OK…time for a little history lesson. Have any idea what took place exactly 150 years ago…on April 12, 1861? Well, at the early hour of 4:30am, the first shots were fired at Fort Sumter, beginning the Civil War. In what was to become the bloodiest war in American history, our society was forever impacted by what took place.  Throughout the turmoil of this war, many soldiers and families found solace or togetherness through music. Many songs were heard at campfires as the soldiers rested at night, or as they marched long hours trying to keep their minds occupied with anything else.  With the 150^th anniversary, Smithsonian Folkways is releasing a look at the music which became popular at this time. This 2 CD release includes “A Treasury of Civil War Songs” by Tom Glazer, along with “Civil War Naval Songs” by Dan Milner. Smithsonian Folkways always does it right, and this historical release is no exception. The best part of this expansive release is the extensive liner notes detailing the history behind each song. Each CD includes 38 pages of notes documenting the importance of the period, a story behind each song, along with some amazing images from the period as well.  Tom Glazer was a popular folk singer in the 1940’s through the end of his life in 2003. He had been invited to sing at the White house several times, and is perhaps best known for writing songs recorded by Bob Dylan, Pete Seeger, and Frank Sinatra. His vocals lend a solid foundation to these period songs.  Dan Milner is an established singer of mostly traditional Irish ballads/folk songs. This influence can certainly be heard in the songs performed here, which is fine since several songs from this period are mere adaptations of foreign country songs with the lyrics changed to fit our lives during the Civil War.  What is most interesting to me is to hear even the more popular songs that have endured over time, as they were originally written during this period. “The Battle Hymn of  The Republic” along with “Dixie” are of course familiar to everyone, but not often you hear all the lyrics as they were originally written with the song.  Also, there are several very poignant songs which one may wonder why they were more or less lost over time. Perhaps it is due to their controversial material at times, but they represent the time period very well.  These songs also tell a story in song, with historical reference and facts that many may have forgotten over time. The importance of John Brown for example is portrayed in the song “John Brown’s Body”. The naval songs in particular do a very good job of portraying the more significant ships during the period, including The Alabama, The Monitor, and The Merrimac.  The only issue I have with this offering is I kept thinking how much more could have been added if these songs were recorded by different artists. I believe this was done before in the 1960’s, and Pete Seeger was used to record several of these same songs. I think the hope here was by utilizing the same artist, the focus is on the music itself instead of how well the artist performed the music. "When Johnny Comes Marching Home " http://soundcloud.com/smithsonian-folkways/20-track-20-1 "The Monitor and The Merrimac" http://soundcloud.com/smithsonian-folkways/the-monitor-merrimac  It is hard to comprehend what life was like during this period. The angst and turmoil of war right at your front door is difficult to visualize, and something we hope never happens again. These songs deliver a glimpse back through time that should never be forgotten.

How do you like your music? There are so many variations available today; to be honest I find it difficult to define some as even being musical. In Americana, we enjoy many different styles as well. Some artists are stellar on ballads…some stand tall on lyrical depth…while others can hit you from a variety of angles at one time. The Band Of Heathens are one of those rare talents which can do it all well, and leave you wanting more at the end.  With a new record out on March 29^th called “Top Hat Crown & The Clapmaster’s Son”, you immediately think this is going to be a wild ride…and it does not disappoint. From beginning to end, BOH takes us on an energetic journey of pure funk and soul.  With a majority of writing done by band members Ed Jurdi, Gordy Quist, and Colin Brooks, and supported by fellow band members John Chipman and Seth Whitney, BOH is a multi-headed force which demands your attention and gets you moving with their music, soul, and passion.  It is rare a band has the ability to combine quality harmonies behind this much power, but BOH does it very well. From the first song  a swamp rocker titled “Medicine Man”, the listener is hit with an energetic vibe that continues from song to song. BOH simply lets it all hang out here better than anyone…allowing the music to flow freely and unabashed.  The highlights are numerous…and all pure music lovers will find something to enjoy here. From the powerful soul driven “Should Have Known”, to the roots groove of “Enough”, to the gospel feel of “The Other Broadway” which takes you to the top of the mountain and allows you to enjoy the view with the rest of the record.  Simply put, this musical journey is non-stop and powerful. If you want reserved and mellow…this may not be for you…but then again perhaps it is time to indulge in something different...let yourself go and enjoy. In that case, go buy “Top Hat Crown & The Clapmaster’s Son”.

First of all, let me freely admit that I am a long standing huge fan of Hayes Carll. I was out pushing him on everyone just after his initial Flowers & Liquor way back in June 2002. Thinking about that being so long ago astounds me that it has taken so long for everyone else to catch up. Voted Americana Music’s Best New Emerging Artist in 2010 was a true head scratcher. Don’t get me wrong, he deserves the praise, but the guy has stood atop the charts for the past 2-3 years!!!  So, with that said, I decided to take a novel approach at reviewing his new release, KMAG YOYO, which hit the streets February 15^th. I wanted to take a step back, and see what others may have written about his release, since I already knew what my thoughts would be.  So, I selected the first four reviews which came up under Google search, printed them out, and analyzed each one. The first was written by Blake Boldt for the9513.com. Blake uses the terms “smart-aleck nature” along with “tender sarcasm” to illustrate a picture of Hayes’ writing prowess. While these terms are certainly earned, I feel they only scratch the surface of what Hayes accomplishes. He learned his trade from the best of Texas, and honed his own methods into an uncanny ability to relate with the listener. His ability to draw the listener into his music is what truly sets him apart. Beginning with his original release in 2002, and certainly the new songs on KMAG, Hayes can paint a familiar picture or feeling for the listener, taking them on a musical journey along with him.  Next, Dustin Ogdin contributes a review posted at No Depression. Dustin enjoys using words many fans, including myself, have trouble defining. His statement “While Carll may not be the Godfather of country soul, his fourth album certainly solidifies that he’s a made man in the honky-tonk cabal.” Not sure when I last seen the word cabal used. He also compares Carll to Charles Bukowski by saying “Carll is a sort of Charles Bukowski in the age of anti-depressants”. Bukowski is a poet, which certainly describes Carll as well, although as Hayes freely admits in Hard Out Here on the new release, he is not a poet but just a drunk with a pen. Ogdin writes a positive review boasting of Carll’s consistent ability to create good music, but many of Hayes’ fans may have skimmed over the review after hitting the dictionary wall.  Moving on, the next review was posted to thehurstreview by Josh Hurst. This is a another positive review, using the terms sensational and stellar to support his claim. Josh actually does a very good job, taking us through each song and reflecting on the stories behind them.  Finally, we have the review posted by Tim Basham for Paste Magazine. Tim opens by making a strong declaration, stating this is Hayes’ best album yet. While I admit it is certainly outstanding record, saying it is his “best” is like saying that Halle Barry is better looking than Kate Beckinsale. They are each amazing, why pick between the two? Where Basham loses me, however, is when he states “With alt-country lyrics that are more Tom Waits than Guy Clark, Hayes Carll continues to impress, giving us more to think about than just honky tonks and heartaches”. Huh? Again, why should we attempt to make a comparison at all? To me, it has always been obvious Hayes has learned from many outstanding artists before him, and still continues to hone his own talents today. He is a melding of many, which is what sets him apart from many others. Hayes has created his own unique style.  So, what have I learned by looking through these other reviews? First of all, everyone is impressed with KMAG YOYO, one even going so far as to state it is his best to date. Bold statement indeed. It seems that much like the general public, some are only just beginning to scratch the surface on his talents. With so much music out there today, one would think a unique talent such as Hayes would stand out. As one reviewer did mention, however, Hayes is not blessed with a pitch perfect vocal prowess, nor can he be pigeon-holed into a particular genre.  He overcomes the vocals with a passion which is missing from 90% of other music today. Passion is what drives music, not a pitch perfect mic or machine. The genre issue is nonsense. If we only allow the music to speak for itself, someone may actually listen and enjoy it.  KMAG YOYO stands on its own as a great record. There truly are no misses on this one, with each compelling song well worth listening to again and again. I think that Hayes may secretly snicker at some of the comparisons thrown his way. I am sure a few are so far off base, he can only shake his head. What I have never understood is the necessity to compare, as if that is the only way we can judge if it is good music or not. Well, every once in a while, an artist steps up and stands alone with his own artistic ability. That is Hayes Carll.  So, go buy KMAG YOYO, open your mind and ears and allow the music to flow. With guest artists such as Curb Lund, Todd Snider, and a duet with Cary Ann Hearst, this one is so entertaining, you may find yourself getting excited. KMAG YOYO = Kiss My Ass Guys, You’re On Your Own. TITLE CUT: 05 KMAG YOYO

OK, imagine yourself releasing your first record for a new label. Let’s say the label is Bloodshot, well known for its eclectic music and keen musicians. You have a few songs of your own, but you want to step out and try a few new things with some innovative covers that you think may attract new listeners.  This is exactly where Eddie Spaghetti finds himself with his new release titled Sundowner, which is to hit the streets on February 15th. Best known for his part with the Supersuckers, Eddie has branched out with his third solo record, and has a selection of covers that should certainly attract attention. From the throwback country songs of Del Reeves, Johnny Cash, Dave Dudley, and Willie Nelson, to the underground punk rock of the Lee Harvey Oswald Band (this one was new to me) and The Dwarves, all while also mixing in covers of Steve Earle and Dean Martin (yes that Dean Martin), you have the possibilities of a potent mixture indeed. Now imagine all of these artists current and countrified. Got you curious, huh?  While the originals including the title cut are hit and miss at best, it is these covers where Eddie truly shines. While perhaps covering Neslon’s Always On My Mind was not the best choice, it does show he has a range that can certainly include the passionate ballad. The Martin cover of Party Dolls and Wine had me searching out the original, just to see how he reached this version. To be fair, Red Steagall and I think Charley Pride have also done this song more along these same lines as well.  The most enjoyable songs here are the upbeat movers where Eddie can let the guitar take over and flow along. From Reeves’ hit Girl On The Billboard, Dudley’s Cowboy Boots, and even Cash’s What Do I Care, Eddie hits a more natural stride. However, his true powerhouse resides in the covers of The Dwarves’ Everybody’s Girl and Lee Harvey Oswald Band’s Jesus Never Lived on Mars, where you can just sit back and enjoy the musical journey.

For Gurf Morlix, paying tribute to Blaze Foley has been a life long passion. Gurf was introduced to Blaze as he was first sprouting his own musical roots in Texas, and was able to see the good and bad that followed Blaze as he went through his short life. In Blaze Foley’s 113^th Wet Dream, to be released February 1, 2011, Gurf covers 15 songs originally composed by Blaze. The songs chosen here represent the different facets of Blaze’s short life. Perhaps best known musically for songs covered by John Prine (Clay Pigeons) and Merle Haggard (If I Could Only Fly), Blaze was a character with many talents and unfortunate personal demons. While these demons prevented him from achieving great musical success during his lifetime, they also shaped a person who could write the most heart wrenching poignant music you could imagine. There were times within his music that Blaze would also display his wry humor. These peaks and valleys are all presented here by Gurf with this short synopsis of a music legend.  I say “legend” because to me he is exactly that. While defining the word legend, you see similar words such as myth, fairy tale, and marvel. These words fit Blaze Foley and his talents all too well. Blaze was a character known as The Duct Tape Messiah, due to his love for using duct tape on everything. As written by Blaze’s own love, girlfriend Sybil Rosen, in a book titled Living In The Woods In A Tree, Blaze was also known to live with little or no conveniences we all take for granted, including the joy of living in a tree house. This was a man who needed nothing to see and enjoy happiness, but had no idea how to grab it and hold onto it. He was a man who was killed in 1989 at the age of 39, and the killer walked away without punishment through a chain of odd circumstances. Just like the life he lived, a sad but all true tale indeed.  Blaze’s musical talents are often compared with his personal friend Townes Van Zandt. Each being gifted talents with their own demons, their music was at times foreign to those of us without similar issues. However, when you take the time to peel the layers back, you find they each had a unique ability to drive a feeling home to the listener.  Gurf has succeeded here by capturing the essence of Blaze’s music in 15 songs. While including the fun (Big Cheeseburgers and Good French Fries), the desperate (Cold Cold World) and the poignant (If I Could Only Fly…helped here by Kimmie Rhodes exceptional harmonies), Gurf allows the music to speak for itself, without embellishing it by making it his own.  The highlights here are numerous. While I must admit it is difficult to listen to someone cover a song you feel is untouchable, as I do Blaze’s own versions of his songs, Gurf has maintained the same passion throughout that allows this CD to be successful. Performed by Gurf, along with Rick Richards on drums, these songs vibrate warmly and show the timeless artistic virtues not only of the original writer, but the performer as well. Gurf is certainly one of few who could pull this off, and he did exceptionally well.  02 Big Cheeseburgers and Good French Fries This CD is being released in conjunction with the documentary Blaze Foley:Duct Tape Messiah. 12 long years in the making, Kevin Triplett has spent many long hours putting together this video documenting the life of Blaze. It is something that truly needed to be done, allowing others to see the man, the music, and the legend.  Song list: 1. Baby Can I Crawl Back To You 2:26 2. Big Cheeseburgers and Good French Fries 3. Clay Pigeons 4. If I Could Only Fly 5. No Goodwill Stores In Waikiki 6. For Anything Less 7. Oh Darlin' 8. Picture Cards 9. Down Here Where I Am 10. Oooh Love 11. Small Town Hero 12. Rainbows and Ridges 13. Blaze Foley's 113th Wet Dream 14. In the Misty Garden/I Shoulda Been Home With You 15. Cold Cold World Link for the documentary web site where you can watch the trailer: http://www.blazefoleymovie.com/ Link for Gurf's web site:  http://www.gurfmorlix.com/index.html

It is great to see Justin Earle continue to thrive and gain popularity. The other night he made his national TV debut on Letterman's show, and did an outstanding  job. It was also good to see Jason Isbell there playing guitar as well. In case you missed it, here is a video for you. Great job!!! [youtube]http://www.youtube.com/watch?v=5LLqFF89UtU[/youtube]

Releasing three records in a span of three years is no small accomplishment. It is even tougher to create three successive records each with their own unique quality and sound. Justin Townes Earle has accomplished this rare feat with the release of Harlem River Blues. I recall from an earlier interview with Justin (I should have a new interview with Justin up within the next few weeks so check back soon. This interview was done with him live back stage before a show.) on how he wanted to make sure he was never limited to a particular genre, feeling he wanted to keep his options open and allow his music and creativity to flow. Harlem River Blues verifies his talent can certainly cross many genres and remain clearly exceptional. From the opening title cut, you realize this is going to be far different than anything Justin has previously released. Produced by Justin and Skylar Wilson, Harlem River Blues takes a very introspective look into his new home of New York City. From the title cut, to One More Night In Brooklyn, to Workin’ For The MTA, Justin allows his scenery to flow within his music, much like his hero before him in Woody Guthrie. Wanderin’ is a song that could definitely be based upon the life of Guthrie, and fit within his song catalog as well. Each song here is a statement to Justin’s artistic appeal and charm. One could certainly hear Hank Williams shouting the chorus to the boot kicker Move Over Mama. There are also ballads mixed in which allow Justin to show his depths as a writer and singer. Learning To Cry along with the closing number Rogers Park are simply stunning achievements.   Slippin’ and Slidin’ is a throwback blues number with some dirty grit. The horns provided by Phil Lassiter and Jeff Coffin add a 50’s quality to it as well. In this same vein, Ain’t Waitin’, will have you reelin’ and rocking as well. Jason Isbell does a great job on electric guitar here and throughout the record, performing on 8 of the 10 songs. When trying to review Justin’s music, it is difficult to pinpoint what draws me in. He has great lyrical phrasing, energy, and passion within all of his music. His knowledge of musical history, and knowing what not to tread upon are unparalleled.  The best way to describe Justin’s music is captivating. Listen to the title cut here: 01 Harlem River Blues With three exceptional records in such a short span of time, one wonders what may be next for Justin. He continues his non stop touring schedule as well, so please make sure you catch him. I still stand by the statement I have seen many live shows, but he puts on one of the best. http://www.justintownesearle.com/

We here at Americana Roots endure to present the best music available, even tracing it back to its original lineage.  Well, this music certainly represents everything we stand for here, and more. Smithsonian Folkways has released an outstanding tribute to the legendary Ola Belle Reed entitled “Rising Sun Melodies”. This 19 song CD presents 11 classic songs previously released by Ola Belle, plus 8 additional unreleased live recordings of her performing at festivals. Ola Belle Reed grew up in western North Carolina’s Appalachian Mountains. She was a woman with a big heart and big voice. Her music has been covered by many including Marty Stuart, The Louvins, Tim O’Brien, and Del McCoury. Her songs have withstood the test of time, all still great classics today. Her music of the Appalachians mixes the traditions of the immigrants who settled there, along with spirituals and hymns known by generations of families. Born Ola Wave Campbell in 1916, and one of 13 children, she learned to sing and play her style of clawhammer banjo from her father and family in the early 1920s. Her first band was a group called the North Carolina Ridge Runners. A musical family to this very day, she played in bands with her brother, Alex Campbell, along with her husband Bud Reed whom she married in 1949. That musical tradition carries on even today through her nephews, Zane and Hugh Campbell. The Campbells moved to northeastern Maryland in 1934 to escape the Great Depression. In 1945, Ola Belle was offered more than $100 per week, quite a good sum in those days, to join country music legend Roy Acuff's band and backup group. Ola Belle declined the offer.  In 1951, brother Alex along with the Reeds opened a country music park near Rising Sun called the New River Ranch. This historic place has featured Nashville stars such as Hank Williams, The Carter Family, Grandpa Jones, Conway Twitty and Loretta Lynn along with bluegrass acts like Flatt and Scruggs, Bill Monroe, and the Stanley Brothers. When Alex returned from the war where he was injured at Normandy, they began their own group known as the New River Boys and Girls. They were considered the house band at New River Ranch. They also opened Campbell’s Corner, a legendary country store in Oxford, Pennsylvania. The store sold food, supplies, musical instruments and records from regional Southern record labels. In the back of the store was an area where musicians were recorded and later broadcast over the radio. Many great shows were performed here. Alex and Ola Belle also wrote over 200 songs and played hundreds more traditional songs that were featured over many other radio stations in the United States. In 1978, the University of Maryland presented Ola Belle Reed with an honorary doctorate of letters, and in 1986, the National Endowment for the Arts awarded her a National Heritage Fellowship, the highest honor an American folk artist can receive. A year later, Ola Belle suffered a debilitating stroke, and for the next fifteen years was confined to bed and a wheelchair. She passed away one day before her 86th birthday in 2002. Ola Belle became a role model, especially for women in bluegrass and old-time music circles, as the trailblazer who paved the way for women writing songs and fronting a band. She can best be summarized by her classic song “I’ve Endured”: I've worked for the rich, I've lived with the poor I've seen many heartaches and I'll see many more I've lived loved and sorrowed, been through success's door I've endured, I've endured, how long must one endure. This collection is certainly essential if you are a fan of traditional music. Many roots sprout from this music and this wonderful performer. Do yourself a favor and hear where it all began.

Ola Belle Reed, ‘Rising Sun Melodies’ Track Listing

1. I’ve Endured
2. Ola Belle’s Blues
3. Springtime of Life
4. Bonaparte’s Retreat (Pee Wee King & Redd Stewart)
5. Foggy Mountain Top (A.P. Carter)
6. Fortunes
7. High on a Mountain
8. Sweet Evalina
9. Sing Me a Song
10. Tear Down the Fences
11. My Epitaph
12. Look Down That Lonesome Road (Traditional) **
13. Undone in Sorrow **
14. I Believe in the Old Time Way (Charlie Moore/Bill Napier) **
15. Nine Pound Hammer (Merle Travis) **
16. I Am the Man, Thomas (Ralph Stanley) **
17. I’ve Endured **
18. Ranger’s Command **
19. I Saw the Light (Hank Williams) **

** previously unreleased CLICK HERE TO FIND THE CD AND PLAY SAMPLES http://www.folkways.si.edu/albumdetails.aspx?itemid=3281 CLICK HERE TO PURCHASE A GREAT DVD ABOUT THE NEW RIVER RANCH http://www.newrivermovie.com/

Blending genres of music has become much more common today, with mixed results. Why should we even attempt to categorize all music? Breaking free of these unnecessary habits and allowing the music to speak for itself is what everyone should strive to achieve. The true artists already do it, and unfortunately some pay the price for not fitting well under a particular genre umbrella. Allow me to introduce you to Rose’s Pawn Shop. This L.A. based band is blessed with amazing talent, but yet few have heard of them. If you read prior reviews, many have attempted to categorize them as progressive bluegrass, only because you can hear a banjo, fiddle, mandolin, and upright bass many associate with bluegrass. Some have even tried to compare them with Nickle Creek. None of this is even close, or fair, to Rose’s Pawn Shop. They have a sound and energy much their own, and hallelujah amen for that! From the very opening chords to their new CD titled “Dancing On The Gallows,” the instruments build to a astounding crescendo of music. Supported by classically trained fiddle/mandolin player Tim Weed, Stephen Andrews on upright/electric bass, John Kraus on banjo/electric guitar, and Ulf Geist on drums, lead vocalist and writer Paul Givant present a unique musical experience that you must hear to truly appreciate. By blending bluegrass/country/southern rock/Celtic sounds, Rose’s Pawn Shop energetic passion shines throughout this CD. This is the second CD for this eclectic group. In 2006 they were handpicked by Jack White to open for him and The Raconteurs, ultimately playing for a huge sold out crowd in Henry Fonda Theatre.  After a little shuffling here and there, some time off in 2008, the band began preparing for the new 12 song all originals CD. Speaking with lead vocalist Paul Givant over the phone, he seemed quite pleased with the final results. “We wanted to have more diversification on this one, and highlight our instrumental talents in the group. Tim is a classical trained musician, Ulf is a great drummer, Steve and John each do exceptional jobs as well. We definitely wanted to accentuate the positives.” There is much her to enjoy for every musical taste. “Ball of Flames” is a rockabilly song that would fit comfortably on any original Stray Cats record. Stephen Andrews opening bass piece sets the table here. Traditional country fans will love “The Bed In Which You Lie.” This one sounds like a great Dwight Yoakam piece, back when Dwight was concentrating on his music and not acting. In fact, listen closely to Givant’s vocals here and it will remind some of Yoakam’s heartfelt passion. “Strangers” is a song which captivates you with the opening sounds of a lone cello, creating the picture of anguish and despair in this haunting number. This timeless classic by Givant is simply amazing. The combination of instrumental pieces and lyrics here leave you wanting more. Close your eyes, sit back, and enjoy this one. The last two songs on the CD are an interesting contrast in themselves. “The Garden” opens much like an old Irish tune, then Givant enters with the vocal phrasing reminiscent of 1960’s Bob Dylan. The harmonies here by the full band add a special touch not seen on many other songs. “Debt Collector” is the final epic song, epic in the sense it is over 7 minutes in length. When asked about this, Givant said “Sure, we thought about cutting it down. The producer wanted to, but I just couldn’t do it. I am pretty strong willed, and when I hear something in my head, that is the way I want it. I just didn’t feel we could cut it without losing an essential part”. This song has a certain Spanish feel, with the introduction of horns in the song. Picture the Arizona/New Mexico landscape as the background to this story, and you have hit home. Givant states the band is looking forward to its cross country tour this summer to promote the CD. Besides the songs on the CD, look forward to a few songs from an eclectic mix including The Misfits, Johnny Cash, and even the Phil Collins tune “In The Air”. “We certainly do them our own way, so some may not recognize them right away, but we enjoy adding our own twist into them and see the reactions,” says Givant. This record must truly be heard to appreciate, because words themselves can not do it justice. If you go into it with a closed mind, looking for bluegrass for example, then this may not be for you. For those with a love of music in all it’s passion and purity, then pick this one up and enjoy. Just so you can get a better idea for yourself, here is the title cut from the record. 01 Dancing On The Gallows Keep up with the tour schedule, and all other news from the band here: http://www.rosespawnshop.com/

It has been a somewhat slow early spring for music releases thus far, but that is about to change. For the first time on CD, the self-titled debut album from the highly-acclaimed, alt-country pioneers The Jayhawks will be released on May 18^th by Lost Highway. The Jayhawks (often referred to by fans as The Bunkhouse album) was originally released in 1986 on Bunkhouse Records, with a pressing of only 2000 vinyl copies. Fans not fortunate enough to own a copy of The Jayhawks will be happy to know that it will finally be available on CD, and again on vinyl for the first time in nearly 25 years. The Jayhawks reissue will include an eight-page booklet with new photos from the recording period and a new essay by Jayhawks co-founder Mark Olson about album producer and then band manager Charlie Pine. The tracks are the original thirteen songs that appeared on the album, including “Falling Star”, which recently resurfaced on Music From The North Country: The Jayhawks Anthology (American Recordings/Legacy Recordings) in 2009. The 1986 incarnation of The Jayhawks featured Mark Olson (vocals/guitar), Gary Louris (lead guitar/vocals), Marc Perlman (bass) and Norm Rogers (drums). After listening to The Jayhawks, it is clear why the band became a catalyst in the evolution of what would eventually be coined alt-country. The album has more in common with Gram Parsons and The Flying Burrito Brothers than it does with later Jayhawks classics Tomorrow The Green Grass and Hollywood Town Hall. This is certainly something you should check out. The interesting part to me is reflecting on the roots and seeing how they have since sprouted and grown. This material was released over 20 years ago into a market/genre that was in its infancy, but yet remains timely still today.