"The underground country movement started roughly in the mid 90′s on lower Broadway in Nashville that at the time was a run down part of town. Young musicians from around the country, some from punk backgrounds, came together from their mutual love of authentic country music to create a counterbalance to the pop country that was prevailing on Music Row a few blocks west.
Underground country started with mostly neo-traditionalists like Wayne “The Train” Hancock, Big Sandy, and Dale Watson, but spread to the punk and heavy metal world through acts like Hank Williams III and Th’ Legendary Shack Shakers. This list does not just consider the appeal of these albums, but also the influence they had on other underground artists and albums, and on country music and music in general.
Please understand that this list is just for underground country albums. This means artists better defined by the Deep Blues like Scott H. Biram or Possessed by Paul James, or Texas artists like James Hand or Ray Wylie Hubbard, or country artists who may work on the fringes of underground country but would not necessarily be considered underground like BR549 or Roger Alan Wade, are not included. Americana acts are not included. This is strictly underground country’s opportunity to bask in the spotlight."
- Triggerman
Link to original post on Saving Country Music
This very well may be the most authentic album of music put out in the modern era for any genre. The Boomswagglers have always been and continue to be more myth than reality, with original Boomswaggler Lawson Bennett long gone and a cavalcade of replacements shuffling in an out with Spencer Cornett. Even if they never put out another album, The Boomswagglers made their mark, and it is a deep one.
“The music is wildly entertaining and deceptively deep. If you’re going to be a Boomswagglers song, someone’s got to die, and likely a woman. Some may find this silly, monotonous, or even offensive, but you have to listen beyond the lyrics, and unlock the carnal wisdom that is hidden in these songs.” (read full review)
Dark Bar & A Juke Box was an instant underground country classic, and so was the anti Music Row song that the album got its name from. JB and his Wayward Drifters grit out a superb selection of songs displaying taste, restraint, and a sincere appreciation for the roots of country music, which may have surprised some who knew JB more for his work with heavy metal bands like The Murder Junkies and the Little White Pills. Dark Bar & A Juke Box also boasts appearances from the famous son and grandson of a country music royal family, who due to contractual issues had to work incognito (wink wink).
Some (including Lucky himself) may point to Hillbilly Fever as being the seminal Lucky Tubb album with its big budget and appearances by Wayne “The Train” Hancock. But Del Gaucho is where Lucky Tubb came into his own, found his sound, and the unique musical flavor only he has to offer the world. Dirty, rowdy, rocking, but still steadfastly neo-traditionalist country, Del Gaucho scores off the charts when it comes to style points. When you’re talking about some of the greatest neo-traditional country albums and artists of all time, Lucky Tubb and Del Gaucho deserve to be in that conversation.
They say you have your whole life to write your first album, and what makes Bob Wayne’s Blood to Dust so special is how true and touching he told his life’s story through song. His subsequent albums aren’t too shabby either, but with signature songs like “Blood to Dust”, “Road Bound”, and “27 Years”, this still stands out as his signature album, and a signature album of the underground country movement. It was performed, produced, and recorded by an all-star cast of contributors that included Donnie Herron, Joe Buck and Andy Gibson, and brought Bob Wayne out from behind-the-scenes as Hank3′s guitar tech, and made him one of the movement’s most well-known songwriters and performers.
This is the album that launched Farmageddon Records, and that launched Jayke Orvis as a formidable, premier front man in underground country. One of the founding members of the now legendary .357 String Band, Jayke was asked to leave the band because of irreconcilable differences and almost immediately began touring with The Goddamn Gallows and trying to make this album happen. The result was a slick, tightly-crafted LP showcasing excellent songwriting and instrumentation. From ballads to blazing instrumentals, Jayke Orvis has proved himself to be one of the singular talents of underground country roots.
This album was destined to become an underground country classic. The mad genius music mind of Lonesome Wyatt of the Gothic country duo Those Poor Bastards has the uncanny ability to procure the absolute most appropriate sounds to evoke the desired dark mood in his music. Then you combine that with one of the best voices not just in underground country, but in all of music in Rachel Brooke, and magic was bound to happen. The creativity on A Bitter Harvest is spellbinding. More of an artistic endeavor than a toe tapper, Lonesome Wyatt and Rachel create a soundtrack to human emotion and despair. For people looking for a place for country music to evolve, A Bitter Harvest shows how you can take authentic country themes and an appreciation for the roots of the music, and envelop it in layers of textural color culled from the wide experience of human sounds.
Midnight At The Movies was Saving Country Music’s 2009 Album of the Year. Today it would be difficult to characterize Justin Townes Earle as underground country because the quality of this album launched him into the inner sanctum of Americana.
“Justin Townes Earle has done an awesome thing with this album; he has figured out a way to unite all the displaced elements that make up the alternative to mainstream Nashville country, while still staying somewhat accessible to the mainstream folks as well. You might even catch the bluegrass folks nodding their head while listening to it. Folkies like it, and there’s a few tunes blues people can get into. This isn’t just the REAL country album of the year, it is the “Alt-country” album of the year and the “Americana” album of the year.” (read full review)
El Santo Grial was Saving Country Music’s 2011 Album of the Year.
“Every once in a while, an album comes along that changes everything. It’s an album that inspires other albums, and dynamic shifts in tastes and approach throughout a sector of music, while at the same time dashing the dreams of other artists, as the purity and originality are way too much to attempt to rival. Slackeye Slim’s El Santo Grial, La Pistola Piadosa is one of those albums.
“El Santo Grial is a masterpiece, exquisitely produced, arranged, and performed. This is a patient, uncompromising album. You can tell time was never introduced into this project as a goal. The goal was to flesh out Slackeye’s vision without ever settling for second best, and that goal was accomplished.” (read full review)
Thunderstorms & Neon Signs is the Wayne Hancock album most people gravitate towards as their favorite because it was their first, and the first to showcase Wayne Hancock’s unique blend of country, Western Swing, rockabilly, and blues. But pound for pound, That’s What Daddy Wants is just as good of an offering, boasting some of The Train’s signature songs like “87 Southbound” and “Johnny Law”. Wayne Hancock has never put out a bad album, and distinguishing between them is difficult. But it’s not difficult to say that the underground country movement would have not had as much class if That’s What Daddy Wants hadn’t seen the light of day.
“They were all the absolute best possible musicians you could find at their respective positions, each challenging each other, pushing each other to keep up with the band’s demands for artistic excellence in both instrumental technique and creative composition.
“Listening back now at Fire & Hail, with so much talent in one place, no wonder the project was untenable, and no wonder the respective players have moved on to become their own trees instead of respective branches of the same project. Still, the loss of .357 String Band may go down as underground country’s greatest tragedy.” (read full review)
BR549 and Wayne “The Train” Hancock spearheaded the neo-traditionalist movement in the mid 90′s, but Hank Williams III was the one to carry it into the oughts and introduce it to a brand new crop of fans he brought along from his dabblings in the punk/heavy metal world. After having to tow the line somewhat for his first album Risin’ Outlaw, Hank3 was unleashed and able to showcase his own songwriting, heavily influenced by Wayne Hancock and Hank3′s famous grandfather, but still all his own. His voice was wickedly pure with a heart wrenching yodel and commanding range. The songwriting was simple, but powerful. This is a masterpiece, and remains an essential title of the neo-traditionalist era.
Hellbound Glory had already been around for years, but they burst into the underground with this magnificent, hard country album highlighted by head man Leroy Virgil’s world class songwriting. Despite the “hell” in their name and the hard language in their songs, Hellbound Glory hadn’t gone through any retooling as post punk refugees. They were pure country through and through and Old Highs & New Lows combined excellent Outlaw-style bar stompers and ballads with some of the most wit-filled songwriting since Keith Whitley. As far as honky tonk albums go, it may be years before this one is trumped. And when it is, it might be Leroy Virgil and Hellbound Glory doing the trumping.
Dale comes out on stage and starts slinging guitars, cutting classics, and speaking the truth. Before Dale was the hometown boy and house band for Austin, he was pissed off and willing to sing about it. Dale’s anti-Nashville classics “Real Country Song”, “Nashville Rash”, and “Country My Ass” can all be found here, but Live in London isn’t all pissing and moaning. Songs like “Ain’t That Livin’” showed off Dale’s superlative voice and suave style. Honky tonk albums are sometimes hard to make because it is hard to capture that live, sweaty energy in the recorded context. So what better way to solve that problem than making a live one? Live in London remains the best Dale album to date.
This was one of the first albums to bust out of the burgeoning music scene on lower Broadway in Nashville where one can argue the undergorund country movement started. It showed the world what kind of mayhem could be created by mixing country, blues, and punk music together without compromising taste and soul. It is the album which acts as a guidepost to the eclectic, yet intuitive and inter-related mix of influences that you will find in underground country: honest to goodness appreciation to the roots of American music, with a punk attitude and approach. And if you ever wondered why Joe Buck is considered part of underground country, appreciate that he played most of the music on Cockadoodledon’t.
There are two albums that you can look back on an make a serious case that if they did not exist, underground country music may not exist–the album below this one on this list, and Wayne Hancock’s Thunderstorm & Neon Signs. There are two types of music artists: originators and imitators. Sometimes imitators can be very successful, and very creative artists themselves. But it always takes the originators to set the plate for the imitators to do what they do. Thunderstorms & Neon Signs was an original album from one of America’s most original country roots artists of all time. It doesn’t get much better or more influential than this.
This album isn’t underground country’s Red Headed Stranger. It isn’t underground country’s Honky Tonk Heroes. It is both. It is the album that both was a novel concept, a breakthrough sonically and lyrically, and had a massive impact on the business side of music, for artists winning control of their music and inspiring and showing artists how to do it themselves. The deposed son of country music royalty had taken on a major Nashville label, and won, and all while being one of the first to successfully bridge the energy and approach of punk and heavy metal music with traditional country, all while keeping the music solidly country in nature.
It was the first album to be put out through the CMA with a Parental Advisory sticker. It was the first to ever be recorded outside of a traditional studio setting. Of course only a select few were paying attention, but it broke through many barriers that to this day have changed music in significant ways, sonically and behind the scenes.
The approach also had wide-ranging impacts outside of underground country and country music in general, to rock music and punk and heavy metal, inspiring thousands of rock kids to put down their electric guitars and AC/DC records, and pick up banjos and Johnny Cash records. The impact on mainstream music may have not been seen, but it was felt, and just like all great albums, it’s legacy will grow and be more appreciated and understood as the future unfolds."
Underground country started with mostly neo-traditionalists like Wayne “The Train” Hancock, Big Sandy, and Dale Watson, but spread to the punk and heavy metal world through acts like Hank Williams III and Th’ Legendary Shack Shakers. This list does not just consider the appeal of these albums, but also the influence they had on other underground artists and albums, and on country music and music in general.
Please understand that this list is just for underground country albums. This means artists better defined by the Deep Blues like Scott H. Biram or Possessed by Paul James, or Texas artists like James Hand or Ray Wylie Hubbard, or country artists who may work on the fringes of underground country but would not necessarily be considered underground like BR549 or Roger Alan Wade, are not included. Americana acts are not included. This is strictly underground country’s opportunity to bask in the spotlight."
- Triggerman
Link to original post on Saving Country Music
16. The Boomswagglers- Bootleg Beginnings – 2011
This very well may be the most authentic album of music put out in the modern era for any genre. The Boomswagglers have always been and continue to be more myth than reality, with original Boomswaggler Lawson Bennett long gone and a cavalcade of replacements shuffling in an out with Spencer Cornett. Even if they never put out another album, The Boomswagglers made their mark, and it is a deep one.
“The music is wildly entertaining and deceptively deep. If you’re going to be a Boomswagglers song, someone’s got to die, and likely a woman. Some may find this silly, monotonous, or even offensive, but you have to listen beyond the lyrics, and unlock the carnal wisdom that is hidden in these songs.” (read full review)
15. JB Beverley & The Wayward Drifters – Dark Bar & A Juke Box – 2006
Dark Bar & A Juke Box was an instant underground country classic, and so was the anti Music Row song that the album got its name from. JB and his Wayward Drifters grit out a superb selection of songs displaying taste, restraint, and a sincere appreciation for the roots of country music, which may have surprised some who knew JB more for his work with heavy metal bands like The Murder Junkies and the Little White Pills. Dark Bar & A Juke Box also boasts appearances from the famous son and grandson of a country music royal family, who due to contractual issues had to work incognito (wink wink).
14. Lucky Tubb & The Modern Day Troubadours – Del Gaucho – 2011
Some (including Lucky himself) may point to Hillbilly Fever as being the seminal Lucky Tubb album with its big budget and appearances by Wayne “The Train” Hancock. But Del Gaucho is where Lucky Tubb came into his own, found his sound, and the unique musical flavor only he has to offer the world. Dirty, rowdy, rocking, but still steadfastly neo-traditionalist country, Del Gaucho scores off the charts when it comes to style points. When you’re talking about some of the greatest neo-traditional country albums and artists of all time, Lucky Tubb and Del Gaucho deserve to be in that conversation.
13- Bob Wayne & The Outlaw Carnies – Blood to Dust – 2008
They say you have your whole life to write your first album, and what makes Bob Wayne’s Blood to Dust so special is how true and touching he told his life’s story through song. His subsequent albums aren’t too shabby either, but with signature songs like “Blood to Dust”, “Road Bound”, and “27 Years”, this still stands out as his signature album, and a signature album of the underground country movement. It was performed, produced, and recorded by an all-star cast of contributors that included Donnie Herron, Joe Buck and Andy Gibson, and brought Bob Wayne out from behind-the-scenes as Hank3′s guitar tech, and made him one of the movement’s most well-known songwriters and performers.
12. Jayke Orvis – It’s All Been Said – 2010
This is the album that launched Farmageddon Records, and that launched Jayke Orvis as a formidable, premier front man in underground country. One of the founding members of the now legendary .357 String Band, Jayke was asked to leave the band because of irreconcilable differences and almost immediately began touring with The Goddamn Gallows and trying to make this album happen. The result was a slick, tightly-crafted LP showcasing excellent songwriting and instrumentation. From ballads to blazing instrumentals, Jayke Orvis has proved himself to be one of the singular talents of underground country roots.
11. Lonesome Wyatt & Rachel Brooke – A Bitter Harvest – 2009
This album was destined to become an underground country classic. The mad genius music mind of Lonesome Wyatt of the Gothic country duo Those Poor Bastards has the uncanny ability to procure the absolute most appropriate sounds to evoke the desired dark mood in his music. Then you combine that with one of the best voices not just in underground country, but in all of music in Rachel Brooke, and magic was bound to happen. The creativity on A Bitter Harvest is spellbinding. More of an artistic endeavor than a toe tapper, Lonesome Wyatt and Rachel create a soundtrack to human emotion and despair. For people looking for a place for country music to evolve, A Bitter Harvest shows how you can take authentic country themes and an appreciation for the roots of the music, and envelop it in layers of textural color culled from the wide experience of human sounds.
10. Justin Townes Earle – Midnight At The Movies – 2009
Midnight At The Movies was Saving Country Music’s 2009 Album of the Year. Today it would be difficult to characterize Justin Townes Earle as underground country because the quality of this album launched him into the inner sanctum of Americana.
“Justin Townes Earle has done an awesome thing with this album; he has figured out a way to unite all the displaced elements that make up the alternative to mainstream Nashville country, while still staying somewhat accessible to the mainstream folks as well. You might even catch the bluegrass folks nodding their head while listening to it. Folkies like it, and there’s a few tunes blues people can get into. This isn’t just the REAL country album of the year, it is the “Alt-country” album of the year and the “Americana” album of the year.” (read full review)
9. Slackeye Slim - El Santo Grial, La Pistola Piadosa – 2011
El Santo Grial was Saving Country Music’s 2011 Album of the Year.
“Every once in a while, an album comes along that changes everything. It’s an album that inspires other albums, and dynamic shifts in tastes and approach throughout a sector of music, while at the same time dashing the dreams of other artists, as the purity and originality are way too much to attempt to rival. Slackeye Slim’s El Santo Grial, La Pistola Piadosa is one of those albums.
“El Santo Grial is a masterpiece, exquisitely produced, arranged, and performed. This is a patient, uncompromising album. You can tell time was never introduced into this project as a goal. The goal was to flesh out Slackeye’s vision without ever settling for second best, and that goal was accomplished.” (read full review)
8. Wayne “The Train” Hancock – That’s What Daddy Wants – 1997
Thunderstorms & Neon Signs is the Wayne Hancock album most people gravitate towards as their favorite because it was their first, and the first to showcase Wayne Hancock’s unique blend of country, Western Swing, rockabilly, and blues. But pound for pound, That’s What Daddy Wants is just as good of an offering, boasting some of The Train’s signature songs like “87 Southbound” and “Johnny Law”. Wayne Hancock has never put out a bad album, and distinguishing between them is difficult. But it’s not difficult to say that the underground country movement would have not had as much class if That’s What Daddy Wants hadn’t seen the light of day.
7. .357 String Band – Fire & Hail – 2008
“They were all the absolute best possible musicians you could find at their respective positions, each challenging each other, pushing each other to keep up with the band’s demands for artistic excellence in both instrumental technique and creative composition.
“Listening back now at Fire & Hail, with so much talent in one place, no wonder the project was untenable, and no wonder the respective players have moved on to become their own trees instead of respective branches of the same project. Still, the loss of .357 String Band may go down as underground country’s greatest tragedy.” (read full review)
6. Hank Williams III - Lovesick, Broke, & Driftin’ – 2002
BR549 and Wayne “The Train” Hancock spearheaded the neo-traditionalist movement in the mid 90′s, but Hank Williams III was the one to carry it into the oughts and introduce it to a brand new crop of fans he brought along from his dabblings in the punk/heavy metal world. After having to tow the line somewhat for his first album Risin’ Outlaw, Hank3 was unleashed and able to showcase his own songwriting, heavily influenced by Wayne Hancock and Hank3′s famous grandfather, but still all his own. His voice was wickedly pure with a heart wrenching yodel and commanding range. The songwriting was simple, but powerful. This is a masterpiece, and remains an essential title of the neo-traditionalist era.
5. Hellbound Glory – Old Highs & New Lows – 2010
Hellbound Glory had already been around for years, but they burst into the underground with this magnificent, hard country album highlighted by head man Leroy Virgil’s world class songwriting. Despite the “hell” in their name and the hard language in their songs, Hellbound Glory hadn’t gone through any retooling as post punk refugees. They were pure country through and through and Old Highs & New Lows combined excellent Outlaw-style bar stompers and ballads with some of the most wit-filled songwriting since Keith Whitley. As far as honky tonk albums go, it may be years before this one is trumped. And when it is, it might be Leroy Virgil and Hellbound Glory doing the trumping.
4. Dale Watson – Live in London…England – 2002
Dale comes out on stage and starts slinging guitars, cutting classics, and speaking the truth. Before Dale was the hometown boy and house band for Austin, he was pissed off and willing to sing about it. Dale’s anti-Nashville classics “Real Country Song”, “Nashville Rash”, and “Country My Ass” can all be found here, but Live in London isn’t all pissing and moaning. Songs like “Ain’t That Livin’” showed off Dale’s superlative voice and suave style. Honky tonk albums are sometimes hard to make because it is hard to capture that live, sweaty energy in the recorded context. So what better way to solve that problem than making a live one? Live in London remains the best Dale album to date.
3. Th’ Legendary Shack Shakers – Cockadoodledon’t – 2003
This was one of the first albums to bust out of the burgeoning music scene on lower Broadway in Nashville where one can argue the undergorund country movement started. It showed the world what kind of mayhem could be created by mixing country, blues, and punk music together without compromising taste and soul. It is the album which acts as a guidepost to the eclectic, yet intuitive and inter-related mix of influences that you will find in underground country: honest to goodness appreciation to the roots of American music, with a punk attitude and approach. And if you ever wondered why Joe Buck is considered part of underground country, appreciate that he played most of the music on Cockadoodledon’t.
2. Wayne “The Train” Hancock – Thunderstorms & Neon Signs – 1995
There are two albums that you can look back on an make a serious case that if they did not exist, underground country music may not exist–the album below this one on this list, and Wayne Hancock’s Thunderstorm & Neon Signs. There are two types of music artists: originators and imitators. Sometimes imitators can be very successful, and very creative artists themselves. But it always takes the originators to set the plate for the imitators to do what they do. Thunderstorms & Neon Signs was an original album from one of America’s most original country roots artists of all time. It doesn’t get much better or more influential than this.
1. Hank Williams III – Straight to Hell – 2006
This album isn’t underground country’s Red Headed Stranger. It isn’t underground country’s Honky Tonk Heroes. It is both. It is the album that both was a novel concept, a breakthrough sonically and lyrically, and had a massive impact on the business side of music, for artists winning control of their music and inspiring and showing artists how to do it themselves. The deposed son of country music royalty had taken on a major Nashville label, and won, and all while being one of the first to successfully bridge the energy and approach of punk and heavy metal music with traditional country, all while keeping the music solidly country in nature.
It was the first album to be put out through the CMA with a Parental Advisory sticker. It was the first to ever be recorded outside of a traditional studio setting. Of course only a select few were paying attention, but it broke through many barriers that to this day have changed music in significant ways, sonically and behind the scenes.
The approach also had wide-ranging impacts outside of underground country and country music in general, to rock music and punk and heavy metal, inspiring thousands of rock kids to put down their electric guitars and AC/DC records, and pick up banjos and Johnny Cash records. The impact on mainstream music may have not been seen, but it was felt, and just like all great albums, it’s legacy will grow and be more appreciated and understood as the future unfolds."
