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COUNTRY/BLUES/ROOTS |
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 *Make sure you scroll down to check the Whammo Country 5; our new chart based on Whammo sales...updated each fortnight.
COUNTRY NEWS...
Kasey Chambers fans will be relieved to know that the Aria Award-winning, platinum-selling country diva will be back on Australian radio in May when her new single Like A River will surely be a high-rotation addition to radio. The long-awaited track will be the first indication of new material recorded for her forthcoming album Wayward Angel, which has an official release date of May 31st. After the success of Barricades & Brickwalls, Kasey hasn't messed with the award-winning formula and once again, brother Nash Chambers has handled the production at the Music Cellar and Beach House studios on the central coast. Stay tuned to Whammo for more updates in coming weeks.
(posted: March 31, 2004)
The Pete Murray story is quite amazing. Here in Australia, in a time of popstars and retro rock, we're seeing the birth of a singer/songwriter with longevity. His album, Feeler, was released without the usual fanfare, gaining strong reviews, causing little hype, but gaining strong industry support. It was those same supporters in the industry that nominated Murray for an Aria Award and since that time his Feeler album has gone from strength to strength, crawling up the charts until, this week, it hit #2, only kept out of the prime position by the release of The John Butler Trio's Sunrise Over Sea album. The presence of Sunrise Over Sea (#1 debut) and Feeler at the top of the Australian album charts must send a strong message to pop-obsessed major labels. Meanwhile Pete Murray's Feel Tour continues to gain weight, with more dates being added each week. In one week of ticket sales Murray sold out 4 Sydney Metro shows, an outstanding acheivement for a local artist. To check out Pete Murray's Feel Tour, click here. To read a review of the Feeler album, click here.
(posted: March 16, 2004)
This week, The John Butler Trio release their new album, Sunrise Over Sea as John prepares to woo a who's who of the international music community at the fothcoming South By Southwest Music Conference in Austin, Texas. Butler's success is a testament to the DIY philosophy that is currently being embraced in Australia, with many high-profile artists opting for control over the production and promotion of their music over the lure of major label chequebooks. With the success of his own trio and fellow acoustic legends The Waifs, Butler's own Jarrah label has been a revelation for local roots music. As for the fresh tunes, the Sunrise Over Sea album promises to extend his fanbase with gutsy departure from his typical blue-powered style to dabble with other genres under the broad 'roots' category.
(posted: March 9, 2004)
WHAMMO'S COUNTRY/BLUES/ROOTS TOP 10 (MARCH/APRIL 2004)
TOP 10 COUNTRY/BLUES/ROOTS ALBUMS
1.....JOHN BUTLER TRIO SUNRISE OVER SEA
2.....PAUL KELLY WAYS AND MEANS
3.....THE WAIFS BRIDAL TRAIN
4.....TEX PERKINS SWEET NOTHING
5.....NEIL MURRAY GOING THE DISTANCE
6.....SHANE HOWARD RETROSPECT - COLLECTED SONGS 1982-2003
7.....SARA STORER BEAUTIFUL CIRCLE
8.....HORSE STORIES ONE HUNDRED WAVES
9.....VARIOUS ARTISTS THE WINNERS 2004
10....LISA MILLER VERSION ORIGINALE |
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 NATIONS BY THE RIVER
Add to basket. Please note: this title is available on pre-order and orders will not be completed until the release date of 14-Jun-2004. $17.95 (US $12.08) (UK £6.53)
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In a deserted Newcastle parking lot, after the mysterious disappearance of a set of car keys, members of Gelbison and The Sleepy Jackson gave birth to a new project, Nations By The River. Faithful to humble beginnings (Edo and Luke jamming with a couple of acoustic guitars), the album's finest moments are minimal acoustic wanderings that benefit from raw vocal performances. The combination of Rein, Steele and the Kahn brothers results in strong ditties communicating heartbreak and longing, in true country tradition. Of course, that's where tradition ends and the term 'alt country' begins. After a wonky start to the tracklisting, the strengths of Steele and the Kahns begin to emerge. You'll find the Sleepy-style choral-edged falsetto (Cracking Up, Kids World) combined with dramatic electric atmos (Heroin) that reminded me of Gelbison's early EP Metal Detector. It's the quiet moments that most impressed me, but the camaraderie in the studio can be infectious, as with the final track We Dance Every Day. This is an album for urban country fans that love the most human elements of music, and for the duration of this LP the listener rarely feels separated from the musicians, who seem to be playing only a few feet away; a rare achievement in a world obsessed by digital technology and robotic musicianship. Initially, I found the off-key moments of this album to be a little too abrasive but the more I listen to Holes In The Valley, the more I suspect that it may actually be a work of flawed beauty; and aren't they the most interesting kind?
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REALITY CORRECTORS ONE THROUGH TWELVE
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 DISASTER PLAN
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To the best of my knowledge, there's only one Disaster Plan album missing from my collection (Evacuation Centre) and let me tell you, I'm pretty dirty about that. I want to be the complete Disaster Plan fan. That's because - in the moments when I like to chill and ease back - this band provides the complete fix, with a rural rambling style fused with urban intellect. Here's a fresh slab of tunes - Reality Correctors One Through Twelve - and more alt-country bliss awaits the listener. Triple J finally added Disaster Plan to their playlists in 2002 after being wooed by the infectious Wronger (from Self Help Guide) but the duo of Moffat and Ruff still represents the most obvious hidden gem of the Melbourne scene. As they crawl out of the shadows to be exposed to the glaring light of media attention, the band are discovering the mod cons, namely real studio environments, adding a little more care to the production. It's immediately evident on the opener, Turning Left At The Red Sea, which provides a perfect example of Moffat's lyrical delivery, which successfully gives the impression that he's talking to himself, oblivious to the presence of an audience. I don't think I've heard the band perform a cover, so when I recognised New order's Age Of Consent, I was surprised. The rewarding thing about the appearance of such a classic is that the song sits well among the originals, not really standing out. I guess that says something about the quality of Disaster Plan's songwriting. Tragic Boating Accident lashes out, using the trademark DP cello sound to full dynamic intent while my favourite, Distraction-a-holic, shows the way the veterans allow songs to organically grow with a variety of cohesive changes, the song becoming 'greater than the some its parts'. Disaster Plan may have given up the idea of recording in one room with one microphone, but the extra studio time does nothing to polish the raw edges that are essential to the act's style. Reality Correctors still sounds like a bunch of talented mates sitting around, telling music stories and let's hope - regardless of future success - that the band always retain that edge.
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BEAUTIFUL CIRCLE (CD & DVD PACK)
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 SARA STORER
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CD AND DVD Region:TBA Format:TBA
After a record haul of Golden Guitar awards, Sara Storer is the hottest property in Australian country music since Kasey Chambers. The obvious difference between Kasey and Sara is immediately apparent as soon as you hear the opening track, Tell These Hands. While Kasey came to prominence under the moniker of alt-country, Sara is using a more traditional approach and her obvious connection with country fans seems to hinge on her ability to get intimate through down to earth lyrics that are instantly endearing. On Back Out Back Sara shows a healthy disrespect for the hustle and bustle of the city and I'm sure that a few of those lyrics inspire a giggle from rural folks. Rather than reinvent the wheel, Sara respects her country heritage and approaches her audience as a peer, remaining loyal to the subjects and concerns of country life. Beautiful Circle is one of those albums that covers the full gamut of emotions, inspiring a few giggles and for the more sentimental among you, possibly a few tears. Let's hope Sara is celebrated by Tamworth for many years to come.
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 HORSE STORIES
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Following the success of their acclaimed debut, Traveling Mercies (For Troubled Paths), the wandering lo-fi country sound of Horse Stories returns with the help of another fresh batch of gloriously restrained atmos on One Hundred Waves. Ex-pat Toby Burke's whimsical crooning consummately rides the acoustic guitars, pedal steel and harmonica to transport listeners to rural bliss, evoking the spirit of country via the urban sprawl. With new talent opting for the acoustic sounds rather than distortion, country music is set to change and it can't be said that destroying the traditional sounds is the aim of this new generation. You only need to hear the opening track, Push My Buttons, to know that Horse Stories have no intention of bending the genre out of shape. There appears to be a real love for country sounds. The talented 3-piece flirt with the intensity of post-rock while preserving their rural roots, similar to Melbourne acts like Disaster Plan and The Rectifiers. North And South emerges as a standout with its sad sense of longing and delicate dynamics. It's great to hear country music being celebrated with a fresh approach and Horse Stories are one of the few acts on the globe that successfully transmit the feeling of wide open spaces while injecting the innovation of urban minds.
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 DAN KELLY & THE ALPHA MALES
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I've developed a theory after listening to Dan Kelly & The Alpha Males Sing The Tabloid Blues. I believe in ancient folklore, the Kelly males were cursed. The spell compels them to continually write songs for the term of their natural lives. Look at Paul. Has anyone ever actually seen him anywhere but a stage or a studio? Mm...spooky. And here's the 'prodigal nephew', stepping up for his time in the spotlight. Dan has had a musical epiphany since Man O'Mercy and it involves playing with his current backing band, The Alpha Males (Gaz Liddiard of The Drones and Tom Carlyon of The Devastations) who seem to have dragged a hidden growling beast from the pretty boy who began wooing lovers of roots music with his previous EP. Step Forward is a huge leap for Kelly into the realm of rootsy rock. We'd better get used to his dulcet tones, trashy lyrical imagery and deft touches on the old 6-string because he seems to have his own custom-built charm, complimented by an ambiguous background of Buckley-esque wayward adventures and more than a touch of mystery. Summer Wino makes a welcome return but this isn't an album of highlights; it's a consistent barrage of fine songs and believable performances. You'll find plenty of examples of Kelly flexing his lyrical muscle. Words can easily pass you by when they're accompanied by music but when this young crooner sings, you believe him. That's rare. As for the music, the Alpha Males dig deep to find the root of roots music, then squeeze it through amplifiers or dumb it down to the most primal essence; its soul. What am I saying in English? Simply this: I love it.
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 THE WAIFS
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During World War II we lost some of our beautiful Australians when arranged marriages resulted in trips to the US, where young girls would eventually marry their predetermined grooms. For Vikki and Donna Simpson, the tale of their grandmother's marriage is a story that deserved telling in the only style they know: that unique brand of Australian folk that The Waifs are famous for. The pretty biographical account of the Bridal Train has the extra edge that only truth can add to a tune. With packaging and cover art featuring original telegrams and photos, the listener can easily time travel back to the sad but hopeful experience of a girl travelling to a country that must have seemed like another world. The variety of vocals within this act keeps the listener riveted and Josh Cunningham's Strings Of Steel is a perfect choice for a b-side, complimented by a raw version of Sweetness recorded live, clearly displaying the renowned appeal of this band's performances.
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 TIM ROGERS & THE TEMPERANCE UNION
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With You Am I, Tim Rogers forged a reputation as one of Australia's finest songwriters, skipping over musical genres from grunge to guitar-pop and topping the Australian charts. But somewhere along the way he fell into blues and since that time, despite calls to return to the fold and respect the mainstream, Tim seems quite happy to slowly sink into a more traditional blend of blues and country. Here's his first solo effort as Tim Rogers & The Temperance Union: Spit Polish. 12 retrospective/introspective numbers tell us more about Rogers than any You Am I record and deliver thick portions of the enigmatic frontman's strengths: laconic lullabies and bent blues. The melancholy Some Fellas Heartbreaker opens proceedings and drips with irony; the concept of profiting from romantic disappointment by writing a hit ballad. You'll hear that same style of honky tonk riffing that impressed on You Am I’s Deliverance but Rogers injects a little Western edge into his tunes, making them more rural than urban. That's the defining slant that makes Spit Polish different to You Am I's recent efforts. I Only Understand Her In The Rain stands out, combining the rustic feel with the traditional strength of yearning lyrical content and I particularly liked Letter To Gene, a tribute to everyone old enough to remember donning Kiss make-up and launching into imaginary solos on cardboard cut-outs of guitars. Lisa Miller returns an old favour and guests on Damn Songs; a welcome addition to a strong tracklisting. The duo sound great together, as they did on Rogers' contribution to Miller's Version Originale. Fans of You Am I have grown up with Rogers and this is the next step in our maturation. Are we getting old? No, with Spit Polish Rogers shows that we're moving with the times, leaning away from the digital world to favour the art of traditional - and very human - musical genres.
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 JOHN WILLIAMSON
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2 cd pack
The first thing you hear on Mates On The Road is the crowd, applauding a true Aussie hero who has helped to develop an Australian sense of identity. There's real passion in that reception and you can't help but smile when you hear the whistles and cheers. But this collection of live recordings is different to previous efforts, this time being a celebration of Williamson's latest troupe of merry men, including fiddle maestro Pixie Jenkins and one of the most recognisable voices among the many outstanding Aboriginal talents in local country music, Warren H. Williams. This comical trio have forged a successful trail across regional districts where they never fail to fill halls. Mates On The Road is a 2CD set of tracks that also features a few comic routines in John's usual style; down to earth, vividly portrayed and, yes, pretty damned funny too. It's slapstick meets country in a bizarre marriage that will be well received by Williamson's fans, adding a slightly off-beat garnish to their collections.
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 JOHN BUTLER TRIO
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When a talent like John Butler releases albums independently, you know he likes to do things his own way and this self-produced LP is the purest possible representation of Australia's premier purveyor of roots music. Butler promised to explore through his new efforts and he's dutifully kept his word by stretching boundaries, which may have become too restrictive after his breakthrough effort, Three. A healthy sense of humility drives the renowned singer/songwriter/guitarist to always better previous efforts and his fans will be sure to appreciate the new scope on Sunrise Over Sea. More traditional JBT (Treat Yo Mama) is married with bare-knuckle acoustics (Peaches & Cream) and more expansive studio efforts (What You Want). Elements of reggae, hip-hop and funk join his natural flair for blues, culminating in a more diverse effort. With such a strong live following, it's understandable that John produced records that sounded ‘live’ but after selling 120,000 copies of Three, it was time to explore new possibilities in the studio. The stand-out track is There'll Come A Time which shakes the listener from that bluesy trance-like state, with a fast and frenetic slab of riffing, but there are many highlights for fans of Butler's guitar work. The encouraging sign is the man's newfound talent for producing his own work; a tough task for any musician. JBT have heeded the call and raised the stakes with a new depth that offers much-needed variety as well as that tried and true sound that fans expect.
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 VARIOUS ARTISTS
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2 cd pack
I like the Australian accent creeping into our local brand of country music. Sure, you still get the US-wannabes but Sara Storer's sentimental Beautiful Circle leads by example on The Winners 2004; the latest instalment in a series of fine compilations, celebrating each year of Australia's best. People used to ask me what type of music I liked and I'd say 'everything except country music'. How times change. Now Jimmy Little's voice has the power to calm me, Bella can inspire a sigh, Melinda Schneider makes me blush (I think I'm in love) and as for John Williamson, he's a bloody hero. For the thousands of American country music lovers who visit Whammo, you could never find a better sampler of Aussie talent than this look back at the bumper crop of artists who attracted attention over 2004. With the passing of the godfather, Slim Dusty, it's yet another case of 'one door closes, another opens' and you can imagine that wherever the legend is, he's probably casting an approving eye down to Tamworth, justifiably proud of the flourishing industry he nurtured. Slim may be conspicuous by his absence on this tracklisting but it's fitting that a new talent, Sara Storer, picked up 8 nominations at the CMAA Golden Guitar Awards; a new record. I don't pretend to like every artist on The Winners 2004 but I know the quality is high and I've discovered new sounds and fresh faces. If my curiosity forces me to explore the music of these new talents, The Winners 2004 has, once again, done a great service to the local scene.
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 PAUL KELLY
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2 cd pack
I'd like to think that Whammo stops for no one, but the arrival of Paul Kelly's new album has proven me wrong. I instantly - and respectfully - dropped whatever I was doing to review Ways & Means, a 2CD set that treats long-standing fans to 21 superbly crafted tunes by the man generally considered the be Australia's greatest songwriter. For a man who has mastered most genres and definitely dabbled in every possible subject matter, challenges may be dwindling, yet Kelly sinks his teeth into the hardest trick in the book; to write optimistic love songs 'without being banal, sentimental or smug' (his own words). Ways & Means is exactly what you'd expect: exceptionally written, lovingly produced and precisely played. Paul's nephew Dan is credited with many collaborations and as usual, our favourite storyteller has gathered a high profile backing band: Dan & Peter Luscombe, Bill McDonald, Dan Kelly, Graham Lee and Bruce Haymes. Most tracks have a country/folky feel but songs like Heavy Thing and Crying Shame manage to dredge up a growling, electric style of blues that shows Kelly can create a solid and dirty groove. If Kelly's destination was beauty and optimism, Beautiful Feeling and My Way Is To You travel different paths to reach the goal; that's a key to Kelly's genius; a mixture of approaches, all stylised by that distinctive voice, always telling his fans a new story with the intimacy of a close friend. The world seems to have a very low opinion of itself at the moment and there's never been a better time for a gentle reminder of that L.O.V.E thing that we supposedly live for. In Paul Kelly we have writer/performer that manages to catch our most precious commodity and package it. Having said that, Ways & Means is one hell of a package.
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 BOB EVANS
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Obviously, for Jebediah fans, the concept of front man Kevin Mitchell belting out subdued acoustic tunes is alluring, but Kevin's alter-ego, Bob Evans, offers much more than a filtered version of Perth's famous rock export. I immediately noticed the talent for catchy collections of chords was still intact, but Bob seems to have different influences to Jebediah and Suburban Kid acts as exorcism of bottled ideas that Mitchell didn't have the heart to speed up and distort. This debut solo effort is highly personal, sweetly sentimental and hopeful. The album is split in half by two differing approaches: sparse solo acoustics where Bob puts his ego on the line, opposed to songs where Perth's finest musicians (many from acts on the Redline label) cash in a few favours to take their place as a makeshift backing band. Swinging between all acoustic genres - country, blues, folk - Bob Evans sports the same lovable sense of irony that we've come to expect from the Jebs' lyrics (Ode To My Car), but moments of humour are cleverly contradicted when Bob rips his rib cage open to reveal a stadium-sized heart; one that communicates best through naked acoustics on songs like She's Alone and Boy. Suburban Kid is a real treat for Jebediah fans but, more importantly for Bob, it opens the gates and invites a whole new audience to enjoy the music of a proven songwriter.
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LIVE AT THE SELF HELP SEMINAR
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 DISASTER PLAN
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My love affair with the music of Disaster Plan is only a year old but I get to celebrate our anniversary in style: a disc full of unique live moments and improvised versions of my favourite songs. Back in the old days - 2002 - I was introduced to Self Help Guide, the brilliant 5th album and the one that finally convinced Triple J to notice the brilliance of this act. I became infatuated with their country-edged sound although the crux of the appeal was the fact that they put the 'alt' in alt-country. Next step of my 'self-help programme' was seeing the band live at a rare Sydney gig and completely being blown away. Mick Ruff was kind enough hand me two of their previous releases and when I heard Party for the first time I nearly cried; such a devastating set of songs, all recorded with a single microphone. Whoa, I was hooked with all the life-threatening intensity of a schoolyard crush. Even as I write this review my hands are getting clammy, beads of sweat are rising on my forehead and my cheeks are blushing (don't worry, I'm talking about the ones on my face). All these symptoms irrefutably prove that this is true love. Live At The Self Help Seminar only adds to the unrequited love by providing more fuel and reminding me of the live brilliance created by this handful of humble musicians. Oh jeez, tears are welling up in my eyes- I'd better replace this disc with something utterly crap so I can regain some of my usual apathetic nonchalance.
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 LISA MILLER
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Lisa Miller's Car Tape was one of those independent releases that clearly show us the inequities that still plague the industry. It was nominated for three Aria awards and should have topped the Australian charts but alas, the music media were too busy pushing pop tarts to notice the emergence of a credible star. Perhaps if Lisa had worn 20 outfits in a video clip with choreography by Paula Abdul, things would have been different. Here's our opportunity to make amends. Version Originale is a fitting title for a one-of-a-kind performer and songwriter of immeasurable talent. Her country-edged style is instantly comforting on the opening track, I Can't Tell - a duet with Tim Rogers of You Am I fame - which helped ease my Tuesday morning doldrums. Lisa injects a rock feel into New Record, which - and maybe it was a pre-arranged segue way - had that whimsical but beautiful feel that many of You Am I's downbeat tunes possess. But the majority of songs pivot on this outstanding artist's strengths: intensely personal and sparsely recorded songs from the heart (songs like Pushover, Eleven and Hold On). Shane O'Mara, once again, harnesses the energy of the artist with his famed skills as a producer and subtle additions of violin, harp, double bass, pedal steel and percussion add to the rural dimensions of the recording. Country fans should be taking notice of Version Originale but the unquestionable strengths in songwriting make this an album for everyone. Let's lift Lisa to the status she deserves: star.
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 TEX PERKINS
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To see Tex Perkins looming over a crowd in the late 80s was to know the full effect of stage presence. Whether he was fronting Thug, The Butcher Shop or - possibly the most critically acclaimed Aussie act of the era - Beasts Of Bourbon, Tex was an awe-inspiring giant on stage; sinister, passionate, compelling. His early love for country music was always evident and it was no surprise when he perfectly garnished the exact musicianship of the Cruel Sea with his growling vocals, resulting in a string of successes that saw the band become a huge mainstream entity in Australia. Tex's solo LPs have followed the country theme, with the same seething passion applied to subtle, low-key acoustics and Tex Perkins' Dark Horses (the talented combo formed after the album of the same name) represents the evolution of that sound. Devoid of electricity and stripped of gimmicks, Tex's third album, Sweet Nothing, is instantly magnetic from the first dreamy intro (A Hair Of The God) and continues to lull the listener into a daze, dragging them into Tex's zone. Sweet Nothing is an album that sets a lure and invites you to take a bite before slowly dragging you in; a definite low-key highlight of 2003.
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VERY BEST OF SLIM DUSTY, THE
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 SLIM DUSTY
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60 years in the Australian recording industry? How has Slim remained sane? A long list of successful releases certainly helps and great support/admiration from his peers must continue to be a source of deserved pride for the godfather of Australian country music. Released on June 13th, Slim’s 76th birthday, this repackaged and enhanced Best Of disc is a fitting birthday celebration for the local music industry’s greatest living treasure. You’ll find all the hits including Looking Forward…Looking Back and Waltzing Matilda, which have both been added to the tracklisting and the latest Best Of is the perfect introduction for the very few uninitiated. You’d better catch up quickly though, considering Slim is working on his 106th album!
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 JOSH ARNOLD
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It took me a long time to listen to the Scarifier album from Queenslander, Josh Arnold. The disc migrated from one pile to the next and back again, not tempting me with its presentation (ABC- you must do better cover art!). Finally I sighed and thought to myself 'better give it a go' and it took me all of 3 seconds to be instantly hooked to the amazing title track, which sets an eerie mood, telling a vague story which suggests fear and pain, not only through the minimal lyrics but also in its brooding guitar and dark production. As far as I'm concerned, Josh is a great example of alternative country, despite the publicity, which presents him as rock (the lap-steel, slide guitar and Ganjo are a dead give-away!). It may be a great time to rock but there's no shame in this young artist's brand of country. There may be a twang to his vocals but the Queensland accent spilled free a few times. That made me homesick. Muster In The M.H.S briefly proves Josh's ability to rock with tempo but the heavier guitars sound best when combined with the rural edge of Berko. Just when I was making comparisons between Josh and Bruce Springstein, in the way they both seem to worship their homelands, a short version of I'm On Fire interrupted the originals. This is one hell of a new voice for Australian country; a young, emerging songwriter, capable of dusty country, searing rock and seething blues. Scarifier is an impressive second album for a performer who comfortably blurs the boundaries between three genres.
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 ADAM HARVEY
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It’s hard to believe that this is Adam’s 5th album; he still seems like one of the fresh, rising stars of the exploding Australian Country phenomenon. Rod McCormack, once again, provides production skills and hones the talents of a country superstar in the making. McCormack is also active in co-writing and coordinating songwriting collaborations with Billy Yates, David Lee Murphy and Kimmie Rhodes: all based in the US. It could be that Adam has his eyes set on the lucrative US market and with such a deep, distinctive voice…why not?
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 THE WAIFS
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cd extended player
The Waifs keep the folk-powered hits coming as they captivate crowds in the US and Canada. With a decade of sultry acoustic melodies behind them, it seems that this Aria nominated trio are still approaching their peak. Responsible for bringing folk sounds back into mainstream perception, The Waifs’ Up All Night balances between popularity and critical acclaim. Lighhouse keeps the interest in this infectious group’s music at an all time high. With three originals and two videos included on the disc, it’s an indispensable addition to the collections of their many fans across the globe.
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VERY BEST OF, SO FAR, THE
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 DEAD RINGER BAND
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The success of local Country music in 2002 has attracted many new fans to the genre. New Alt-Country fans may not be aware that The Dead Ringer Band is the most successful Australian Country band ever. Just in case you’ve been living under a rock for the last three years, it’s probably worth mentioning that the band is a family affair and the family is, of course, the Chambers family: Kasey (recent winner of the ARIA award for Best Album), Nash (Kasey’s brother and Producer), Bill (Dad and highly respected musician) and Di (Mom and merchandiser extraordinaire). The Very Best…So Far includes choice tracks from their four albums; recordings that changed the course of country music and won The Dead Ringer Band 3 Golden Guitars and an ARIA Award. There are many artists playing country music in this country but not many lived rural life to extremes. The Chambers family’s life on the harsh plains of the Nullabour can be heard through their music and now the finest moments can be heard on The Very Best…So Far.
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 BECCY COLE
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You simply don’t win two consecutive Golden Guitar Awards for Best Female Vocals without being a top-quality Country talent and Beccy Cole is quickly becoming one of the outstanding shining lights of the genre within Australia. The local growth of Country is a direct result of the number of fine acts emerging over the last few years and with songwriting support from Gina Jeffreys, Rod McCormack and Marie Wilson, Beccy is fast developing her own sound and style. Once again, Rod McCormack is at the producer’s helm and with crystal-clear clarity he exposes the wonderful voice of Beccy Cole on Little Victories.
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BARRICADES AND BRICKWALLS
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 KASEY CHAMBERS
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Kasey Chambers' highly anticipated second album, Barricades & Brickwalls, is the follow-up to her stunning multi-platinum debut album, the Captain. Barricades and Brickwalls features guest appearances by Lucinda Williams, the Living End, Paul Kelly, Matthew Ryan and Buddy Miller. Barricades & Brickwalls was certified with Gold sales status after just one week of release in Australia. Kasey has met the challenge head-on of delivering a brilliant sophomore album to her phenomenally successful debut album.
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DUSTY SMILES & HEART BREAK CURES
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 CATHERINE BRITT
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cd
She came into the scene with her track That Don't Bother Me, co-written with Kasey Chambers released on the Open Road Vol. 3 project. Catherine holds much promise for the future while delivering this sensational debut album with 7 originals songs. Her style is even more traditional than Kasey, and where KC dips and lashes into alternate styles for her songs, Catherine is pretty straight down the line.
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TRACKER, THE (ARCHIE ROACH)
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 SOUNDTRACK
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cd
The makers of The Tracker needed a voice that transmited the beautiful yet haunting atmospheres of the Australain outback. Only Archie Roach could successfully capture that essence and, combined with on-screen legend David Gulpilil, Archie adds a certain credibility to this tense tale of clashing cultures.
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