the Grateful Dead. Kirchen's power as a vocalist, player, performer, and songwriter began to solidify. Known for his vocal treatment and hot guitar licks on "Mama Hated Diesels" and the ever popular "Down to Seeds and Stems Again Blues" from two of their preeminent releases, Hot Licks, Cold Steel & Truckers' Favorites and Lost in the Ozone, respectively. As a performer Kirchen came into his own while on stage in Austin for the live recording of the critically acclaimed Live From Deep in the Heart of Texas, recorded in November of 1973 at the Armadillo World Headquarters. Kirchen's work during this phase in the all-too-short career of Commander Cody & His Lost Planet Airmen is still remembered with awe.

The 1976 breakup of the band lead Kirchen to form the Moonlighters, a swing orchestra. British star Nick Lowe, who'd become interested in Kirchen's work while he was still with the Airmen, sought him out. The two formed a bond that remained intact years later. As the producer of the first Moonlighters album, Lowe found a soul mate in the talented American. Kirchen toured internationally with his friend and even joined him in the studio. While in England, Kirchen's style was a hot property as is evidenced by his participation on recording projects for Elvis Costello, rockabilly king Gene Vincent, and Link Wray.

By 1986 Kirchen had moved to the Washington, D.C., area, establishing himself as a leader on the music scene. Prior to his signing on with Black Top Records in 1994, Kirchen recorded Tombstone Every Mile. This high-powered project was initially released on Costello's label, Demon Records, in England. Available in the States on Black Top, this was just the beginning of Kirchen's personal recording renaissance.

1996 was the year Kirchen saw the release of Have Love, Will Travel. Critically acclaimed, it is an eclectic disc that displays the various aspects of Kirchen's artistry and talent. Praised as one of the pioneers who marked territory for a new radio format, Americana, this still-wild guitar slinger is also noted as a forefather of the twangcore movement that encompasses everyone from the king of California, Dave Alvin, to rockabilly bands and roots rock outfits like Big Sandy & His Fly-Rite Boys and Wilco. It is also believed that fellow madman Junior Brown was given a career boost thanks to Kirchen's dominating spirit, which has served to stand as a point of light for rebels of every stripe and color over these many years. In 1999, Kirchen followed with Raise a Ruckus on Hightone Records.

A proud father married for over 25 years to the same woman, Kirchen has been instrumental in keeping the work of many musical pioneers as more than just memory. Using his 1950s Telecaster and his chameleon-like voice, he has told the tale of Bakersfield's top bard, Red Simpson, and maverick songwriter Blackie Farrell. Ernest Tubb's former man of pedal steel, Buddy Charleton, whose infallible twang and moan can be heard throughout Have Love, Will Travel, is a featured player in Kirchen's world. Always ahead of his time, Kirchen remains a man of distinction who looks at music not as something to be categorized, but as an art form that has no boundaries. Continuing to work with Hightone Records, Kirchen released Tied to the Wheel in 2001, followed by King of Dieselbilly in 2005 and Hammer of the Honkey-Tonk Gods in 2006. ~ Jana Pendragon, All Music Guide [-] Hide

The object of cultish adoration for years, singer/songwriter Lucinda Williams was universally hailed as a major talent by both critics and fellow musicians, but it took quite some time for her to parlay that respect into a measure of attention from the general public. Part of the reason was her legendary perfectionism: Williams released records... [+] Read More

The object of cultish adoration for years, singer/songwriter Lucinda Williams was universally hailed as a major talent by both critics and fellow musicians, but it took quite some time for her to parlay that respect into a measure of attention from the general public. Part of the reason was her legendary perfectionism: Williams released records only infrequently, often taking years to hone both the material and the recordings thereof. Plus, her early catalog was issued on smaller labels that agreed to her insistence on creative control but didn't have the resources or staying power to fully promote her music. Yet her meticulous attention to detail and staunch adherence to her own vision were exactly what helped build her reputation. When Williams was at her best (and she often was), even her simplest songs were rich in literary detail, from her poetic imagery to her flawed, conflicted characters. Her singing voice, whose limitations she readily acknowledged, nonetheless developed into an evocative instrument that seemed entirely appropriate to her material. So if some critics described Williams as "the female Bob Dylan," they may have been oversimplifying things (Townes Van Zandt might be more apt), but the parallels were certainly too strong to ignore.

Williams was born in Lake Charles, LA, on January 26, 1953. Her father was Miller Williams, a literature professor and published poet who passed on not only his love of language, but also of Delta blues and Hank Williams. The family moved frequently, as Miller took teaching posts at colleges around Louisiana, Mississippi, Georgia, Arkansas, and even Mexico City and Santiago, Chile. Meanwhile, Lucinda discovered folk music (especially Joan Baez) through her mother and was galvanized into trying her own hand at singing and writing songs after hearing Dylan's Highway 61 Revisited. Immersed in a college environment, she was also exposed to '60s rock and more challenging singer/songwriters like Leonard Cohen and Joni Mitchell. She started performing folk songs publicly in New Orleans and during the family's sojourn in Mexico City. In 1969, she was ejected from high school for refusing to say the Pledge of Allegiance, and she spent a year working her way through a reading list supplied by her father before leaving home.

Williams performed around New Orleans as a folk artist who mixed covers with traditional-styled originals. In 1974, she relocated to Austin, TX, and became part of that city's burgeoning roots music scene; she later split time between Austin and Houston, and then moved to New York. A demo tape got her the chance to record for the Smithsonian's Folkways label, and she went to Jackson, MS, to lay down her first album at the Malaco studios. Ramblin' on My Mind (later retitled simply Ramblin') was released in 1979 and featured a selection of traditional blues, country, folk, and Cajun songs. Williams returned to Houston to record the follow-up, 1980's Happy Woman Blues. As her first album of original compositions, it was an important step forward, and although it was much more bound by the dictates of tradition than her genre-hopping later work, her talent was already in evidence.

However, it would be some time before that talent was fully realized. Williams flitted between Austin and Houston during the early '80s, then moved to Los Angeles in 1984, where she started to attract some major-label interest. CBS signed her to a development deal in the mid-'80s but wound up passing since neither its rock nor its country divisions knew how to market her; around the same time, a short-lived marriage to drummer Greg Sowders dissolved. Williams eventually caught on with an unlikely partner -- the British indie label Rough Trade, which was historically better known for its punk output. The simply titled Lucinda Williams was released in 1988, and although it didn't make any waves in the mainstream, it received glowing reviews from those who did hear it. With help from guitarist/co-producer Gurf Morlix, Williams' sound had evolved into a seamless blend of country, blues, folk, and rock; while it made perfect sense to roots music enthusiasts, it didn't fit into the rigid tastes of radio programmers. But it was clear that she had found her songwriting voice -- the album brimmed with confidence, and so did its assertive female characters, who seemed to answer only to their own passions.

Many critics hailed Lucinda Williams as a major statement by a major new talent. Rough Trade issued a couple of EPs that featured live performances and material from Lucinda Williams, and Patty Loveless covered "The Night's Too Long" for a Top 20 country hit. However, it would be four years before Williams completed her official follow-up. She signed with RCA for a time but left when she felt that the label was pressuring her to release material she didn't deem ready for public consumption. Instead, she went to the small Elektra-distributed label Chameleon, which finally released Sweet Old World in 1992. A folkier outing than Lucinda Williams, Sweet Old World was an unflinching meditation on death, loss, and regret. Even its upbeat moments were colored by songs like the title track and "Pineola," two stunning, heartbreaking accounts of a family friend's suicide (poet Frank Stanford, not, as many listeners assumed, Williams' own brother). Needless to say, the record won rave reviews once again, and Williams toured Australia with Rosanne Cash and Mary Chapin Carpenter.

On that tour, Carpenter decided to record "Passionate Kisses," the key track and statement of purpose from Lucinda Williams. It shot into the country Top Five in 1993 and won its writer a Grammy for Country Song of the Year. Other artists soon started mining Williams' back catalog for material: avowed fan Emmylou Harris recorded "Crescent City" on 1993's Cowgirl's Prayer and cut "Sweet Old World" for her 1995 alternative country landmark Wrecking Ball; plus, Tom Petty covered "Changed the Locks" for 1996's movie-related She's the One. As the buzz around Williams grew, so did anticipation for her next album. With Chameleon having gone under, she signed with Rick Rubin's American Recordings label and began sessions with Morlix again co-producing. Dissatisfied with the results, Williams' rigorous retouchings led to Morlix's departure from the project and her backing band. In 1995, she moved into Harris' neighborhood in Nashville and through Harris hired Steve Earle and his production partner Ray Kennedy. At first, she was so enamored with their work that she re-recorded the entire album from scratch. When it was finished, she decided that the results sounded too produced, and took the record to Los Angeles, where she enlisted Roy Bittan (onetime E Street Band keyboardist) to co-produce a series of overdub sessions that bordered on obsessive. During the long wait for the album, the media began to pay more attention to Williams; some of the coverage was fairly unflattering, painting her as a neurotic control freak, but she always countered that it was unfair to criticize the process if the results were worthwhile.

Rubin mixed the final tracks, but the album was further delayed when he entered into negotiations to sell the American label. Mercury stepped in to purchase the rights to the album, which was finally released in 1998 under the title Car Wheels on a Gravel Road. Boasting a bright, contemporary roots rock sound with strong country and blues flavors, not to mention major-label promotional power, the album won universal acclaim, making many critics' year-end Top Ten lists and winning The Village Voice's prestigious Pazz & Jop survey. It also won Williams a Grammy for Best Contemporary Folk Album (despite being the least folk-oriented record in her catalog) and became her first to go gold, proving to doubters that she was not just a songwriter, but a full-fledged recording artist in her own right. After a merger shakeup at Mercury, Williams wound up on the Universal-distributed roots imprint Lost Highway. She was the subject of an extensive, widely acclaimed profile in The New Yorker in 2000, written by Bill Buford, who was nominated for a National Magazine Award for his work; however, Williams and some of her supporters took issue with some of his more objective-minded analysis.

Williams delivered her next album, Essence, in 2001, after a relatively scant wait of just three years. An introspective collection, it often found Williams taking a simpler, more minimalistic lyrical approach and was greeted with rapturous reviews in most quarters. The track "Get Right With God" won Williams her third Grammy, this time for Best Female Rock Vocal, which further consolidated her credibility as a singer, not just a songwriter. Paring down the time between album releases even further, Williams returned in 2003 with World Without Tears, which became her highest-charting effort to date when it debuted in the Top 20. 2005 saw the release of two live recordings, one (Live @ The Fillmore) for Lost Highway and the other (Live from Austin, TX) for New West. ~ Steve Huey, All Music Guide [-] Hide

With the release of their 1990 debut LP, No Depression, the Belleville, IL, trio Uncle Tupelo launched more than simply their own career -- by fusing the simplicity and honesty of country music with the bracing fury of punk, they kick-started a revolution which reverberated throughout the American underground. Thanks to a successful online site... [+] Read More

With the release of their 1990 debut LP, No Depression, the Belleville, IL, trio Uncle Tupelo launched more than simply their own career -- by fusing the simplicity and honesty of country music with the bracing fury of punk, they kick-started a revolution which reverberated throughout the American underground. Thanks to a successful online site and subsequent fanzine which adopted the album's name, the tag "No Depression" became a catch-all for the like-minded artists who, along with Tupelo, signalled alternative rock's return to its country roots -- at much the same time, ironically enough, that Nashville was itself embracing the slick gloss associated with mainstream rock and pop.

Uncle Tupelo was led by singers/songwriters Jay Farrar and Jeff Tweedy, lifelong friends born in the same Belleville hospital in 1967. During high school, the pair formed a punk cover band called the Primitives along with drummer Mike Heidorn and Farrar's older brother Wade. After Wade enlisted in the Army, the Primitives broke up, but in 1987, the remaining trio reunited, changed their name to Uncle Tupelo, and began incorporating elements of country into their music as well as writing original material. Touring constantly throughout the Midwest, the bandmembers eventually quit school as their music became more and more successful, and in 1989 they signed a contract with the small independent label Rockville.

Taking its name from the A.P. Carter gospel song covered therein, No Depression reflected the band's disparate influences, ranging from everyone from Hank Williams to bluesman Leadbelly through to the famed post-punk trio Hüsker Dü. The most rock-centric of Uncle Tupelo's releases, its songs were meditations on small-town, small-time life, candid snapshots of days spent working thankless jobs and nights spent in an alcoholic fog. After the release of "I Got Drunk," a brilliant single backed with a cover of the Flying Burrito Brothers' "Sin City," 1991's Still Feel Gone struck a finer balance between their rock and country aims. While Farrar's contributions -- sung in his reedy, Neil Young-like voice -- were often informed by a rootsy, scorched-earth mentality, Tweedy's, with their grittier vocals, delved deeper into the trio's punk origins, as typified by the song "D. Boon," a tribute to the late frontman of the legendary Minutemen.

A year later, Uncle Tupelo released March 16-20, 1992, an acoustic record which saw the group plunging fully into country and folk. Recorded live in the studio with producer Peter Buck (of the band R.E.M.), the album drew heavily on painstakingly authentic covers of standards like "Moonshiner" and "Satan, Your Kingdom Must Come Down" along with a fitting rendition of the Louvin Brothers' "The Great Atomic Power" and Farrar's and Tweedy's originals, which maintained the record's spare, haunting ambience. Shortly after its release, Heidorn left the group to devote time to his family and was replaced by drummer Ken Coomer, formerly of the group Clockhammer. Multi-instrumentalists Max Johnston and John Stirratt also signed on as part-time members.

In 1992, Uncle Tupelo signed to major label Sire/Reprise and in 1993 issued the LP Anodyne. Widely regarded as the group's definitive statement, it was a true country-rock hybrid which accented the power of both musical forms; the album even featured a cover of the song "Give Back the Key to My Heart" sung with its writer, roots rock pioneer Doug Sahm. After a tour in support of the album, however, the long-standing relationship between Farrar and Tweedy dissolved in bitter acrimony, and Uncle Tupelo disbanded; shortly thereafter, Tweedy recruited Coomer, Johnston, and Stirratt to form the band Wilco, while Farrar reunited with Heidorn in Son Volt. ~ Jason Ankeny, All Music Guide [-] Hide

A singer and demon guitarist whose raucous blend of country and rock & roll helped make him a successful crossover act, Junior Brown was born in 1952 and raised in the backwoods of Kirksville, IN. He first learned to play the piano from his father, and was exposed to country through radio and TV, becoming a fan of Ernest Tubb's music and... [+] Read More

A singer and demon guitarist whose raucous blend of country and rock & roll helped make him a successful crossover act, Junior Brown was born in 1952 and raised in the backwoods of Kirksville, IN. He first learned to play the piano from his father, and was exposed to country through radio and TV, becoming a fan of Ernest Tubb's music and television program. He became a professional musician at the tail end of the '60s, while still in his teens.

After honing his guitar skills in relative anonymity throughout the '70s, Brown became an instructor at the Hank Thompson School of Country Music, an affiliate of Rogers State College in Oklahoma. There, while teaching under the auspices of steel guitar legend Leon McAuliffe, a onetime member of Bob Wills & His Texas Playboys, Brown met "the lovely Miss Tanya Rae," a student whom he would later marry in 1988 and who eventually joined his band as a rhythm guitarist and backing vocalist. At the same time, a dream prompted him to set about creating an instrument fusing a six-string guitar with its steel counterpart. Contacting guitar maker Michael Stevens in 1985, he developed the "guit-steel," a double-necked guitar combining the standard instrument with the steel. (A decade later, the two men reunited to update the "guit-steel," and Brown's cherry axe, "Big Red," was born.)

After moving to Austin, TX, Brown and his group became the house band at the city's Continental Club, where strong word-of-mouth eventually earned them a record deal. He made his long-awaited album debut in 1993 with 12 Shades of Brown, which featured a tribute to his biggest influence, "My Baby Don't Dance to Nothing but Ernest Tubb." It also showcased his often-stunning instrumental work, and blended Western swing, honky tonk, and electrified Bakersfield country. Guit With It followed later in the year, and like its predecessor, was met with considerable critical acclaim. After a five-song stopgap EP, 1995's Junior High, Brown returned in 1996 with Semi-Crazy, which continued in the vein established on his previous recordings. The Long Walk Back followed two years later, and displayed a bit more rockabilly flavor. Brown issued his fifth album, Mixed Bag, in 2001. His next record, 2004's Down Home Chrome, found him on a new label (Telarc) but with the same tried and true sound. Curb released a twelve-song Greatest Hits collection in June of 2005, followed by Telarc's Live at the Continental Club: The Austin Experience later that September. ~ Jason Ankeny, All Music Guide [-] Hide

Casino is a more pop-oriented album. Blue Rodeo seem to have finally established their fine blend of harmonies and laid-back country-rock à la the Band and Bob Dylan. Produced by Pete Anderson (Dwight Yoakam, Michelle Shocked). ~ Chris Woodstra, All Music Guide

Casino is a more pop-oriented album. Blue Rodeo seem to have finally established their fine blend of harmonies and laid-back country-rock à la the Band and Bob Dylan. Produced by Pete Anderson (Dwight Yoakam, Michelle Shocked). ~ Chris Woodstra, All Music Guide [-] Hide

Junior Brown's rumbling, strikingly deep voice, tasty electric and steel guitar playing, and splendid honky-tonk and Western swing songs have made him a sensation in country circles. There's nothing phony or clichéd about Brown's music; this is the genuine, untutored, undiluted article. Brown can sing tunes requiring sincerity, ache or irony... [+] Read More

Junior Brown's rumbling, strikingly deep voice, tasty electric and steel guitar playing, and splendid honky-tonk and Western swing songs have made him a sensation in country circles. There's nothing phony or clichéd about Brown's music; this is the genuine, untutored, undiluted article. Brown can sing tunes requiring sincerity, ache or irony with equal flair. The CD's 12 cuts include the nearly 12-minute "Guit-Steel Blues," and a sharp cover of Hank Garland's "Sugarfoot Stomp," and the bittersweet "Doin' What Comes Easy to a Fool" and "Holding Pattern." Brown is as vital and refreshing as early John Anderson or Randy Travis. ~ Ron Wynn, All Music Guide [-] Hide

Billy Joe Shaver's first recording in six years is a stunner. Partnering with his guitar-slinging son, Eddy, Tramp on Your Street is a rollicking yet intimate ride through the world Billy Joe-style. There are smoking country rockers that are brazen, raw, and in-your-face, such as the sizzling remake of "Been to Georgia on a Fast Train" (which is... [+] Read More

Billy Joe Shaver's first recording in six years is a stunner. Partnering with his guitar-slinging son, Eddy, Tramp on Your Street is a rollicking yet intimate ride through the world Billy Joe-style. There are smoking country rockers that are brazen, raw, and in-your-face, such as the sizzling remake of "Been to Georgia on a Fast Train" (which is now the definitive version), "The Hottest Thing in Town," "I'm Just an Old Chunk of Coal," and the blues-rock of "I Want Some More/TennTex Tear Down." There is the restless Bob Wills swing of "Good Old U.S.A." and the shuffling Texas stroll of "If I Give My Soul." And of course, in the title track, "When Fallen Angels Fly," and the Louvin Brothers-inspired "I'm Gonna Live Forever," there are the searing, completely naked lyrics of repentance, deliverance, and doubt that have been a part of Shaver's music form the beginning. Without them, the center would be missing. The big question for most is: Can Billy Joe rock at his age? The answer is that with Eddy beside him turning it up, he can not only rock, he can roll too. This is a partnership based on respect, tough love, and iconoclastic musical ideals. It's deep in the roots of the sill and even deeper in the Shavers' blood. Tramp on Your Street is a monumental return to recording for Billy Joe Shaver and a triumph of Eddy's musical direction and six-string skill. ~ Thom Jurek, All Music Guide [-] Hide

The Mavericks fully hit their stride with their third album, 1994's What a Crying Shame, in which the band's blend of rootsy country and vintage pop sounds finally found the balance they'd been searching for. While producer Don Cook gave the band a significantly glossier sound than that of their first two albums, with a hefty number of guest... [+] Read More

The Mavericks fully hit their stride with their third album, 1994's What a Crying Shame, in which the band's blend of rootsy country and vintage pop sounds finally found the balance they'd been searching for. While producer Don Cook gave the band a significantly glossier sound than that of their first two albums, with a hefty number of guest musicians (and guest songwriters) on board, remarkably enough the Mavericks' personality wasn't subsumed in the process; if anything, the high-priced help seemed to have prodded the boys into playing at the top of their game. Raul Malo's keening tenor gets a superb workout on "I Should Have Been True" and the title cut (the latter of which boasts a guitar hook Roger McGuinn would have been proud to come up with), while "Pretend" and "There Goes My Heart" are honky tonk floor-fillers of the first order. Robert Reynolds and Paul Deakin are a rhythm section who can give these songs the nervy drive of a rock band without betraying the Mavericks' country leanings, and they give the covers of "All That Heaven Will Allow" and "O What a Thrill" a taut foundation most contemporary Nashville acts lack. Truth to tell, What a Crying Shame doesn't have a single dud track, and offers encouraging proof that it's still possible to make an engaging and idiosyncratic country album while signed to the Nashville division of a major label...and the best news is, the band managed to turn that accomplishment into a hat trick over the next few years. ~ Mark Deming, All Music Guide [-] Hide

While Rosie Flores' music can certainly flirt with country, it's married to the more general sound of Americana. Drawing on rockabilly, '60s garage band pop, and California-style big guitar country-rock, Flores' makes her music her own with her unique voice and spicy guitar leads. Once More With Feeling features a host of Los Angeles session... [+] Read More

While Rosie Flores' music can certainly flirt with country, it's married to the more general sound of Americana. Drawing on rockabilly, '60s garage band pop, and California-style big guitar country-rock, Flores' makes her music her own with her unique voice and spicy guitar leads. Once More With Feeling features a host of Los Angeles session veterans on 12 tracks incorporating each of Flores' tricks and all of her favorite styles. From the memory-laden solo acoustic hum of "Bandera Highway" to "Someday"'s shimmering Cali country sashay, Feeling continues and expands on the sound of 1992's After the Farm. Flores' voice is a mixture of honey and hot sauce and lets her sing with lovelorn longing or honest characterization. The latter trait comes in especially handy on the trailer park juke fantasy "Girl Haggard" and informs the bluesy come-on of "Real Man," which features a typically cutting Flores guitar solo. She never fully takes on any of her numerous influences; instead, Flores plays them off of one another, like when the San Antonio memories of "Bandera Highway" give way to the conjunto-style accordion of "It's Over." Once More With Feeling will appeal to anyone who's a fan of Lone Star beer, rockabilly revivalism, and tumbleweed twang. ~ Johnny Loftus, All Music Guide [-] Hide