CD: “Coal” (Captain Potato”
PERFORMER: Kathy Mattea
ON THE WEB: www.kathymattea.com

Kathy Mattea’s musical career has covered a lot of ground. Born and raised in Cross Lanes, she became one of country music’s biggest stars in the ’80s. After winning numerous awards, she was drawn to Celtic music and began infusing her songs with both the feel and the instruments. Now, shaken by the 2006 Sago Mine disaster, she has come full circle and taken the same spiritual look at her West Virginia heritage.

Mattea, whose grandfathers both worked in the mines and parents were raised in coal camps, has recorded a cycle of songs that focus on the hardships of life in the coalfields. Tapping the spirit — and the songwriters — of the Mountain State, she has chosen some of the most poignant and moving songs about coal mining and taken a public stand against mountaintop removal. (more…)

CD: “Someday” (Jezebel)
ARTIST: Frank Carillo and the Bandoleros
ON THE WEB: www.frankcarillo.com

Following up 2005’s “Bad Out There,” guitarist Frank Carillo’s “Someday” is about as good as Americana gets. And if there’s such a thing as a classic American voice, Carillo’s got it. With just enough Springsteen (or maybe Don Dixon) grit, he reels off everyman stories (“Lucky if You Can Breathe,” “The Blue Room”) and plaintive boogie ballads (“Someday”) with ease and élan.

His songs are mature and tuneful, and he easily spins tales that conjure up vivid images. The opening “Roll the Bones” is a old-fashioned, minor-keyed tale of love and money while “The Way Out” offers timeless thoughts on life — and a fine guitar solo. On the punchy “Somebody Poisoned the Well,” Carillo’s voice brings to mind UK pub rocker Graham Parker while he adds an edge to the song with spot-on slide guitar. If the sound of ’70s rock permeates the tracks (the twin leads on “Don’t Get Sammy Started”), it has more to do with Carillo’s old-school honesty than any kind of contrived retro feel.

— By Michael Lipton

PERFORMER: Ringo Starr
USB WRISTBAND: “Liverpool 8″

Yes, you read that right. Everyone’s second-favorite Beatle has a new album out, and one of the ways it’s being sold is as a USB wristband. This nifty little wristband, emblazoned with the logo of the album, fits around your wrist–the USB plug acts as a latch and joins the band together, or you can take it off and plug it into your computer to listen to the music.

It’s a gimmick, but it’s also the wave of the future. As flash memory gets cheaper and cheaper, you can expect to see more music and movies sold this way. It adds a collectible element to the marketing–little USB plugs and memory can be tucked into anything from Hot Wheels cars to Lanyards to pens or lighters. In this case, Ringo’s latest CD is packed into a wristband, complete with bonus video content.

So we’ve established that it’s a really cool collectible, and a neat new way to sell music, but that leaves us with the music. Luckily, this is a pretty good album, so I don’t feel like an idiot for having shelled out the extra money for the gimmick (we’re only talking four or five dollars more, here). (more…)

PERFORMER: Rhonda Vincent (www.nemr.net/~rhondav)
CD: “Good Thing Going” (Rounder)

There are numerous comparisons to be made between singer/mandolinist/songwriter Rhonda Vincent and her fiddling counterpart Alison Krauss.

While Krauss is certainly more celebrated — as well as having ventured (or, depending on your P.O.V. strayed) further from her roots — both rank as two of country/bluegrass’s most consummate musicians, entertainers and, apparently, businesswomen. (more…)

PERFORMER: Lou Rhodes (www.lourhodes.com)
CD: “Beloved One” (Cooking Vinyl)

Known for her cutting-edge work in the British bass ’n’ drums duo Lamb, this was singer Lou Rhodes’ solo debut. While it was released in 2006 in the U.K. and last year in the U.S. (Rhodes already has a new release out), it’s worth checking out.  While “Beloved One” is essentially a singer/songwriter record, it goes far beyond the usual  singer/songwriter sonic textures.

Throughout, the accompaniment to her voice and guitar is sparse but used to dramatic effect, which sets her apart from the pack of angst-ridden femmes. With string bass creating a sense of depth, assorted percussion providing rhythm, and string quartets adding grandeur and tension, each song is a journey. Some are lonely (the title track, “To Survive”), some are loving and languid (“Treat Her Gently”) and some are plaintive (“Save Me”), but every track is forceful and bold.

She displays an uncanny sense of timing, texture and knows precisely how to create a rich variety of moods. The arrangements build on the tradition of English folk pioneered by Pentangle, Fairport Convention and Nick Drake, with echoes of more contemporary groups like Calexico.

— By Michael Lipton

PERFORMER: Sheryl Crow (www.sherylcrow.com)
CD: “Detours” (A&M)

Surrounded by success and drama, Sheryl Crow’s career has been anything but boring.  Now, emerging from major changes in her life — a battle with breast cancer, more relationship struggles and adopting a son — the outspoken singer has created her freshest record in years.  Once again working with former producer Bill Bottrell, “Detours” sounds every bit as fresh as “Tuesday Night Music Club,” with all its melodic hooks, quirky pop flourishes and charm.
The disc opens with the solo acoustic “God Bless This Mess,” acknowledging and celebrating an imperfect world, and ping-pongs between produced pop numbers, near-acoustic ballads and pared-down Beatlesque anthems like “Love is Free” and “Out of Our Heads.”

Both “Peace Be Upon Us” and “Gasoline” recall earlier hits and capitalize on her knack for penning simple, catchy chorus lines — not to mention timely topics.
While Bottrell’s production is always front and center — and never misses the mark (check out “Love is All There Is”) — it also never overshadows the songs, which are all strong and singular enough to stand on their own. In fact, with little more than Crow’s voice and an acoustic guitar, the title track stands out as one of Crow’s most passionate, heartfelt statements.

– By Michael Lipton 

PERFORMER: Joe Jackson
The CD: “Rain”

Joe Jackson’s new CD, “Rain,” is a sublime collection of mature relationship songs in Jackson’s trademark style. If you’ve been a fan of his piano-driven music since his early days in the late 1970s, you can rest assured that this is pure Joe Jackson. It’s not one of his forays into other styles of music, like his swing, classical or soundtrack music. “Rain” is reminiscent of his 1980s work like “Night And Day” and “Big World” minus the rather dated synthesizers.

The songs on “Rain” are tunes that Jackson has been performing on his last two tours. The band is Jackson on piano, plus the original Joe Jackson Band rhythm section –Graham Maby on bass and vocals and Dave Houghton on drums and vocals. “Rain” was recorded in Berlin, where Jackson is currently residing, having abandoned New York City after they enacted a smoking ban in bars. Man, smokers sure do get touchy about that. (more…)

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