Americana, Rockabilly, Metal Grass and Jam Offshoots

When is the last time you heard a truly inspired singer/songwriter? And by songwriter I mean someone who artfully blends rich life experience and soulful spirituality with humorously intelligent lyrics and who sets it all to infectious-yet-spare melodies. Okay, your answer should be “not recently.” Sure, on occasion somene writes a tune or two that makes you go “hey that ain’t bad.” But how about a tunesmith who can put together an entire collection of low-key gems penned exclusively by them and who writes engaging music for said ditties and also adds their own talented instrumental work using guitar, mandolin and harmonica? Most of the good ol’ bards disappeared after the ’60s and ’70s winked out, but Mark Merryman, a native of Colorado since he was an infant, has released another noteworthy album (check out his discography at http://www.acousticbylines.com/who/markmerryman.htm.) of thoughtful material that has a propensity for growing on you and simmering in your psyche like a late summer day or a camping trip to a beautiful spot.

Mark’s the real deal and the tunes on Scenic Byways tumble out seamlessly recalling the soulful craftsmanship of Tim O’Brien, John Denver, John Prine and all the best auteurs of folk and Americana. He has no shortage of talented compatriots and is joined on this effort by musicians such as guitarist Ross Martin (of Tony Furtado and the American Gypsies reknown) and percussionist John Merryman (his son as well as the drummer for rising metal group Cephalic Carnage). Merryman brings freshness to tradition on “Long Road Home,” “I Had to Get Lost,” “Lonesome Pickers,” and “Playing that Guitar,” among many other fine creations. And like the lost heroes of his songs Mark gets around, counting songwriter Benny Galloway (a major influence on the songrcraft of Younder Mountain String Band) among his best chums as well as mando player extrodinaire Drew Emmitt of Leftover Salmon.

When not attending bluegrass festivals from Telluride and the Four Corners to RockyGrass and Alamosa, Merryman spends his summers kicking around the scenic byways around Durango, where he’s had the oppurtunity to take up with younger up-and-coming acoustic players including the lads from Broke Mountain Bluegrass. Think high and lonesome with the ability to capture the rambling feelings of open roads, the essence of pristine surroundings and the wistfulness of aging while raging (albeit mellowly) against the machine. If you like the vibe of the Southwest and the feeling that emanate from the mountains and high deserts thereabouts this is for you. Scenic Byways makes a worthy companion for long drives and should have you singing along in no time.

Buckskin Stallion
Blue Ribbon Buzz
Big Bender Records

Taking Americana/alt-country to fresh highs, Colorado’s Buckskin Stallion blends a sweet mash of twanging lap steel, accordion, fiddle, acoustic bass and sundry other organic sounds (triangle, Weissenborn, shoe box, resophonic guitar, etc ) with folk- and country-inspired lyrics for a first outing smooth as barley soda. Steered by tunesmith Troy Schoenfelder, a transplant from the farm country of South Dakota, BS keeps the buzz earthy and friendly with compositions such as “Christ on a Crutch,” “Mama Does her Best,” “Home in the Pines,” “Aces backed by 8’s” and a couple well-chosen covers of traditional nuggets “Jack of Diamonds” and “Pretty Peggy-O.” The release, an amalgam of roots talent, includes guest spots by Sally Van Meter, Christian Teele, Vince Herman and Danny Shafer. On balance, a strong collection of ditties that burble pleasantly by like a mountain creek, with the odd fetching guitar or banjo lick catching your attention like a bobbing can of ice-cold Pabst or a half-clad hillbilly in an inner tube.

www.BuckskinStallionMusic.org.

Jett Black
What this record needs . . . is more Cowbell.
Jett Black Music

These boys come out kickin’ right from the drop. The lead cut “Over You” peels off the yellow line like a souped-up Chevy, establishing a retro vibe that mates the rock with the billy. With thumping upright bass, staccato garbage lid stick-work, vintage axe and blaring sax, JB is proof positive that the ’50s are alive and well at diners, bowling alleys and drive-ins everywhere. Drawing from influences like the Stray Cats, Johnny Cash and Jack Daniels, tracks such as “Roadburn,” “No Man’s Land,” and “Bring Back My Cadillac” will get the Vitalis movin’ through your hair and put the chain right back on your wallet. Props to illustrator Chris Lamy for his airbrush-inspired cover art: all aces, flames, diamonds, hollow-body and fish-net. Tracks 4 and 8, “”Arizona” and Saying Goodbye” mark a moody (in a good way) alterna switch-up, with a sound vaguely reminiscent of the Replacements. But mostly think unrequited blue jean love, faded Naughayde dreams and devil-may-care swagger held together by actual talent. Jett Black comprises Jett Black (Jeff Arnold), David Booker, Jay Downing and Tony Young.

www.jettblack.net.

Fade to Bluegrass
The Bluegrass Tribute to Metallica
Featuring Iron Horse

Bluegrass and heavy metal go together like angry steel workers and little cucumber finger sandwiches with the crusts cut off. Not a fit. That said, Alabama acoustic pickers Iron Horse take on the music of revered high tensile outfit Metallica to middling results. These horse guys know their way around a dobro, a mando, a banjo and probably even a Sloppy Joe with a Ho-Ho, but who cares?! This is the music of friggin’ Metallica, an ass-whoopin’ metal band that’s supposed to make you want to bomb Fallujah not contemplate a mountain stream or a sweetly rendered G-run. The bulk of the tunes on this yo-yo sound like something better suited to an outdoor stage at a strawberry festival — “Unforgiven,” “Nothing Else Matters,” Enter Sandman,” “Hero of the Day” and even the title cut “Fade to Black” are all reduced to sappy dreck in the hands of these well-intentioned chicken lickers. This critic even tried to “Ride the Lightning” to similarly disappointing results. But to give credit where credit is due, your attention might return for the final two cuts “Fuel,” and “The Four Horsemen,” which do some actual chicken’ lickin’ strawberry pickin’ rock-in’.

Barbara Cue
Rhythm Oil
Sanctuary Records

Destination Noodleville? Actually, it’s more like Rockville on this outing. A so-called supergroup comprising a cabal of Athens’ finest (including personnel from Widespread Panic, The Drive-By-Truckers, Six String Drag and Sugar among others) the Cue borrows from the more cohesive palettes of groups like R.E.M., NRBQ and the JayHawks while retaining perhaps a trace of the rootsy grit and ambitious fret work common to jam-oriented outfits. Turn your attention to “Explode,” “Coach,” “Walls,” and “Talking to Myself.” With a song-focused drive and a moodiness that recalls alt-pop more than road rock, Oil makes for a tasty blending of the genres. The vocals don’t suck, the licks are mostly clean and the band has the talent to keep you guessing from track to track without letting you down in the end. Call it . . . Alternicana.

John Hermann
Just Ain’t Right
Sanctuary Records

When regular touring acts such asWidespread Panic, or the late Phish, take a break, it’s almost a cliche that various members of such jam juggernauts use the hiatus to launch solo efforts. Panic keyboardist John Hermann, or “Jojo” as he’s known to his flock, has diverted his fingers to a project that hearkens back to his rootsier younger days. This outing pairs him with Luther (guitar) and Cody Dickinson (drums) of North Mississippi Allstars and bassist Paul “Crumpy” Edwards, while even including a guest appearance by Stones six-man Chuck Leavell. The result is mostly pleasing, with Hermann’s varied keywork sparkling throughout on cuts including the blues-meets-Beatles “Where Do I Begin,” and the jam-tinged “Here Lies Joseline,” which finds Jojo working up some of his signature magic. Put an ear to the funkified grooves of “Assassination” and “The Invisible Woman,” or turn your attention to the countrified soulfulness of “Lonely Child” and “Where’d Ya Go” for a dose of what has earned Jojo his juju.