COUNTRY FEEDBACK

A year that has seen some extraordinary political turmoil has also witnessed a certain musical upheaval. Bands have come, bands have gone and others have come back for a second bite of the cherry. Yet nobody has made as consistent a success, across the board, as The Cranberries.

To say that Ireland has become a major force in world pop is premature, nonetheless. A lot of good stuff is happening but there’s a need for more consistent chart action. And it may well be that the breakthrough will come from an economically structured independent sector with labels operating either in tandem with a major or under their own steam. The majors, these days, require a far quicker return of their investment than many are capable of delivering. Yet the sense that we still have a lot of undeveloped talent, much of it not based in Dublin, is encouraging. It will surely be interesting to see who breaks big over the next year.

In terms of personal music choices, I still hold out a flag for country music. Though Music City USA’s slogan was “It’s Hip to be Country” the reality is it’s not, except in certain circles among the 35-plus age group. You won’t find many people interested in techno or grunge who are prepared to make the cross over.

In the past I’ve often criticised much of what has been released by the Nashville majors. This year there have been encouraging signs: some of the year’s best releases were debuts that have taken a far more traditional base and extended it to a contemporary setting. These (highly recommended) releases are (in no particular order): David Ball, Thinking Problem; George Ducas’ eponymous album; Mike Henderson Country Music Made Me Do It; Bob Woodruff, Dreams and Saturday Nights; Jamie O’Hara, Rise Above It; Charlie Major, The Other Side. It can only be hoped that all of these artists will be around for a second album next year. I feel there is a huge untapped market for this type of country if it’s given the chance (especially in Europe).

Of the living legends, both Johnny Cash with American Songs and Waylon Jennings on Waymore’s Blues (Part II) proved that they can be every bit as vital now as they were in the past. Meanwhile, my own tips for the top: The Mavericks (with What A Crying Shame) and Jim Lauderdale (with Pretty Close To The Truth) underlined their potential. Others who this year released good records include: Wylie and the Wild West Show Get Wild, Rodney Foster Labor of Love, Butch Hancock Eats Away the Night, Chris Le Doux Haywire and Robert Earl Keen Gringo Honeymoon.

Just in case you think the twang has touched my brain there were other goodies: Beck Mellow Gold, Renegade Soundwave Howyoudoin’?, Leonard Cohen Cohen Live, The Nits Da Da Da, Jah Wobble Take Me To God, Grant McLennan Horsebreaker Star, REM Monster, a great live album from John Hiatt Comes Alive at Budokan and a couple of vital reissues with The New York Dolls Rock’n’Roll and The Triffids Australian Melodrama. Over and out.

Stephen Rapid