A disappointing outing from the typically solid bluegrass and folk-country artist Tim O'Brien. Marred by mediocre songwriting that borders on the trite and inane and lacking O'Brien's usually stellar instrumental arrangements.

John Mellencamp's answer to Bruce Springsteen's "Nebraska," albeit markedly less dark. Produced by the great T-Bone Burnett and recorded on vintage tube equipment similar to that used by the great folklore field recorders of the '30s through the '50s. A superb outing of rootsy sounds all written by Mellencamp.  A 2010 standout!

Very nice tribute to the "Fist City" queen. Jewell captures both Lynn's feistiness and vulnerability, but does so in a way that adds new, contemporary dimension to Loretta's classic, while not treating them like formulaic museum pieces.  Well done!

Alternative country with a nod to Patti Griffin, Lucinda Williams, kd lang, and the more rocking side of Mary Chapin Carpenter.  Not as enamored of this as many American roots critics seem to be.

Affecting, mandolin-driven new acoustic music in the manner of Nickel Creek, Punch Brothers, and David Grisman.  Atmospheric, easy on the ears, well-played.

Wildly eclectic, Americana-rooted versions of Shel Silverstein's greatest songs, featuring tasty performances by Kris Kristofferson, Andrew Bird, The Boxmasters, Ray Price, Lucinda Williams, Nanci Griffith and Bobby Bare Sr. Recommend 2, 6, 9, 10, 12, 14.

Hammers Of Misfortune- "The Locust Years"

re-released August 3, 2010 on Metal Blade Records

This is the re-release of The Locust Years, the third album by Hammers Of Misfortune. Originally released in 2006, this album marked the departure of Mike Scalzi and the return of Chewy on drums. Their overall sound evolved yet again on this album, introducing a more progressive sound while toning down the folk elements. The title track gets things off to a start with a decent mixture of thrash and doom with John Cobbett and Jamie Meyers sharing vocal duties. The sound is comparable to modern day bands with a progressive influence, such as Baroness and Pelican. "We Are The Widows" changes things up, introducing new member Sigrid Sheie, incorporating the use of piano for a track that has a sorrowful feel to it. "Trot Out The Dead" returns to the progressive side of things. "Famine's Lamp" is an acoustic ballad that may feel out of place at first. But, as you listen along, you will know exactly how it fits within the realm of the band, with a soft, somber feel to it. "Chastity Rides" expands upon the use of interludes with a focus on guitars and organ. "Election Day" is an instrumental with a slightly psychedelic feel to it. "Widow's Wall" returns to the somber, slow feel displayed on the second track. Piano dominates the signature, followed by soft female vocals. Overall, I feel that this album is an improvement upon the first two albums. However, I liked the way that "The August Engine" incorporated more folk. Regardless, you can't go wrong with this album.

FCC: Clean

Try: 1, 2, 4, 7, 8

01. The Locust Years

02. We Are The Widows

03. Trot Out The Dead

04. Famine's Lamp

05. Chastity Rides

06. War Anthem

07. Election Day (Instrumental)

08. Widow's Wall

09. Church Of Broken Glass

4/5