(Self-released, CD)

Vermont’s favorite wannabe redneck, Rusty DeWees, is kick-starting the holiday season with the release of his alter ego The Logger’s first musical project, Golddiggers Beware. He’s already appeared on stage and screen; now the Green Mountain calendar boy loosens up the pipes and presents an 11-track disc of mostly self-penned tunes. Here DeWees steps up to the mike and settles behind the drum kit while The Fellers — fiddler Don Commo, bassist Peter Wilder, guitarist Jim Green and banjoist George Seymour — provide the musical accompaniment.

Unfortunately, it’s difficult to decide whether DeWees wants to be taken seriously or not. While hyping his bluegrass backing group as a ripping band of local pickers, the record is full of novelty tunes that would be more at home on the Dr. Demento show than at a local hoedown. Don’t get me wrong — the musicianship on Golddiggers is solid, yet DeWees pretty quickly squanders any musical credibility with his over-the-top, good-old-boy antics.

As a gimmick custom-made to fill the stockings of roots-hungry flatlanders, Golddiggers Beware is a fine product. DeWees lightheartedly jokes his way through the songs in his characteristic put-on Northeastern drawl, while his Fellers pump out a stream of standard bluegrass licks.

DeWees certainly has a nose for marketing, and he wastes no time here diving into the sing-along silliness of “Christmas Again in Woodchuckbury.” A straightforward reading of a stereotypical redneck holiday, the tune lets loose with gunshot sound effects and dancing visions of Skoal and blackberry wine.

“Do Lord” follows suit, with DeWees chanting a spoken-word intro to the traditional Christian hymn. Backed by gospel moans, he tells a tale of going to a country store to buy cookie-making supplies — really — before banging into a jumpy chorus. But rather than being tongue-in-cheek, as one might expect, the song sounds remarkably, uncomfortably serious.

The title track offers a peak of ridiculousness. Recorded to sound like a concert bootleg — complete with feedback and “audience” calls for “Freebird” — the tune features DeWees running through a laundry list of reasons why he loves his truck. Over a stagnant rock riff, The Logger sings “You think it’s you that’s got me pumpin’, honey you ain’t right/It’s my ’62 Ford pickup I’ll be pumpin’ tonight.”

The album fares far better when DeWees steps aside and lets The Fellers loose. The handful of instrumental cuts showcases a competent band and almost-Celtic sound. Lightning-fast finger work and standout playing from Commo enliven tracks such as “Medley” and “Fiddle Strings.” Likewise, Seymour’s plucking on “Moonshiner Runners Getaway” is particularly impressive.

All in all, DeWees has successfully reinvented his Logger persona once again. What Golddiggers Beware lacks in originality is made up for by DeWees’ uncanny ability to make fun of himself. If you’re looking for a Vermonter showcasing true musical talent, look elsewhere. But as a goofy gift for a flannel-wearing fan, Golddiggers Beware ain’t so bad.

VAL DAVIS, IMMORTAL

(Self-released, CD)

Val
Davis’ first album, Immortal, is made up of eight songs recorded over the last decade in Texas and Vermont. Acoustic and electric guitars and stacked harmonies create a pure folk-rock mood in an America/Crosby, Stills, Nash & Young vein, with a ’90s touch in the use of synths in the background. Despite various recording locations, the production is surprisingly consistent — the work has a unified sound. Davis plays all the instruments on the four newest tracks and gets a bit of help on the rest. He’s a strong singer; his smoky, smooth voice makes even the clunkiest lines sound deep and poetic. What really shines is Davis’ acoustic guitar playing, though he’s no slouch on any of the other instruments. The arrangements, too, are strong. “Immortal” is the standout track, but all these songs tend to tickle the ear. Eight pretty good songs that sound pretty great. Not bad for a first album.

ANTIGONE RISING, SAY IT! AN-TIG-UH-NEE

(Self-released, CD)

Although Antigone Rising sound a bit like 4 Non Blondes, their press release says they’re known as the “Phish of pop-rock.” This seems to be based on the fact that they have a bunch of loyal fans who travel to their shows. A 16-song live set from New York City, Say It! an-TIG-uh-nee has a terrible cover and an annoying, albeit possibly useful, title. With songs like “Bitter Song,” “Pretty Girl” and “Broken,” you wouldn’t be far from the mark in assuming the all-female quintet has a bit of attitude. But if you were expecting third-wave riot grrrl, you’re in the wrong place. Picture mid-’70s lite rock, with distorted electric guitar, acoustic guitar, nice harmonies and a lead singer who can wail. Of course, that means a few too many trips to the overvocalization well. It is a live show and, yes, there’s a drum solo. Still, this hard-working band didn’t win its loyal fans by not being fun. “7th Day,” “Sofcurry’s Room,” Run for Your Life” and “Waiting, Watching, Wishing,” are the standout tracks here, but overall, Antigone Rising’s songwriting is still catching up to their instrumental strengths.

MATT BONNER, SIGNS OF PASSING

(Stone Circle Records, CD)

Smart, funny, mystical and cynical, Middlebury College grad Matt Bonner would seem to be a living Yin and Yang. On this CD, his vocals and keyboard work often present a high, airy, spiritual contrast to the grittier, rawer rhythm elements. Dreamy vocals by Bonner and Becky Morrison McCaffrey are in a different realm than the darkly comic hip-hop of Jack Tanner, yet they coexist beautifully. While “Tanner” is a scathing take on the music-marketing machine, a number of songs, such as “Mirror,” reveal Bonner’s deeply poetic side. With influences from Robert Frost to Radiohead to Bjork and Suzanne Vega, Signs of Passing is an eclectic mélange of contemporary influences. Recorded and mixed by Joe Capps at Poker Hill Studio in Underhill, the sonic presentation is super-clean. With the exception of a few dull moments, it’s well worth a listen.