Country twang may be your thang

Country music will usually draw a uniformly negative response because some think, and rightfully so, that too much of it is about drinking and having a dog and a pickup truck. Some of it is bad redneck fodder. But certain kinds of country music—which, by the way, receive little radio exposure, even on country stations like WMZQ—transcend all that by experimenting with unique harmonies, bluegrass and soul to boot.

Alison Krauss + Union Station, New Favorite

Alison Krauss won deserved notoriety by her fantastic contribution to the O Brother, Where Art Thou? soundtrack, and she continues a trend of vocal excellence in New Favorite. The unique challenge for a singer like Krauss is to find a band that at best compliments her voice with almost as meaningful a sound. Union Station, with its rampant banjos and Appalachian musical sensibility, is the perfect match. At times Krauss's voice contrasts with Union Station's music, and her absence on a number of the tracks leaves you wanting more Krauss.

Krauss mixes best with her band in "Chocktaw Hayride" and "Daylight." While "Daylight"'s crystal vocals and light, blisteringly quick banjo evoke images of the sunny south, "Chocktaw Hayride" is husky, dark and serious enough to carry a certain air of dignity. "Crazy Faith" and "I'm Gone," though slightly more pop-oriented, embody Krauss's soft musical grace.

Though at points the band and vocalist work against one another, New Favorite has to be one of the best experimental bluegrass albums out there.

Music From A Film By Joel & Ethan Coen, "O Brother, Where Art Thou?"

Joel Coen, the director of O Brother, Where Art Thou? Called the movie's soundtrack "folk music." The film's producer labled it "bluegrass." Someone could conceivably give it the simple label "country," but what makes it so powerful is the grand scope it covers in both style and meaning. It is rootsy and beautiful.

The bluesiest section of the album is probably the most interesting. "Po Lazarus," a hard-pounding spiritual, is a recording of prisoners chopping wood in Mississippi. It works because of its uncut splendor. In "Hard Time Killing Floor Blues," the multi-talented Chris Thomas King reworks a classic with a razor-sharp rhythm guitar and crickets as his only accompaniment. And "Lonesome Valley" by the ancient Fairfield Four emits soul so deep that light cannot penetrate its surface.

Gorgeous female-dominated harmonies are a hallmark of O Brother. "Down By The River To Pray" evokes the feeling of an evangelical revival. "I Am Weary (Let Me Rest)" and "I'll Fly Away" are two marvelously composed yet breathtakingly simple country renditions that soften and compliment what would otherwise be a rough-edged soundtrack.

Another fascinating facet of the album is its backwoods instrumental tracks. The two "I Am A Man of Constant Sorrow" tracks—one by Norman Blake and the other by John Hartford—make you think you're drinking hootch on some West Virginia porch waiting for your smellhound to catch you that rabbit.

Johnny Cash, American Recordings

It's not often that a living legend and a member of the Rock and Roll Hall of Fame turns out one of his best albums in the twilight of his career. But that is just what Johnny Cash did with American Recordings. This acoustic masterpiece rides on for 13 tracks, all of which are perfect Cash, with commanding vocals and strong rhythm guitar.

The interesting thing about American Recordings is its minimalist production. The tracks were recorded at Rick Rubin's house, in Cash's cabin and live at his club. Every song is merely Cash and his guitar, with no base, drums or anything else. Lack of accompaniment elevates the music to heavenly highs.

Cash has been called one of the best rhythm guitar players in the business. The validity of this statement is debatable, but Cash squeezes an uncommon plethora of emotions from his guitar.

Among the best tracks is "Drive On" a quick piece about Vietnam and Cash's experiences there. Another song, "The Beast in Me," is methodical, careful and perfect. "Thirteen" is dark and striking, and its tones reach a kind of poetic height. And the increasing intensity of "Down There By the Train" is magnified by no-nonsense lyrics.

American Recordings is successful because Cash does not experiment or try to change. And Rubin does a hell of a job displaying Cash's talent in such a pristine, uncorrupted environment.

Chris Isaak, Forever Blue

Admittedly, Chris Isaak is a stretch for a country music review. But in Forever Blue his unique brand of rock has a blatant country influence, and his fusion sound could be part of a revolution in the arena of twang.

Isaak shakes things up with "Baby Did A Bad Bad Thing," a crass, brazen rock song with an Elvis-like flair. The song, which was included in Stanley Kubrick's "Eyes Wide Shut," drips with sin and betrayal. Needless to say, the song is a nice way to kick off the album. "Go Walking Down There" follows in suit, with the electric guitar rambling recklessly around and his emotional vocals going completely nuts.

Isaak's skill lies in his voice, which can be ice-cool or coal-hot. "Forever Blue," the title track, shines like gold. His voice coupled with an acoustic guitar is reminiscent of The Pixies' "Where is My Mind" and leaves a very sweet sound in your ears.

One grave flaw in Forever Blue is Isaak's inability to vary his subject matter one iota. Almost every song on the album is about losing a woman, and that can make the album a little repetitive at times.

Despite all this, Isaak assembles some fine, sharp tracks that prove to be good country fusion fare.