cowpunk Archive

Years ago while watching some or other “madcap” comedy film, I came to a realization: drama is comparatively easy, but comedy is difficult. It’s a fairly straightforward affair to tug at a viewer’s heartstrings; it’s quite another matter entirely to make them laugh. The same is true in music; writing a weepy ballad –not to

British-born Holly Golightly was an important part of the UK garage-punk scene of the 1990s. Today her music effectively combines that foundation with a sound that draws equally from classic American country and western music. Her latest album, Clippety Clop, was created in her well-established way: working with life-and-music partner Lawyer Dave, Golightly recorded the

Today as my regular series of hundred-word reviews continues, I turn my attention toward the sounds of Americana. For my purposes, the term is even more loosey-goosey than the one used by the Americana Music Association: I include blues, rock, and singer/songwriter styles. And why not? Various – In their Own Words, Vols. 1 and

There’s something endlessly fascinating about the creative process. And of course it’s not merely one process; it’s wholly unique for each individual. And because that’s true, conversations with those engage in creative output are often illuminating. David Ensminger clearly agrees: he’s compiled a book’s worth of his own conversations into a volume called Mavericks of

One of the most enduring characteristics of 80s “alternative” music was the cross-fertilization between country and rock. This 80s variant rocked harder than earlier efforts by The Byrds and/or The Flying Burrito Brothers, and was exemplified by a number of excellent bands. The Long Ryders, The Blasters, Jason and the Scorchers, BoDeans and Lone Justice