As a member of the groundbreaking Flatlanders, singer/songwriter Butch Hancock helped kick-start the progressive country movement of the '70s. As a solo artist, Hancock recorded a series of country-folk albums for his own independent Rainlight label, which showcased his literate wordplay, quirky humor, and dry, Dylan-esque vocal delivery. Going... [+] Read More

As a member of the groundbreaking Flatlanders, singer/songwriter Butch Hancock helped kick-start the progressive country movement of the '70s. As a solo artist, Hancock recorded a series of country-folk albums for his own independent Rainlight label, which showcased his literate wordplay, quirky humor, and dry, Dylan-esque vocal delivery. Going the independent route certainly cost Hancock some name recognition and wider exposure, but he did earn a devoted cult following, especially in his native Texas.

Hancock was born in the west Texas town of Lubbock in 1945 and grew up on a farm, writing his first songs while driving his father's tractor. In high school, he started playing music with friends Jimmie Dale Gilmore and Joe Ely, fellow long-haired intellectuals who shared a distaste for commercial country. Hancock entered architectural school after graduation, but eventually left to return to his family's farm in Lubbock. He reconnected with Gilmore and Ely, and in 1970 the three formed a band called the Flatlanders. In 1972, they traveled to Nashville for a recording session with Plantation Records, a low-budget offshoot of the past-its-prime Sun label. When their first single flopped, their lone album, Jimmie Dale & the Flatlanders, was barely released in extremely limited quantities in 1973, and the group members gradually went their separate ways. However, when Ely became an acclaimed solo artist in the late '70s, he drew heavily from Gilmore and Hancock's songwriting catalogs, bringing Hancock classics like "West Texas Waltz," "If I Were a Bluebird" (both covered by Emmylou Harris), "She Never Spoke Spanish to Me" (covered by the Texas Tornados), and "Boxcars" to a wider audience.

Ely's recordings helped spark interest in Hancock, but Hancock returned to music on his own terms, moving to the progressive country hotbed of Austin and starting up his own Rainlight label. In 1978, he issued his first album, West Texas Waltzes and Dust-Blown Tractor Tunes, a spare, simple collection that spotlighted his impressive lyrical abilities. The double album The Wind's Dominion followed a year later, and experimented with a broader musical palette and fuller arrangements. Released in 1980, Diamond Hill featured a full backing band, and 1981's Firewater was an informal live set; both continued to build his cult reputation on the Texas roots music scene. Hancock subsequently took a break from recording for several years, pursuing his interests in photography and video, and returned in 1985 with Yella Rose With Marce Lacoutre; Split & Slide followed in 1986.

During another break from recording, Jimmie Dale Gilmore decided to return to his solo career, and thanks to the Flatlanders' burgeoning legend, his versions of several Hancock compositions once again renewed interest in the songwriter. In 1989, the bluegrass-oriented Sugar Hill label issued Own & Own, a compilation of highlights from Hancock's early albums. Meanwhile, Hancock and Gilmore toured Australia together, which resulted in the live duo album Two Roads; Hancock also issued Cause of the Cactus on his own label in 1991. Another compilation for Sugar Hill came in 1993, this one called Own the Way Over Here, and the following year, Hancock contributed songs to Chippy, a musical theater piece about a Texas prostitute co-written by Ely. In 1995 his first-ever non-compilation studio project for an outside label was released, the acclaimed Sugar Hill set Eats Away the Night, which was hailed as one of his most fully realized recordings. In the years that followed, Hancock re-released many of his old albums on CD, and also issued the new Rainlight set You Coulda Walked Around the World in 1999. He toured with the reunited Flatlanders in 2000, after which he moved from Austin to the small desert town of Terlingua; there he worked as a white-water rafting guide and returned to architecture, designing, and building his own home. In 2002, the Flatlanders issued the well-received reunion album Now Again. ~ Steve Huey, All Music Guide [-] Hide

Since 1984, Bill Morrissey has released a series of albums of original songs that have startled and delighted the following he's built up in touring around the Northeast. By the second one, North, he'd been picked up by the Philo division of Rounder Records. Morrissey sings in a surprisingly flexible deep voice (somewhat reminiscent of Leon... [+] Read More

Since 1984, Bill Morrissey has released a series of albums of original songs that have startled and delighted the following he's built up in touring around the Northeast. By the second one, North, he'd been picked up by the Philo division of Rounder Records. Morrissey sings in a surprisingly flexible deep voice (somewhat reminiscent of Leon Redbone's croak, but more supple). His songs are full of humor and pathos, expressed in keenly observed details. This is small-town life, sometimes desperate, sometimes hopeful, but always presented in new, unexpected ways on releases including 1989's Standing Eight, 1992's Inside, 1994's Night Train, and 1996's You'll Never Get to Heaven. Something I Saw or Thought I Saw continued that tradition in 2001. ~ William Ruhlmann, All Music Guide [-] Hide

New York-based David Massengill has been involved in folk music, particularly the New York Fast Folk community, for over two decades. Renowned as a brilliant writer of songs noted for their universally applicable themes and their faithfulness to American folk traditions, he has also earned a reputation as an excellent guitarist and mountain... [+] Read More

New York-based David Massengill has been involved in folk music, particularly the New York Fast Folk community, for over two decades. Renowned as a brilliant writer of songs noted for their universally applicable themes and their faithfulness to American folk traditions, he has also earned a reputation as an excellent guitarist and mountain dulcimer player, in addition to being a top-notch storyteller. Massengill released two independent cassettes -- Great American Bootleg Tape in 1987 and Kitchen Tape in 1987 -- both received rave reviews throughout the folk community. He has since signed to Flying Fish Records, releasing Coming Up for Air in 1992 and Return in late 1995. In 1998 Twilight the Taj Mahal came out, followed by his Gadfly debut, 2002's My Home Must Be a Special Place, and four years later We Will Be Together was released. ~ Sandra Brennan, All Music Guide [-] Hide

Christine Lavin emerged out of the crowded New York City songwriter scene of the '80s with a style that distinguished her from her peers. First, her songs were overwhelmingly concerned with contemporary romantic mores (that scary, uncertain world of "relationships," "commitments," and "biological clocks"). Second, while her takes on this subject... [+] Read More

Christine Lavin emerged out of the crowded New York City songwriter scene of the '80s with a style that distinguished her from her peers. First, her songs were overwhelmingly concerned with contemporary romantic mores (that scary, uncertain world of "relationships," "commitments," and "biological clocks"). Second, while her takes on this subject could sometimes be sentimental or even maudlin, more often they were humorous. "If You Need Space, Go to Utah" was the first track on her second recording, a 1983 EP called Husbands and Wives. (Her first album, 1982's Absolutely Live, was out of print until 2000, when it was reissued on CD.) In 1984, Lavin self-released her first full-length studio album, Future Fossils, which included both her serious and comic numbers, notably "Damaged Goods" (what people start to feel like after enough failed relationships) and "Don't Ever Call Your Sweetheart by His Name" (how difficult it is to remember people's names after enough failed relationships).

In 1986, she signed to Rounder's Philo label, which issued Beau Woes and Other Problems of Modern Life, Another Woman's Man (a 1987 reissue of Husbands and Wives), Good Thing He Can't Read My Mind (1988), Attainable Love (1990), Compass (1991), and Live at the Cactus Cafe: What Was I Thinking? (1993). She moved to Shanachie Records in 1995, releasing Please Don't Make Me Too Happy and Shining My Flashlight on the Moon (1997). Then she set up her own record company, named after her website, christinelavin.com, and released One Wild Night in Concert (1998) and Getting in Touch with My Inner Bitch (2000) herself; that year, Rounder also released the Bellevue Years collection.

In 2002, Lavin moved yet again, releasing I Was in Love with a Difficult Man on Redwing's Blind Pig label. A year later, she signed with Appleseed to issue the holiday effort Runaway Christmas Tree. The concert album Sometimes Mother Really Does Know Best followed just in time for Mother's Day in spring 2004. Lavin has also made a particular point of promoting the work of her contemporaries, notably on such collections as When October Goes, and with 1991's Buy Me Bring Me Take Me: Don't Mess My Hair!!!, she launched the part-time group Four Bitchin' Babes. In 2005, Folkzinger, her 17th solo album (and third for Appleseed Records), was released, and in 2006 she compiled and commissioned songs about food for the compilation One Meat Ball, on which Lavin sang the recipe for French toast bread pudding on a track of the same name. ~ William Ruhlmann, All Music Guide [-] Hide

Boston-based folk artist Patty Larkin is a talented singer/songwriter and guitarist with a large New England following. She considers herself a musical adventurer and desires to write songs designed to invite audiences to share her journeys. She began recording in the mid-'80s for Philo Records and each successive album reflects her growth as an... [+] Read More

Boston-based folk artist Patty Larkin is a talented singer/songwriter and guitarist with a large New England following. She considers herself a musical adventurer and desires to write songs designed to invite audiences to share her journeys. She began recording in the mid-'80s for Philo Records and each successive album reflects her growth as an artist. Her compositions are known for their depth, sensuality and introspection. Proficient on acoustic, electric and slide guitar, her playing style has been compared to Bonnie Raitt's. Since 1991, Larkin has been recording acclaimed albums for HighStreet Records and though her strongest following remains in New England, she remains a favorite on folk circuits throughout the U.S. ~ Sandra Brennan, All Music Guide [-] Hide

Cliff Eberhardt was one of those singer/songwriters who took a long time to make a formal album (one of the copyrights here was 1974), and you could hear the years, the miles, and the struggle in his songs. "White Lightning" commented on the need of the singer to escape a provincial existence; "My Father's Shoes" dealt with separation from... [+] Read More

Cliff Eberhardt was one of those singer/songwriters who took a long time to make a formal album (one of the copyrights here was 1974), and you could hear the years, the miles, and the struggle in his songs. "White Lightning" commented on the need of the singer to escape a provincial existence; "My Father's Shoes" dealt with separation from family; and the title song (a duet with strong influence Richie Havens) reflected on the length of the journey. For the most part, however, Eberhardt was concerned with romance, usually with a sense of idealized commitment in songs whose titles sometimes told the story: "Always Want to Feel Like This," "(Just To) Walk Down the Street With You." Singing in a gruff, earnest tenor, he always seemed to have come through a long period of difficulties to this one, perfect love, even if, as in the beautiful "Your Face," he was still writing from a distance. In his solo concerts, Eberhardt could seem even more impassioned; on record, with a backing band to blend into, his mannerisms were less pronounced (and one got less of a sense of his impressive guitar playing); he recalled Bruce Springsteen (especially in the Darkness on the Edge of Town cadences of "Right Now" and the small-town reminiscences of "White Lightning") more than Ray Charles. "If you let your passion loose," he sang in "White Lightning," "you would run like fire." But passion remained his ruling emotion. ~ William Ruhlmann, All Music Guide [-] Hide

On this concert disc recorded at JR's Warehouse in Traverse City, MI, we get to hear Brown's commanding, but casually relaxed, solo performances of some of his old and new songs. His gravelly voice is remarkably expressive, especially when he is conveying the humorous side of some serious subject. He also includes covers of Richard Thompson's... [+] Read More

On this concert disc recorded at JR's Warehouse in Traverse City, MI, we get to hear Brown's commanding, but casually relaxed, solo performances of some of his old and new songs. His gravelly voice is remarkably expressive, especially when he is conveying the humorous side of some serious subject. He also includes covers of Richard Thompson's "1952 Vincent Black Lightning" and Van Morrison's "Moondance." This is very informal recording with bits of tuning and chit-chat. The songs, of course, carry the day. "Spring Wind" is heartbreaking and lovely as is his classic "Canned Goods." ~ Richard Meyer, All Music Guide [-] Hide

After about 20 years, Butch Hancock has released his first produced studio album for a national label not compiled from his previously released Rainlight Records LPs. In many ways, Hancock set his style down with his very first self-produced album, West Texas Waltz. All the elements from that period remain -- the Dylanesque vocal sound, his love... [+] Read More

After about 20 years, Butch Hancock has released his first produced studio album for a national label not compiled from his previously released Rainlight Records LPs. In many ways, Hancock set his style down with his very first self-produced album, West Texas Waltz. All the elements from that period remain -- the Dylanesque vocal sound, his love of wordplay, and a deep feeling for the stories that make up an individual's life. The warm sound of this album makes it easier for newcomers to get past his dry voice, and the inclusion of his hit "If You Were a Bluebird" will help a new audience locate him properly in the contemporary Texas songwriting scene. The band is tight and steps back enough to let Hancock's stories and personality shine through. ~ Richard Meyer, All Music Guide [-] Hide

This posthumous compilation, released on Goodman's own Red Pajamas label, spans two discs: the first highlighting his best studio cuts, with the second disc exclusively devoted to live tracks. About half of the songs are previously unreleased material or unreleased live recordings. This is probably overkill for the casual fan who just wants the... [+] Read More

This posthumous compilation, released on Goodman's own Red Pajamas label, spans two discs: the first highlighting his best studio cuts, with the second disc exclusively devoted to live tracks. About half of the songs are previously unreleased material or unreleased live recordings. This is probably overkill for the casual fan who just wants the "hits." Diehard Goodman aficionados, however, are in luck. The live disc especially brings out the artist's witty, versatile songwriting personality, showing how he could work a crowd by not taking the material (or himself) too seriously. Copious liner notes from close friends and family pay tribute to Goodman the man, songwriter, and performer. An essential buy for completists (due to the unreleased material), the compilation takes material from Goodman's Buddah and Asylum albums, making it perhaps the best survey of his career to date. ~ Jim Esch, All Music Guide [-] Hide

His style has really matured and this album contains another solid thoughtful set of story songs. The sound on this album is more stripped down, as basic as a Lou Reed record and just as effective. ~ Richard Meyer, All Music Guide

His style has really matured and this album contains another solid thoughtful set of story songs. The sound on this album is more stripped down, as basic as a Lou Reed record and just as effective. ~ Richard Meyer, All Music Guide [-] Hide