10. Hillbillies & Holy Rollers byJason D Williams:Jerry
Lee Lewis’ son carries on the torch
Worthy of Note EPs
You Used To Live Here byKelley
Mickwee:A modern
“Dusty in Memphis”
Justine by Liz
Frame & The Kickers:A Sultry,
velvet-voiced siren
Well, that's it for 2014. And sadly, that's it for us on this here blog. But don't panic, our very own Cousin JD (aka Brian Rock) will still be discovering and sharing the best in new Country and Americana over at our good friends Turnstyled Junkpiled starting in 2015. Hope to see y'all there! Merry Christmas and Happy New Music to everyone!
“Built To Break” by Ronnie Fauss blurs the lines between
alt-country and alt-rock. Moving from the pounding drums and electric guitars
of “Another Town” and “A Natural End” to the pedal steel and fiddle on “The Big
Catch” and “Never Gonna Last;” Ronnie Fauss delivers a sonically textured
Americana experience. Like Ryan Adams and fellow Texans Old 97s, Ronnie is more
concerned with the music than the label attached to it.
“Another Town” leads off the album with big bass drum beats
and power guitar chords as it tells the story of a broken relationship where
the man says, “Don’t ask me when I’ll be coming back through that door,” only
to find that in the end, he’s the one who’s been left behind. “A Natural End”
follows with a jangly, Athens, GA sound. Less of a story, and more of an
observation, Ronnie wonders about “all the ones we’ve forsaken” as we muddle
through our current relationships. He pleads, “Let’s have a natural end before
we begin. And maybe then we’ll have a chance to win.”
In many ways this song summarizes Ronnie’s lyrical style. He
doesn’t tell stories so much as he paints portraits of their aftermath. He
doesn’t tell war stories, he shows you the homeless war veteran. He doesn’t
tell why the husband and wife fight, he shows you the effect on the children.
Like a painting with a large part of the center blacked out, you can tell
something happened but you’re not sure what. As you work to reconstruct the
picture from the clues around the edges, the whole scene suddenly becomes more
compelling as you’re forced to add your own personal experiences to make sense
of what’s available.
“The Big Catch” is a perfect example of his style. Singing,
“The lightning, it woke you at midnight. You went running to your mom and
daddy’s bed. But they sent you away…” Then he reveals another clue with, “the
place in between where they slept was filled up with lies and resentment.” And
in the end, you never know the cause, you just learn that, “The lightning still
wakes you at midnight. And your little one runs to your room. But you send her
away when she begs you to stay ‘cause nobody did that for you.”
Again, in “A Place In The Country,” Ronnie sings “I’ve got a
place out in the country,” which sounds like a perfectly normal way to begin singing
about the joys of rural living. But Ronnie ends each stanza singing, “I got
sins that you would not believe… I got sins that’ll make the devil blush.” And
you realize this is not about singing the praises of the country, this is about
hiding far away from personal demons – whatever they may be.
In the Dylanesque “I’m Sorry Baby (That’s Just The Way It
Goes”) we discover a lonely woman whose beauty has faded and whose children
have grown. Ronnie describes the cruel irony in poetic fashion: “You’re aching
for your children, for the time when they were young. Back when all you wanted
was some time to yourself.” In telling her story, Ronnie concludes, “the moral
of this story is there ain’t no moral at all.”
So there is no judgment in these stories. No heroes and
villains. There’s just what’s left of our humanity after all we’ve been
through. As Ronnie concludes in “Come on Down,” we are all built to break. But
with just a hint of optimism, he ends by noting, “this work will break our
bodies, but it only builds our souls.”
Pirates Canoe and their debut album, “One For The Pain In MyHeart,” defy easy classification. The lead song, “On Being Unknown,” begins
with beautiful, Norah Jones style vocals layered over soothing, Manhattan,
cocktail-jazz rhythms. “Guitar Blue” follows with a straight-from-Appalachia feel;
complete with fiddle and mandolin. The third song, “Matty Malloy” begins as an
acoustic, singer-songwriter ballad and ends with a full tilt Irish reel.
Even the band name is hard to fathom. Did they leave out a
possessive apostrophe? Is it a canoe that belongs to pirates? Or is it a simple
statement, as in: “On their day off from plundering, pirates canoe”?
But as confounding as all these contradictions are, the
biggest one by far is that Pirates Canoe are from Kyoto, Japan. Yes, that Japan. The home of sushi, sumo, and
samurai is now the home of some sweet Americana (Japanicana?) music!
Apparently distance is no barrier to discovering one’s own
inner rhythms. This sextet clearly grew up with an ear toward the West. Their
musical influences tap into all four of America’s great music streams: Jazz,
Country, Blues, and Rock. And without the assistance of a big time LA producer
telling them what genre they are; they are able to combine all of these styles
into a sumptuous musical smorgasbord that’s part Norah Jones, part Carper
Family, part Squirrel Nut Zippers and just a touch of Fleetwood Mac. But at the
same time, Pirates Canoe is totally original.
Lead singer, Elizabeth Etta’s ethereal voice floats dreamily
over the earthy rhythms of her accomplished bandmates. In addition to the
aforementioned trio of songs, other standouts include the pub-ballad, “Gull
Flying North,” the jazzy, “Blind Is Love” and the unbelievably cool, countrified
version of the B52’s “Love Shack.” From start to finish, “One For The Pain In
My Heart” is filled with delicious and often unexpected syncopations. So to
Pirates Canoe I bid a hearty “Thank ye mateys!” and a “Domo arigato!” for adding
a little soy and ginger spice to the Americana scene.
The Nickel Slots bring their DIY attitude and work ethic to their
third full length release. “Let It Ride” is a perfect blend of Alt Country and
Alt Rock. Part Old 97s, part Warren Zevon, the Nickel Slots champion the
independent spirit of many of the best musical mavericks from both Country and
Rock.
The self-titled lead track begins with a great, crunchy
guitar riff and pounding drums. Singing, “Five o’clock shadow in a smoky room,
I’ve got a cocktail on the way so let it ride,” the band begins this musical
ride with punch and power. And once they start, they never let off the gas.
“One Foot in the Gutter” keeps the uptempo pace rolling, but
this time with a more Country feel – like Dwight Yokam on speed. “On the Wall”
is another great, rockin’ song with a fun sing along (drink along) chorus. They
add a touch of Irish folk-punk on “Dry Town.” Then they finish up with the
blistering Outlaw Country number “Club Rendezvous.”
In between there are irresistible grooves and melodies at
every turn. It’s one of those albums that’s impossible to listen to without
moving your feet and tapping your toes. And even when they downshift on songs
like, “Hush,” they still bring a sense of power through the strong vocals and
lyrics. They sing, “Hold on to the sounds, hold on to the noise, ‘cause bones
turn to dust and doubt it destroys. And landfills are chock full of old
memories. Everybody must live through the silence. Everybody must cope with the
hush.” There’s no sentimentality. There’s no regret or longing for the past.
Through the characters that populate their songs, there’s just the sense that
sometimes life brings rainbows, sometimes it just brings rain. Either way, life
goes on and the best you can do is make the most of the hand your dealt and
just Let It Ride.
Nashville has a new rising star in Breelan Angel.
Her debut CD, “Dirty Little Secrets,” will undoubtedly be a welcome addition to
the Modern Country charts. Part Tanya Tucker and part Kacey Musgraves (another
new artist to keep an eye on!) Breelan sings with sass and swagger.
From the first words of the rousing, “Walk of
Shame” to the last notes of the tender “One More Song,” Breelan sings with
confidence and passion. Her music is filled with lots of radio friendly chords
and choruses, with some nice texture added by the occasional banjo and fiddle
accompaniment.
But the star of the show is always Breelan’s voice
and lyrics. She shows of her Texas sized temper in “Walk of Shame” singing, “Your
ruby red lips and that cheap tan are about to meet the back side of my right
hand.” Then she turns introspective in the drinking to forget song, “Halfway to
Wasted.” Singing “Every shot is like a bullet to a memory,” she takes aim to
shoot down the memories of an ex flame. And in “One More Song,” Breelan plays
fly-on-the-wall to observe with honesty and sympathy a woman who wants, “one
more song ‘cause when that music stops, she’ll be going home alone”
Throughout the CD, Breelan explores the ins and
outs of love, and in the end she reveals that love’s “dirty little secret,” is
that it doesn’t play fair and it doesn’t play by any rules. And after listening
to her first album, I predict that Breelan Angel’s talent won’t be a secret
much longer.
Kelley Michwee is stepping out from her band, The Trishas,
with her first solo EP release, “You Used To Live Here.” And that’s a bold
move, because the Trishas first album, “High, Wide and Handsome,” was a
masterpiece of Americana rhythms and gorgeous vocal harmonies. But when the
band decided to take an “open ended” break, she had little choice.
From the first chords of “River Girl” it’s apparent that
Kelley isn’t trying to create a carbon copy of her former band. Sounding like a
Country version of Aretha Franklin, she dives deeper into a style I can only
call “Country Soul.” Blues guitar and Hammond organ punctuate her vocal
phrasing to create a beautiful Nashville/Memphis synergy that’s reminiscent of
Dusty Springfield’s seminal, “Dusty In Memphis” album.
In “River Girl,” Kelley sings, “I just want to sleep all day
- rain on my roof. The river keeps rising, ain’t that the truth. It can wash me
away, down to the sea - rolling and tumbling. So honey won’t you play a song
for me.” Seeking comfort from circumstances beyond her control, the song and
the EP are the perfect metaphor for her new found musical independence.
“Take Me Home,” again shows a woman longing to belong as
Kelley sings, “Sing for me, quietly. Walk with me, slowly. Dance with me. Smile
for me. Comfort me. Hold me. Somehow I ended up tattered and torn. Take me
home.” Taken by itself, this song might be mistaken for a desperate pick up
line. But in context, you can hear Kelley yearning for the comfort of her old
bandmates and struggling with how to find a new “home” on her own.
In “Beautiful Accidents,” Kelley adds another layer of
double meaning. Behind the story of accidental encounters that lead to happily
ever afters, Kelley reveals her ability to make peace with her new found solo
status as she sings, “Left turns and right turns get us here. All these
beautiful accidents over the years, they look good on you.” (and on Kelley
too!)
“You Used To Live Here” and “Blameless” continue the musical
healing process for Kelley. And as a listener, you can’t help but marvel at the
strength and courage of an artist to so openly face such a major life and
career transition – and make such beautiful art from it all.
“Hotel Jackson” and “Dark Side Of Town,” reveal a new and
transformed Kelly Mickwee - stronger and more confident. Putting the past
behind her, she steps out (both musically and literally) unafraid to go after
what she wants. And with this EP she succeeds.
I love Liz Frame’s voice. It’s the perfect combination of the
velvet-wrapped sultriness of Margo Timmins (of Cowboy Junkies) and the earnest,
yet vulnerable directness of Emmylou Harris. She showcases that wonderful
voice, with the help of her band – The Kickers, on their new EP, Justine.
The four songs on this EP play like a musical confession. In
“A Good Day To Say Goodbye,” Liz sings, “Look at that pretty tear running down
your cheek. It don’t make you weak, it just makes you sad. ‘Cause loving me’s
gotta feel like a losing streak. I’m just a freak who don’t know what she had.”
Unlike the singers of most break up songs, Liz places the blame squarely on herself.
In the title song, “Justine,”
Liz reveals a possible backstory for the first song. Singing, “My name is
Justine. This old life has been mean. Well it’s poisoned my momma and it’s scared
off my dad. It’s made me feel guilty for not feeling bad.” Whether justifying
her heartbreaking actions or just explaining them, she at least offers a
reason.
But of course, those who play with others’ hearts soon lose
their own. In “I Don’t Wanna Let You Go,” Liz (or her alter ego, Justine) faces
that moment of truth. With a beautiful, breathy chorus, Liz pleads for love to
stay.
Finally in the bluesy, “The Secrets I’ve Been Keeping,” Liz
completes her musical confession. Singing, “I’m going to lay my burdens down,”
she comes to realize that the truth will indeed make you free. By facing her
past, she if free to overcome it.
Justine is a great, if short, musical drama. The kickers
lend the perfect musical background for the story to unfold. The band is able
to capture the full emotional range of Liz’s voice and lyrics. Moving from
sultry to defiant to contrite, the band keeps perfect rhythm with the ebb and
flow of Liz’s lyrical landscape.
Nathan Bell’s voice stands out like a man among boys in today’s Country music scene. From the first verse of “Names,” his voice resonates like a cross between Merle Haggard and Ralph Stanley (and more recently, Steve Parry). It is a voice that commands attention. And listening to the lyrics of his new album, “Blood Like A River,” it is attention well deserved. Venturing far from the well-worn topics of cheating hearts and bar room upstarts, Nathan dives deeper into the human condition.
On the lead song, “Names,” Nathan introduces himself as Private John David McCutcheon. Exploring a soldier’s point of view, he sings, “I played safety on my high school football team.
We even won a couple of games. But they stand silent at halftime now, for I am just a name.” It is a simple, yet powerful acknowledgement of the lives behind the statistics when adding up the cost of freedom.
On “Really Truly,” Nathan explores an even more controversial topic. Dealing with the subject of gay marriage, he sings, “Jenny said I love you and Jill gave her a ring. They got married in their mama’s wedding gowns and really truly it didn’t change much of anything. The sun kept coming up and going down.” Taking a stand on either side of this issue is not for the timid. But by zooming past the big picture and focusing on individuals, Nathan is able to peel back the slogans and rhetoric and offer a glimpse of the actual hearts and souls of those most affected by the debate.
Nathan reaches deep within to grapple with the tangled tapestries of love, family, and even our own mortality throughout the album. With a sparse, acoustic guitar or two as the only accompaniment, Nathan’s voice and lyrics demand that you hear what he has to say. And if you pay attention, you’ll realize that as he sings in the title track, “Blood like a river brings us together. Blood like a river ties us together.” And in the end it is the same blood that flows through all of our veins, and we are all in this together.
From the first steel guitar strands of OH/KY by JeremyPinnell, you know you’re in for a little slice of classic Country heaven. On
the opening track, “The Way Country Sounds”, Jeremy sings, “It sounds like
this, it sounds like that, it sounds like heaven when you feel low down. You
live the life I live, you would know the way Country sounds.” Or you could just
listen to his album.
With a yearning baritone voice with just a hint of rasp,
Jeremy pays tribute to classic Country themes like rodeos, loose women and the outlaw
life, as evidenced by his songs, “Rodeo,” “Loose Women,” and “Outlaw Life.” His
emotionally compelling voice really shines on his lost love ballads, “Sleep
Song”, “Them Days and Nights”, “Cold, Cold Wind”, and “Angel of Mine.”
Keeping his songs in the mid to ballad tempo, Jeremy’s
vocals and lyrics take center stage. Backed by the moaning, steel guitar driven
rhythms of his band, The 55s, Jeremy Pinnell takes you back to a place and time
where the bars had wood paneling and sawdust covered floors and your choices
were beer or whiskey - only. Yes, it was a simpler time. But there is clarity
and power in simplicity, and both are evident here. Hank Williams would be
proud.
Rockabilly is the illegitimate child of Country and Rock and
Roll. So it’s only fitting that Rockin’ Jason D. Williams (the illegitimate
child of Rockabilly legend Jerry Lee Lewis) should be the one to carry the
Rockabilly banner into the 21st century. Covering Million Dollar
Quartet members Elvis and Johnny Cash as well as Johnny Horton and Hank
Williams, (among others) “Hillbillies And Holy Rollers" is Williams’ tribute to
his musical (and biological) influences. But rather than give a documentary-like
faithfulness to the originals, Williams reworks and reinvents the songs to make
them uniquely his own.
Opening the album and title track with, “Well, the sun rises
early in Memphis…” Williams acknowledges both the city and the studio where it
all began. Fittingly, he records this album in the fabled Sun Studios as well. Inheriting
his father’s manic piano style, Williams opens the album with some killer piano
licks of his own. Singing, “The more things change the more they feel the same.
The way we did it in ’55 is how it’s done today,” he proves that when something
works, there’s no need to fix it.
The second song, “This Is Rock and Roll,” is even more
indebted to his dad, opening with the piano intro from “Whole Lotta’ Shakin’.” With
a great driving piano and base line, punctuated by some Chuck Berry style licks
on guitar, the chorus shouts, “What is rock and roll?” to which Williams responds,
“This is rock and roll.” Although the question was already answered by the
driving rhythm.
Williams continues his assault on the ol’ 88s through the
rest of the album (the remainder of which are covers.) He breathes new life
into Johnny Cash’s “Folsum Prison” (Blues) by changing the syncopation,
speeding up the tempo and adding some boogie woogie piano riffs. If you just
heard the music without the lyrics, you’d never even know it was the same song.
After slowing down a bit for his heartfelt duet with Sarah
Gayle Meech on Hank William’s “You Win Again,” Williams kicks up his heels
again on Joe Ely’s “Fingernails;” even outpacing Ely’s frenetic original.
Williams lights up some lesser known nuggets on Johnny
Horton’s “Honky Tonk Hardwood Floor” and the Elvis soundtrack song, “Mean Woman
Blues.” If you didn’t know better, you’d
swear you were listening to a younger Jerry Lee Lewis blistering through these
two rockers.
Williams also dabbles in some jazz themes with “Sweet
Georgia Brown” and “House Of Blue Lights.” But since the album is called
Hillbillies And Holy Rollers,
Williams ends with two old time gospel numbers, “Old Time Religion” and “I’ll
Fly Away,” But someone forgot to tell his piano, because it still rocks out
even as he sings of “God’s celestial shore.”
If you’re going to cover the best, you’d better bring your “A”
game. And that’s what Rockin’ Jason D. Williams brings to this collection. He captures
the true spirit of rockabilly’s early days: fast, loose and teetering on the
edge of control. Like I said before, when something works, there’s no need to
fix it!
Old 97s put the “Alt” in Alt-Country. Since 1993, Old 97’s
have been defining the genre. With nine albums to their credit, they’ve
influenced everyone who’s come out of the Austin music scene since. With their
tenth album, “Most Messed Up,” they’re sure to recruit even more followers.
In case you didn’t know any of that, they remind you with
their opening track, “Longer Than You’ve Been Alive.” While dozens of Nashville
stars have come and gone over the past twenty years, Old 97’s brag, “We’ve been
doing this longer than you’ve been alive” and even after all those years they
add, “I’m only human, but I’m super sometimes”
This album is another one of those “sometimes.” Bringing
their signature lo-fi, high energy, “Violent Femmes meets Waylon Jennings”
sound, Old 97’s redefines Country the way a sledgehammer redefines drywall.
“Give It Time” cranks things up a gear or two with a
scorching guitar intro. Singing, “When I saw you for the first time, I thought
I might be sick. That combination of joy and compulsion, and you were the
reason for it” you suspect that this might be an uplifting song about needing
to give time for relationships to flourish. But in typical Old 97s fashion, it
turns cynical as the chorus end with, “Give it time. It will break you.”
“Let’s Get Drunk & Get It On,” opens with some great
crunchy guitar work. As you might imagine from the title, it’s their harder-edged
take on Jimmy Buffet’s song of a similar name. “This Is The Ballad,” follows. And
in case you thought this might be a love song, Old 97’s dispel that notion with
the first line: “This is the ballad of drinking rye whiskey and sleeping til
two on a warm afternoon.” “Wheels Off” shows off the early 80’s alt-rock guitar
influence of bands like The Violent Femmes and Let’s Active (among others.)
The rest of the album showcases their unique musical
alchemy. They take Rockabilly, Outlaw Country and Alt-Rock, then mix in a
little Bakersfield sound, and top it all off with a healthy dose of punk
attitude. (They even manage to throw in some surf rock on “Guadalahara.”) The resulting
elixir is an irresistible cocktail (Molotov and otherwise) of classic
Alt-Country. This album proves that Old 97s are still among the best at the
genre they helped create. To miss this album would be “Most Messed Up!”
Sometimes I like to listen to breezy, feel good, party songs, The Traveler by Old Death Whisper is the exact opposite of that. The band has a dark, gritty, yet modern sound like Ralph Stanley singing lead for Zac Brown Band performing at a funeral. The first song, "Storm Rider" hits you with a grim, grinning ghosts chorus of "woaahh, ooah, ooah" before the verses even start. Then the album's lyrics begin with "You got me cussin' like a sailor..." Surely, this is not your typical Country album.
The Taveler, is a smokin' barrel, Outlaw Country, shock to the senses. The lead song "Storm Rider" sets the tone with it's haunting intro and lyrics. Singing, "Well my sails are full of anger, I've got some (gun) powder in my shoe, the band lets you know they've faced their share of raging storms - both without and within. If you had any question about their attitude after the first song, "Wasteland" removes any shade of doubt. Singing, "I'll take you to the wasteland baby, I'll build you up just to tear you down," Old Death Whisper slings defiance and bad attitude. You get the feeling it's them against the world, and they like their odds. Luckily, they sling their attitude with a side of great, rhythmic music. Filled with uptempo minor chords and songs about guns, jails, and ghosts, The Traveler plays like the theme to a haunted hayride.
When the band does venture (slightly) away from themes of wastelands and stacked bones, they create some nice bluegrass/rockabilly sounds, especially on "Loaded," "Always A Stranger," "South County Blues," and "Pissed." Combining elements of Robert Earl Keen, Shooter Jennings, and Fifth On The Floor, the band plays some serious, hardcore Outlaw Country. With a name like Old Death Whisper, you wouldn't expect anything less.
Moot Davis' new album is Goin' In Hot - literally. His Nashville studio burned to the ground just days after the final mixing was done. Luckily, engineer Joe McMahan was able to salvage the music from his melted and water logged computer. Lucky for us he did because this album smokes - literally!
The leadoff title song grabs you by the ear from the first notes. With a little more rock and roll influence than his first three albums, this song sounds a lot more like The Waco Brothers than Buck Owens - complete with a smokin' guitar solo in the middle. Moot keeps up the pace on "Food Stamps," with some nice steel guitar work to punctuate this rollicking, poor man blues. Moot gets further in touch with his rockin' side on "Midnight Train," "Ragman's Roll," and the Little Feat inspired, "Made For Blood."
But this album isn't all rock riffs and guitar solos. Nearly half the songs are more traditional Country Blues. Which is only fitting, because Moot recorded this collection in the aftermath of a broken long term relationship. In "Used to Call it Love," he sings, "Said she wanted a semiprecious stone set in a band of pure gold... But I soon found out that all she desired I could never come to acquire." Moot grapples with his loss in "Hurtin For Real," and "Wanna Go Back." And surprisingly, he even manages to combine his heartache with his rock and roll energy in "Love Hangover."
They say whatever doesn't kill you only makes you stronger. Moot Davis proves that by facing his two trials by fire and coming out stronger than ever. The result is an album that comes in hot and sizzles all the way through!
I hate to admit it but I'm a little late to the party with this album. Released in December of 2013, I'm just now catching up with it. But that's probably as it should be. In many ways Scott Hrabko is late for his own party as well. He's been making music and touring the great Midwest for over twenty years, but this is his first album. The time touring and honing his craft has paid off though, because Gone Places is a fantastic Americana "debut."
With a well seasoned baritone voice, these songs pour out of Scott like a vintage, robust, red wine. Starting with the laid back, barrel house sound of "Black Penny," Scott Hrabko tells stories of his travels across America and some of the "gone places" that have faded from the landscape but not from memory. Singing, "pursued by the blues and skeleton crews through the lowlands of my soul," Scott paints a lyrical picture of chasing dreams that never seem to come true.
On "Blue Period," Scott picks up the pace a bit with a Dwight Yokam inspired investigation into his wife's talking in her sleep. He sings, "When you talk in your sleep and keep me awake, the least you can do is enunciate. Your train of thought just passed my stop. Somewhere down the line, honey, you must get off."
"Baby You Know Me" is a straight Country Blues with the great lyric: "I used to be a king bee, a collector of nectar, everywhere I roamed... But somebody's wife is lonesome tonight. I'll make a beeline home." Blake Shelton needs to take notes from this guy.
The instrumental, "How's Your Toe," follows with great jazz inspired guitar work. Then Scott goes back to working his lyrical magic with another barrel house blues number, "Lost As You." He sings, "I'm scrapping for a dollar and a quarter out on Dead Dog Boulevard. Two left shoes and eleven bar blues on that old gold tooth guitar. It's old man sweat and a cigarette in tears in Tennessee. Singing 'goddamn, I love women, especially when they don't love me."
Scott turns his wit on the naysayers around us in the chooglin' "The Ugly Ever After:" "They've been talkin' 'bout the end of the world since the beginning of time. But it's only real in the ugly ever after in you mind."
Scott's wit and insight shine through in every song on this collection. He brings a perspective that can only come from a lifetime of (sometimes painful) observation. His lyrical sketches are effortlessly 'matter-of-fact,' yet so poetic in their phrasing. Just to give one more example from "The Woman Upstairs:" "She was chaste as a racetrack rabbit. I was holy as a hobo's shoe. We were broke as the Ten Commandments. There was nothing much else to do." Can you imagine a more poetic way to say "we were poor?"
But luckily Scott's talent goes beyond his words. The music on the album is every bit as expressive as the lyrics. Ranging from Jazz to Blues to Rockabilly to Texas Swing, Gone Places virtually defines the subgenre of Americana that has come to be known as "Porch Music." You put this album on, grab a pitcher of your favorite beverage and sit back on you porch and let the world go by - and maybe even daydream about the gone places in your own memories.
Remember This is the new album by Canada's Nudie. The name is an homage to Nashville's legendary outfitter Nudie Cohn (I will warn you in advance, any Google search for this album may result in embarrassment, consternation or titillation - depending on your world view. Please proceed with caution!) The music is also an homage to the Country musical greats who came before.
With a relaxed vocal style somewhere between Corb Lund and Marty Stuart, Nudie brings the twelve songs on this album to life with a "matter of fact" storytelling cadence. And his sharp wit shines fresh light on many familiar topics. In the lead track, "If a Heart Could Tell," for instance, Nudie ponders what relationships would be like if hearts could tell the truth from a lie and avert heartbreaks before they happened. But he realizes that "if we merely played it safe, we could tell it what to do. Then a heart would be a stone. There'd be no more me and you. Guess it's lucky for me that a heart can't tell." The sparse musical arrangement of this song rides on just an undulating guitar riff and a steady drum back beat. The song has a cool groove that plays like a syncopated heartbeat which permeates the rest of the album.
The next song, "Sex Kisses," opens up with some great jangling guitar work. (Once again I must caution you that talking about Nudie Sex Kisses could get you locked up in several states - but it might just be worth it!) Again, Nudie finds a creative way to say that his woman is upset that the relationship is more physical than emotional, but of course, sex kisses is a much cooler way to tell the story.
The title song, "Remember This," is a classic troubadour style ballad that really brings out his Marty Stuart influences. "My Sweet Ache" follows with a surprising "Gloria" (the Van Morrison/Them version) inspired riff that adds a nice musical texture, complete with some nice organ playing. On its heels, Nudie goes full Country roadhouse with "You Try To Be Right." Again, Nudie takes the common theme of cheating and turns it on its head, saying in essence, "You try to be right with your actions and I'll try to be wrong with my accusations."
Nudie's impeccable sense of rhythm and unique style of storytelling continue throughout the rest of the album. From the Bakersfield inspired "Walking the Streets" to the blistering "The Pain In You" and beyond, Nudie constantly delights and surprises the ear and the mind. "Remember This" is truly a memorable album.
The Far West has just released the eagerly awaited follow up to their critically acclaimed, self titled debut. The new album, Any Day Now, is well worth the wait and should easily be an early contender for Americana album of the year. Led by Lee Briante's haunting, haggard, and heartfelt vocals, The Far West lays down a baker's dozen of modern Americana classics. Continuing the trend from their first album, the band plays songs about heartaches and hard times: straight, with no chaser. With songs like, "Walk Light On This Poor Heart," "These Arms Will Be Empty," and "She's Gonna Leave Him Too," you know you're not going to find many happy endings here. Even songs like, "Bright Side" and "Oh, Love" are deceptively titled as Lee sings, "I just can't see the bright side anymore," and "Oh love, I'm giving up on you."
But taking a cue from Johnny Cash, The Far West add a little rhythm to their blues on this album. With nearly half the songs played in mid to uptempo, the songs don't bog down in despair. Instead, they give the impression of someone who has overcome the pains of their past, and can pause to reflect on them even as they're moving forward. In "Words From A Letter," for instance, they sing "I'm sorry I'm asking your forgiveness. You were right and I was wrong all along." But despite the sadness implied by the lyrics, the song is played Western Swing style. And in the end we find that the apology and the plea for forgiveness are all just "words from a letter I'll never send." Again, in "Oh, Love!" they sing "love is like a deal that just went bad." even as they play barrel house piano and sing backup vocal harmonies to soften the sting of love's poison arrows. The song "Leonard" tells the story of a hard luck hustler following his dreams. With a Squirrel Nut Zipper "jazz-grass" sound, they make lyrics like "Have you ever felt like you just can't win? Someone calls your bluff when your chips are all in," sound downright cheery.
And it's that musical diversity that makes this band and this album stand out. Americana is largely a lyric dominated musical form. It is the poetry more than the passion. But too many current Americana artists end up sounding the same, song after song. They get so caught up finding the perfect rhyme for "malaise" that they forget to vary their chords or tempos. But not The Far West. From the chooglin' freight train rhythm of the opening track, "On The Road" to the "Dylan meets R.E.M" sound of "Wichita," The Far West keep surprising the ear with new rhythms and musical arrangements. Each song is new, fresh and memorable (Take a listen to the otherworldly percussion arrangement on "Forged In Iron" if you need more proof.) And of course, the rock steady rhythm section and expert guitar work are capped off by Lee Briante's distinctive vocals. (For my money, the best Americana vocalist this side of John Howie of Two Dollar Pistols.) Lee's voice is especially showcased in the sparse lament, "Post and Beam."
With masterful songwriting, musicianship, and vocals, Any Day Now is an album I'll be listening to for many days now.
With 2013 winding down, it's time to take a look back on some of our favorite albums of the past year. For your consideration, here are our picks for Best Albums of 2013:
Bastard Sons of Johnny Cash: New Old Story
Makes you feel like you're in the coolest roadhouse on Route 66
New Old Story by Bastard Sons of Johnny Cash is a story you don't want to miss. As the title implies it's a beautiful melding of old school Country (with lots of Bakersfield tendencies) and modern Americana arrangements. The brainchild of lead singer and songwriter Mark Stuart, The Bastard Sons of Johnny Cash may be a bit of a misnomer as Mark's voice sounds more like Merle Haggard than the man in black, and also because these guys are definitely legitimate.
The set kicks off with the rollicking road song, "Highway Bound." With melodic guitar and touches of steel, they sing, "It's a beautiful sound where the road meets the rubber, the wheels turn round. Don't try to stop me, I can't slow down. I'm a wild one baby, I'm highway bound." Like a cross between early Steve Earle and Dwight Yokam the song is an open invitation to jump onboard for a roadtrip through some beautiful Americana musical landscape.
The other uptempo numbers on this album: "No Honky Tonks," "Leave a Light On," "Into the Blue," and the title song, "New Old Story," make you feel like you just walked into the coolest roadside honky tonk on Route 66. "No Honky Tonks" especially captures the spirit of a Texas ice house on a Saturday night so well you can almost picture ol' Hag sitting in with the band.
And when Mark and the Bastard Sons turn their talents to ballads the effect is just as authentic. Mark's leathery voice is perfectly suited for crying the blues to the strains of some well placed fiddle and slide guitar. "Well Worn Heart," is a great example. Mark sings, "I've got a well worn heart and a restless soul. I gave my life to the open road. But there's still a few good miles on this well worn heart." And if his heart is well worn, his voice is equally well honed to moan the blues.
Other highlights are the anthemic, "Poor Man's Son," and the flamenco flavored "El Troubador." The mood and tone of these two songs help add an extra layer of texture to an already masterful collection of tunes. With so many versions of the same old story on the radio these days, it's refreshing to come across a New Old Story. Thanks to The Bastard Sons of Johnny Cash, this is one story I'll be listening to over and over again.
It's an early Christmas present for music fans! The Deadfields' second album, Often Wrong, Never in Doubt is now available for your enjoyment. And these guys definitely put the JOY in enjoyment. For such a somber sounding band name, The Deadfields play an infectious, joyful brand of Americana. Or as they call it, "Foot Stompin' Hand Clappin' Knee Slappin' Ruckus Rowsin' Americana Rock!"
Often Wrong But Never In Doubt picks up where their 2012 release Dance In The Sun left off. Back are the beautiful "Seven Bridges Road" - type harmonies, the tight musical arrangements, and the catchy, "can't stop singing along even if you try" hooks. But it doesn't take long to notice a difference in the lyrical tone on this album. No longer content to "Be Your Fool," The Deadfields begin this album with "Cuttin' Ties," where they sing, "You're never satisfied, you don't care how hard I try. So you can find yourself another fool whose pockets you can dip into. Girl with you, I'm cuttin' ties."
They continue their more assertive attitude on "Often Wrong, Never In Doubt," singing "I don't need no darn directions, I'm the man behind the wheel." And in "This Night (Never Ends)" they tell their lover to leave them alone so they can party all night. But even as they demand independence, they do it with a smile, and the uptempo rhythms play counterpoint to the defiance of the lyrics.
Finally, in "Let It Rain" the music catches up with the lyrics. With a bluesier, grittier sound, they sing "I'm turning this corner with you. I'm turning this corner. Don't be there when I do." Although not quite ominous, the music definitely underscores the seriousness of the lyrics.
But the Deadfields haven't given up on love entirely. In "The Spark" they give up their wild ways to settle down, singing "the spark of my heart is all yours." In the touching ballad, "Good Enough" they try to reconcile their need for love and independence ("I'll never be anyone else but me... I pray it's good enough for you." And finally, in "Keep Me Clean" they celebrate love's power to redeem and transform, singing "For 30 years he had no reason to keep the poison from his veins... but she painted blue from the sky and wiped the mud from his eyes. How the broken man cries: 'hold me up, I'm sinkin', I'm so damn weak. Without you - just a dirty fool is all I'll ever be. But you keep me clean.'"
There are a couple good rockers on the album as well - the rollicking road song "The Road Beckons," the anti-small talk "If It Don't Matter," and the do-your-own-thing anthem, "The Joneses." And if you've ever wondered what Nirvana would sound like as a bluegrass band, you're in luck because their cover of "No Apologies" answers that question (and the combination works surprisingly well!)
The Deadfields bring enthusiasm and artistry to every track on the album. Not as shallow as Nashville nor as cynical as Austin, The Deadfields don't make music to make a buck or to tell somebody off; they make music for the best reason of all - they love it, and it shows! And if even if they're "Often Wrong," you can bet it wasn't when they were in the studio!
