New York Music Daily

Global Music With a New York Edge

Category: country music

Grain Thief Bring Their Smart, Catchy, Picturesque Acoustic Americana to the Lower East Side This Weekend

Boston band Grain Thief distinguish themselves from the legions of fresh-faced East Coast kids packing mandolins and banjos, in that they use vintage Americana rather than emo or corporate American Idol pop as a springboard for their songs. And they tell some great stories, and have serious bluegrass chops. The five-piece group also have a new album, Stardust Lodge streaming at Spotify and a New York gig on Sept 15 at 8:30 PM at the third stage at the Rockwood. Cover is $10

The swaying opening track, Colorado Freeze strongly evokes the Grateful Dead doing their acoustic act in the early 80s around the time of the Reckoning album. The merry band in the song lyrics are riding in an old car: it’s got both a cd player and a radio in case the the other doesn’t work!

The lively, swinging Lonesome Highway finds the narrator in front of a girl behind the bar who stares right through him – the conversation that ensues will resonate with anybody who’s spent time in front of a glass that’s half empty.

I Got a Flower is closer to Wilco than bluegrass, although the interweave between the guitars of Patrick Mulroy and Tom Farrell, with Zach Meyer’s mandolin and Alex Barstow’s fiddle rising over Michael Harmon’s snappy bass, is especially tasty. As is the “hell, I’d rather drink alone” message.

The Jigsaw Outlaw is a killer instrumental that brings to mind the old folk tune Jack-a-Roe, the whole band getting into the act with some deep blues and steely picking. Irish Rose is mutedly gorgeous, a bittersweetly picturesque anthem akin to the missing link between Matthew Grimm and early Richard Buckner. “Dragged me from the world inside my phone…I drank in a supernatural bliss,” the group harmonize.

Plough Man is a rousing singalong shout-out to the guys who pull in extra bucks with their trucks in the wee hours when the snow’s coming down hard: “The truck is freezing when the heater ain’t working, just pack a jacket…when I dream I see the white and green, I suck it up with my diesel machine!”

The syncopated, animated compulsive gambler’s lament Stateline Hills is a western gothic, steel guitar-fueled take on the grim milieu of Springsteen’s Darkness on the Edge of Town. Then the band pick up the pace with the Dylanesque hillbilly boogie Cookin’ and follow that with the album’s funniest track, The Bottom Shelf. In a 99 percenter’s world, desperate times call for desperate measures!

Barstow’s fiddle propels the album’s hardest-rocking track, Jealous Girl, along with the steel guitar. The band wind it up with the most epic number here, Let It Roll, nimble fingerpicking contrasting with big rock swells.

In addition to the Rockwood gig, Grain Thief play Wednesday nights at around 9 at the Burren in Davis Square at 247 Elm St. in Somerville, MA.

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State-of-the-Art Americana Jamband Rock to Close Out This Year’s Lincoln Center Out of Doors Festival

Margo Price dropped a bombshell at Lincoln Center a couple nights ago. Taking her only turn of the evening at the piano for the Lennonesque ballad All American Made, she recalled how by 1987, the world had discovered that “Reagan was selling weapons to the leaders of Iran.” To any student of American history, the October Surprise and the Iran-Contra affair are old news. But for a self-described Midwest farmer’s daughter to mention the ugly truth about that President – who despite every shred of evidence remains a hero throughout parts of that world – it was a radical move.

As the song goes, it wasn’t the first time something like that has happened, and it won’t be the last. And the current blitzkrieg against immigrants makes her want to run for the border. That was Price’s only unvarnished political song in a set of high quality, deep-fried southern jamband rock. Unsurprisingly, it was also the number that drew the loudest roars of appreciation from a crowd who’d braved the threat of a torrential downpour to come out to see her.

Price’s music seems to be contrived to appeal to every single potential audience member on the summer festival circuit. As a fierce frontwoman with a big wail that with a few nuanced tweaks works equally well in classic honkytonk, 60s soul and bluesy rock, Price delivers for the ladies. The six hairy dudes working up a sweat behind her seem like they’d be just as much at home in many other styles beyond choogilng four-on-the-floor rock. The best and most epic of the big psychedelic numbers, Cocaine Cowboy, featured long interludes for Jamie Davis’ stinging electric blues guitar, Luke Schneider’s searing, noisy pedal steel  and the night’s most nebulous break, where keyboardist Micah Hulscher abandoned his judicious Rhodes chords for swirls and dips of string synth straight out of the early Genesis playbook – to the point where band members were exchanging “where the hell are we” grins with each other.

Price went behind a second drumkit for that one. She knows what she’s doing back there, and she flurried up a storm when she played acoustic guitar – which she did throughout the majority of a long set. She stayed behind that kit for the song after that, a wryly undulating take of the Grateful Dead’s Casey Jones, which the band ended with an irresistibly amusing stampede out. It never hurts to know your subject matter.

The rest of the show ranged from careening electric honkytonk numbers like Paper Cowboy and Put a Hurting on the Bottle – with spot-on detours into George Jones and Willie Nelson classics – along with a defiant,snarlingly amped oldschool C&W breakup ballad. The covers were a mixed bag: the band found soul-infused redemption for Tom Petty but could not do the same for Melanie Safka or Dolly Parton’s disco era. Throughout the night, individual band members kept solos short and sweet, often trading off, up to mighty peaks or descents toward suspense. Most of the crowd who’d stuck around gathered down at the front; at the end of the show, Price rewarded them by flinging roses from a big bouquet into the crowd, one by one.

Lukas Nelson & Promise of the Real were a hard act to follow. It’s hardly an overstatement to rank Nelson alongside fellow Texas blues greats like Stevie Ray Vaughn and Freddie King. Yet Nelson kept his guitar solos much more concise than either of those two hotheads – maybe because he’d learned that trick playing with another great Texas guitarslinger, his dad Willie. This band is excellent: bassist Corey McCormick was a spring-loaded presence throughout the set and made his one long solo count, hard. Drummer Anthony LoGerfo swung like crazy alongside conguero Tato Melgar, and organist/pianist Jesse Siebenberg doubled on second guitar and lapsteel as well.

They opened with the spaciest number of the night, a multi-part epic about aliens that veered from post Neil Young electric intensity to echoes of Pink Floyd during a long, starry interlude. From there they blended oldschool soul, Texas shuffles and stark red dirt folk with a surreal humor that brought to mind Nelson’s famous dad as much as the vocals did. Yet Lukas Nelson’s voice is a lot bigger, even if he has that signature twang.

They brought the lights down for a pensive, solo acoustic take of Just Outside of Austin?and then what seemed like a rewrite of Gentle on My Mind – the younger Nelson clearly has just as much of a thing for classic Nashville songwriting as his dad. After a slight return to Led Zep-influenced riff-rock, Nelson encored with a brand-new acoustic number where he resolved to “turn off the news and build a garden.” Clearly, Price wasn’t the only populist on this bill.

Lincoln Center Out of Doors may be done for 2018, but there’s the annual Brooklyn Americana Festival, taking place all over Dumbo Sept 20-23, to look forward to.

A Lusciously Guitar-Fueled Retrospective and a Manhattan Show From Rugged Individualist Eric “Roscoe” Ambel

Eric Ambel is iconic in Americana rock circles. He has a high-end guitar line named after him. Since his days fronting the pioneering (and recently resusciated) Del-Lords and later playing lead in Steve Earle’s band, he’s slowly but methodically built a formidable catalog of original material. He’s less influential than simply respected because nobody sounds like him. He’s easy to imitate but impossible to copy.

That’s because he can be so unpredictable. On one hand, he’s a virtuoso four-on-the-floor rock and classic C&W guy. On the other, he has a feral, noisy edge, a surreal sense of humor, and also a raw anger that gives his music a ferocity that good-time bar bands so rarely evoke. He’s playing Hill Country this Friday night on a killer twinbill with fellow Americana individualist and guitarist Kasey Anderson. The show starts at 10; it’s not clear who’s playing first, but they’re both worth seeing (and worth braving the crowd of yahoo tourists at the Flower District bbq spot).

Ambel’s latest album – streaming at Bandcamp – is titled The Roscoe Sampler. It’s less a career retrospective than a collection of deep tracks from throughout his solo career. On one hand, most of the obvious picks are here. The choogling The Girl That I Ain’t Got, and Lou Whitney’s grim Jim Crow-era scenario 30 Days in the Workhouse. There’s the classic, tight-as-a-drum, Stonesy cover of Swamp Dogg’s oddball Total Destruction to Your Mind and the acidic, bitter, Rubber Soul Beatlesque Song for the Walls. The Del-Lords’ catchy, cynical Judas Kiss, and the witheringly sarcastic You Must Have Me Confused.

On the more or less straight-up tip, there’s Lonely Town, which could be the Stones circa Tattoo You with a twangier singer out front and a tantalizingly savage guitar solo. Loose Talk, a duet with Syd Straw, is a rollicking, saloon piano-fueled Tex-Mex romp. If Walls Could Talk, a big crowd-pleaser from Ambel’s days running iconic East Village venue Lakeside Lounge, features the Bottle Rockets (a band Ambel produced back in the day)

But it’s the lesser known cuts that make this record a great introduction to Ambel’s purist sonics, production savvy and guitarslinging prowess. Built around a riff Angus Young would be happy with, Way Outside paints a shadowy, desperate tableau, echoed later in I’m Not Alone. Does It Look That Bad is a wry, summery, Memphis soul-infused ballad, awash in shimmery tremolo guitar and organ.

“The minute you stopped dreaming is the minute you got old,” Ambel sneers in Long Gone Dream, the closest thing here to early zeros, peak-era Earle. Red Apple Juice is a rare, spare, delta blues-flavored solo acoustic gem.  I Waited For You comes across as amped-up Everlys, and sounds like the oldest number here.

The brisk, gloomy narrative A Charmer’s Tale could pass for late 90s Steve Wynn – it’s that good, complete with evil, sidewinding guitar solos. The collection’s final track – a collaboration with folk-rockers Martin’s Folly – is an aptly watery, wistful take of Willie Nelson’s Always on My Mind. Although Ambel can go way, way out on a limb onstage, here he keeps the solos short, maybe eight bars at the most. The rhythm sections here include a diverse cast of familiar and unfamiliar names but are all first-rate: from his days rounding up the Lower East Side’s best street musicians for his iconic Roscoe’s Gang album, he’s never had to look far for talent.

Is is fair to count a semi-greatest hits collection as one of the year’s best? Is it fair to the newbies to put them up against a veteran as formidable as Ambel? Why not? We need the guy to keep schooling those kids.

Two Great Psychedelic Bands, One Free Brooklyn Concert Series

Two Saturdays ago, Sadies guitarist Dallas Good thrashed and flailed and spun the headstock of his vintage hollowbody Gretsch, building a howling vortex of sound while his brother Travis stood more or less motionless as he kept a river of jangle and clang running from his Telecaster. In the middle of the stage, bassist Sean Dean held down a steady pulse while drummer Mike Belitsky kept a nimble shuffle beat.

This past Saturday, Songhoy Blues guitarist Aliou Touré did pretty much the same thing, building a screaming Chicago blues-infused solo, his fellow axeman Garba Touré running a loping Malian duskcore pattern off to the side, bassist Oumar Touré playing a serpentine, circular riff over drummer Nathanael Dembélé’s counterintuiitive flourishes.

On one hand, the Canadian and Malian bands couldn’t have less in common. On the other, both are as psychedelic as you could possibly want. And that seems to be the theme at this year’s free outdoor concert series at Union Pool. They’ve been doing free shows in the back courtyard there for the past couple of years, but this year’s series is better than ever.

There are a lot of acts more popular than you’d expect to see in at this comfortable, comparatively small space. This year, that started with the Sadies. The last time they played New York, it was at Webster Hall (if there ever was a New York venue that deserved to be turned into a luxury condo or a Whole Foods, it was that despicable stain on the East Village). The last time this blog was in the house at a Sadies show, it was May of 2014 at Bowery Ballroom and they were playing with the late Gord Downie.

This show didn’t feature any of their brilliantly ominous songs with the late Tragically Hip crooner, but they touched on every style they’ve ever played. Dallas Good broke out his violin for a lickety-split punkgrass romp about midway through the set, and also for the encores. He also delivered some seamlessly expert acoustic flatpicking on a couple of country numbers.

Travis Good seemed to be in charge of the more epic, tectonic solos, particularly during a mini-suite of surf songs, propelled expertly by Belitsky. They went back into the waves a little later with another instrumental that came across as a more bittersweet, southwestern gothic take on the Ventures’ Apache. But it was the brooding, uneasily clanging midtempo anthems that were the high point of the show. Afterward, Dallas Good took care to thank the crowd for coming out – for a free show, no less.

Songhoy Blues are probably the loudest and most eclectic of the Malian duskcore bands to make it to the US so far. They only played a couple of the loping Saharan grooves popularized by first-wave bands like Tinariwen and Etran Finatawa. They opened with a briskly stomping, only slightly Malian-flavored garage rock tune with a searing guitar solo from Garba Touré. Throughout the set, he and the frontman took turns with their solos – a lightning-fast, Blue Oyster Cult-ish run in one of the long, hypnotic numbers midway through was the high point.

After that, they slowed down for a moody minor-key blues ballad that wouldn’t have been out of place in the Otis Rush songbook save for the lyrics. “I know that 99% of you don’t understand a word I’m saying,” Aliou Touré told the crowd: the subtext was that the band’s lyrics are potently political. Then he settled for reminding everybody that music is a universal language. After a couple of numbers that shifted between looming desert rock and frenetically bopping, metrically challenging soukous-flavored rhythms, they closed with a mighty, rising and falling anthem and encored with their lone song in English, Together, a prayer for peace from a part of the world that really needs it.

And a shout-out to the sound guy: this may be an outdoor series, but the sonics in the backyard – a completely uninsulated space with highs potentially bouncing all over the place – were pristine. Few venues sounds as good indoors as at Union Pool outdoors the past couple of Saturdays. That’s a real achievement. The Union Pool free concert series continues this Saturday, July 14 at around 3 with jangly British “power trio” Girl Ray.

Haunting Harmonies and Fierce Relevance From Bobtown at the American Folk Art Museum

When you have three multi-instrumentalists as diversely talented as Jen McDearman, Katherine Etzel and Karen Dahlstrom, who needs more people in the band? Friday night at the American Folk Art Museum, in a rare trio performance, the three core members of folk noir group Bobtown reaffirmed their status as one of the best bands in New York. Which they’re been for the past ten years.

They haven’t been playing out a lot lately since they’re in the process of making a new album.  “For those of you who know us, we’re a pretty dark band,” Dahlstrom admitted. “The new record is…more of a charcoal grey.” Which was pretty accurate: the new songs in their tantalizingly brief, headlining set were less macabre than much of the band’s back catalog, if they weren’t exactly carefree.

The band’s closing number, No Man’s Land – as in, “I am no man’s land” – brought the house down. Dahlstrom couldn’t resist telling the crowd how much more resonance this fearlessly feminist, oldtime gospel-flavored broadside has taken on in the few weeks since she’d written it. The women’s three-part harmonies spoke truth to power throughout this ferocious reclamation of women’s rights, and dreams, a slap upside the head of trumpie patriarchy.

Getting to that point was just as redemptive. The trio opened with another brand-new number, In My Bones, pulsing with vocal counterpoint. You wouldn’t expect Etzel, whose upper register has razorwire power, to hang out in the lows, but she was there a lot of the time. Likewise, Dahlstrom – best known for her mighty, gospel-infused alto – soared up in the highs. McDearman, who channels the most high-lonesome Appalachian sound of anyone in the group and usually takes the highest harmonies of all, found herself somewhere in the middle for most of it.

The rest of the new material, including the bittersweet kiss-off anthem Let You Go, had a more wry sensibility than the band’s usual ghostly chronicles. Rumble Seat, a sardonic chronicle of smalltown anomie that could just as easily be set in luxury condo-era Brooklyn as somewhere in the Midwest, was even funnier, especially when the trio reached the eye-rolling yodels on the final choruses.

The band joined voices for a 19th century field holler-style intro and then some loomingly ominous harmonies in Battle Creek, Dahlstrom’s chilling, gospel-infused chronicle of an 18th century Michigan millworker’s descent into the abyss. Throughout the evening, McDearman switched from eerily twinkling glockenspiel to atmospheric keyboards and also cowbell. Etzel, who typically handles percussion, played tenor guitar; Dahlstrom played both guitar and banjo, the latter a relatively new addition to her arsenal.

The Free Music Fridays series at the American Folk Art Museum is off this week for the holiday but resumes on July 13 at around 6 PM with a typically excellent lineup including elegantly angst-fueled, individualistic torchsong/parlor pop piano chanteuse Jeanne Marie Boes, followed by soul/gospel belter (and Lenny Molotov collaborator) Queen Esther.

And several other artists who’ve played the museum in recent months – especially when sticking around for the whole night wasn’t an option – deserve a shout. Dave Hudson treated the crowd to a catchy, anthemic set of solo acoustic janglerock. Heather Eatman played a rare mix of similarly catchy, 80s-inspired acoustic songs she’d written back then as a teenager. Jon LaDeau flexed his purist country blues guitar chops, Joanna Sternberg alternated between LOL-funny and poignant original Americana, and Miwa Gemini and her accordionist mashed up uneasy southwestern gothic and Mediterranean balladry. And as far as vocals are concerned, along with this show, the most exhilarating sets here so far this year have been by Balkan singer Eva Salina and her pyrotechnic accordionist Peter Stan, along with a rare solo show by Dahlstrom and a deliciously venomous farewell New York performance by blue-eyed soul powerhouse Jessi Robertson.

A Rare Reunion from New York’s Best Underground Swing Jazz Supergroup

The Tickled Pinks almost played Club Cumming. Ostensibly, lack of a liquor license derailed one of the few events that could have transcended any issue concerning tourist hordes in the East Village on a Saturday night. But the irrepressible underground swing jazz supergroup did get to play two iconic Brooklyn venues, Hank’s and Pete’s last month, in one of the funnest reunions of any New York band in recent years.

Among other harmony vocal acts, only John Zorn’s Mycale chorale have the kind of individualistic power and interplay that the Pinks showed off during what was a pretty good run. They made it as far as Joe’s Pub – and got the key to the city of Olympia, Washington on their most recent tour. Whether the key works or not is unknown.

It would be overly reductionistic to say that with her spectacular range, Karla Rose Moheno handles the highs, the more misty Stephanie Layton handles the mids and Kate Sland handles the lows – all three women can span the octaves enough to take their original inspiration, the Andrews Sisters, to the next level. Although that basic formula seemed to be the strategy for night one of a reunion weekend stand that began with an Elvis cover night at Hank’s.

The idea of three women harmonizing Elvis tunes is a typical Pinks move, although one they never did before. And they weren’t the only ones who sang. Guitarist Dylan Charles took a break in between elegant expanses of jazz chords, snazzy rockabilly and some machete tremolo-picking to narrate a tongue-in-cheek version of Are You Lonesome Tonight. There were also a handful of cameos from friends of the band invited up to do their versions of the hits.

Moheno switched out her trusty Telecaster for an acoustic guitar; Sland played snappy bass and Layton held down the groove behind the drumkit. John Rogers’ ornate electric piano and organ lit up several of the songs; trumpeter Mike Maher gave a mariachi flair to several numbers as well.

The set wasn’t just familiar favorites, either. As much fun as it was hearing what this crew could do with Hound Dog and Jailhouse Rock and Suspicious Minds, the best song of the night was an obscure, ominous noir number, Black Star. On one hand, it’s hard to imagine that Elvis knew what kind of an end he’d come to when he sang this in the mid-60s…but this group’s stalking, low-key version left that question hanging. From this point of view, it would have been even more fun to be able to catch the whole set, but it was impossible to walk out of Moroccan saxophonist Yacine Boulares’ absolutely haunting Lincoln Center set earlier that night.

The Pinks wound up their weekend with a serpentine set of swing at Pete’s. Since they started in the late zeros, they’ve expanded their songbook far beyond 30s girl-group material to jump blues and beyond. Case in point: an absolutely accusatory version of Straighten Out and Fly Right. They went deep inside to find the bittersweetness in the Kinks’ Sunny Afternoon, then pulled out all the smoke and sultriness in Is You Is or Is You Ain’t My Baby. And the old 20s hot swing standard Why Don’t You Do Right outdid both the Moonlighters and Rasputina’s versions in terms of both energy and righteous rage.

The Pinks are back on hiatus now while everybody in the group is busy with their own projects. Layton and Charles continue with their torch jazz band Eden Lane, with a gig on June 3 at 7 PM at Caffe Vivaldi, one of the Pinks’ old haunts. Sland continues to do unselfconsciously heroic work in hospice medicine in California. And Moheno continues with recording her next noir rock album, under the name Karla Rose – if the track listing remains as originally planned, that record would top the list of best albums of 2018 if she released it now.

Amanda Anne Platt & the Honeycutters Bring Their Catchy Hardscrabble Americana Songs to the Flower District This Friday Night

“Just got word today that the money is gonna be ok,” Amanda Anne Platt sings in her North Carolina twang. “Start looking for life in a bathroom mirror,” she adds as Birthday Song, the opening track on her latest album with her band the Honeycutters (streaming at Spotify), gets underway. They’re making a rare New York stop on June 1 at 9:30 PM at Hill Country.

In a world of suburbanites who put on cowboy hats and pretend they come from the sticks, Platt is the real deal, a strong, populist storyteller with a knack for a catchy hook. The narratives on this latest release are more guardedly optimistic than the band’s previous output. Between the woman in the supermarket checkout line, the sign in the record store and the beater Japanese car whose odometer’s been around twice, these people are struggling, but they also aren’t giving in. This is also more of a rock record, compared to the honkytonk flavor of much of the band’s earlier material.

“We were dying but you couldn’t tell,” Platt muses over a loping groove from bassist Rick Cooper and drummer Josh Milligan in Long Ride – but as it picks up steam, the song grows more optimistic, Matt Smith’s pedal steel floating overhead.

“Oh how I needed men to love me, it made me ugly, made me unkind,” Platt’s older and wiser narrator muses in the gently shuffling What We’ve Got, livened with Evan Martin’s rippling piano and a joyous steel solo: “All the time I thought I was wasting, I was just learning how to look you in the eye.”

With its rivers of organ and simmering, distorted guitar, Diamond in the Rough is one of the harder-rocking tracks here – The Who meets Lucinda Williams, maybe. Eden is a steady, shuffling celebration of “24 acres of Indiana farmland, Airstream trailer, living in the heartland,” told from the point of view of an ex-Bostonian who’s come home after losing her job. At the same time, she doesn’t miss people with “delusions of grandeur,” even while harsher realities set in.

The Guitar Case is a vividly weary early-morning chronicle of the endless tour musicians these days have to stay on just to pay the bills. Platt saves some of her most venomous commentary for one of the wannabes on the roadhouse circuit:

You look good on paper
On tv too
But the real thing ain’t a joke, you fool

By contrast, Learning How to Love Him is a sobering, spare look at the pros and cons of making it through a marriage to the empty nest years. Then the band kick back in with a summery soul feel in Brand New Start, a bittersweetly resigned breakup tale: Platt suggests a five-year relationship might be best memorialized by leaving a Christmas wreath up on the door for the sake of leaving a lasting impression of togetherness.

With its layers of piano, organ and steel, Late Summer’s Child is an old Creedence song with whitewall tires and a sunroof, more or less. The album’s best song is the noir soul ballad The Good Guys (Dick Tracy), slinking along with uneasy, echoey electric piano:

A skeleton in every closet
Everybody in another man’s pocket
Did you ever stop to think you got it wrong
You remember why you’re here tonight
Soft sell if the price is right
You’ve been losing at this same fight for so long
Dick Tracy there ain’t no more good guys
You could be on a plane tonight
Leave this wasted city far behind

The backbeat-driven, distantly doo-wop inflected Rare Things is a lot more upbeat, spiced with some neat gospel piano. Baritone guitar, saloon piano and steel blend together for an oldschool hard honkytonk vibe in The Things We Call Home. The album’s last song is the wistful front porch folk-flavored The Road. Platt and her band move through a lot of different styles here, something they’re likely to do onstage at the barbecue joint this weekend.

Squeegee Men and Twin Peaks Themes in Long Island City Tonight

There’s a great twinbill tonight, April 30 starting at 9 at Long Island City Bar. A fantastic band who call themselves Fuck You Tammy play Twin Peaks themes and music from David Lynch movies starting at around 9. Then at 10 the Squeegee Men play their twisted, reverb-laced original surf rock and cowpunk songs.

The Squeegee Men have an ep, Coney Island Shark Bite, up at Bandcamp as a name-your-price download. The title track is a real blast, a serpentine instrumental that shifts from snappy, bass-driven dark garage rock to a sunnier, jazz-tinged, beachy theme and then back, guitar overdriven into the red.

After a careening, jangly take of My Bucket’s Got a Hole In It – as in “My bucket’s got a hole in it, I can’t buy no beer” – the band launch into Slow Burn and its swaying Wooden Indian Burial Ground-like contrasts between icepick leads and fuzztone menace. The album winds up with White Freightliner, a shout-out to diesel big rigs that brings to mind 80s cowpunk bands like the Raunch Hands.

A word about the band name for millennials – back in the 90s, homeless guys armed with squeegees and water buckets would stake out busy New York intersections, and the exits from the Holland and Battery tunnels, hoping to extort a few bucks from sympathetic motorists. The bridge-and-tunnel crowd hated this, and mayoral candidate Rudy Giuliani exploited the situation for all the racist mileage he could get out of it in his successful 1993 campaign.

Back to the music – Fuck You Tammy put on a hell of a show here back in February, a less jam-oriented approach than guitarist Tom Csatari has taken with Lynch themes. With guitar, keys, rhythm section behind her, their dynamic frontwoman belted and purred her way through vocal numbers including a hazy, aptly nocturnal take of Julee Cruise’s Falling and The Nightingale.They stalked their way through The Bookhouse Boys, then did a restrained version of the sultry, vamping Audrey’s Theme as well as a more expansive, psychedelic take of the iconic Twin Peaks title theme. It makes sense that they might be even tighter, with possibly more material, this time out.

The New Bourbon Express Album: State-of-the-Art Hard Honkytonk

The Bourbon Express are as good as it gets in hard honkytonk. To get the sound perfect for their new album Cry About It Later – which hasn’t yet hit their Soundcloud page – they brought in the king of Americana and twangy rock guitar, Eric “Roscoe” Ambel, to produce. The result is a purist blend of classic 60s C&W and harder-edged urban country. They’re playing the album release show this Saturday night, April 21 at 10 PM at Hank’s; cover is $8.

The album’s first track is Pick Me Up, swinging along over the groove from Andrew Dykeman’s bass and Phil Cimino’s drums. This isn’t your ordinary drinking song: frontwoman/rhythm guitarist Katie Curley insists that she needs enough to get her through the whole month!

Co-leader Brendan Curley spaces out his incisive Telecaster licks in Devil’s Angel, which has the feel of a Tammy Wynette hit from the late 60s, but with the guitar sting of the best Brooklyn country bands from the past fifteen years or so. Turn the Page – an original, not the Metallica hit – traces a bittersweet story through a family album, Jonny Lam’s pedal steel lingering in the background. Katie’s last line of the song is shattering, an ending too good to give away.

Take Me Out has a gorgeous blend of resonant guitar and steel, along with Melody Berger’s fiddle, not to mention one of the album’s most plaintively affecting vocals. Dream Girl, an aptly starry waltz, is probably the only honkytonk song ever to feature a concert harp. Katie also plays that instrument throughout her two intriguing, previous albums of Americana-laced parlor pop songs, originally released under her maiden name, Katie Brennan.

With its spiky twelve-string guitar textures blending with the steel, Ten Gallon Hat could be a female-fronted Byrds circa Sweetheart of the Rodeo. Brendan switches to saloon piano on Dilly Dally, Katie enthusing about the joys of being a homebody with a glass of red wine in her hand.

The album’s most aphoristic, retro 50s song is Blame It on the Hangover, a cheater’s cautionary tale. The title track keeps that theme going – “Laugh about it now, cry about it later.” The real classic here is is Five to Nine, a Take This Job and Shove It for everyone stuck in the electronic sweatshop. “I’ll probably have to drink alone tonight ‘cause I had to turn off my phone,” Katie laments, “You’re trying to keep me on the virtual clock while I’m trying to get offline.”

The album winds up with Cold Quiet Drink, a subdued Amy Allison-ish ballad with Brendan moving to mandolin, Ambel on acoustic guitar and Jason Mercer on bass.

Laura Cortese & the Dance Cards Bring Their Fearlessly Imaginative, Psychedelic Americana to the Rockwood

Violinist Laura Cortese & the Dance Cards stand out in a crowded Americana field for their fearlessness and originality. They aren’t the first to play retro acoustic roots music for string ensemble – a lot of classical types have a secret or not-so-secret fondness for folk music. Sadly, much as some of that crew are completely sincere, they don’t swing and they can’t really improvise. That’s where Cortese really shines. She and the band are playing the downstairs third stage at the Rockwood tomorrow night, April 14 at 11:30 PM; cover is $15.

Their latest album California Calling – streaming at Spotfy – isn’t particularly oldtimey, either. In fact, there’s only one tradtional tune on it. What Hem were to the zeros, Cortese and band are in the here and now. Case in point: the hypnotic opening track, The Low Hum, awash in hazy washes of strings, second violinist Jenna Moynihan anchoring the song on banjo, multi-instrumentalist Sam Kassirer adding woozy Dr. Dre synth. That it works as seamlessly as it does validates Cortese’s outside-the-box arrangement.

Cortese;s vocals infuse the album’s title track with warmth and intimacy amid a swirl of backing vocals, swelling strings and bouncy pizzicato: it’s not clear whether that spiky lead line is Cortese, Moynihan or cellist Valerie Thompson.

The women in the band – which also includes bassist Natalie Bohrn – join voices and then instruments in the lush, Celtic-tinged Three Little Words. If Irish chamber folk psychedelia didn’t exist before now, this band just invented it. There’s a fetching, Kasey Chanbers-ish break in Cortese’s voice in the bittersweetly swaying ballad Skipping Stone, with more spiky/atmospheric contrast.

The psychedelic Hold On, with its gospel allusions and trip-hop beat, brings to mind cult favorite New York Americana songstress Barbara Brousal – who’s since absconded to Boston. The band reinvent Swing & Turn (Jubilee), the album’s lone traditional tune, in much the same fashion, Cortese’s vocals soaring to the top of her register before the band finally cut loose with a jaunty reel.

The women’s four-part harmonies offer comfort in icy times in Rhododendron, which segues into Someday, sort of a more bluegrass-oriented take on Andrew Bird at his most bucolic. Stockholm, an allusive cautionary tale – “You’ve got to find a place to call home” – is another unlikely successful mashup of bluegrass and echoey psychedelia.

Bohrn’s starkly dancing bassline propels Pace Myself, a bluesy trip-hop number, edging from echoey Soft Cell new wave pop toward neo-soul. The album closes with If You Can Hear Me, a Taylor Ashton cover that doesn’t measure up to the strength of Cortese’s songwriting despite an interesting arrangement. It’s impossible to imagine anyone releasing more original album than this lately.