If you’re expecting another rootsy upbeat rocker from the BoDeans, the frankly scarifying blues of “Slave” likely comes as something of a shock.
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Mumford and Sons’ electrified “Believe” feels more like an evolution, organic and heartfelt, than a sharp right turn.
After a series of solo records that tended toward blues- and R&B-soaked fun, Levon Helm’s ‘Dirt Farmer’ goes deeper, experiences more.
Presented from the start as a next-gen Janis Joplin, Beth Hart has a well-earned reputation as a whiskey barrel-busting belter. This isn’t that.
Papa Mali’s “I’m a Ram” is an intriguing voodoo of sex and danger, something that seems to always surround the best Louisiana music.
There was no small amount of violence in Blind Willie Johnson’s original take, and that’s boldly recaptured in this unheard version by the Staple Singers.
On one level, it sounds like the Byrds. On another, Buck Owens. On another still, Gene Vincent. Keep going. At bottom, it’s uniquely Dwight Yoakam.
Tim Lee 3 fits the Americana rubric, but they’re much more than an assortment of sounds from the display case over at the museum of lost arts.
Ray Wylie Hubbard has been sticking a steel-toed boot up country’s rear for generations, and this new song is — thankfully — no different.
The Band simply stole “Back to Memphis” from Chuck Berry, who tended to wink his way through it. Levon Helm, however, found something darker.