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Since debuting in 1981 with the humble Iowa Waltz on what was, at the time, his own Red House imprint, Greg Brown has forged a singular career based on tireless touring, a seemingly bottomless sack of earthy tunes exploring simple concerns with regional-specific overtones, and inimitable, glass-rattling baritone pipes. The

James McMurtry has made his name -- and the part he inherited hasn't hurt him -- as a wordsmith, a sketcher of characters and teller of stories. The music to which these have been set hasn't generated much comment over the course of his first five

Let me drop my critical guise for a moment and talk straight from the heart: I love the Gourds. This Austin combo is all about serious fun. They have livelier music than your favorite bar band and more memorable lines than a lounge lizard, and they keep getting better. Their

As is characteristic of much that Steve Earle has ever created, and much that's American, his new album Jerusalem begins with images of inescapable destruction and death ("Every tower ever built tumbles"), and ends, nevertheless, with an optimistic vision of peace where there has been no

Don't buy The Car Over The Lake Album if you're looking to make any sense out of the Ozark Mountain Daredevils. What on earth were these guys thinking back in 1975, when they followed the Top 5 rock radio success of "Jackie Blue" with

It's no wonder Allison Moorer tagged along with producer Tony Brown when he left MCA Nashville to launch the putatively hipper Universal South imprint. Moorer made two albums of consummately soulful music under Brown's watch at MCA, but even though "A Soft Place To Fall&