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This Month In Americana

Grammy-winning songwriter reveals his roots

Cathy Come Home

Nouvelle Vague-inspired camerawork plus a searing central turn from Carol White remain supremely effective in Ken Loach's 1965 teleplay about naïve bride Cathy (White) and her descent into poverty. The tone occasionally veers into public service hysteria, especially after the Capitalist State Apparatus removes Cathy from her tenement, fires her husband and steals her children. A landmark British film nonetheless.

Cosmic Rough Riders – Too Close To See Far

Revamped Glaswegians stay close to adopted West Coast roots on fourth LP

A Kick Up The ’90s

Must-see documentary puts Britpop in wider context

Reckless Kelly – Under The Table & Above The Sun

Country-rock was superseded as a description long ago by new, alt. and insurgent country, not to mention the catch-all 'Americana'. But the old '70s terminology should surely be revived to describe Austin five-piece Reckless Kelly, who sound more like Pure Prairie League than Uncle Tupelo. Led by the brothers Willy and Cody Braun, the band's third album stomps rowdily on tracks like "Let's Just Fall" and "Nobody's Girl".

Where’s The Beef?

No Captain, but a Beefheartless supergroup assembled from various Magic line-ups

Electric Six – Fire

This album from Detroit electro-garage band, Electric Six, invites the listener to consider two obvious reference points. One being Dynasty, the abysmal 1979 disco album by stadium rock clowns Kiss, the other being the inside cover of Daft Punk's 1997 debut Homework (a collage of grubby teen paraphernalia—comics, rock stickers, Chic seven inches). Electric Six nail a kitschy hybrid of '70s rock and disco—AC/DC & The Sunshine Band, if you will—but repeated plays reveal little charm and less real humour.

Martha And The Muffins – Metro Music

Smartarse new-wave Canucks re-release sprightly electro-punk debut

Autumnal Almanac

Assured first album from south London songsmith

Solitary Refinement

Stunning one-man set as the eclectic troubadour of cool goes back to his folk-blues roots
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