On the opener of Robbie Fulks’ 1996 album Country Love Songs, he sang, “She liked it fast, she liked it loud, she liked it funky/ She liked everything about me, ‘cept for one thing/ She liked every kind of music but country.” The song was tongue in cheek, making fun of the pernicious idea that country music was something to be looked down upon, that it was somehow inferior to the blandest of rock offerings. Over the last 20 years, Chicago’s Bloodshot Records, that LP’s home, has challenged this ill-conceived belief about all things twangy and Southern by releasing some of the most important alt-country and roots rock efforts of this generation.
Founded by Nan Warshaw, Rob Miller, and Eric Babcock (who left in 1997), the label was born out of a Chicago scene that was oversaturated with post-grunge alternative acts like the Smashing Pumpkins and Urge Overkill. Instead of veering towards that reverb-heavy, arena-ready brand of balls-out rock, Warshaw and co. were looking at a vibrant but underground community of artists raised on traditional American music that couldn’t possibly be mistaken for inoffensive country radio acts. Their first release of 1994’s For a Life of Sin: A Compilation of Insurgent Chicago Country proved to be a finely curated collection that highlighted a burgeoning scene.
With its humble operations beginning in Warshaw’s apartment, the label moved to an Irving Park location in 1999 after it became too big for the small space. Their ethos was always a mix of being musically ambitious and financially conservative, a belief that has led to their long-lasting presence not only in Chicago’s music community but also in the national conversation. While the label’s founders will chalk up their longevity to luck, their catalog is near-unassailable and would be even without a runaway success like Ryan Adams’ 2000 solo debut, Heartbreaker.
Throughout its two decades, Bloodshot has been a host to big names like Adams and Neko Case, revitalized veterans like Alejandro Escovedo, Andre Williams, and The Sadies, and new talent like Lydia Loveless, Old 97’s, Luke Winslow King, and Murder by Death. Its well-rounded approach to all things American music and its scrappy work ethic have made it such an enduring force. To celebrate its 20th anniversary, Bloodshot released a ridiculous, 38-track covers LP of non-label artists taking on some of the canonical offerings of the label’s vast catalog entitled While No One Was Looking: Toasting 20 Years of Bloodshot Records.
Though whittling down well over 200 solid albums into 10 essential offerings was no doubt a Herculean effort, it was also quite fulfilling to revisit and discover the label’s vast oeuvre. Notable omissions include Fulks, label mainstay and punk legend Jon Langford (whose consistency is almost a fault), one-man workhorse Scott H. Biram, Ozark rockers Ha Ha Tonka, reemerged roots-rock troubadour Cory Branan, Michigan cover outfit Detroit Cobras, and countless others. For a label that’s as vital as Bloodshot, these 10 albums that made the cut highlight its diversity, its relentless underdog spirit, and its necessity in a climate that can be cynical and generic.
10. Various Artists – For a Life of Sin: A Compilation of Insurgent Chicago Country
The release that started it all was 1994’s For a Life of Sin: A Compilation of Insurgent Chicago Country. Curated when Chicago’s music scene was populated by post-Nirvana acts like Smashing Pumpkins and Liz Phair, this compilation documented the gritty and rootsy underside that was virtually ignored compared to the burdensome buzz of alt-rock. With a stars-in-the-making lineup that included the Mekons’ Jon Langford, a longtime label collaborator that proved his country rock bona fides, along with Chicago staples The Bottle Rockets, Robbie Fulks, and golden-voiced trio The Sundowners, this disc connected musicians who revered traditional country music and pushed it into directions that were the antithesis to the glossy, contemporary Nashville sound. Not only was it a reflection of an overlooked but thriving scene, the release also marked the Handsome Family’s first recording ever. All in all, For a Life of Sin was a promising look at what the next 20 years would bring: rustic, ramshackle, and furious American music.
9. Luke Winslow King – The Coming Tide
When Luke Winslow King writes music, he dives deep into roots traditions, picking up hints of Delta Blues, folk, country, New Orleans jazz, and gospel. On his debut album, The Coming Tide, the Michigan-born, Emerald City-based musician gives a detailed history lesson of a variety of genres. While all this mixing and matching would cause an otherwise overwhelmed artist to produce a jumbled mess, this LP is seamless in its sequencing and reverent in its homages. Throughout the way, his smoky croon is buoyed by his wife and bandmate Esther Rose, who impeccably complements every arrangement. There’s a full-bodied horn section, upright bass, and jazzy piano chords on nearly every song, and highlights like the bluesy “Keep Your Lamp Trimmed and Burning” and the winsome “I Know She’ll Do Right By Me” rank among the label’s best songs.
8. JC Brooks & the Uptown Sound – Want More
Proving that Bloodshot Records wasn’t just a home for alt-country, JC Brooks & the Uptown Sound’s 2011 sophomore album Want More marked a new era for the label. Trading the pedal steels and banjos for a horn section, raucous big band show, and a soulful frontman, the album was a document of one of Chicago’s best performers and a bold, new direction for the label. Along with fiery originals like “I Got High” and the title track, the album’s best cut is a show-stopping cover of Wilco’s “I Am Trying to Break Your Heart”. Paying homage to one of Chicago’s most revered bands, JC Brooks and co. showed enough flair and creativity to make it their most enduring hit yet. Since then, Bloodshot has signed icons Barrence Whitfield & The Savages, and without JC Brooks, Whitfield’s excellent 2013 comeback LP, Dig Thy Savage Soul, may not have ended up with a home at Bloodshot.
7. Bobby Bare Jr. – From the End of Your Leash
Son of country legend Bobby Bare, Bobby Bare Jr. more than conquered the expectations and molded himself into a bona fide solo artist with 2004’s From the End of Your Leash. More of rocker with a proclivity for roots music than a country crooner, Bare Jr. kicks up the distortion, the guitar solos, and the punchy melodies on the LP. Holding a less refined but more expressive voice than his father, he mournfully croaks on “Don’t Follow Me (I’m Lost)”, slurs on “Let’s Rock and Roll”, and yelps on opener “Strange Bird”. His versatility also suits his subject matter, which can instantly turn from piercingly depressing to lovelorn and darkly comic, sometimes simultaneously. Songs like the hilarious “Borrow Your Girlfriend”, the tongue-in-cheek “Your Favorite Hat”, and the rousing chorus of “Valentine” prove that the album has something for everyone.