ARTIST: Miss Ohio (www.missohiomusic.com)
CD: “Low” (L’Oceanic)

Although the verdict is still out on why a band from New Jersey would call itself “Miss Ohio” (of course, that’s a West Virginian talking), the music contained therein is mighty fine. This not-quite-low-fi quartet takes a dozen tunes that straddle the indie rock fence and frames them in dreamy soundscapes, thoughtful arrangements and playing that’s sparse and never self-indulgent. The deceptively simple sounding result is warm (thanks to David Wilson’s rich, personable vocals), unassuming and engaging.

While it’s normally not advisable to open a CD with a five-minute-plus song, you’ll be sorry when “Home To You” finally winds down. With the guitar line following the vocals, it sounds like one of Van Morrison’s trancey tracks before gradually segueing into a fuzzy guitar fest. At times, there are welcome echoes of indie pop of yore like the dB’s and the Connells (“The War at Home,” “Don’t It Break Your Heart”). Then there are the slow ’n’ gorgeous (and moody) “The Last of Your Kidnapped Brides” and “All You Love.”

The set was produced by indie fave Eric “Roscoe” Ambel. Unlike a number of his other productions where he leaves an all-too-audible soundprint, he seems to have kept his distance on this one and let the band’s sound come through. Don’t let this one slip past you.

— By Michael Lipton

ARTIST: Carolina Chocolate Drops (www.carolinachocolatedrops.com)
CD: “Dona Got a Ramblin’ Mind” (Music Maker)

A few years back, Rhiannon Giddens, Justin Robinson and Don Flemons became enamored with the black string band music of the Carolinas’ Piedmont region. After immersing themselves in the music — with guidance from old-time fiddler Joe Thompson — the group found its calling. Due in part to the fact that there are few black groups championing this music, the North Carolina-based trio quickly became one of the darlings of the burgeoning roots/old-time music circuit.

Clearly, this CD points to the fact that music does indeed cross (and, hopefully, break down) racial borders. In fact, most listeners will hear little difference between the Chocolate Drop’s Piedmont-styled black string band music and the traditional music of West Virginia. Many of the songs will be familiar, either by melody or name. (more…)

PERFORMER: Webb Wilder and the Beatnecks (www.blindpigrecords.com)
CD: “Born to be Wilder” (Landslide/Blind Pig)

Aside from being a shoo-in for 2008’s best CD, this live offering proves that after some years treading water, the irrepressible Webb Wilder is back. His Empty Glass show last June was one of the year’s best — thanks in part to guitarist Tony Bowles (who had been in town just a few weeks earlier as part of Hank Jr.’s colossal entourage). Bowles is simply one of the most consummate rock ’n’ roll guitarists out there.

If you missed Webb’s Empty Glass show, this is a reasonable facsimile, with Webb & Co. reprising songs that date back to his must-have 1986 debut “It Came From Nashville” (“How Long Can She Last” and the rock-m-pop gem “One Taste of the Bait”). It also has the gritty Webb standards like “Human Cannonball” and “Poolside,” the twang-heavy instrumental “Sputnik” and the funky-spunky “Louisiana Hannah” as well as “If You’re Looking For a Fool,” Webb’s version of a ballad. If there was any doubt about Webb’s sass, a killer, caffeinated version of “Baby Please Don’t Go” — with some improvised rap — should silence any naysayers.

— By Michael Lipton

PERFORMER: Gary Louris (www.rykodisc.com)
CD: “Vagabonds” (Ryko)

The first solo release from Jayhawks co-founder Gary Louris is not surprising in its style. It explores the various shades of what has become known as “Americana” (which itself is a tip of the hat to Louris’ influential band). What is surprising — stunning is perhaps a better term — is its depth.

There’s no doubt that this is a spiritual effort, especially lyrically, in its quest for answers to some of the basic questions that have haunted humans. There are also moments when it downright feels like a gospel record. The spontaneous-feeling hand claps on the closing of “To Die a Happy Man” will put you inside a country church as will the chorus of “Black Grass,” while “She Only Calls Me On Sunday” is like a Dylanesque hymn.

The constants are Louris’ voice, an easy flow to the music and the lyrics and Josh Grange’s beautifully evocative pedal steel. On the opener, “True Blue,” Louris effectively melds the spirits of Neil Young and Vic Chesnutt; “We’ll Get By” could be a Crosby, Stills, Nash & Young outtake; “D.C. Blues” is all his own, a gorgeous, pleading ballad; and just when you think he’d be out of ideas, the longing of the wonderfully fresh “I Wanna Get High” is palpable and urgent. This is especially great stuff for a wintry day.

– By Michael Lipton

PERFORMER: Blue Million (www.alansongs.com).
CD: “Blue Million”

In various incarnations (Stanley Louis Band, Off the Wall, Blue Million, Cheap Beats, and solo), Alan Griffith has been a constant on the Kanawha Valley music scene since the mid-’80s. And while his style has changed over the years from British and indie rock ’n’ roll to a pared-down format that draws on equal parts Dylan, Ramblin’ Jack and the Replacements, anyone who knows Griffith knows his music comes straight from his Boone County soul.

The current Blue Million reunites Griffith with longtime drummer Andy Lewis with newcomer “J” Hill on bass and vocals. Musically, the results are, by turns, minor-keyed story songs that keenly reflect the life and mood of a West Virginia lifer (“Next Year,” “Tall Ray”), Dylanesque talking blues (“Adam Bit the Apple”) and rockers that invoke the grand, open chords of Keith Richards (“Waiting For a Melody”). (more…)

PERFORMER: The Soul of John Black (www.yellowdogrecords.com)
CD: “The Good Girl Blues” (Yellow Dog)

The second release from former Fishbone guitarist/keyboardist John “J.B.” Bigham’s band The Soul of John Black, “The Good Girl Blues” explores a rich tapestry of blues, R&B and soul that’s all but an endangered species. It opens with “The Hole,” a black, à capella field chant that sets up a funky groove that showcases Bigham’s acrobatic soul croon. From there, he takes on straight-up, slow blues (“The Moon Blues”), the funked-up, Southern-fried “Swamp Thang” (a cross between Poonanny and Tony Joe White) and countryish “One Hit” (reminiscent of Brewer and Shipley’s ’60s hit “One Toke Over the Line”), and the simmering soul of “Feelin’s.”

With plenty of femm-e background vocals, “Good Girl” gives the blues a different twist while “Moanin’” is exactly that — an old-school moan with nothing but Bigham’s wordless vocals and an acoustic guitar.

Having played with Miles Davis, Eminem, Dr. Dre, Bruce Hornsby and Everlast, Bigham brings a wealth of experience to his music, making his “blues” a “spirit” more than simply a musical form. Bigham takes ample cues from the likes of Leadbelly and John Lee Hooker, as well as absorbing the influence of people like Taj Mahal, Keb’ Mo’ and Robert Cray. With any luck, this signals an innovative resurgence of the blues by black artists, most of whom have opted to steer clear of the genre for some time.

– By Michael Lipton 

Artist: Al Basile (www.albasile.com)
Album: “The Tinge” (Sweetspot Records)

The latest solo effort from Roomful of Blues cornet player Al Basile is one of those rare contemporary blues releases that takes smooth, jazz-flavored blues in the spirit of Cleanhead Vinson and Joe Williams and finds its own comfortable niche. Not only are Basile’s vocal and playing front-and-center but, as a side man, Duke Robillard’s guitar work is better than ever. At it’s best moments, the result might be described as sounding like a great Robert Cray record. The grooves simmer and cook expertly and the playing is nothing less than top-notch.

Bruce Katz alternates between piano, organ and Wurlitzer, while a horn section (Basile and saxmen Rich Lataille and Doug James) adds color and dynamics. The songs are moody, jumpy, in-the-pocket variations on old-style, big city blues (“Go Back Home to the Blues,” “Too Slow”), R&B (“Just Wait and See”), an occasional country-flavored pop tune (“Can I Trust You With a Kiss”) and what could pass for a jazz standard (“Give Me the Rainbow”) that manage to never sound trite.

— By Michael Lipton

PERFORMER: Adam Franklin (www.hispeedsoul.com)
CD: “Bolts of Melody” (Hi-Speed Soul)

In anticipation of a Swervedriver reunion scheduled for this year, the group’s main man, Adam Franklin, has issued his first solo effort. While most of the sonic elements of his former band are pleasantly intact, this is a kinder, gentler Franklin, for sure — a singer/songwriter collection of sorts compared to the wall-of-sound Swervedriver. And if Swervedriver’s sound was a mind-numbing, almost psychedelic, wash, Franklin has found a balance that indulges his fondness for heady instrumentation (especially guitars) while giving more play to his languid melodies.

More often than not, the tunes are midtempo excursions that, by turns, give a nod to the fluid guitar of Hendrix circa “Electric Ladyland” (“Sundown”), Pink Floyd/David Gilmour (“Morning Rain”) and simply nice progressions and chord inversions (the instrumental “Theme From LSD”). The mostly acoustic “Birdsong” and “Song of Solomon” offer hints of what Franklin’s solo shows might sound like — not to mention reminding you that the guy can really sing. And speaking of Pink Floyd, “Syd’s Eyes” offers yet another paean to Pink Floyd founder Syd Barrett. Oh, and did I mention that it’s Franklin playing all those guitar parts? Impressive!

– By Michael Lipton 

Performer: The Coal Men
The CD: “Beauty Is A Moment”
Note: The Coal Men perform Thursday, Jan. 10 at 10 p.m. at Charleston’s The Empty Glass. The cover charge is $4.

Nashville’s The Coal Men serve up a huge slice of Americana Pie with their second full-length release, “Beauty Is A Moment.” Led by singer/guitarist Dave Coleman, this band manages to epitomize the best of Southern Rock without sinking to a redneck stereotype. This is sophisticated rock-tinged pop with a genuine regional flavor.

Coleman wrote or co-wrote all the songs on the album, and they range from country to rock while maintaining a cohesive vision and style. A first-rate crew of musicians back up Coleman, including his rhythm section (who also provide backing vocals) Jason “Hitch” Hitchcock on bass and Dave Ray on drums. Additional musicians include Brian Setzer sideman Chris Frame on guitar and Jen Gunderman, whose keyboards and accordion add a great deal to the texture of this album. (more…)

Artist: The Pipettes (www.interscope.com)
Album: “We Are the Pipettes” (Cherrytree/Interscope).

If you’re primed for some light-hearted, dance-crazy post-holiday fare, may I recommend the debut by the Pipettes? After the opening title track, which successfully takes its cues from the riotous B52’s, this trio of British flappers (Riotbecki, Gwenno and Rosay) have captured — and expanded on — the essence of ’60s American girl pop.
From there, they effectively mine the sonic and spiritual vaults of classic ’60s girls groups.

“Pull Shapes” (the Pipe’s second single) switches gears to a revved-up Chiffons, complete with a Phil Spector-inspired wall-of-sound production, while the faux dramatic “Judy” and “A Winter’s Sky” are perfectly executed, lush and gorgeous pop tunes. No need for a libretto, this music is just for fun — and fun it is. There’s plenty of poppy, punky sass (and humor) on tracks like “Why Did You Stay?,” “Dirty Mind,” “It Hurts to See You Dance So Well” and the hit “ABC.” But it’s “Your Kisses Are Wasted on Me” that hits paydirt on all levels: it’s campy, catchy, has a great chant (the title) and a total ’60s AM rock groove.

– By Michael Lipton