Resident poet and rock and roll star Harold Whit Williams is in the midst of a project to catalog the KUT Collection, obtained a few years ago and inhabiting a sizable portion of the Historical Music Recordings Collection (HMRC).
Being that he has a refined sense of both words and music, Whit seems like a good candidate for exploring and discovering some overlooked gems in the trove, and so in this occasional series, he’ll be presenting some of his noteworthy finds.
Free Electric State / Caress
Not your typical ethereal shoegaze, Durham, NC’s Free Electric State lays its smoky slab of Carolina alt-rock down heavy upon your picnic plate. Shirlé Hale’s lead vocals stun alongside her band’s densely distorted drone. The song structure and guitar wash of Ride or MBV, but with a more radio-friendly fist-pumping feel. Crank it, of course.
Willie Buck / The Life I Love
Chicago blues legend Willie Buck steps out from the shadows of Muddy, Buddy, and Howlin’ Wolf on this high-spirited lowdown collection of classics. A native of Houston, Mississippi, Buck drives his boogie-woogie combo further on up the road with a mixture of juke joint whimsy, suave Windy City certainty, and undeniable Delta-cred.
The Eighteenth Day of May
The self-titled debut album by this London psych-folk outfit made quite the critical splash across the pond with its shaggy-bearded nods to Fairport Convention, Incredible String Band, Pentangle, and the Byrds. Behold the acoustic Celtic shimmer! The chiming electric jangle! Behold those bittersweet Summer of Love harmonies!
Brigitte DeMeyer / Something After All
California’s Brigitte DeMeyer serves up some serious heartland soul on this Brady Blade-produced roots rock record. The Buddy Miller and Steve Earle covers (with backing appearances by both) lend an Americana helping hand, but it’s DeMeyer’s own tracks here that truly stand out and shine.
John Stetch / Ukrainianism
Haunting solo piano from Canada’s fellow traveler jazz genius, John Stetch. Classically avant-garde at times (only to be leavened by his family’s ancestral folk songs), Ukrainianism thrills with life-affirming highs, then breaks the heart with slow and dissonant lows. Contains historical notes for each song. A masterful work of art for a nation and its people.
[Harold Whit Williams is a Library Specialist in Music & Multimedia Resources Cataloging for Content Management. He writes poetry, is guitarist for the critically acclaimed rock band Cotton Mather, and releases lo-fi guitar-heavy indie pop as DAILY WORKER.]