Wylie And The Wild West Show

MONTE WARDEN: “Monte Warden” (Watermelon Records); WYLIE AND THE WILD WEST SHOW: “Wylie And The Wild West Show” (Cross Three Records); MARY KARLZEN: “Mary Karlzen” (Y&T Records); THE MAVERICKS: “What A Crying Shame” (MCA)

Just when you thought it was safe to like country music, if you like your country music without any rough edges or real emotion that is, there comes along a bunch of acts with more in common with country’s early spirit and roots than the safe, soft-rock-influenced identikit industry indulgences of late, with a bunch of releases to set the heart racing.

First up is Monte Warden, the self-titled debut on Watermelon from the former frontman with the late, lamented Wagoneers. Rooted at the point where country, rock and rockabilly crossed, met and shook hands, this album is a gem. Monte is joined by guitarist Brent Wilson, also of The Wagoneers, and Mas Palermo and Brad Fordham, both formally part of Kelly Willis’ early backing band Ranch Romance. Willis herself lends a hand on ‘The Only One’ and this is an album that truly deserves wider exposure.

Also filed under W comes Wylie And The Wild West Show, another fine debut, released on Cross Three Records through John Prine’s Oh Boy label. More traditional torch and twang fare this time, with some great guitar from producer Will Ray. The current single is the joyous ‘Yodelling Fool’, and ballads like ‘Wishful Thinking’ are handled with equal skill.

From Y&T Records in Miami come The Mavericks and Mary Karlzen. Karlzen is a thoughtful writer, and while her voice may not be as distinctive as that of Nanci Griffith or Iris De Ment, she operates in similar territory. Produced by Karlzen and guitarist Mark Scandariato, the album has a low-key sound, the fine understated guitar playing on ‘Long Time Gone’ exemplifying much of the album’s feel. Robert Reynolds and Paul Deakin of The Mavericks crop up on bass and drums.

The Mavericks’ own ‘What A Crying Shame’ was arguably the best video shown on CMT last year. Produced by Don Cook, their second album for MCA has a rich warm sound that is pure country but with a recognisably ‘rock’ attitude. Blessed with a superb and distinctive vocalist and a set combining well-chosen covers - witness their version of Bruce Springsteen’s ‘All That Heaven Allows’ - and excellent original material, The Mavericks have the crossover potential of Dwight Yoakam or Marty Stuart – provided, of course, they get the necessary backing.

With albums like these, country music is finally coming of age, despite the restrictions being placed on it by radio and the demands of big business. It seems the spirit of Hank Williams Snr. is alive and kicking after all.

• Stephen Rapid