Patty Blee's soulful fusion of blues, folk, and country music are featured on her latest EP, From the Inside. With inspiration drawn from her travels from coast to coast, Blee's previous two albums, Disguise and Acoustic Vibe, have earned her acclaim and some have likened her style to icons such as Bonnie Raitt and Sheryl Crow. The husky, yet heartfelt voice of Blee carries throughout the six tracks, yet each song shows a different side of Blee's talent. The first two tracks play up Blee's honky-tonk inspirations with quick drum beats and strong guitar riffs. The title song, "From the Inside," has a perfect Texas two-step rhythm and up-tempo beat. The EP then progresses to more folk-influenced tracks with "Bank of Jericho" and "Long Time Coming." These tracks show Blee's more blues-inspired lyrics and melodies, and have an almost haunting tone.

The final track, "Never Gonna Go," showcases the range of Blee's incredible voice. A sweet serenade ends the EP with clear and powerful notes that show a softer, more fragile side of the sultry adventuress. Blee credits her music influences to, "acoustic-based singer-songwriters - writers who display incredible courage by what they reveal of themselves." Blee seems to display incredible courage herself, with six tracks about love, loss, and everything in-between.

Country music presents a set of ironies, even from its very name. It was initially labeled "hillbilly music" in the 1920s and then supplanted by "country & western" music by 1949. The pejorative term "hillbilly" is usually associated with people living in the Appalachian area of the eastern United States. But ironically, a derogatory term arose in this very region to describe people living in its quarters with no connections to Appalachia: the "flatlander." Ironically again, the Flatlanders, a noteworthy country music band, originated in Lubbock, Texas (home of Buddy Holly and Mac Davis) and have remained one of the Lone Star State's most respected groups.

The Flatlanders were groundbreaking for their progressive country style, which they fashioned in the early 1970s, and later dubbed as a stepping stone in the dubious term "alternative country." Joe Ely was the more rock 'n' roll-inflected member, Gilmore the more country-informed, and Hancock the more folk-influenced – all pooling their talents together to create an exciting mix as seen on their 1972/1973 now-revered debut Jimmie Dale & the Flatlanders. The album, released in limited copies on eight-track tape, is an ambitious effort, featuring covers of the legendary Carter Family's "Hello Stranger" and "The Father of Country Music" Jimmie Rodgers' "Waiting for a Train." One song, "Dallas," was culled as a single in the spring of 1972, but failed to chart. The band members then dispersed, with Ely, Gilmore, and Hancock each achieving successful solo careers. But this didn't stopped Jimmie Dale & the Flatlanders from being re-released in 1990 as Flatlanders More a Legend than a Band, this time rounded with four new tracks. Nor has it stopped the Flatlanders from reconvening thereafter to produce some critically noticed records.

In 2009, the Flatlanders issued another studio effort, Hills and Valleys, produced by Grammy winner Lloyd Maines. The album is a document of the current troubled American economy. Accordion, keyboard, fiddle, mandolin, harmonica, cello, and electric and acoustic guitars enrich this topical-laden record, hearkening back to the American folk music revival of the 1950s and 1960s.

Hills and Valleys opens with "Homeland Refugee," which talks about displacement and the need for survival and is perhaps the greatest track on the album. However, there's more to it than meets the eye. It reads like a Woody Guthrie poem, lamenting the ills of the American dream and its present state. The song bridges similarities between the Great Depression ("In the wind and the dust in the crash of '29") and the current American crisis. Particularly interesting is the "dust bowl" reference aligning with "returning to the dust where we came." The song gives the impression that everyone has "dust bowls" in their lives and that "we're all migrants," all the same people who will end up in dust. Whether it's a physical, spiritual, political, or social state of dust is left to the interpreter.

Perhaps "Homeland Refugee's" rival is "Sowing on the Mountain," which is based on a Carter Family song and adapted by Woody Guthrie. This time the tune receives a Gilmore arrangement. Based on "God Gave Noah the Rainbow," the tune bespeaks of doom ("God gave Noah the rainbow sign/There won't be water, fire next time") and utter hopelessness. Including this American folk standard next to current numbers not only shows the Flatlanders' faith in American roots music (folk, country, and gospel music in this case), but also the commonality of human struggle regardless of time, location, and background.

"After the Storm," another standout from Hills and Valleys, has allusions to Hurricane Katrina while also relaying the message of a lonesome character's indirection. "Time is to the game like fire is to the flame/There's nothing more to learn/Just let it burn." "Thank God for the Road" is beautifully scripted in metaphors, and "Borderless Love," and especially "No Way I'll Never Need You," are decorated with Tex-Mex flavorings. The album also has a few rock-influenced numbers, with the trio's collaborative "Just About Time" being a highlight.

With its landscape of alternative Texas roots music accenting the travails of life, Hills and Valleys is sure to latch on to those needing an aural connection to these current difficult times.

The Frontier Brothers' first full-length album, Space Punk Starlet, is a fun and whimsical ride on an Indie piano pop bottle rocket. Bouncing piano melodies are joined by sultry punk vocals, a splash of percussion, harmonica, and organ, and the result is magical. This Austin, Texas trio gained praise for their first two EP's and attracted attention from the New York Times and Spin Magazine as a band to watch with the release of Space Punk Starlet. The Frontier Brothers translate their whimsical, electronic sound into their lyrics and track titles as well. The "Magazine Soul" chorus repeats "we've found a new planet!" and the outsider or alien theme runs through the entire album. The track, "Technical Electronic Personic Robot (T.E.S.S.)," a song about loving a robot, seems almost a tribute to the "Weird Science" vibe the band portrays. The trio continues this inside joke with a later track entitled, "T.E.S.S. You are a Wonderful Robot, Please Stay with Me." The softer side of The Frontier Brothers peeks out in "Plastic Bag," a quirky love song that proclaims, "I'm like a plastic bag and you're all the groceries in the town." This album is a must-have for any Indie pop enthusiast and anyone who wants a musical joyride. The Frontier Brothers seem to be out of this world, and that is just how they like it.

The Wilkins family blends acoustic folk with soft rock in their new album, No Expiry Date. The Canadian family is composed of veteran rocker, lead vocalist, and guitarist, Mark Wilkins, his wife and vocalist, Jan Wilkins, and their son, pianist Julian Wilkins.

The album is a relaxing mix with soft harmonies and spirited, hopeful lyrics. Love and loss are prevalent on the album, but the message of hope resonates the strongest in the Wilkins' music. Lyrics like "love is all around you, even when you are far away," combine with the Wilkins family's soothing and heartfelt voices to comfort their audience. Jan Wilkins' voice rings clear, with a folksy twang that connects with the listener; Mark Wilkins adds a hint of old-school rock with his electric guitar; and Julian Wilkins' effortless piano complements his parents' style, yet he brings in a new, fresh element for a younger audience. Nowhere is this fresh sound more evident than in the track, "Whatever You Want." This song infuses an element of electronic pop into the Wilkins' folksy sound. At first glance, Wilkins may seem like the Von Trapp Family singers, but as Jan Wilkins simply states, "The most unique part is that when we're working, we're three musicians creating great music who just happen to be related to each other!"