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

I’ve said it before, I’ll say it again. Jamey Johnson is simply playing on a whole different, and superior, level than the rest of the mainstream country music world. I think it’s nothing short of a miracle that Johnson can even  be lumped into the mainstream, to be honest.

This new album, due in a couple of weeks and entitled The Guitar Song, is nothing short of brilliant, period. I’m not ready to go too deep right now with why I’m so blown away by this 25 song, double LP. Really, every song has been a gem, so far. Perhaps I’ll tire of a couple of tunes, but man, this is a serious collection of pure, honky-tonk gold. I love that Johnson has decided to use the momentum gained from all of his awards and his gold-selling status for something this ambitious and decidedly unsafe. A couple of excellent covers, mixed with authentic tunes that deal with heartache, the foils of fame, love for his daughter and also his love of songwriting, make up an insanely well constructed album, even if it’s a mammoth one, with a running time of over an hour and a half.

Much has been made about Johnson’s alleged status as the saviour of modern country music, and after this new release, I’m not sure about what he is or isn’t saving, but I know that this album represents much more than what is typically represented when other Nashville hitmakers predictably and generically release their yearly, committee-created piles of crap.

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.

I’ve made little secret that I contain a relatively decent-size man-crush on Bobby Bare Jr. Dude’s a genius, in my book. If he’s put out a bad record, I haven’t heard it. Once I really began to dig into his solo stuff a couple of years ago, I have eagerly awaited anything the dude puts out, even if it’s not a “proper release”. The EP that he put out last year, American Bread, which consisted of killer America and Bread covers, was predictably stellar. This year’sShel Silverstein tribute project, which he helmed and contributed a song too, might go down as one of 2010′s great records, actually.

Well, for those who, like me, were wondering when the next dose of goodness from Bare Jr would be dealt, worry no more. In the next couple of weeks, you’ll get not one, but two hearty gulps of new Bobby Bare Jr material.

This week, you can go to his official site and exchange your email address for a new, free acoustic EP. Then, a couple of weeks from now, you can get all up in a new, full-length LP, A Storm – A Tree – My Mother’s Head.

I’ve been listening to the new full-length casually over the last few days and, yeah, solid. It rocks, it gently weeps, it’s another well-concieved, thoughtfully produced record.

As for the acoustic EP avaialable now, check out this song from it, below…

SAD SMILE  (acoustic) by BOBBY*BARE*JR

I got to high five this fine lady at SXSW, and while I doubt she was as thrilled by that as I was, it was an even bigger thrill to her Lissie bust out with a folky, yet still rocking, version of Metallica’s slow-jam classic, “Nothing Else Matters.” She’s following up her EP, Why You Runnin’? with a very solid, full-length, entitled, Catching a Tiger.

Basically, if you have enjoyed her previous outout, you will surely leave this record satisfied. I know that I was.

Listen: Lissie – “Bully” 

Here's some of Patrick Michels excellent shots for The Dallas Observer from the Ritter show I reviewed recently.

Here’s another one of those, “Sorry, I’ve Been Gone A While, But…” posts. For those still clicking onto this site every so often, I really appreciate it, thanksfully, there’s still plenty of you. Below is a slight recap of what I’ve been doing lately.

• I’ve been judging the early rounds of the Shiner Rising Star contest. Looks like I’ll be a regular at the table for the next few weeks, too, so there will likely be more updates like these from the past two weeks.

• I recently suffered from a Texas-country funk….

• …and thankfully, I’ve been getting out of it, thanks to some really great, new talent.

• Ray Lamontagne’s lead single from his latest album is killer.

• Me and the boys at Twangville have really gotten a kick out of the new Old 97′s EP.

• I got to chat with two of the current kings of folk, and two of my personal favorites, Joe Pug and Josh Ritter.

Tons of new stuff have hit my inbox and I fully intend on sharing some of that with you, sooner than later.

Slobberbone, last year in Dallas at the Granada.

OK, folks. I’m not gonna sit here and go on and on about Denton’s Slobberbone. If you’ve been reading The Knob for any length of time, you know that the trailblazing, cowpunkers are among my favorite acts of all time.

Here’s the deal. They’re playing another show in Dallas at the fantastic Granada Theater. You may remember I saw them about a year ago and enjoyed it thoroughly. Be the first to email me before 5pm today (kelly@thegobblersknob.com,) with SLOBBERBONE in the subject line, to win a pair of tix to the show tomorrow night in Dallas, courtesy of our good friends at The Granada Theater (where there are some insane shows lined up!).

I’ll be honest. I’m not 100% sure what to say about the latest CD from California psychedelic folk act, Vanish Valley. I suppose the term “psychedelic folk” says plenty and I do think it’s rather accurate in this case. The one thing I would add, however, is that I feel like that term gives the impression that this is an abstract work, and therefore, perhaps a tad inaccessible. I find that to be quite the contrary, to reality, however. While there are many types of “California Music”, this record really makes me wish I was stumbling around the various valleys and canyons of SoCal, for some reason. It’s like and audio-hallucinogenic.

LISTEN: “Become the Night” – Vanish Valley

LISTEN: “Bad Things” – Vanish Valley

This is likely not going to be a shock to anyone, but the SubPop label has done just fine for itself since the end of the grunge era that it helped usher in, all those years ago. In fact, they’ve been every bit as effective at releasing the finest indie albums, as other notable labels such as Matador, even.

A recent release of the label’s is another indie-gem. Originating from Long Beach, CA, Avi Buffalo (Official / Myspace) is the brain child of Avigdor Zahner-Isenberg. Their song, “What’s In It For”, from their self-titled record, is another in a recent line of bright, sunny indie nuggets, that fit in nicely with offerings from Local Natives, Dr. Dog and Morning Benders. Enjoy.

LISTEN: “Whats In It For” – Avi Buffalo

It’s been a while since I mentioned the current kings of Dallas-area honky-tonks, 1100 Springs. The fact is, these boys are much more than simply great local players. They’ve become quite the draw all over the state and other parts of the country, as well.

Straight-up country is their stock in trade. It isn’t stained with rocking red dirt; it’s just good ol’ barroom, hard-core country music. Having Zane Williams on the bill is also a great reason to catch this show.

Wanna see these boys play on their home turf for free? The fine folks at The Granada Theater in Dallas have given us a pair of tix to give away to a lucky Gobb Knob reader! By the way, a recent show of theirs at this very venue was sold-out, so I wouldn’t wait to get your tix at the door. Get them here, if you don’t win ‘em.

Be the first to email me at kelly@thegobblersknob.com with the words I LOVE 1100! in the subject line and you’ll be the winner!