BOBBY CHARLES - S/T

Sounding here like a Cajun, countrified Randy Newman or an older bon-vivant equal to The Band's Rick Danko and Richard Manuel, Bobby Charles' career was (attempted to be) revived with this 1972 set, co-produced by Danko and including contributions from Manuel, Levon Helm, Garth Hudson, John Simon and Dr. John. With Vetiver having covered "I Must Be In A Good Place Now" and local rock'n'soul revue Steamboat featuring Charles/Danko co-write "Small Town Talk" in their repertoire, these songs have been kept alive by a current generation of musicians, and are now back in print (while the limited pressing lasts) via Rhino UK's arm of the Encore series.

(This review first ran on our site in November 2008 upon the disc's initial reissue. Although unavailable for several months thereafter, a recent warehouse find of copies means that this lost classic is once again up for grabs, so come in and pick up a copy before it goes out of print yet another time!)

VA - Wild Thing: The Songs Of Chip Taylor

Often overlooked as a singer-songwriter, Chip Taylor’s renown rests quite comfortably on his two most famous songs, “Wild Thing” and “Angel of the Morning”. Originally a country performer before the lure of professional golf distracted his attention, he returned to songwriting after an injury curtailed his career on the green. His country roots lent an earthiness to his tunes which attracted the attention of highly respected singers from various idioms of popular music including Aretha Franklin, The Hollies, Peggy Lee, and Waylon Jennings, all of whom exercised good taste throughout their artistic peaks (Spiritualized’s early take on “Anyway That You Want Me” is beautiful, but would not have worked here). Taylor's reputation helped him establish his solo career in the '70s, although he never rose above cult status. Seek out Angels & Gamblers, a collection of his solo work that complements this comp nicely, to get a better understanding of this highly underrated songwriter.

WILCO - Wilco (The Album)

It's pretty damn ironic that in Nels Cline, Wilco hired arguably one of the most inventive and versatile avant-guitarists around just as they settled into the tamed, streamlined and elegant Sky Blue Sky. It was anyone's guess where the band would head next—would it be another left turn into impressionist/deconstructionist rock, or would they stay their new genteel course? This winkingly self-titled affair is certainly the latter, and so we're left with yet another opportunity missed to hear Cline burn the airwaves with the sextet, or so it would appear at first listen. Leadoff track "Wilco (The Song)" is seemingly so charmed with its own nudge-nudge-iness that it's frankly difficult to listen to. The record moves by at a brisk clip, with each song so perfectly contained that you're just dying for something, anything, to reach out and slap your ears. And then it does. The same cute refrain that drove you to distraction—"Wilco will love you, baby"—is burrowed deep like some sonic earwig. Put it on again, this time with more sensitive ears, and the record conveys some exceptional emotion. The subtle interplay of "Deeper Down" and "One Wing" is a marvel to hear; the sumptuous George Harrison nods of "You Never Know" perfectly realized. And "Bull Black Nova" is ultimately as dark, tense and foreboding as anything in their catalogue. Oh, and Feist sings in there somewhere, too. As for Cline, it's very much to his credit that he recognizes just what these songs need at every turn—both he and virtuoso drummer Glenn Kotche perform with understated excellence throughout. It's not Wilco's best, but it is maybe their most unassumingly great album. Give it a few tries and you'll have no problem returning their love.

ROYAL CITY - 1999-2004

This presumably final release to bear the Royal City name couldn't have come at a better time. Ten years after the band's formation and five years after their demise, 1999-2004 is a bittersweet offering for fans of the dearly departed Guelph quartet. Originally publicized in 2004, many thought this compilation of unreleased demos and rarities would never see the light of day after the closing of their label Three Gut Records in 2005. Thankfully, earlier this year Asthmatic Kitty announced they would be releasing the album--a fitting resting place for the band, alongside their friend and admirer Sufjan Stevens. Everything fans know and love about the band shines through in these songs, from singer Aaron Riches' gentle voice and plaintive lyrics to the subtle performances from the rest of band (which also included Jim Guthrie, Simon Osborne, Nathan Lawr, and later Lonnie James). It's an immaculate package which will help fill a void for all Royal City fans, but also give new listeners a chance to discover a band that is too often overlooked or forgotten. Here's to C-I-T-Y, Royal City.

There will be a tribute to Royal City happening June 26th at the Tranzac in Toronto, which is set to include performances from Andy Magoffin (Two-Minute Miracles), Chad Ross (Quest for Fire/Nordic Nomadic), Cry, Cry Papsmear, Evan (ex-Royal City) & Geordie Gordon (The Magic/Human Highway/Islands), Evening Hymns, Gavin Gardiner (The Wooden Sky), Gentleman Reg, I Am Robot and Proud, Jeff Peers (Anagram), Jenny Omnichord, Magali Meagher (Phonemes/Metal Kites), Nathan Lawr (ex-Royal City/FemBots), Scott-o-Bot (Ragg Mopp), Steven LuChuck (ex-We’re Marching On/Ohbijou), Woolly Leaves (Constantines), Bob Wiseman and more! 8PM, $10 with proceeds going to the Toronto Cat Rescue and the Tranzac.

ANITA CARTER - Songbird

By the time the Carter Sisters took over the Carter Family name following the 1960 death of A.P. Carter, Mother Maybelle's youngest daughter had already taken her first steps as a solo artist 10 years earlier. Always reluctant to flee the nest, Anita didn't pursue a career outside of her family with the enthusiasm that her talent would have allowed her. This collection shows her moving from strength to strength in a stellar set of songs drawn mostly from the late '60s that makes this the best release by a long shot on the already-great country rarities label Omni. The bass-playing singer possessed a pure and soaring voice of remarkable beauty that made her a favourite duet partner of Hank Snow, Waylon Jennings (their classic "I Got You" is included), and Johnny Cash (she co-wrote "Ring Of Fire" with sister June, incidentally). Comparisons to Lynn Anderson are justified, although her pedigree gives her country pop a deeper authenticity. Throw in a few key Carter Family songs, and this is an unbeatable collection that will hopefully correct her underrated status in country music.

STEAMBOAT - S/T

A run of collaborative shows at the Tranzac in the summer of 2008 with local guest-vocalist luminaries Sandro Perri, Mantler, Andre Ethier, Emilie Mover, Alex Lukashevsky and Andy Swan helped establish Steamboat's reputation as one of the most unlikely regular favourites in the venerated club's programming. Started as a project for bassist/keyboardist Matt McLaren to keep himself and bandmates busy during downtime from their regular gig with pop classicists The Old Soul, Steamboat have bypassed current trends and stuck to an R'n'B vibe best summed up by the material they proudly cover in live shows (Lee Dorsey, Allen Toussaint, The Kinks, and The Parliaments, whose early B-side "I Can Feel The Ice Melting" is included on this 6-track EP). McLaren, a traditionalist with a powerful voice and a deep well of inspiration, possesses a distinct songwriting style that reaches beyond the Dr. John/Randy Newman template. The originals here are instant classics, and the good news is that there are a whole bunch more excellent tunes to come with future EPs.

RED RED MEAT - Bunny Gets Paid (Deluxe Edition)

When this album first came out in 1995, Red Red Meat were already one of my favourite bands. Bunny Gets Paid solidified their status in my mind as an uncomfortably beautiful spectacle--a marble-mouthed street preacher drunk on Appalachian moonshine, tripping over tambourines and maracas only to land in sticky dollops of molasses blues. They didn't play music so much as let it fall out of their pockets like loose change, and 15 years later, RRM songwriter Tim Rutili has made several albums by leading his second band Califone down a similar, if more folk-influenced, path. Bunny Gets Paid, though, is where his perverse and gorgeous journey first began in earnest. While the bonus material on this deluxe edition is slim, it expands beautifully on the album's mission statement, even when via a grizzled cover of Low's first single "Words". But the star, as it should be, is the record itself--as wounded, cautious, and haunted as ever.

DOUG PAISLEY - S/T

I love to hear records that are simple (I find them harder to make than prog records), and Doug Paisley (also of Dark Hand And Lamplight and Live Country Music) has made one of the most ear-pleasing, first-listen-simple records I have heard in a long time. Album opener "What About Us" is so strong, one would think it's a cover--it blew my mind that this song had never been written 'til now. The British press, particularly MOJO, know his genius, and the Americans (first and foremost, No Quarter, who have released this solo debut) are catching on, so what's up, Canada? Locally brewed for Grade-A export.

PHOSPHORESCENT - To Willie

When Alabama-born/-raised Matthew Houck packed up and moved to Brooklyn, by no means was he surrendering his past and roots to start anew, as 2007's Pride was soaked in Southern Gothic tradition. Houck's forsaken voice (often compared to Will Oldham) would shout and holler hallelujahs, creating an atmosphere full of both grace and tragedy that left the listener wanting more from this one-man choir. Now, in further honour of his upbringing, his Phosphorescent project presents To Willie, 11 carefully reinvented covers from Willie Nelson's 1970s catalogue. All of the songs are sung with soul and conviction, full of laidback, down-home arrangements (listen to the choral contributions to "Can I Sleep In Your Arms", and the warm, solemn sway of the pedal steel on "Walkin'"). With songs like "I Gotta Get Drunk", Houck shows that he can not only write (or interpret) hauntingly beautiful songs, but also knows how to start a damn good party.

MARK OLSON & GARY LOURIS - Ready For The Flood

Ex-No Depression set rejoice! After moderately well-received solo records from each man, the two lead singers of the Jayhawks have finally reunited, and the much-anticipated product is a nice, laidback country-folk record that should be a disappointment to no one. Thanks to Black Crowe Chris Robinson, the production is warm and never overdone, and the songs flow together as smoothly as their voices.

ISOBEL CAMPBELL & MARK LANEGAN - Sunday At Devil Dirt

Released as a UK import on V2 back in May, it's perfect timing that Isobel Campbell gets to now share a domestic release date with her old Belle and Sebastian bandmates. For this second collaboration by the pair, the Devil's even more in the details, like "The Raven"'s Lanegan-led "Rubber Room" slapback, "Come On Over (Turn Me On)"'s "Glory Box"/Isaac Hayes-evoking string-draped descending four-note figure, and, maybe most impressively, "Back Burner", an eerie update of Dr. John's classic Gris-Gris voodoo blues.

BOBBY CHARLES - S/T

Sounding here like a Cajun, countrified Randy Newman or an older bon-vivant equal to The Band's Rick Danko and Richard Manuel, Bobby Charles' career was (attempted to be) revived with this 1972 set, co-produced by Danko and including contributions from Manuel, Levon Helm, Garth Hudson, John Simon and Dr. John. With Vetiver having covered "I Must Be In A Good Place Now" and local rock'n'soul revue Steamboat featuring Charles/Danko co-write "Small Town Talk" in their repertoire, these songs have been kept alive by a current generation of musicians, and are now back in print (while the limited pressing lasts) via Rhino UK's arm of the Encore series.  

ARTHUR RUSSELL - Love Is Overtaking Me

The furthest-spanning collection thus far from Russell's archives, Love Is Overtaking Me is a loosely chronological (1974-1990) look at Arthur's most accessible (but no less odd) pop, country and folk songs, often in the vein of James Taylor or Jackson Browne and variously betraying his loves of Randy Travis, Jonathan Richman, and Talking Heads. Whether backed by tamboura and tablas, Van Morrison-like horn charts, pedal steel, DX7 and drum machine, or simply solo cello or acoustic guitar, Russell epitomizes the boundless new-wave/new-music hybrid that fermented in 1980s New York.

FEMBOTS - Calling Out

With more riff-rock bone exposed than on 2005's The City, this fourth disc from Junkshop main men (and Little Italy neighbours) Dave MacKinnon and Brian Poirier (an arrangement that's now over a decade in the doing) has head Hylozoist (and fellow engineer) Paul Aucoin arranging horns as on their last, tracking smart vibraphone parts ("The Ballad Of Lucybelle Crater"'s ear-tickling tinkles, "Ship Breaking"'s morse-code crescendo-cueing lullaby paydirt) that, along with Iner Souster's junkstruments and Nathan Lawr's ever-tasteful percussion, complement FemBots' detailed production work.

THE MOONDOGGIES - Don't Be A Stranger

If there is a formula for making a revivalist throwback to 1970s Americana, well, The Moondoggies have got it down, with honky-tonk pianos and barroom blues borrowed from The Band, twangy harmonies from The Byrds, and southern blues and country riffs from CSNY and CCR. Originality may not be their strength, but they more than make up for it with their pristine musicianship, layered harmonies, charm, and loyalty to the iconic sound of '70s Americana. There are classic boogie-down jams like "Bogachiel Rain Blues" and "Ol' Blackbird" to get your bell-bottomed legs a-movin', along with more laidback whiskey-drenched songs like "Save My Soul" and "Jesus on the Mainline". With Sub Pop signing Fleet Foxes and now their subsidiary label Hardly Art signing The Moondoggies, Seattle is looking like it could very well be the next Laurel Canyon.

ONE HUNDRED DOLLARS - Forest Of Tears

$100's Simone Schmidt sings tough tales through grit teeth, slipping serious stories into these songs as earthy experience is couched in country music's common concerns.  Sequenced such that the form fully falls away by the time of "Tirade Of A Shitty Mom"'s Moon Pix-ish domestic dirge, Rick White's pristine off-the-floor engineering gives the group a sharper sound that lets Stew Crookes' pedal parts cry out overtop all the clearer. Rapt, packed houses whenever Schmidt and guitarist/co-writer Ian Russell have played cozier haunts like the Tranzac suggest that this six-piece incarnation will win over whatever taverns, roadhouses, and house parties they're bound to play.

JAYME STONE & MANSA SISSOKO - Africa To Appalachia

In the midst of being supported by a three-month festival circuit tour that's already set world-music circles abuzz, this collaboration between the Boulder (via Toronto) banjo wiz and Malian kora griot sees the two men meeting halfway, splitting writing credits between Stone's adaptations of traditional West African melodies and Sissoko's own songs. Light and breezy but expertly played (with calabash and kit accompaniment from the always-attuned Nick Fraser of T.O.'s own Drumheller and Deep Dark United), fans of the likes of Toumani Diabate should enjoy this session of vibrant, pander-free fusion.

JESSIE KUSSIN - Cry Rumble/MUSKOX - Gallantries

Two short, sweet Torontonian CD-Rs with handmade packaging and crack production jobs by our own Mike Smith. Cry Rumble charms with Kussin's squeaky drawl and sturdy country songwriting--if there are any $100 fans out there who haven't heard Jessie's tunes, make room for another local favourite. Gallantries, on the other hand, is the third 3" EP from Smith's jazzy, twangy, meter-shifting through-composed mongrel.

RYAN DRIVER - Feeler Of Pure Joy

Timed for release alongside Eric Chenaux's Sloppy Ground is frequent collaborator (in The Guayaveras, Draperies, and Reveries) Ryan Driver's first solo set, recorded last fall and produced with fellow Reverie Jean Martin. Touching on the kind of woozy country Driver sings with The silt, yet ranging out with falsetto yodellers "Time And Trouble" and "Spinning Towers" (both already live staples at this point), assists from Martin, Chenaux, Andrew Downing, Jennifer Castle and Martin Arnold flesh out another dreamy nethergenre missive from Planet Rat-drifting.

VARIOUS ARTISTS - Theme Time Radio Hour With Your Host Bob Dylan

It may not feature Your trickster Host intoning his hand of tall tales (most of which are true), but unlike another such compilation of tracks broadcast on Dylan's idiosyncratic and enormously popular satellite radio show, this new ACE collection comes fully licensed and approved by its producers. With liners by a crack team of writers that are nearly as entertaining and authoritative as the tangents dispensed on Dylan's Hour itself (and that's no mean feat), any fan of American music is going to find many a mind-blowing piece of the past here.