The Road Not Taken

No Depression likely will get a flood of unfavorable mail for its choice of jazz singer Lizz Wright as the cover subject of its latest issue. Co-editor Peter Blackstock makes a compelling argument for Wright, stating that "her music absolutely does relate to the American musical landscape upon which this magazine has long been based," but it's unlikely to matter.

Even though they've tried to laugh off the alt-country tag with the "whatever that means" line, the readers have come to expect a certain standard from the magazine – even if those readers can't define it. That's the biggest problem with labeling music. It builds walls where they need to be knocked down. Sound waves can move people to laugh, cry, dance and rally around the sick and the hungry. You can't contain something that powerful in a neat little box.

If you ask me, I'll tell you I like alt-country. But I can't tell you what it is (or what it isn't). Sometimes I think it has a definite subset of characteristics. Other times I think it's an elitist genre dreamed up by people who don't want to admit that they like country music.

The truth is, there are only two kinds of music for sure, and only we can define them: There's the music we like, and the music we don't like.

The bigger problem with labeling is that it might keep us from seeking out new music because of assumptions we make about it. I don't really care for classical music, but does that mean I don't like any classical? I'm not crazy about white jellybeans, but you sure as hell wouldn't catch me saying I don't like jellybeans.

I don't know how I feel about the ND cover. I haven't heard her music, but you can be sure I'll check it out now. I know this: There's no (W)right answer. There's also no wrong answer.

I want to tear down the boundaries, at least figuratively. Sure, I could separate the Moores family library into genres. But I alphabetize our collection because I like to go to the CD shelves and see Wilson Pickett sitting harmoniously next to Webb Pierce and U2 nestled up against Uncle Tupelo.

I'm not naive enough to think we could live in a label-free world. I'd settle for a little more open-mindedness. It can be hard, though. What bluegrass fan wants to risk their hard-earned entertainment dollar on a jazz singer they've never heard of? There are ways to minimize the risk. Find some common ground, and take a leap of faith.

From my own collection, I'm going to recommend some discs that don't necessarily fit into the standard fare discussed here at HickoryWind.org. All have a link to what we call Americana, through a song or an artist participating in the project. Some are more radical than others, but all have a thread of country, folk, rockabilly or old-timey music running through them. They might not interest you. They might open your eyes (and ears) to styles you didn't think you liked. Whatever the case, I hope you'll dig deeper and find your own answers.

Mike Ness: "Cheating at Solitaire" and "Under the Influences" – Granted, Ness is a scary-looking dude. The burly, tattooed frontman of punk rockers Social Distortion has a soft spot for country music, though. His two solo albums are proof. The back cover photo of "Cheating" shows Ness wearing a black cowboy hat and cradling an acoustic guitar bearing the large, legible autographs of Buck Owens and Johnny Cash. He's no poser, as his covers of "Long Black Veil," and Hank Williams' "You Win Again" attest. "Influences" contains covers of Williams' "House of Gold" and "Six More Miles" and Marty Robbins' "Big Iron," among others. He manages to make distorted guitars and banjo work together on the Carter Family's "Wildwood Flower." If you like these discs, the next step is to go back to Social D's cover of "Ring of Fire." Nothing will ever top the original, but it's not too darn bad.

Joel Harrison: "Free Country" – I'm sure this isn't true in every case, but for the most part if you show me the person who doesn't like jazz, I'll show you the person who hasn't heard the jazz they like. For some of you readers, it might be this 2003 CD by guitarist Harrison. As the title might imply, it's a collection of country, folk and traditional tunes done in an improvisational jazz setting. Improvisation is a trait shared by bluegrass, particularly the work of David Grisman and Tony Rice, so some of this isn't much of a stretch. Some if it is pretty free-form, though. The melodies are clearly stated on many of the tunes, such as "Wayfaring Stranger," before the band goes exploring. It makes it much easier the appreciate where they're headed when you have a well-defined starting point. There are a lot of interesting takes on Americana standards here, such as "This Land is Your Land," "Folsom Prison Blues"and "Will the Circle Be Unbroken." Norah Jones even adds vocals on "I Walk the Line" and "Tennessee Waltz," which makes the disc a little more accessible. Though Harrison is the leader on this session, saxophonist David Binney is the standout soloist, offering bold takes on tunes we could stand to look at from a different angle once in a while. As I said, some of this material seems a bit radical, but I think over time this album will be appreciated for its daring presentation of our musical heritage. At least I hope it will.

Norah Jones: "Come Away With Me" and "Feels Like Home" – Speaking of Jones, she's more than just the poster girl for the Starbucks Lifestyle that you might have been led to believe. Just in case you haven't turned on your TV since "The Dukes of Hazzard" was canceled, Jones' debut, "Come Away With Me," sold about a bajillion copies and netted an armload of Grammys. Yes, there's a lot of piano, and the album overall is jazz-informed. But Jones has country leanings, too. Her piano-and-bass-driven cover of Hank Williams' "Cold Cold Heart" is really pretty to listen to. Whatever gets you into this album, it will be hard to get yourself out of it, easy listening or not. My wife discovered it playing at a Barnes & Noble well before it turned into a phenomenon, and it's been the soundtrack to many a Sunday morning since. The follow-up, "Feels Like Home," shows off a little more of Jones' rootsy leanings. There's a cover of Townes Van Zandt's "Be Here to Love Me," and Dolly Parton guests on the loping "Creepin' In."

Sharon Jones and the Dap-Kings: "Naturally" – Norah's not the only Jones worth keeping up with. This one has a much more tenuous tie to Americana, but it's well worth checking out. Sharon Jones is a big-voiced soul singer fronting a big, brassy funk band. The Dap-Kings are locked in tight for a set of tunes that were made for 70s-era James Brown. The band's horn-driven take on "This Land is Your Land" might not be your cup of tea, but the surprisingly sensual rendition might just make you break out in a sweat. Jesus, I wish I could dance.

Tin Hat Trio: "The Rodeo Eroded" – More jazz, this time in a trio. Unlike Joel Harrison's album, this one is mostly original material. It also focuses on more traditional Americana instruments: guitar, Dobro, banjo, accordion, violin and viola among many others. The pieces are engaging but soothing, too. The hook to get you into this one is the guest vocal from Willie Nelson on "Willow Weep For Me."

Elvis Costello: "Almost Blue" – By now, everybody knows about E.C.'s penchant for style-hopping. This was the album that started it all, a venture into country music that in 1981 turned off some fans of the Irishman's vitriolic pub rock. But it's clear that Costello has an affection for country in his delivery of the songs, from Hank Williams' "Why Don't You Love Me (like you used to do?)," Don Gibson's "Sweet Dreams," Merle Haggard's "Tonight The Bottle Let Me Down," Charlie Rich's "Sittin' and Thinkin'," and Gram Parson's "Hot Burrito #1" (here re-titled "I'm Your Toy"). As an added incentive, the recent Rhino reissue has a beefy 27-track bonus disc that includes duets with George Jones and Johnny Cash. If you're inclined to check Costello out further, pick up "My Aim Is True," "This Year's Model," "Armed Forces" and "King of America" to sample some of the best albums of the late '70s and early '80s.

Ray Charles: "Modern Sounds in Country and Western Music" – Some think of Charles as a soul singer, some an R&B singer. This 1962 album made him an icon. There should be a copy of this album in every home in America in which music is listened to. With his authoritative takes on "You Win Again," "You Don't Know Me" and "I Can't Stop Loving You," among others, he not only changed country music. He also changed the perception of what it could look like.

These are just a few of the roads on which you can follow a familiar tune to further discovery. Why put up fences? The word "American" makes up 89 percent of the word "Americana." (Oh yeah, it does. I did the math.) That's a lot of ground to be covered. Don't let labels dictate what you like. Your own open ears are more than up to the task.