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Whether you hate country music, love country music, or love to hate country music, the Austin Lounge Lizards have you in mind. For the past 20 years, this quintet has shown great care and precision in utterly deconstructing the genre and disassembling popular culture through sharp satire, all the while playing note-perfect bluegrass, Western swing, and other hillbilly strains. They’ve struck fool’s gold again with their latest release, “Never An Adult Moment” (Sugar Hill Records), targeting, among others: power ballads, losers at diners, race car driver Richard Petty, film maker Luis Bu�uel, blue laws, and the Smokey Mountains. The rapid-fire wordplay, plus the band’s talent for making the music part of the humor, defy offering a simple illustration. Suffice it to say that each tune, from “Forty Years Old And Livin’ In My Mom’s Garage” to “Rasputin’s HMO,” demands several listenings to wring out every wrinkle. Each member of the band, which was formed while founders Hank Card and Conrad Deisler attended law school in Texas, takes at least one very capable turn at lead vocals, including the new guy, fiddler Lex Browning. Of course, there’s plenty of comic material in the C&W world, and Dallas Wayne proves as much in his fine, hard-edged honky-tonk debut. On “Big Thinkin’ ” (HMG/ HighTone), Wayne lights into country poseurs, his own sorry self, and other targets with a rumbly, authentic baritone, a slate of well-crafted originals, and help from veterans including Buck Owens’ pedal steel guitarist, Tom Brumley. One of the highlights is “If That’s Country,” a withering review of Nashville’s star-making machinery, which has lately been fashioning heroes out of skinny model-types with big voices such as Faith Hill and Shania Twain. Amid other observations, Wayne offers this unassailable critique: “You can make a star of a teen-age girl, but $1 million won’t make her Merle.” Every tune has some smart turn of phrase, though from time to time the production seems a little slick and the material a little too much in the Hank Jr. bag. Naturally, Wayne, a veteran of many a Nashville demo who now lives in San Jose, Calif., has a tender side, too. That comes through on weepers just as honest and forthright as his lighter material. So who, exactly, are Wayne and the Lizards are making so much fun of? Certainly not earnest, angel-voiced Mollie O’Brien. She’s a fine performer with a rich, nuanced vocal sound that she lays on a bed of new grass, folk-rock, and country accompaniment on “Things I Gave Away” (Sugar Hill). The comparisons with Bonnie Raitt seem inevitable, both because O’Brien’s voice conveys power and clarity very like Raitt’s, and because she has a similarly abiding love of roots styles. On this disc, her fifth solo effort in addition to three with her brother Tim (a songwriter and founder of Hot Rize and that band’s comic alter ego, Red Knuckles and The Trailblazers), she takes on blues poet laureate Percy Mayfield’s “River’s Invitation,” jazz singer Abbey Lincoln’s “Throw It Away,” and the Beatles “You Won’t See Me,” among folkier cuts. While O’Brien and producer/guitarist Nina Gerber (Rosalie Sorrels, Kate Wolf) get funky here and there, it is mostly a gentle set, spiced lightly by mandolins and accordions, that places the spotlight squarely on O’Brien’s shimmering vocals, and that’s no joke.

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