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Although one could never tell from listening to what passes as 'country' radio these days, country music is thriving regionally in many different forms throughout the country. Whether it's hardcore dancehall honky tonk, Bakersfield honky tonk, bluegrass, singer/songwriter fare, outlaw, Western swing, Countrypolitan, rockabilly, traditional contemporary, alt-country or the dozens of other offshoots of the genre- it's very much alive and well. It's being kept alive by artists and bands who toil regionally in dancehalls, honky tonks, bars, clubs and assorted dives, working hard to preserve country music and keep it's torch lit. These artists can be found everywhere- in New York City and Chapel Hill, Austin and San Francisco, St. Louis and Stillwater. And virtually everywhere in-between. Over the past few years, Take Country Back has had the great pleasure of showcasing and providing exposure for many of these little known artists, to introduce them to a greater audience who otherwise may have never found them, and to let the audience know that country music, whatever one's personal preference is, is still very much alive and well and that there are many alternatives to what's being heard on mainstream country radio. Our hope is to continue to introduce as many of these unsung heroes to country and Americana music listeners as we can, for as long as we can. This time around, we'd like to share with you some of the talented bands that hail from Colorado's fine country/Americana scene. Their well runs deep and not all are included here. Missing are such popular stalwarts as Marty Jones & The Pork Boilin' Poor Boys, The Honky Tonk Hangovers, Halden Wofford and the Hi-Beams, The All Night Honky Tonk All Stars and Brethren Fast to name a few. Hopefully, we'll get to all these talented artists in the not too distant future. But until then, we'd like to take this opportunity to introduce you to a small sampling of some Colorado's treasures and encourage you to seek out their music and explore the other artists who's links you may find on their websites.
Railbenders - Segundo
Segundo is the follow up to their
acclaimed debut, Southbound. Joining them on Segundo
are Eddie Spaghetti (the Supersuckers) who contributes guest vocals on
two tracks, guitarist Chuck Hughes (Hillbilly Hellcats) and pedal-steelist
Glenn Taylor (Slim Cessna's Auto Club). Where they added a western
flavor to their driving honky tonk on Southbound, they deliver
straight up whiskey soaked honky tonk on Segundo.
On a disc filled with highlights,
Segundo opens with the gorgeous two-stepping tale of loneliness and
pain "Whiskey Rain" that moves into the equally strong "Country Song."
Ramblin' ways and trains go traditionally hand in hand which is the
case with the smoking barnburner "Midnight Train," and the boys crank it
up into overdrive again on the devil-in-the-bottle tune "(One Hand
On The Bottle) One Foot In The Grave." They deliver an
outstanding, first rate shuffling barroom weeper with "Someone Take This
Bottle" and they put an ingenious twist on barroom weepers with
"Payphone" that mixes rock beats with crying guitar, resulting in one of
the most original sounding stone honky tonkers to come along in a
while. "Tombstone Serenade" is a dark and over the top two stepping take
on the theme of murder and prison, a bit of a tongue in cheek
parody, showing the Railbenders possess some cynically amusing humor.
Segundo includes two covers, both
duets with Eddie Spaghetti. The first is an obvious (but well
chosen) choice given the band's Denver homebase, a waltzing, stark
acoustic version of Hank Jr.'s "OD'd In Denver." The second cover comes
from way out of left field and what (hopefully) appears to be something
that's becoming a Railbenders tradition that further shows their sense
of humor and proves that country music should also include an element of
just being plain old fashioned fun. On Southbound the
boys took Ozzy Osbourne's metal classic "Crazy Train" and
successfully transformed it into an utterly convincing laid back country
shuffle. On Segundo they chose for the second cover, Neil
Diamond's "Sweet Caroline" and turn it into a rollicking fast
two-stepper that not only elicits a grin, but just completely works-
and it only becomes more infectious with each successive listen. They
end Segundo on an appropriate note after all that hell raisin'
with a standout swaying 'closing time' weeper, "The Hangover Song."
Jim Dalton possesses a strong, deep baritone
and is a very formidable vocalist who's sometimes reminiscent of a young
Johnny Cash. He's a terrific and witty songwriter who knows his way
around a good, sturdy country song. The Railbenders play with amazing
intensity and fire, another incredibly talented band who is faithfully
carrying on tradition, toiling at their craft in the confines of
regional bars and honky tonks and who most assuredly deserve far greater
exposure. Segundo is a solid and well crafted album from start
to finish, and anyone looking for well written, well performed hardcore
whiskey drenched honky tonk, should seek out both this album and the
Railbenders.
Standout Tracks: "Whiskey
Rain," "Country Song," "Midnight
Train," "Someone
Take This Bottle," "One Foot In The Grave," "Payphone," "Sweet
Caroline," "The Hangover Song"
The Last Word: Also
very highly recommended: their debut album Southbound.
The Dalhart
Imperials - Finally!  (Big
Bender Records) The Dalhart Imperials are a Denver based band of
versatile musicians who are dedicated and well schooled in the musical stylings
of the '30s, '40s, '50s and '60s and are dedicated to the preservation
of Western musical heritage. Playing vintage instruments, their sound is
steeped in the Western swing of Bob Wills and the honky tonk of Hank
Williams. While the Imperials sound as though they stepped out of
another era, they don't merely mimic the sound. What sets them apart is
that the band boasts 4 talented songwriters who write songs in the
tradition by bringing a fresh sound to 'old styles.' When they perform
covers, the don't rely on tired overplayed classics, but add to their
uniqueness by covering well chosen rare country gems like "Ain't a Bump
in the Road" by Roy Hogshead, and when they do cover a country legend,
they choose their lesser known songs, for example, Hank Williams' "I'm
Satisfied."
After 10 years together, The Dalhart
Imperials finally got around to releasing their debut
album, appropriately titled Finally!. The Imperials' lineup
consists of Les Cooper (lead vocals, rhythm guitar), Mark Richardsun
(piano, cornet), Tim Whitlock (steel guitar, mandolin, banjo, backing
vocals), Dave Devore (lead guitar, backing vocals) and Rodney
Bowen (drums, washboard, backing vocals). Sadly, Aaron Pope who was a
member of the Imperials from 2000-2004 contributing his
outstanding talent on acoustic and electric bass as well as penning some
of the Imperials' original songs, passed away this past January. Taking
over bass duties is Pascal Guimbard.
The Dalhart Imperials pack Finally!
with 15 tracks, 13 originals and 2 covers, on which they alternate swing
and honky tonk numbers. They put the 'West' in Western swing with the
strong disc opener, "Saddle Up." The humorous "Stud" that finds a
man admitting those days are behind him and "So Long Vamoose"
are terrific examples of more straightforward Western swing. The
Imperials provide hillbilly-swing on the outstanding "Slave In My
Castle" and imaginatively combine a touch of bluegrass with swing on
"Find Yourself In My Arms." They offer up jazzy swing with a sterling
cover of "Please Don't Talk About Me" and "What Did I Do," while the
swinging, rockabilly tinged "Ranch Party" features some stellar bass
slapping.
On the honky tonk side, the Imperials offer
up some strong, classic style shuffles. Highlights include a swinging
"Pardon Me While I Cry," a killer cover of Wynn Stewart's "Three Cheers
For The Loser" and they show off some terrific harmonies on "In Fact"
and "Dear Darlin'." No traditional country album would be complete
without a weeper, and the boys toss in two. "Lost Forever" is a
bluegrassy, high lonesome lament that opens with a bit of honky tonk
piano and includes some fine mandolin picking. The disc's highlight is a
standout late 50s/early 60s classic style barroom weeper, "The Bottle
Will Hold Me." Leaving no stone unturned, The Imperials deliver some
impeccably performed rockabilly by way of the smoking "Not Gonna Lay
Down."
Judging by Finally! and the way the
band impressively and effortlessly tears their way through their
unique mix of classic style traditional country, it's no wonder
that Westword Magazine named The Dalhart Imperials the "Best Country
Act" four times. The band makes the following statement on their
website: "We would especially like to take this opportunity to thank
all of you friends and supporters of traditional country & western
music, who have been abandoned and betrayed by the Nashville bean
counters and purveyors of the anti-country, for continuing to demand
true country and western music to listen to. We pledge to keep putting
it out as long as you keep listening." If you're a country music
fan who can relate to that statement, then The Dalhart Imperials and
Finally! definitely belong in your music collection.
Standout Tracks: "Saddle
Up," "Pardon
Me If I Cry," Slave In My Castle," "Three Cheers For The Loser," "In
Fact," "Ranch Party," "The Bottle Will Hold Me," "Not Gonna Lay Down"
Oakhurst - Greenhorn  (Big
Bender Records) Denver based Oakhurst describes themselves as acoustic
roots rockers with deep bluegrass roots. Founding members, native
Tennessean AP Hill (lead vocals, guitar), native New Yorker Todd Hoefen
(drums) and ex-Las Vegas resident by way of Minneapolis John Qualley
(basses, vocals), all wound up in Colorado and met in 1999 at a porch
jam session in the Rocky Mountains. Along the way in forming Oakhurst,
they picked up members Ray Foss (piano, Hammond C3, vocals) and Adam
Smith (mandolin, guitars, vocals). They released their debut album,
Loose & Prosperous, in 2001 on their own label, Sleestack Lightnin'.
Greenhorn is their debut on Big
Bender Records, and counts more as an EP as it contains just 7 tracks
and clocks in at under 30 minutes. All songs are Oakhurt originals, the
music written by the band with AP Hill writing the lyrics (save one
co-write with John Qualley and one penned by Wade Spear). Though the
running time's short, it's sweet as Oakhurst makes the most of it with
their scorching blend of mostly acoustic roots rock and bluegrass. They
hit the ground running, kicking things off with the driving barnburner,
"Leslie's." Maybe the closest thing to an acoustic Southern-rocker, the
footstomper "Sweet Carolina" includes some red hot piano and mandolin
picking licks. The first few chords of "Linger" start off deceptively
slow before it blasts into high gear as a rootsy, bluegrass infused,
gospel influenced rave-up. They take the momentarily deceptive route
again on "Four-Twenty," that starts off as a pretty folk based song
before it turns on a dime and the band proceeds to "burn it down"
with another round of full speed ahead, red hot picking. The outstanding
"Change" is a real highlight as Oakhurst melds folk and roots-rock with
touches of bluegrass and gospel making for a unique toe-tapper with a
killer melody. The band plugs in and slows things down a bit, moving
towards a jazzier sound with the hauntingly moody "Give." Greenhorn closes
with a soaring, jazzy instrumental jam piece, "Circles" that has the
band stretching their wings and shows off their imaginative and fine
instrumental chops.
Oakhurst is building a reputation as one of
the most energetic, electrifying live acts around. AP Hill is a
really terrific and expressive vocalist and Oakhurst boasts a group of
extremely talented musicians who've managed to create their own unique
sound that's unlike anyone else around. Oakhurst has left an impressive
calling card with Greenhorn, a solid effort showing Americana
at it's best.
Standout Tracks:
"Give," "Sweet
Carolina," "Linger," "Change," "Four-Twenty"
Buckskin Stallion - Blue Ribbon Buzz
Blue Ribbon Buzz is Buckskin
Stallion's debut album. Joining the band is an all-star guest list of
local Colorado based music dignitaries that include Hit
and Run Bluegrass, Vince Herman (Leftover Salmon), Danny
Shafer, Rebecca Hoggan and Greg Schochet (who also served as producer)
from the All Night Honky-Tonk All Stars. Troy wrote 11 of the disc's 13
tracks.
Blue Ribbon Buzz opens with the
bouncy and infectiously catchy accordion driven "Christ On A Crutch"
with it's home-spun philosophy. The title track, "Blue Ribbon Buzz" is a
rootsy honky tonker about losing a girl with a wandering eye to
the band's steel player. "Writing On The Wall" is a waltzing, steel
drenched barroom weeper while "P.T. Jubilee" is a breezy two-stepper.
There's a bit of a Western flavor in the honky tonk edged roots-rocker
"Aces Backed By 8's" as well as in their excellent, dark and menacing
cover of the traditional, "Jack Of Diamonds." They deliver a terrific
rendition of another traditional, the poignant "Pretty Peggy-O" which
they give a fine country-folk treatment and the flourishes of accordion
add a nice touch. Hit And Run join them for some straight up
bluegrass on the well done "Home In The Pines." With an incredibly
catchy melody, "New Town" is a country-roots-rocker about regret, while
the clever "Won't Hurt Me" starts as an acoustic country-folk ballad
before morphing mid-song into a strong country-roots-rocker. "W.W.W.D."
(What Would Woody Do) is a slightly ragged uptempo country-folk ode to
Woody Guthrie that has Vince Herman pulling down vocal duet duties.
"Mama Does Her Best" appears to be autobiographical, and is a lovely
storytelling ballad. Blue Ribbon Buzz closes out with a quietly
aching acoustic folk ballad, "She Gone."
Troy Schoenfelder has a pleasant and
inviting voice and definitely has an ear for a catchy melody and a well
written lyric. He's done an admirable job of channelling his influences
in a way that you can't pick out any single one in any given song, and
the blending makes The Buckskin Stallion's brand of Americana indeed
sound fresh and sets them apart from the pack. Surrounded by a group of
top notch musicians that make up Buckskin Stallion, the songs shine and Blue
Ribbon Buzz is a strong, solid debut. Says Troy, “Industrial beer
and working-class roots music are two of America's time-honored
treasures. Blue Ribbon Buzz is an ode to both of them.
Contemporary country belongs to the hour, Americana is for the ages."
Standout Tracks: "Blue
Ribbon Buzz," "Jack
Of Diamonds," "Mama Does Her Best," "Home In The Pines," Won't Hurt
Me," "Writing On The Wall," "Aces Backed By 8s," "P.T. Jubilee," "She
Gone"
Leftover Salmon - Leftover Salmon  (Compendia)
Leftover Salmon was born in Boulder, Colorado in 1989 and has since gone
on to gain acclaim as one of the premiere jam bands. Their music is
known as 'poly-ethnic Cajun slamgrass' - or in other words for the
uninitiated, a combination of bluegrass, Cajun, funk, Southern rock,
boogie, Caribbean, Latin, and jazz influences. Because of LOS's wide
range of influences, they've gained a broad audience and are just as at
home playing bluegrass and folk festivals as they are playing in grungy
rock bars. They play both plugged and acoustic shows, have toured with
bluegrass greats such as The Del McCoury Band and cut an album with rock
band Cracker.
Leftover Salmon is the band's 8th
release and first since the death of co-founding member, banjoist Mark
Vann and the addition of four new members. Along with remaining
co-founders Vince Herman (vocals, guitar, washboard) and Drew Emmitt
(mandolin, fiddle, electric guitar, vocals), the new lineup consists of
Bill McKay (Hammond B-3, electric piano, vocals), Greg Garrison
(electric and acoustic bass, vocals), Jose Martinez (drums) and Naom
Pikelny (electric and acoustic banjos). Little Feat keyboardist Bill
Payne produces and contributes piano on "Whispering Waters" and vocals
on "Just Keep Walkin'." The only other guest artist on the album is K.C.
Groves who adds harmony vocals on "Woody Guthrie."
As usual, Leftover Salmon is at their best
when delving into bluegrass such as ""Down In The Hollow" or their
always outstanding rootsy brew of bluegrass infused country-folk like
the mournful "Weary Traveler," the newgrass instrumental "Lincoln At
Nebraska" that features some masterful banjo work and the stellar dark
and haunting "Fayetteville Line." "Mountain Top" is a Cajun inflected
bluegrass two-stepper. Bill Payne's piano work is featured in the
album's highlight, the utterly gorgeous, sweeping bluegrass-country-folk
"Whispering Waters."
In a slight departure, LOS gets a
bit politically conscious and makes some social commentary in the folk
ballad "Woody Guthrie." In keeping with the eclectic nature of the band,
with "Everything Is Round" they veer off into a banjo laden Caribbean
groove. "Delta Queen" delivers some sultry, New Orleans soul, while
"Last Days Of Autumn" offers some soulful jazzy blues. LOS nails it
with some sweaty southern-blues-rock on "Just Keep Walkin'," a song
that would make Greg Allman proud.
Leftover Salmon proves that the
band has survived the sad, untimely loss of Mark Vann, and shows as a
result, they've matured and evolved and seem more focused. Their latest
effort might best be described as a combination of The Grateful Dead
meets The Allman Brothers meets The Nitty Gritty Dirt Band. Leftover
Salmon may not appeal to purists or traditionalists of any stripe, but
they surely will appeal to those who like their music on the eclectic
side with a few delightful surprises along the way and won't be
disappointed with Leftover Salmon. It's a 'poly-ethnic Cajun
slamgrass' gem.
Standout Tracks: "Down
In The Hollow," "Delta
Queen," "Woody
Guthrie," "Fayetteville Line," "Whispering Water," "Just Keep Walkin'"
On The Net:
www.leftoversalmon.com
AnnMarie Harrington TakeCountryBack
April 2004
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(Big
Bender Records) The Railbenders are a Denver based honky tonk outfit
who's members are Jim Dalton (lead vocals, guitars), Tyson Murray
(upright bass) and Graham Haworth (drums, backing vocals). Jim Dalton
also writes the bands songs. The Railbenders' sound is hard core, hell
raising honky tonk and they sing songs about boozin', lovin' & losin',
livin' hard & partyin' hard and yep, even trains. It harkens back to the
days of Cash, Haggard, Waylon and Willie. They've won two consecutive
Best Country Band awards in the Westword Music Showcase and have opened
shows for artists that include Willie Nelson, the Supersuckers, the
Derailers, BR549, Junior Brown and Pat Green.
(Big
Bender Records) Buckskin Stallion is based in Boulder, Colorado and is
fronted by South Dakota transplant Troy Schoenfelder, who also serves as
the band's vocalist and songwriter. Buckskin Stallion is rounded out by
members Lee Johnson (steel, Telecaster), Andy Sweetser (drums), James
Young (bass) and the band's newest member
Joe Jogerst (formerly of Leftover Salmon) on
accordion and keyboards (although Eric Moon handled those duties on the
album). Troy describes their sound as 'heartland honky tonk' and
'mountain-friendly country-rock' mixed with alt-country and bluegrass,
creating a fresh form of roots-country Americana. Their influences range
from Woody Guthrie and Bob Dylan to Merle and Waylon to Uncle Tupelo,
Wilco and The Jayhawks.