Think about it: Going back to last year’s Justin Townes Earle triumph, Harlem River Blues, Bloodshot has been on a roll. Recent releases by Spaghetti, Exene Cervenka, and the upcoming Ha Ha Tonka record (which is also stellar) make a strong case for the well-established and respected label to remain so for some time to come.

The twang that has always informed the garage punk rock of the Supersuckers is given a far greater seat at the table here. In fact, that swooning AM Country gold flavor is pure refreshment in the case of his relatively straight-up take on Willie Nelson’s classic, “Always on My Mind.”

Of course, it wouldn’t be possible, thankfully, for Spagheti to go a whole record without getting wild-ass and hell-bent. “Jesus Never Lived on Mars” is a roadhouse rocker that forcefully reminds any who dare listen who the hell he is and where he’s from.

It’s impressive enough for a fellow from the woodsy Northeast to sound so damn southern, and even more so when one considers that this record is really just a nice little sidebar for Spaghetti before he gears up for the Supersuckers next 20 years of dangerously greasy grooves.

Rodney Parker & 50 Peso Reward‘s album from a couple of years ago, The Lonesome Dirge, went criminally under-discussed from me on this site. I’m now trying to make up for that offense by really making sure that as many people as possible get all up in the grill of their latest release, The Apology, Part One. This EP is just plain ol’ kick-ass country rock. Too many times, “country-rock” means cheesy, 1980′s rehashing while various country-related lyrical themes are introduced. Not here. The second part of The Apology will be making it’s way soon enough, and an acoustic record of some sort will be making its way into the marketplace, as well.

Tell you what, give a listen to the track below, then go on over to my review of the album on The Dallas Observer’s website. You’ll be crazy glad that you did.

LISTEN: “Guitars” – Rodney Parker & 50 Peso Reward

Ray Lamontagne’s latest project might be the most un-Lamontagne album he has done, thus far, even though it’s the first album he has produced for his own self. God Willin’ & The Creek Don’t Rise, his fourth studio LP, was recorded in Lamontagne’s New England cabin with the help of his country, soul-brothers, the Pariah Dogs. Featuring the in-demand pedal steel of Greg Leisz, this record boasts a group feel that, understandably, hasn’t exactly been present in the previous efforts of the solemn, bearded one.

While most of the album elegantly ambles in the folky terrain of country music, there are some bluesy stompers that recall certain, earlier works, most notably Lamontagne’s stellar 2006 record, Til the Sun Turns Black. The lead single and the album’s standout track, “Beg Steal or Borrow” plays like a more laid back, less neurotic Ryan Adams tune from his prolific, Cold Rosesera. To be sure, that’s in no small part to the contributions of the aforementioned Mr. Leisz, wh is also a frequent collaborator of the eccentric Adams. Also, in the span of that specific tune, the trembling fender strat and shuffling beat just find a groove and live in it as if it went ahead and paid first and last months rent for it.

Certainly, Lamontagne has been a star as a folk-intensive, singer/songwriter, but this album and it’s beautiful set of songs is surely an Americana album of the highest order.

Just like with acts such as The .357 String Band, I love it when rough and tumble front-porch pickers get it right. As I’ve said before, here on The Knob, I was getting sick of hearing a ton of alleged punk-flavored string bands act rebellious when they sounded anything but.

I’ve really been enjoying the self titled debut album from Canada’s Moonshine Ramblers (Myspace) lately. To be fair, it’s not a straight-up acoustic or string-based album. The occasional use of drums and even a stratocaster actually give the album a bit of a punch that helps keep the album from veering off into monotony (give “Chicken Skull” a listen for what I’m talking about). Those electro-country touches are nice, but the heart of the album is the ramshackle glory that tracks like the opener, “Way Downtown” provide when the five-piece act gathers around the microphone and belts it all out, together.

LISTEN: “Way Downtown” – Moonshine Ramblers

LISTEN: “Chicken Skull” – Moonshine Ramblers

Traveling a path that has led him from his native Virginia, to NYC and Los Angeles, singer/songwriter Sharif (Myspace / Official) has honed his skills as an emotive performer that sheds all inhibitions with the vulnerable and excellent slice of pop, Kisses & Lies.

The artist known as Sharif, tip-toes a fine line between saccharine and jubilant. That said, most of the 14 songs mercifully fall into the category of the latter on this, his third studio album. Gems such as twangy album opener “Far From You”, and the equally twangy duet with heart-throb hero Rhett Miller, “Dark Side of the Dawn”, are great examples of tunes that would fall comfortably onto a Zach Braff movie soundtrack. Most of the album’s tracks lay on a bed of acoustic arrangements, augmented with sweet harmonies and an even sweeter pedal steel that gives the songs an alt-country warmth that glows.

Lyrically sticking to various forms of love, Sharif doesn’t mind ripping his heart right from his sleeve entirely and simply offering it to the listener, as is. The lack of pretense that flows through the entire record results in an engagingly organic experience.

LISTEN: “Dark Side of the Dawn” – Sharif