The Hank in Chains Review

CD REVIEW: The Soulsavers' "It's Not How Far You Fall, It's the Way You Land"

noreply@blogger.com (Jared Morningstar) — Fri, 21 Nov 2008 10:04:00 +0000

Label: V2 Records

Mark Lanegan has participated in several musical projects over the years. He is remembered by most as the lead vocalist of the Screaming Trees, arguably the greatest early 90s grunge band that received no radio attention. In recent years, he has worked the Queens of the Stone Age and recorded an excellent duet record with former Belle and Sebastian vocalist Isobel Campbell. And, even though it has been completely ignored by mainstream radio, his phenomenal solo career speaks for itself. Solid album after solid album, Lanegan and his whiskey-and-cigarette vocals always seem to deliver.

Naturally, I was excited to hear that Lanegan was gracing us with his musical presence again. This time, he teams with British “electronic soul” band the Soulsavers, lending his quiet-yet-thunderous vocals to 8 of the 11 tracks on the group’s sophomore release, It’s Not How Far You Fall, It’s the Way You Land. The results are wonderful. It’s the most eclectic project of which Lanegan has ever taken part. It also just might be the darkest. This is no party album. This record is all about death, loneliness, hopelessness, sin, and a little redemption. And the band made the perfect choice in recruiting Lanegan. His songwriting (Lanegan co-wrote five of the songs) and vocals are ideal for the mood the band wanted to create for the record. It’s a sonic marriage made in heaven… or perhaps in hell. And as one listens to It’s Not How Far You Fall, it’s apparent that’s just what the Soulsavers wanted.

It’s impossible to categorize the sound of this Soulsavers’ album. Stylistically, it’s all over the board. Sometimes, it’s old school gospel. Other times, it’s hip-hop. You get a little bit of rock and roll and a lot of soul. And it’s all set to an electronic background. Lanegan fans will find it closest in style to his most recent solo album, Bubblegum. But it’s much darker, and it works. Borrowing a term from Black Sabbath, perhaps the greatest way to describe this album’s sound is like an “electric funeral.” Powered by dark guitar and lots of piano and organ, It’s Not How Far You Fall is desolate from start to finish. Its characters are desperate, heartbroken, and hopeless… and death seems to loom around every corner.

The “fun” begins right away with the album’s most memorable track, “Revival.” On first listen, the song may seem like any other religious hymn… complete with choir-like female backing vocals and an organ playing in the background. Upon closer inspection, however, this is no song of religious celebration. It sounds like someone is dying, and by the time Lanegan begins the final verse solo, the desperation is obvious. The same death and loneliness surrounds the hip-hop oriented “Ghosts of You and Me.” It’s the closest Lanegan has ever come to rapping, and thanks to the Soulsavers’ excellent electronic support, it’s fantastic. Eat your heart out, Linkin Park. Madness overtakes on “Paper Money,” as its Devil-possessed individual stalks a woman he wishes to love. It’s dark lust at its best. And as the record progresses, its characters hopes seem to progress towards the grave. When Lanegan sings, “Jesus, I don’t want to die alone,” in an excellent version of the hymn “Spiritual,” thanks to his creakiest vocals and sparse instrumentation, it sounds like he’s already dead. The madness returns in “Jesus of Nothing,” which by the end, features three Lanegan vocal tracks playing at the same time as he talks of losing his mind now that his “trial is nearly over.” Great touch by the Soulsavers… it duplicates the feeling of insanity well! And finally, an older Lanegan poetic masterpiece about dying love (and perhaps, a dying lover), “Kingdom of Rain,” is revived for this album. It not only fits in perfectly on It’s Not How Far You Fall, but it completely outshines the original version. Throw in a couple of great instrumentals (especially the beautifully written “Arizona Bay”) and two well-chosen covers (a duet with Will Oldham on Neil Young’s “Through My Sails” and an extremely bleak version of the Rolling Stones’ “No Expectations”) and you have a grim little masterpiece on your hands.

While the record has been available “across the pond” since this spring, it will not be released in the US until October 16^th. This is great news, of course, for those who appreciate the Soulsavers’ excellent brand of electronic music. Unfortunately, it will likely fall on deaf ears. After all, mainstream radio even ignored Mark Lanegan’s excellent music with the Screaming Trees when grunge was en vogue! Do yourself a favor: if you are a Lanegan fan… don’t let this release go unnoticed, as the Soulsavers just might have brought out the best in him. It’s Not How Far You Fall, It’s the Way You Land may not be the next big thing with the kiddies, and it’s definitely not going to get any parties started, but it just may be the best sparse, dark album since Johnny Cash’s original American Recordings.

CD REVIEW: Dollar Store's "Money Music"

noreply@blogger.com (Jared Morningstar) — Wed, 19 Nov 2008 10:00:00 +0000

Label: Bloodshot Records

While traveling to my hometown a few days ago, I wandered into a truck stop, and it was an interesting environment to behold. Inside were a few truckers stopping for a quick cup coffee to keep them awake on their endless highway trip. Even though I’ve always envied their freedom, I pity their loneliness. Seems as though it’d be a one-way ticked to insanity.

Inside this truck stop was also a place to grab a bite to eat. And when you hear people use the term “greasy spoon,” this is exactly what they’re talking about. Served up 24 hours: grease with a side of food. About 15 people or so were there, all work-beaten, blue-collar folks. As I looked at them, I saw pain and hopelessness tattooed into their sunburnt faces. It was almost a perfect Southern Gothic scene… except for the music playing on the radio station. The mainstream country didn’t quite represent what I was seeing. One guy singing about sipping margaritas in Mexico. Another complaining about going to the dentist office. Yet another talking about MySpace profiles. Oh, and “Save a Horse, Ride a Cowboy.” One look at these people told me that even the most painful trip to the dentist was like a mosquito bite compared to what they go through on a daily basis, and there was NO way that they spent time browsing MySpace… if they even knew what it was. “This isn’t right,” I thought. “This music is not the working man’s music in any way.”

Fast forward to today, as I break out Dollar Store’s newest album Money Music. I had never heard of the band before, but as soon as I hit “Play” and the loud guitar of the title track fired up, I knew I was in for a treat. By the time I had finished, I had realized something else about this relatively unknown rock outfit: they were making the music that should have been played at that truck stop. And at factories across this country. Simply put, this album is blue-collar America: both musically and lyrically.

The first thing listeners will notice about Money Music is that Dollar Store is one tight band. And why not? All four members have a long history of playing in great live bands. Lead vocalist and rhythm guitarist Deano Schlabowske and bassist Alan Doughty made their reputations as part of the roadhouse band The Waco Brothers. Drummer Joe Camirillo broke in with the Hushdrops, while lead guitarist Tex Schmidt was a member of the German rockabilly punk band The Roughnecks. Together, they have created an album that dabbles in blues, country, classic rock, and even a little punk. In other words, this is a roots rock record in the truest sense of the word. A great mix of the glory years of The Rolling Stones, the dark, sinister edge of Black Sabbath, and the dark working man tales of Merle Haggard, Money Music is a fascinating listen musically.

Even more intriguing is the portrait that Dollar Store paints with its songs. It’s certainly not a pretty sight. Almost thirty years ago, Bruce Springsteen released a masterpiece of an album called Darkness On The Edge Of Town. That album took place in the “Badlands,” where men “worked their whole lives for nothing but the pain.” Well, Money Music takes place there too, and it’s just as brutally honest as The Boss’ 1978 record. With the exception of “Scrap Truck” and “Hurricane Charley,” which are solid metaphorical pieces, Schlabowske’s lyrics are very direct and to the point… and his Dixie-via-Milwaukee worn, soulful vocals ensure that these lyrics are effective. The Chuck Berry-esque opening title track may be a fun little rock-and-roll romp, but after listening to the whole record, it’s easy to see that the song is merely a work of sarcasm. The rest of the album shows its listeners the dark side of the blue-collar world… a world where, as the band puts it in a bass-heavy drone, “work is its own reward.” Each song is its own tragic tale. In the fast-paced “Wasting Away,” a man writes home to his woman telling her the terrible truth about his new job in a factory town, and another man that says love and life has left him hopeless in the Stones-flavored “Twisting in the Wind.” Hopelessness can also be found in “One Red Cent, One Thin Dime,” in which a man laments that his friend’s big dreams will be in vain. After all, as the band says in the Schmidt-guitar heavy punk number, the whole world has become a “Company Town,” where even beer has become too expensive. Of course, there’s a little infidelity and murder too in the countryish “In the Gravel Yard,” and even a broken down, forgotten Nashville “Star” who is not looked upon kindly by the rest of the townsfolk. Yet, at least one factory worker refuses to sign away his pride, and 10% of his soul, in the bluesy “Reserve the Right.” And, in the album’s closer,” one man actually escapes this dark world and reflects upon his days “down in the catacombs with the skulls and bones” in “Dying Light.” Is it depressing? Sure, but Dollar Store gives listeners a brand new respect for the plight of the blue-collared crowd with each song on the record.

Still, even though the album is a reality that’s hard to swallow, Dollar Store’s upbeat classic rock and roll arrangements refuses to let it become a downer. Like the factory workers themselves, their music looks adversity straight in the eye and pushes forward. Despite the pain of the lifestyle, those who live it somehow make it through, and find a way to make their lives as enjoyable as possible. That is the beauty of this album. It’s survival, and it’s a winner in every way. Money Music may not be a cure for the working man’s blues, but it sure will give them… and folks of all walks of life… a reason to rock.

CD REVIEW: Danbert Nobacon's "The Library Book of the World"

noreply@blogger.com (Jared Morningstar) — Sun, 19 Oct 2008 08:56:00 +0000

Label: Bloodshot Records

Chumbawamba? The one-hit wonders from 1997? Yeah, I remember them. Kinda. Which is cool, because I am sure a lot of people do not.

Recently, I came across the name Chumbawamba once again when I received a copy of Danbert Nobacon’s album The Library Book of the World. It is the first solo album for Nobacon, the band’s lead vocalist and keyboardist, in two decades. It is also one of the most peculiar albums that I have heard in a long time. Featuring ode after ode to the political extreme left and supported musically by a… country band, Nobacon’s album is perhaps the greatest acquired taste LP in recent history.

After doing some research, I discovered that Nobacon has been an anarchist for some time, and that he and the rest of Chumbawamba had used popular music as a way to spread their anti-establishment messages to the world for years. Who would have known that from listening to “Tubthumper”? After the members of the group went their separate ways, Nobacon has continued to use music as his political forum, and The Library Book of the World is no exception. As a political moderate, I can respect views that come from the far left. So, I pulled out my “Bush is Not MY President” hat out of the closet and hoped for a great album of liberal tunes. I at least hoped for something better musical than Neil Young’s Living With War album anyway.

So was it? Well, somewhat. Nobacon’s album has two major flaws, the first being predictability. Being a recent college graduate and have listened to the lectures of several liberal sociology professors, I had a feeling I knew what he’d be discussing on the album. And sure enough, it’s all there. Nobacon hates the war, corporations, and imperialism, is not the biggest fan of religion, and is extremely upset about the way we’re treating the environment. In fact, we learn all of this in the first track on the album, “The Last Drop in the Glass.” While there should have been a “liberal overload” warning next to that first track in the album liner notes, sometimes, this predictability is not a bad thing. After all, people who know Nobacon’s politics and choose to buy the record are going to expect him to talk about these topics. When he chose to concentrate on one of his political concerns per song, and didn’t let himself become TOO preachy, things turned out pretty well. For instance, “Rock ‘N Roll Holy Wars” is a great, witty criticism of the role of organized religion in world conflicts, and “Wasps in November” is an outstanding, poetic take on global warming. On a couple of occasions, Nobacon uses his great wise-ass sense of humor to tackle such issues as computer addiction (“What Was That?”) and the horrible state of popular music and the people who listen to it (“Christopher Marlowe”). Great stuff, as is “Straight Talk (Meet Frank),” simply a wonderful little bouncy rock song. The second flaw though is that more often than not, Nobacon uses a far more direct lyrical approach to make his points. When he goes direct, the songs become far less clever, and therefore less effective. Unfortunately, this is case for at least half of Library Book, and it makes it much less appealing for music fans outside the extreme far left political spectrum.

And yet, even though Danbert Nobacon will not remind anyone of John Lennon as a lyricist for half of the record, Library Book is still a fascinating, albeit quirky, little listen. What is its saving grace? The music! Throughout the album, Jon Langford and his country-based band The Pine Valley Cosmonauts back up Nobacon wonderfully. Country music and anarchist politics? Sounds like quite an odd couple, doesn’t it? It makes more sense than one would think though because the more traditional country music made outside of the mainstream is far more liberal than “Courtesy of the Red, White, and Blue.” And what a great little traditional country band the Cosmonauts are! Steel guitar, fiddles, mandolins, honky tonk piano… you’ll hear all of these old-school sounds on Library Book, and they sound wonderful throughout the record. While the songs in a lyrical sense are hit or miss, the strange marriage between the band and Nobacon’s angst-filled vocals is successful for the majority of the album.

Acquired taste? Ohh yeah, this record is an acquired taste all right. If you hate politics with your music, this is definitely not for you. In fact, avoid it at all costs. And if you hate country music, this album shouldn’t be on your wish list either. Heck, even if you are a fan of Chumbawamba, there is a chance you might not like this disc. Aside from the punk-fused “Nixon is My Dentist,” none of these songs will likely be mistaken for a song made by Nobacon’s former band. But if you have an open mind about any of these issues, you just may want to check out The Library Book of the World. You may not necessarily like it all that much, but it just might be one of the most memorable musical listening experiences you’ll have this year… for better or worse.

CD REVIEW: DeAnna Moore's "Escape"

noreply@blogger.com (Jared Morningstar) — Mon, 08 Sep 2008 08:53:00 +0000

Label: Self-Released

Remember that old saying “never judge a book by its cover?” It’s a valuable piece of advice that we’ve all heard at one point or another and yet, we all seem to do it occasionally. I am no exception. In fact, when I received Vermont songstress DeAnna Moore’s recent album Escape, I was all set to review the album before I even began listening. The cover art features an upclose photograph of the beautiful blue-eyed artist holding a guitar and her name is printed in romantic cursive writing. “Uh oh,” I thought to myself, “I have another generic romantic folk album on my hands.” However, as I started listening, I realized that I couldn’t have been more wrong. Moore’s appropriately-titled album is dark, brutal, and most importantly, honest… and if you’re willing to give it a close listen, it’ll capture your emotions from beginning to end.

The reason you have to give it a close listen? Well… it’s a folk album, and each song’s instrument arrangement is sparse. A few of the songs on Escape feature only Moore’s vocals and her acoustic guitar. Sometimes, the cello of John Dunlap is added, but only a couple of songs include further instrumentation. So, basically, if you’re looking for an album that is going to get you dancing, this isn’t it. But hey, this is a folk album, so that shouldn’t be expected anyway. And as long as you’re not multitasking and giving the album your full attention, there is plenty to enjoy about its music. Remember Jewel before she started enjoying the pop-life and her mediocre-at-best poetry book? You know, when she was singing songs like “Save Your Soul?” That’s what the album sounds like, and that’s a good thing. It’s completely appropriate for this type of album. Oh, and it doesn’t hurt that Moore possesses a gorgeous, siren-powerful voice that captures the attention of anyone who lends an ear either.

While the album’s folk-standard music is nice, it’s Moore’s words that make Escape such a wonderful record. This is no happy collection of flower-power songs. The album is a real heartbreaker. It paints a portrait of a woman who has been battered and beaten by love and life. Her world is covered by “Steel Blanket Skies” and memories and loves-gone-wrong haunt her each and every day. While some of these songs may be works of fiction, one can’t help but believe that each story is 100% autobiographical truth. Whether it’s the confession of the naïve woman in “Fragile,” the story of a girl whose lover’s heart is tied to a memory in “I’m Not Her,” or a lady’s desperate attempt to escape in the title track, a combination of Moore’s captivating vocals and her powerfully honest lyrics forces the hearts of listeners to reach out to the tortured soul crying out in song. From the madness of “Grief” to the unbelievably perfect thunderstorm-supported “Lullaby Reprise,” anyone who listens closely to Escape immediately becomes a part of Moore’s lonely world.

Ironically, however, the album’s greatest track is its only lighter number. “Old Fashioned Love,” Moore’s ode to her mother and father’s romance, is truly a lyrical masterpiece in the vein of River-Era Bruce Springsteen. The tale of how the free-spirited, motorcycle-riding Sophie wins the heart of the shy boy down the street, and the support of his mother, is beautiful beyond words. It rips at your heartstrings and by the time it’s over, it’ll have you believing in that Beatles number “All You Need Is Love” all over again.

So let this be another reminder to you all… never judge a book by its cover. And don’t pass by this album like I almost certainly would have. There is so much to love about DeAnna Moore’s Escape. This isn’t just a record for fans of folk music. This is an album for anyone who loves brutally honest music, and who has experienced the dark side of love… and the dark side of life.

CD REVIEW: The Last Domino's "Seconds"

noreply@blogger.com (Jared Morningstar) — Wed, 27 Aug 2008 08:49:00 +0000

Label: Self-Released

Singer-songwriter, easy-listening folk rock. The sub-genre, popularized by such artists as Five For Fighting, that features songs about love and heartbreak supported by a sonic wall of pop guitar arrangements. People seem to either love it or hate it. For better AND worse, The Last Domino’s debut album, Seconds, falls into this musical category. At least most of the time. While the majority of its songs will please fans of this style of music and do nothing for those who hate it, there are a few numbers that show that The Last Domino has a little something extra on his Dashboard.

One thing that sets The Last Domino (AKA John Orr) apart from most is that he is a multi-instrumentalist, and aside from a few extra vocals on the record’s last track “The Last Joke You’ll Ever Play on Me,” he is responsible for every sound listeners will hear on Seconds. This is impressive because we’re not talking about just a guitar solo record. Guitar, bass, keyboard, alto sax, drums, and other percussion can all be heard at various points on the album. And after listening to Seconds, it’s easy to tell that Orr is accomplished at each of them. In fact, two of the album’s best tracks are instrumentals. The island funk that is “Summer Flame” and the saxophone-fueled “Autumn Twilight” are both welcomed additions to the record. He’s a good vocalist too, and between his voice and his musical arrangements, he shows on the album that he understands this style of music and how to create it effectively.

As said, most of the songs that are found on Seconds are exactly what you’d expect on an easy-listening folk rock record. The qualities of these songs range from subpar to very good. Only one song on the record, “Naïve,” with a droning chorus that is a real eye-roller, warrants skipping. The rest of the songs in this style should be completely listenable for fans of the sub-genre. “Washed Ashore” features a nice wavy musical arrangement that supports its high-tide heartbreak lyrics, and “Clean Break” is just a wonderfully written “love hurts” song with both great music and solid words built around the great metaphor of a broken bone. The best of these songs though is the title track. It breaks the usual subject matter of such songs, telling the tragic story of a troubled girl who is jailed and soon after, commits suicide. The song’s main character, her brother, hears her final words to him in his head and holds them in his heart. This number and others show that Orr can craft lyrical gems that those who appreciate an easy-listening style of music will undoubtedly appreciate.

However, perhaps the best songs on Seconds find The Last Domino breaking the boundaries of his sub-genre. Three of its tracks have broad-appeal that should please all kinds of music fans. “Born to Runner-Up” uses a sports metaphor to tell a musical tale of the eternal nice-guy loser. It’s a lot of fun, and goodness knows there are thousands of us nice guys out there who can relate. It may be about losing, but the song itself is a winner, as is “You Don’t Know the Half.” Songs don’t get much more clever than this story of a man with a split personality that murders his lover. Strangely upbeat, Orr even changes vocals for the man’s two personalities. Dark, yes, but the song is a blast… no pun intended. And finally, another dark-yet-lively song, “Last Call,” is the biggest highlight on the entire album. It’s a rollicking good time of a number about a man who drinks himself to death after losing his love, and has bar room “hit” written all over it. Thank goodness, as I think most of us have had enough of “Friends in Low Places.”

Are these three songs enough to make those who are not fans of singer-songwriter folk buy the album? Probably not. Most of the album is very sub-genre specific. However, there is a lot to like about The Last Domino. The guy can write, and the guy can play… and he can do both pretty well. It’ll be interesting to hear how his next album will sound. In the meantime, enjoy Seconds: a great easy-listening treat… with a little extra spunk!

CD REVIEW: Mark Huff's "Gravity"

noreply@blogger.com (Jared Morningstar) — Wed, 06 Aug 2008 08:46:00 +0000

Label: Exodus Records

“Smokin cigarette butts from a dirty ashtray.” Builds a mood right away, doesn’t it? Great songwriters who can pull off lines such as this usually have no trouble establishing mood not only in their songs, but also sometimes throughout entire albums. While I wouldn’t necessarily call it a concept album, Mark Huff’s Gravity is one of most interesting “love” albums I have heard in some time. Even though most of its songs deal with heartbreak, by giving its tunes a lyrical and musical hard, bar room bluesy edge, Huff delivers a record that never becomes too sappy… even for the tough guys. What is that you ask? A heartbreak album… for men? Hard to believe, but it’s true!

The music of Gravity is a big reason that the record is so successful. Huff’s vocals on the album resemble Ryan Adams’ at his smokiest. The music reminds listeners of Adams as well. This should be expected considering Huff enlisted musicians who have worked with Adams (Brad Pemberton on drums and Bucky Baxter on guitar) to help him record the album. Dan Baird, from Georgia Satellites fame, also lends his musical chops on bass to help complete the album’s outstanding sound.

It is difficult to label that sound though. With the exception of the wonderful “Wrong or Right”, the country influence that marks Ryan Adams’ work is largely missing from Huff’s Gravity. However, the record still seems to feel Southern-flavored, all while having the effective pop-sensibility of Matchbox Twenty, just with more guitar and attitude. Whiskey and Cigarette Pop perhaps? It really doesn’t matter how one describes it though because it works. Musically strong from start to finish, Huff’s album is a sonic treat for fans of all rock and country sub-genres.

Perhaps the greatest highlight of the Gravity experience is its lyrical content. It does not take long for listeners to realize that Mark Huff is a very able songwriter, as the album features an extremely strong first half. The opener, “Easy to Love You,” is a great pop number about a man struggling to love his ideal woman. Following are two great rock and roll blues songs, “In the Dark” and the superior “Digging a Hole.” The latter reminds listeners of a Mark Lanegan tune and features a wonderful central metaphor that will captivate any heartbroken soul. The excellence continues through the next three tracks. The title track is the kind of song that Rob Thomas hasn’t written in years, the ghostly “Talkin Insomnia Blues” takes listeners back to Laneganville, and “Sleep it Away” is a song to which anyone can relate. Who hasn’t wanted to sleep away a bad day… or week? Huff realizes this as a songwriter, and captures the feeling perfectly in words. While there is some dropoff in the second half of the record, there really is only one track (“Killing Me Slowly”) that could be considered filler. The remaining tracks are still solid listens, and two of them, the previously mentioned “Wrong or Right” and the lyrical masterpiece that is the tearjerker “Something That I Broke,” are outstanding.

The biggest question that arises about the album is why it took so long to release it. His previous album released almost a decade ago, we can only hope that we won’t have a similar wait before Huff graces us with his brand of “Whiskey and Cigarette Pop” again. However, besting this effort will not likely prove to be an easy task for him. Like the woman Mark Huff discusses in the opener, it truly is easy to love Gravity… and listeners don’t even have to “try like hell” to do it!

CD REVIEW: Joe Buck's "Joe Buck Yourself"

noreply@blogger.com (Jared Morningstar) — Tue, 22 Jul 2008 08:40:00 +0000

Label: Self-Released

Despite an overall lack of major media coverage, a sonic storm named Shelton Williams, better known as Hank Williams III, has been sweeping the country now for ten years with his brand of traditional-country-mixed-with-punk-rock music he fondly refers to as “hellbilly.” Or, as his long-time bassist Joe Buck says in one of the songs on Joe Buck Yourself, his first official solo release, “hillbilly pride is going nationwide.”

Yet, one shouldn’t expect to hear Williams’ brand of “hellbilly” from a solo Joe Buck, who at one time was also a guitarist for The Legendary Shackshakers. The third-generation artist’s country sound, despite its recklessness and attitude, still mostly resembles the musical style of his grandfather. The sound of Joe Buck Yourself resembles, well, the fans that stand up front at Williams’ live shows. Not the strictly country crowd… they tend to hang towards the back of the place. He sounds like the hardcore fans who are itching throughout the entire country portion of the show to get the mosh pit going during Hank’s death metal second-half. Joe Buck’s music is dark, loud, and raw, and a constant sense of impending doom surrounds the entire record. Basically, this is the kind of music you’d expect to be on The Boogeyman’s iPod. After all, as Buck puts it in song, like every child’s legendary worst nightmare, he was “Born to Scare.” And like any great ghost story, it’s not only scary… it’s a damn good time!

Joe Buck establishes this reaper-like presence on Joe Buck Yourself in a couple of ways. The first way the multi-instrumentalist pulls it off is through the music itself. When he isn’t touring with Hank III, Buck hits the road solo as a one-man-band. It is appropriate, then, that most of the tracks on the record feature only a guitar and kick-drum. To those who don’t think such a stripped-down sound would create a very large musical impact, think again. This album is LOUD. Buck is pounds away on his guitar strings with a drummer’s force on each edgy, death-filled number, and the bass-drum beat seems to represent a soon-to-be victim’s increasingly loud heartbeat as the killer approaches. Add his creepy, creaky vocals to the mix and it becomes obvious to listeners that Joe Buck, like a great horror writer, knows how to build a mood in his work, and that he is certainly a solid musician with the ability to pull it off in superb fashion.

Adding to the musical damnation of Joe Buck Yourself is Buck’s appropriately written lyrics. Are they simple? Sure. Buck’s no Bob Dylan, but he didn’t need to be. All he needed to do with his lyrics to support his musical design was convince listeners that he could be as evil as his guitar made him seem. He certainly succeeds, as the album’s secret-agent-rocker-from-hell highlight, “Evil Motherfucker from Tennessee,” accomplishes this feat all by itself. Throughout the rest of the record, Joe Buck continues to build his horror-film villain persona. The self-anointed “Hillbilly Speedball” tells listeners that he and his hate are not even of this world in the song “Planet Seeth.” He “Took Up with the Devil” at a young age, and as he says in the dark, swamp blues song “I Will Survive,” he took his chances and made it through his personal hell. Now, he “wants revenge” against all those who crossed him. He asks all listeners if they “are his enemies,” and to those who are, Buck promises that he’ll “Dig a Hole” for each of them. And as if that isn’t a scary enough proposition, he also lets his enemies know in another album highlight that “The Devil is on His Way” as well. While Buck’s musical persona knows his anger will “lead him to an early grave,” as he states in the album’s only intermission from the evil, “Bitter is the Day,” it appears as though he has accepted it, making the story of Joe Buck Yourself slightly tragic, and even more captivating.

So how does such an album show that “hillbilly pride” is going nationwide? Well, obviously, there are another brand of hillbillies out there. This kind of hillbilly is no urban cowboy. His girl doesn’t think your tractor is sexy. And neither are interested in a day at the rodeo. No, these hillbillies seem to come from the modern-times Flannery O’Connor south. They’re loud, they’re angry, and they’re not about to let anyone get the best of them. Joe Buck’s debut album is for this kind of hillbilly. If you’re expecting a radio-friendly, easy-listening album, stay away. Hell, even if you’re expecting a country record, stay away. But if you want a hard, twangy, demon-fueled, punk-fused album that’ll rip your heart from your chest and use it as a yo-yo while you lay dying, buy Joe Buck Yourself. It’s a scary-good time you’ll want to experience over and over again.

CD REVIEW: Matt Watts' "The Ever-Seeing Bird"

noreply@blogger.com (Jared Morningstar) — Sat, 19 Jan 2008 09:33:00 +0000

Label: Self-Released

Imagine you are settling down for an evening with your girlfriend, some popcorn, and the latest chick flick to be released on DVD. You’re not too excited about the movie, but you figure hopefully things will get fun after it’s over. Or maybe, if you’re REALLY lucky, before it ends.

On the best of these evenings, the movie won’t be so bad. Heck, you might even remember some of those early scenes. You know, the scenes before your girlfriend stopped paying attention to the movie and started paying attention to you. You’ll DEFINITELY remember that part of the evening.

There are two things you won’t remember though. The first is the bland popcorn. I mean, come on, no matter the brand, microwave popcorn is not exactly the most enticing food in the world. The second thing? The movie’s quiet, non-offensive, non-intruding soundtrack. When listening to Matt Watts’ The Ever-Seeing Bird, listeners will be reminded of such a soundtrack… for both better and worse. While Watts’ folk album is obviously a romantic, heartfelt ode to his love, his family, and his friends, it’s as quiet as a lamb, and like the soundtrack of a romantic comedy, it’s easily forgettable.

The most glaring problem that damns The Ever-Seeing Bird to mediocrity-ville is that all of the songs sound identical. The melodies are slow, and while there have been plenty of great slow, solo-acoustic folk songs, by the fifth or sixth song of Bird, I was losing interest. Had Watts done things a little differently, could have this been avoided? Well, yes. He could have made a bigger attempt in writing more diverse guitar parts for the songs, and he also could have broken the shackles that seemed to be restraining his vocals on the album. While it is pretty safe to say that Watts is not Freddie Mercury, one can tell that he has greater vocal potential than what he displayed on this release. Whispery vocals are fine for a song, or two, or three. Ryan Adams pulled this off on his remarkable Heartbreaker very well by mixing such tracks with a few outstanding upbeat numbers. Such vocals, however, do not work for an entire album, especially on one that lacks melodical diversity like Bird.

However, this is not saying that there aren’t any positive notes to be made about The Ever-Seeing Bird. The album features good (and, on occasion, great) lyrical writing. Matt Watts obviously knows how to pen some great lines. Anyone that can develop a line like “too drunk tonight on conversation that stings” has talent. There are several other similar instances of pure poetry on the record that will catch a listener’s attention. On the album’s best tracks, the beautiful folk poetry flows from start to finish. These include the serenades to a lover “Hurry Please Hurry” and “When Sunlight Hits Seattle,” and Bird’s greatest highlight, “Twigs and Leaves.” This song, Watts’ inspiring and heartfelt tribute to his father, features a wonderful metaphor and solid imagery. No, his poetry will not always leave listeners awestruck, but overall, it is a well-written album from a lyrical standpoint.

So, is there potential in this States-born young folk singer now living in Belgium? Well, sure. Bird proves that he can at least hold his own as a lyricist. On future releases, Watts needs to maximize his vocal ability. He also should think about incorporating more instruments into his music. After all, he can play several instruments, and he can use this talent to create truly memorable folk music. A chance for the future is there. Unfortunately, the future is not now, and the chick flick soundtrack that is The Ever-Seeing Bird provides only a vision of what could be for Matt Watts. Hope you remembered to buy Milk Duds…

CD REVIEW: The Hackensaw Boys' "Look Out"

noreply@blogger.com (Jared Morningstar) — Thu, 12 Jul 2007 11:54:00 +0000

Label: Nettwerk Records

Ahh the sweet sounds of bluegrass. Thanks to a little movie called O Brother Where Art Thou, the genre has garnered more attention over the past few years… even though it never really went away. It’s a good thing too because with so many great bands emerging, we may be in the middle of the most exciting era of bluegrass in several decades. However, even though they use the same instrument arrangements that Bill Monroe made famous in the 1930s, some of these bands add an extra spark to the genre. They approach bluegrass with punk rock-like energy to create a vibe that is popular among fans of all ages and styles of music.

One of these bands is The Hackensaw Boys. Even though they have been playing together for almost ten years, they did not release an album on a label until 2005. When I heard that record, titled Love What You Do, I wondered why the underground country press was not mentioning them in the same breath as the more popular Old Crow Medicine Show. I believed then, and still do, that The Hackensaw Boys’ label debut rivaled OCMS’ first label effort. What I did not realize is that many of the Boys’ longtime fans disagreed. They said that even though they were still an outstanding live act, the Boys had lost their killer edge on the album… that it was far too mellow and polished. When I sat down to listen to their new 2007 release, I did so with a sense of curiosity, wondering what sound I was going to experience. Well, to those who think that The Hackensaw Boys’ lost their edge, Look Out! The appropriately titled album finds the Boys returning to their roots, full steam ahead.

The Hackensaw Boys’ line-up has some changed over the years, but it doesn’t take long for Look Out listeners to come to the conclusion that these guys are good! Bluegrass is a genre that demands solid musicianship for success, and each member of the band is a tremendous musician. This is especially true of Jimmy Stelling, who plays incredibly blistering banjo. His talent doesn’t stop there, as both he and Ferd Moyse absolutely saw the fiddle in half. Watching them play live must be amazing, and their work on the record is phenomenal. When the musical talents of bandmates Jesse Fiske, Robert Bullington, Ward Harrison, Justin Neuhardt, and part-timer Tom Peloso (Modest Mouse) are added to the mix, listeners are treated to a sonic blast of bluegrass goodness.

Several of The Hackensaw Boys add their vocal chops to Look Out, but they also share the songwriting responsibilities as well. It makes sense, then, that the album has quite a wide variety in sound. Some songs are banjo-fueled hellraisers (“Look Out Dog, Slow Down Train” and “Sweet Petunia”), which will undoubtedly please longtime fans. However, some tracks find the Boys leaving the “punk” at home and sound like bluegrass numbers that could have been recorded back in the genre’s heyday (the hoedown “Blue Eyed Girl” and the music-sets-you-free tale of “Radio”). Some resemble the sounds of other bands who dabble in bluegrass, such as the Avett Brothers-esque “Baltimore” and “Sally Ann,” which could easily be an Old Crow Medicine Show song. Still, other songs feature the Boys reaching into other musical genres to create some real gems. Examples of this include a real highlight of the album, the outstanding jazzed-up “Too Much Time,” and the album’s closer, “Just One Chance,” which mixes speedy bluegrass and excellent blues harmonica.

The stories told in the songs vary as well. Some are stories of relationships, which could easily take place today. However, for folks who long for stories that take place during the glory years of bluegrass, Look Out listeners will be pleased to find three such numbers. These include a tremendous cover of the traditional “Gospel Plow,” a tribute to a legendary United States president (“F.D.R.”), and the Tom Peloso-penned “Hobo.” “Hobo” is one of the best hobo songs to come out in years and would make both Jimmie Rodgers and Jimmy Martin proud. It makes one wish that Peloso would quit Modest Mouse and rejoin The Hackensaw Boys as a fulltime member. It’s an album highlight, as is “Oh Girl,” an absolute dark dandy of a vengeance song… a true modern bluegrass classic!

I’ve always hated the term “old-timey.” It’s a strong label that categorizes a style as a relic of the past… one that can’t be truly appreciated in the modern age. While The Hackensaw Boys may utilize an instrument arrangement of the 1930s, they refuse to let the bluegrass genre become such a relic. Look Out is the Boys at their best, a perfect medium between their raw early years and the more polished sound of their previous release. Thanks to such solid modern bluegrass albums like this, maybe soon we can stop referring to the style as “old-timey”… and start calling it simply “good-timey.”

CD REVIEW: Warren Zevon's "Preludes"

noreply@blogger.com (Jared Morningstar) — Mon, 02 Jul 2007 10:43:00 +0000

Label: New West Records

First of all, if any of you haven’t yet experienced the genius that was Warren Zevon, quit reading this review. For heaven’s sake, go to your local record store immediately and purchase the Genius greatest hits package. Go ahead. Don’t even think about it. You won’t be sorry.

However, for those of you who know Warren Zevon through his incredible music, read on. Recently, with the help of Warren’s son Jordan, New West Records has delivered Preludes to the world. As the title suggests, it is a compilation of previously unheard Zevon demos, discovered after his death, from his early years. Therefore, listeners shouldn’t expect to hear the almost-famous Excitable Boy Warren Zevon or the wise, old, dark sage of his later albums. Here, we get the young singer/songwriter, struggling to find his way in the music business… and in the world. A world complete with poverty, alcohol, drugs, shady characters, prostitution… truly the dark side of Southern California. It’s appropriate that the album ends with a demo of the Zevon masterpiece “Desperados Under the Eaves” because Preludes could be the soundtrack of the days he spent stranded in that Hollywood Hawaiian Hotel. Stark and sparse, often either solo-guitar or solo-piano, this is not music that’ll get you dancing. What it will do is send your mind on journey… one that is often both very lonely and uncomfortable.

Preludes features great demo versions of classic Warren Zevon songs. Some of them, in fact, are even better than their studio album counterparts. The versions of the letting-go lament “Hasten Down the Wind” and the red-light number “The French Inhaler” are the best this reviewer has ever heard. Ditto for “Carmelita,” a dark tale of life in the drug trade. Zevon’s voice bleeds emotion as he sings these songs, and the lack of the extra instrumentation creates an even more appropriate mood than the studio takes. The solo-guitar demo of “Join Me in LA” and heartbreaking tale of hopeless love “Tule’s Blues” continue to build this miserable world. We also get a much more complete look at the story of the “Accidentally Like a Martyr” lovers. With extra lyrics and a different sound, the demo fills in all of the depressing details. Things do actually get a little lighter with a funkier “Werewolves in London,” a garage-rock flavored “Poor Poor Pitiful Me,” and an Eagles-esque “I Used to Ride So High.” While these demos are still more sparse and darker than the studio versions, their upbeat nature give listeners a break from the doom and gloom, albeit a short one.

Of course, diehard fans will be happy to know that Preludes also includes six demos of songs that were never released on any Warren Zevon album. They’ll be happier to know that any of these songs could have easily appeared on his early albums. The opening piano track, “Empty Hearted Town,” is loaded with outstanding imagery and description, and it sets up listeners perfectly for the Preludes experience. “Steady Rain” follows, and it’s a great rainy day song for a rainy day album. Zevon compares the rain with teardrops, and states that both fall night and day. Towards the middle of the album, we find him hoping for a better day in “Going All the Day.” Yet, there’s something about Zevon’s voice and the jazzy musical arrangement that tells listeners that he is a little unconvinced about his chances. Then, we get an unfinished demo of “Studebaker.” Previously, the song could only be found on the Enjoy Every Sandwich tribute, and was performed by son Jordan. The Zevons’ deliveries of this song are so similar, it’s eerie. Close to the end of the album, we get “Stop Rainin Lord” and “The Rosarita Beach Café.” The former is a drifter’s recollection of a chance meeting with a hobo that is in the vein of Bruce Springsteen. The latter is, basically, a companion piece to “Desperados Under the Eaves.” If the inescapable café wasn’t in a border town, you could picture right next to the Hollywood Hawaiian. While the similarities to “Desperados” are probably why it never made an album, it is still a beautiful song, and a highlight of the album.

The second disc of Preludes presents an interview with Warren Zevon from 2000, around the time his album Life’ll Kill Ya was released. Here, we see another side of Zevon, as he discusses his new album, and more interestingly, his life in music. His classic dark sense of humor shines, and he comes across as a very thoughtful, reflective, and intelligent man. Highlights include his thoughts on songwriting, his story about meeting Billy Joel, his discussion of his piano and guitar background, and his opinions on spirituality.

Last year when John Carter Cash released a two-disc set of Johnny Cash demos called Personal File, several music fans rejoiced. Fans of Cash were able to hear him sing songs he loved as a child, as well as demos of several originals and covers that were found after his death. Now, we have a Personal File on Warren Zevon. Only, this collection is more powerful and captivating. It is often said that singer/songwriters share themselves in their work, and there is no doubt this is the case with Preludes. In these demos, Zevon shares the truth… the cold, lonely, hopeless truth… of his younger days with the world. You can’t help but be moved by the honesty, the pain, and the lyrical brilliance… nor can you hope but help that Jordan Zevon just may have enough demos for a Preludes 2!

CD REVIEW: Dale Watson's "From the Cradle to the Grave"

noreply@blogger.com (Jared Morningstar) — Sat, 21 Apr 2007 08:27:00 +0000

Label: Hyena Records

The story behind the album is already old news to the fans of underground country music. And it’s quite the tale. Lone Star troubadour Dale Watson is invited to a Tennessee cabin by his Hollywood friend Johnny Knoxville to record a new album. Oh, and the cabin? It was previously owned by the Man in Black, the one and only Johnny Cash. How could Watson say no to the prospect of recording in the home of one of his biggest heroes? Well… he couldn’t, and the product of this story will be released on April 24th. On this day, From the Cradle to the Grave, his first release on Hyena Records, will be delivered to fans that have eagerly awaited this album for months. And guess what folks? As usual, Dale Watson does not disappoint.

When Watson agreed to do the album, he stated that he did not want to record an entire album of songs that sounded like Johnny Cash. Still, he could not deny his presence during the recording sessions, and his presence is also very much a part of the album. Tales of love, death, and murder make up the majority of the record, resulting in perhaps Watson’s darkest album to date. Often, Cash’s signature sound is there too. That familiar shuffle is especially present on the title track, which ends with some of the best lyrics of his career. “All we really are are the memories that we’ve made and leave behind from the cradle to the grave.” How’s that for philosophical wisdom? It’s also present on “Justice for All,” the album’s first single. In this highly emotional story of a father filled with rage towards the man who killed his child, Watson states that even though he knows “an eye for an eye will leave the whole world blind, that’d he gun the bastard down if he had the chance.” Cash would be proud, and he’d be a fan of the tale of a murderous lover’s date with Alabama’s electric chair, “Yellow Mama,” as well. Finally, the album ends with probably the greatest tribute song ever written for the Man in Black. “Runaway Train,” with its speeding locomotive musical pace, describes Cash perfectly. All four songs are standouts, and in a perfect world, all would be country radio hits. Forty years ago, they would have been.

However, Cash’s sound is not the only one present on From the Cradle to the Grave. Watson and his always-outstanding band, The Lone Stars, also deliver to us hints of Waylon Jennings. “It’s Not Over Now,” a song about a man who simply cannot put his past love behind him, sounds very much like one of ‘ol Waymore’s blues. Watson also teamed with Chuck Mead (of BR549 fame) and Chris Scruggs to write “You Always Get What You Always Got.” A musical “you get what you deserve” message, it makes one wish that Mead and Watson would work together more often. BR549’s sound is ALL over this one, and folks, it’s a sound that fits Watson very well. Without a doubt, it’s an album highlight.

Despite these influences, the most recognizable sound on From the Cradle to the Grave is that of Watson himself. He and his band have created a sound over the past few years that is unique, combining the influence of Cash, Jennings, and Haggard with strong fiddle and steel guitar. A great example of this is “Time Without You,” a deceptively upbeat lament from a man who lost his love to the Lord. Again, a standout song. Another example is “Why Oh Why Live a Lie,” which finds him frustrated, trying to figure out why an ex-lover can’t be true to him, or even herself. Watson also shows his diversity with this fiddle and steel fused sound with “Tomorrow Never Comes.” In a musical sense, and perhaps a lyrical sense as well, this bluesy number is the album’s darkest track. With fiddle and steel playing eerie roles, and an outstanding guitar effect that resembles a bell’s toll, the song states that despite what false prophets say, no one knows when this world will end. No, this is no “album of Johnny Cash songs.” It’s a Dale Watson record, and a damn good one.

So no faults at all? Well, okay, so there is one minor flaw that keeps this record from being perfect. Even though it’s a great little upbeat country number, “Hollywood Hillbilly,” a tribute to Johnny Knoxville, just does not fit with the rest of the songs here. Yes, it was Knoxville who made this album possible, but the song itself would be much more at home on a previous Watson album, People I’ve Known, Places I’ve Been. In fact, it would be one of the best tracks on that record. It even would have fit on Whiskey or God, a hodgepodge album of Watson live show favorites. On the extremely dark From the Cradle to the Grave though, it just does not blend in well.

Still, this is extremely minor. One might even call it nitpicky, especially since this is Watson’s finest record in years. Recently, he stated that because of its mainstream demise, he was abandoning the “country” label in favor of a more fitting genre-moniker, “Ameripolitan,” a term he devised himself. Honestly, it does not matter what he wants to call his sound, because with or without a label, it’s incredible. Who cares what happens to mainstream country? As long as we have artists like Dale Watson releasing memorable albums like From the Cradle to the Grave, real music fans will be just fine. Somewhere, the Man in Black is smiling… and probably singing along.

To purchase this album, please visit Hyena Records' online store

To see the video for "Justice for All," click here

CD REVIEW: Robbie Fulks' "Revenge"

noreply@blogger.com (Jared Morningstar) — Fri, 13 Apr 2007 09:22:00 +0000

Label: Yep Roc Records

Over on an Amazon.com review, I saw Robbie Fulks referred to as “alt-country’s smartest smartass.” I absolutely love this because it is a perfect description of Fulks. Anyone who has experienced his music knows that his snarling sense of sarcastic humor is a highlight of all of his albums. So too is his brilliance. Fulks, who was given a scholarship to Columbia University (yes… the Ivy League Columbia University) out of high school, writes arguably the most intelligent country song of anyone in the underground scene. With Revenge, Robbie shows that this intelligence does not stop at songwriting. His 2007 double-live album is not only an excellent musical achievement. Like a musical essay, it has an introduction, two solid discs of music that represent different sides of the Fulks live experience, and a great conclusion, bringing everything together. It is truly a flawless package.

Disc 1 (entitled “Standing”) of Revenge finds Robbie Fulks performing with a full band. Needless to say, it rocks. One can tell that Fulks has been touring with this band for a long time because the sound is tight throughout the entire disc. The disc begins with the hilarious song/skit “We’re on the Road.” It just may be the most perfect intro to a live album ever made. Robbie jokingly introduces each member of the band as they are “driving to the next show.” However, a call comes in from the head of the record company. They want a new record, quickly, and are not willing to lend him much money to get it done. Fulks’ solution? Make a live album! One can’t help but chuckle, and the good times never stop as ten solid songs follow. Fans are treated to a great mix of outstanding renditions of Robbie’s past gems as well as three new numbers that are sure to please. Heartbreak never sounded so much fun as it does on these takes of “Goodbye, Good Lookin” and “Rock Bottom Pop.1.” The live versions of songs like “Mad at a Girl” and “Busy Not Crying” sound even better than their studio predecessors, and Robbie really pours his soul into his tribute to the classic country sound, “The Buck Starts Here.” The new songs are excellent too. “Fixin to Fall,” the tale of a poor sucker about to take the plunge into the land of roses and chocolates, would be a highlight on any of Fulks’ studio albums, and is a winner here as well. The depressing story of denial “You Don’t Mean It” is good, and the North Carolina celebration “Cigarette State” is even better. The latter track must be a live-show hit, and it is a perfect addition to this collection. It’s hillbilly madness at its best! Finally, the first disc of Revenge ends with its strongest rocker, a fine version of “Let’s Kill Saturday Night.” Obviously, Robbie Fulks knows what rockin’ country is supposed to sound like!

So that’s that, right? Great live album! Nope, kids, it gets even better. To only share a full-band set would be giving fans only one side of the Robbie Fulks live experience. Fulks also does stripped-down, “Unplugged” style acoustic shows, and thus, this side is represented on “Sitting,” disc two of Revenge. In many ways, this disc is even more interesting. Listeners are presented with three originals (two of them new), an outstanding set of covers, and some fun banter with the audience. The acoustic Fulks originals are great. The dark “In Bristol Town One Bright Day” sounds even bleaker here than on Couples in Trouble. It also sounds older, as though it could have been recorded decades ago. Think O Brother Where Art Thou. “On a Real Good Day” shows a man struggling to put on a happy face despite his depression. Finally, “I Like Being Left Alone” is classic Fulks. Yes, it’s comical on the surface, but a thick layer of sadness lies just below. It’s the kind of song that no one else could pull off as well. The covers are great too, including great renditions of “Bluebirds are Singing for Me” and “Away Out on the Old Saint Sabbath,” a duet with Kelly Hogan. We are even given a cover of Jimmie Logsdon’s odd-but-fun “I Wanna Be Mama’d,” which was also featured on Fulks’ cover record, 13 Hillbilly Giants. However, it is Fulks’ most unlikely cover that ends up being the highlight of the disc… a take on Cher’s 1998 hit “Believe.” Using hiccup vocals in spots to mimic Cher’s original, it is obviously hilarious. Yet, somehow, he makes it sound… heartfelt, even meaningful. This is the genius of Robbie Fulks, and it can be found throughout both discs of Revenge.

With a track listing that covers songs from almost all of Fulks’ albums (except for the “b-sides” disc The Very Best of Robbie Fulks and, interestingly, his most recent release Georgia Hard), this live record could easily be called a “greatest hits” release. Fortunately, it is even better. Fulks hates most live albums, even going so far as to call them “ripoffs,” filled with bad versions of old songs. So, he made sure to include solid new originals and great covers in addition to excellent versions of old favorites to prevent his own live album from earning that dubious title. Of course, to fans of Robbie Fulks, this is not surprising. From the superb introduction track to his concluding remarks, from “Standing” to “Sitting,” Revenge is a reflection of the artist that created it… pure brilliance.

CD REVIEW: Sons of Perdition's "The Kingdom Is On Fire"

noreply@blogger.com (Jared Morningstar) — Mon, 09 Apr 2007 09:46:00 +0000

Label: Gravewax Records

Satan is among us tonight, friends! In this world and these times of darkness, who shall save us from ultimate damnation? Well, Zebulon Whatley seems pretty determined to try his best. Whatley is the mastermind behind the gothic-western folk outfit The Sons of Perdition, and he has just delivered their debut album The Kingdom Is On Fire to the world. Appropriately released on Easter Sunday, it does not take listeners long to realize that even though the album tells several tales of the End Times, this is no ordinary contemporary Christian record. No rainbows here… just pure final judgment, in all its hellish glory.

So how does the record sound? Well… it sounds like it was recorded decades ago, in the desperate Wild West. Whatley plays an outstanding western guitar, which sets the mood immediately from the beginning intro track “This Land is Cursed” all the way to the end of the record. And if his guitar sets the mood, his deep, gloomy vocals completely establish it. Like Nick Cave at his absolute creepiest, Whatley’s vocals are perfect for this kind of music. Combined, the musicianship and vocals make The Kingdom Is On Fire a pure sonic treat for fans of gothic country music.

The album is an interesting, satisfying experience. It seems as though it is divided into two halves for a “darkest before the dawn” type of effect. And wow is the first half dark. The Sons of Perdition are not just prepared to tell tales of death and hell to us… they are prepared to pound them into our pitiful skulls. First, we get “The Party”… a heartwarming tale of madness as a man murders his entire family with an axe. Then, we have “Anhelo,” a story about a man whose wife has been killed. Even though he knows the Lord will condemn him to the flames, he is hell-bent on gaining revenge on her murderer. “There is a Judgment” follows. In it, a condemned soul warns another not to commit a similar suicidal sin. Next, in “Blood in the Valley,” the Sons provide a warning to hypocritical Christians that they will meet a fiery fate. Fans of Those Poor Bastards will be particularly interested in this track, for Lonesome Wyatt lends his talent by delivering a passionate hellfire sermon at its midpoint. Finally, we are given perhaps the most interesting track in this pitch-black first half. “Burial at Sea” features an outstanding string arrangement, and is a story, taking place in 1693, about a man who builds a prosperous life away from his homeland across the sea. However when he sends for his loved ones to join him, their ship is mercilessly attacked by the legendary sea monsters Kraken and Leviathan. Whatley has an incredible knack for telling these creepy, religious gothic tales, and it is made evident during the first half of The Kingdom Is On Fire.

Then, all of a sudden, something happens. After the delicious “intermission’ track “Cannibals of Rotenburg,” the mood of the music seems to change. Much of the dark imagery remains… blood, death, and judgment… but still, things seem to lighten up a bit. Gone is the constant funeral dirge sound, and in its place, the Sons start to explore other traditional country and folk sounds. “All He Wants (Is My Blood)” is a country/bluegrass gospel type number with a gothic twist, where Whatley states that he is confident that the Lord will bring him salvation in exchange for his blood. Next is a mandolin-fused, dark Carter Family-esque prayer for the end of the world called “An End to All Flesh.” The interesting story of “Death of a Shuckster” follows, in which a rainmaker promises a downpour to a drought-stricken town. When the rain doesn’t come, the town folk murder him, which leads the angels in heaven to flood the town… killing everyone because of their sin. Then we get “The Legend of Saw Jones.” This Frankenstein-meets-Civil War South story is the one song that doesn’t seem to belong on The Kingdom Is On Fire, but is so entertaining, we’ll forgive Zeb and the boys. Finally, the album ends with two solid tracks. “Fall to Your Knees” finds the Sons giving a final plea to sinners to repent before it’s too late to be part of Heaven’s glory, while “I Wanna Go to Heaven” is a straight-up traditional country number in which Whatley makes his preferred destination clear to listeners. The song ends what is an absolutely phenomenal album from start to finish.

Thanks to their “Pills I Took” partnership with Hank Williams III, Those Poor Bastards have brought life to the gothic country scene. Still, several fans of this sound have been waiting for another band or artist to step up and give the scene its second major star. With this outstanding debut, Zebulon Whatley and the Sons of Perdition seem ready to do just that. Putting their own original western spin on gothic country music, the Sons have delivered a beautiful brimstone masterpiece with The Kingdom Is On Fire. Glory to us all!

CD REVIEW: Bobby Bare, Jr.'s Young Criminals Starvation League's "The Longest Meow"

noreply@blogger.com (Jared Morningstar) — Mon, 09 Apr 2007 07:52:00 +0000

Label: Bloodshot Records

When it was announced that Bobby Bare, Jr. was releasing a new album last September, this reviewer became instantly excited. After all, Bare Jr. has already proven to be an outstanding artist on the rise. He and his band, the Young Criminals Starvation League, have established an original sound that refuses to be pinned down in any one genre, and his songwriting is already living up to the family name established by his legendary father, Bobby Bare, Sr. His previous album, From the End of Your Leash, had become a personal favorite. So, when I heard that the new album, The Longest Meow, was set for release, naturally, I was quite interested. After doing a little research and learning that the album contained 11 songs, was made in 11 hours, and that he had used 11 players to record it, I became even more intrigued. What an interesting concept, I thought. Something only Bobby Bare, Jr. could dream up! I knew I had to hear this record.

So how is it? Well… it’s okay. In many respects it lives up to the level of excellence one would expect from Bare. In some instances though, it falls a little short.

First, the musicianship is flat-out incredible. The 11-person group of musicians (including members of My Morning Jacket and …And You Will Know Us by the Trail of Dead) is on fire throughout the record. Whether it’s the heavy rocking “The Heart Bionic,” the mariachi-flavored “Back to Blue,” or the sparse cover of the Pixies’ “Where is My Mind,” the music is always top-notch, and memorable at every turn. In this respect, Bare has outdone himself, as he has never created a better “sounding” record than The Longest Meow.

Unfortunately, if you are looking for an outstanding set of songs from start to finish, as Bare provided on his previous album, you will likely be a little let down. While some of the songs are among his finest achievements, others, especially towards the end of the record, fail to make a memorable impression.

The Longest Meow starts out very strong. In fact, the first three songs make up one of the best opening trios of any album released in 2006. After a brief sonic intro, we have the previously mentioned “The Heart Bionic.” The song, with its incredible bass line, hearkens back to Bare Jr.’s heavier past. It’ll stick in your head for hours. “Gun Show” follows, and with it, so does a dark aura that seems to haunt most of Meow’s greatest songs. This dark tale of death screams Springsteen’s Nebraska. Finally, the last song of this tremendous threesome is “Back to Blue.” Featuring a horn section, wonderful steel guitar, extremely clever, abstract wordplay, and an overall country-rock vibe, it reminds listeners of Desire-era Bob Dylan.

However, the rest of The Longest Meow is hit-and-miss. Some songs reek of that horrible little f-word… filler. While the abstract wordplay works for songs like “Back to Blue,” it does not work for a song like “Sticky Chemical.” “Uh Wuh Oh” and “Snuggling World Championship” are fun little rockers, but there is not much in terms of lyrical depth… usually one of Bare’s greatest strengths. And while “Mayonnaise Brain” is fine lyrically, it’s perhaps a little too low-key musically, and fails to stand out the way it should.

Still, some songs live up to the quality established by the first three tracks. The journey through hell that is “Demon Valley” is great, as is the album’s tear-jerking closer, “Stop Crying.” It’s one of those rare break-up songs that cannot be called cliché in any way. Finally, “Borrow Your Cape” is an outstanding political anthem that delivers a serious punch. Some of Bare’s all-time best lyrics can be found in this song. It’s direct, but clever at the same time. After listening to this song, it makes me wonder why Neil Young didn’t call up Bare to help him write songs on his recent Living With War album. “Borrow Your Cape” is better than any song on Mr. Young’s rather disappointing recent collection.

Around the time that the album came out, a friend of mine (and fellow reviewer) received a copy of Meow. It was the first Bare Jr. album he had heard, and he was completely in love with it. This says a great deal about both Bare and this record. Even though The Longest Meow may not be a great Bare Jr. record, it certainly would be a solid record if it were released by most anyone else. If you are looking for an album of the same quality as the first two Young Criminals Starvation League records, you will probably be disappointed. However, even though it’s flawed, Meow is still a good album… and merits a listen.

CD REVIEW: Dwight Yoakam's "Guitars, Cadillacs, Etc., Etc." (Deluxe Remastered Edition)

noreply@blogger.com (Jared Morningstar) — Sun, 08 Apr 2007 10:26:00 +0000

Label: Rhino Records

Twenty years ago, Mr. Dwight Yoakam blessed us with his debut album Guitars, Cadillacs, Etc., Etc. Some said then that he was too rock and roll for country radio. Looking back, ironically, he was probably too COUNTRY for country radio. The album was pure classic honky tonk, with blazing fiddles, and hard core 1950’s bar room soul. Starting with the hit cover of Johnny Horton’s immortal country anthem “Honky Tonk Man” through a cover of songwriting master Harlan Howard’s “Heartaches By the Number,” with plenty of country goodness in between, Yoakam immediately established that he was a force to be reckoned with… whether Nashville liked it or not.

That was 1986. In 2006, Rhino Records, in a partnership with Reprise, released the 20th anniversary edition of Yoakam’s classic debut. To hardcore Dwight fans, it would have been incredible just to have the album’s wonderful songs remastered and given the superior sound quality they deserved. Well, Rhino certainly delivered in that respect. However, to this reviewer’s delight, the label gave us so much more. Not only are we given a remastered Guitars, Cadillacs, but also Yoakam’s first ten demos recorded in 1981, and a live show recorded at the Roxy in 1986. The demos were previously released on the Reprise Please Baby: The Warner Bros. Years box set, but a vast majority of the live show has never seen an official release. It is an irresistible package, even for those who own the original issue of the album.

As one listens to Yoakam’s 1981 demos, one cannot help but wonder how in the hell did no one sign this guy? Among the demos are songs from Guitars, Cadillacs and, with the exception of the still unreleased “Please Daddy,” songs that would appear on Dwight’s future records, such as the classic weeper “I Sang Dixie.” It must be said that these are not your usual demos. Combined, the 1981 demos could have not only been one hell of a country record, but a greatest hits record for most artists. They are true treasures to experience, and make it very clear that Dwight Yoakam was a very special artist from the beginning, even if the country music industry failed to notice.

After the demos on Disc 1 end, the classic album begins to play. Guitars, Cadillacs has never sounded better, and it still sounds as fresh as it did in 1986. It’s proof that hard core honky tonk never goes out of style. In case some readers have never actually heard the album, it’s a ten song powerhouse of solid country gold. It’s all here. Along with Horton’s “Honky Tonk Man” and Howard’s “Heartaches By the Number,” Yoakam also provides listeners with an outstanding honky tonk version of Johnny Cash’s “Ring of Fire.” He penned the remaining seven songs himself, and they display his amazing country songwriting talent.

In addition to the songwriting brilliance and Dwight’s always-incredible vocals, the album has also become legendary due to its diversity. It’s one of the very few contestants for “the all-time perfect country album.” All of the elements of real country music are present. You have honky tonk numbers (the bar room rambler’s warning to women “I’ll Be Gone”). You have tales of broken hearts (the tear-commanding “It Won’t Hurt” and the lament “South of Cincinnati”). You even have references to the Great Beyond (the pledge of love for both the Lord and Kentucky “Bury Me” and the desperate plea “Miner’s Prayer”). Finally, you have the now-legendary title-track, which combines all of the previously mentioned elements into a celebration of country music. During his long and illustrious career, even though Yoakam has matched the quality of Guitars, Cadillacs on a couple of occasions, he has never outdone it. This is a testament to how truly wonderful the record is.

This, of course, all leads to the second disc… the live Roxy show. Most Dwight fans already know how good Guitars, Cadillacs is. Diehard fans may even already have the box set with the demos. However, the entire Roxy show, never before released in its entirety, provides a thrill for all fans. And it is indeed one hell of a thrill. A still young Yoakam completely takes over the stage of the famous rock and roll club with his brand of “old hillbilly stuff,” and the crowd is more than happy to go along for the ride. The sound quality of the live recording is incredible, and Yoakam is full of energy as he rips through a set list of outstanding covers and originals. Highlights include outstanding versions of “Honky Tonk Man,” “Guitars, Cadillacs,” two excellent Bill Monroe covers (“Can’t You Hear Me Calling” and “Rocky Road Blues”), and a flat-out rocking version of Hank Williams’ “My Bucket’s Got a Hole in It.” If the first two parts of the re-release weren’t enough to make one want to buy it, this live show is one damn strong final selling point. It completes the Guitars, Cadillacs experience.

It is a little strange that Rhino and Reprise decided to put both the demos and album on the same disc. In a perfect world, this set would be 3 discs, with each part being kept separate. However, it was probably released this way to save folks money, which is completely understandable. This one very minor complaint aside, the decision to buy the re-release is a no-brainer. Containing something for everyone, fans should only hope that the rest of Yoakam’s catalog is given similar treatment. The title of “Deluxe Edition” well-deserved, the 20th Anniversary issue of Guitars, Cadillacs is a winner in every respect.

CD REVIEW: Those Poor Bastards' "Hellfire Hymns"

noreply@blogger.com (Jared Morningstar) — Sat, 31 Mar 2007 17:58:00 +0000

Label: Tribulation Recording Co.

Lord have mercy, Lonesome Wyatt and The Minister have delivered to us another heaping helping of gloom and doom. The same duo that brought us song “Pills I Took” (a hit for Hank Williams III) and the fantastic gothic country debut album Songs of Desperation have now unleashed Hellfire Hymns on to this pitiful world. This time, Those Poor Bastards are darker than ever, taking listeners right down to the Land of Lucifer and into his demonic clutches.

While fans will be familiar with Hymns’ subject matter, this album is not the Country Bullshit EP nor is it Songs of Desperation. On this record, for the most part, Those Poor Bastards have taken the country out of their so-called “gothic country” sound that dominated their first two releases. The difference in sound isn’t as dramatic as, say, Dylan going electric, but listeners will no doubt be able to notice. No one sound dominates Hellfire Hymns. Sometimes we get gothic country (the creepy hoedown “There’s Gotta Be Something Better Than This”), sometimes gothic rock and roll (the electric “Farewell Happy Fields”), sometimes gothic folk (the outstanding cover of the classic “The Hellbound Train”). However, most of the time, we get a sound that’s somewhere in between these three.

This, however, is NOT a bad thing at all. Despite the different styles, Hellfire Hymns is Those Poor Bastards’ most consistent effort by far. Almost a concept album of sorts, each song deals with the condemned and damnation, and the musicianship is excellent. Lonesome Wyatt’s vocals and The Minister’s guitar and banjo have never sounded better. Lending his mandolin talents also is Jayke Orvis from The .357 String Band on the leadoff track, “The Dust Storm.”

This outstanding musicianship leads to a number of outstanding songs. The 16-track album is loaded with Grade-A misery. First is the previously mentioned mandolin-tinged “The Dust Storm,” which is probably the greatest song that has ever emerged from Lonesome Wyatt’s pitiful pen. It’s certainly the catchiest, easily taking the place of “Pills I Took” in that regard. Plus, it’s much stronger lyrically. “John Henry Gonna” finds Those Poor Bastards using John Henry as a metaphor for God, and the idea that no one knows when his hammer is going to fall. Great song, as the interestingly bouncy (a la “My Last Dollar) “God Damned Me,” which describes a man truly down on his luck. Following these two tracks is the hard-rocking “Behold Black Sheep,” another album highlight, which is a well-deserved middle finger to hypocritical, phony Christians. This same desperate, loud cry can be found on “Ruin My Life,” a nice little song of dissatisfaction… with a sinful edge. Then comes “Stay Away From the Forest Boy,” another hoedown-esque number which features Jesus calling to a soul gone astray, warning him to stay away from Satan and his contract. Later, we are given “Family Graveyard,” a good old-fashioned tale of resurrection where a fellow decided he wants to raise his loved ones from the dead “just like ‘ol Lazarus.” Truly frightening, lonely, and lovely! Yet, the last two tracks are perhaps Hymns’ most memorable. On album where Those Poor Bastards seem to abandon the country in their sound, they deliver their finest country song to date called “Lost on the Way.” Just as “Black Dog Yodel” from the Country Bullshit EP could have been written by a zombified Jimmie Rodgers, “Lost on the Way” could have been written by a zombified Hank Williams. It’s a terrible tale of impending doom after a highway accident. Finally, as if the album couldn’t be more miserable, Wyatt and the Minister deliver an appropriate, apocalyptic ending with “Everything is Gone.” The song, which describes the world after Armageddon, is a perfect finale to this wonderful package of Hellfire Hymns.

Always fantastic and forever original, Those Poor Bastards have delivered their finest album. Their sound continues to expand in a positive direction, and Wyatt’s growth as a songwriter is evident. As his lyrics continue to improve with each release, it does not spell well for the damned sinners in our midst. One cannot help but eagerly anticipate the next record as he or she listens to these pitiful ditties. In the meantime though, repent now, because like God and John Henry, Those Poor Bastards deliver damnation with Hellfire Hymns. And Hell has never sounded more terrifying!

CD REVIEW: Jenny Hoyston and William Elliott Whitmore's "Hallways of Always" EP

noreply@blogger.com (Jared Morningstar) — Sat, 30 Dec 2006 21:24:00 +0000

Label: Southern Records

Not so long ago, the world of country music gave us several outstanding duets and duet partnerships. Johnny Cash and June Carter quickly come to mind, thanks to the success of the 2005 hit film Walk the Line. So too do Conway Twitty & Loretta Lynn, and George Jones and Tammy Wynette. And of course, we should not forget the wonderful music that Gram Parsons gave us during his far-too-brief life with duet partner Emmylou Harris. Unfortunately, the transformation of the genre into its current pop-dominated sound, at least in the mainstream, has killed the great country duet. Sorry folks, Tim and Faith just do not cut it with this listener.

Enter the team of Jenny Hoyston and William Elliott Whitmore and their recent EP project Hallways of Always. Hoyston, the lead singer of no wave band Erase Errata, and bluesy-folk artist Whitmore may not seem the most likely duo to release a country-tinged duet project. Thankfully for fans of real music though, the stars aligned just right. One may not exactly be able to call Hallways of Always a country release. Stripped-down, bare-boned, earthy folk may be the more appropriate name for its sound. However, the EP delivers a few great duet songs that are as memorable as any that have been released in the decades since Johnny and June delivered “Jackson” to the world.

However, Hallways of Always’ six songs are not all duets. The EP also features two solo songs (one by Whitmore, one by Hoyston), and ends with the self-titled instrumental. While the instrumental is uninteresting filler that should have been cut, the two solo songs are both solid. Whitmore’s “Black Iowa Dirt” is a celebration of the farmland of his home state, and the life it brings to the people. As he says in the song, he has the dirt underneath his fingernails, and running through his veins. The song could have easily been the opener to his incredible Song of the Blackbird album. Hoyston follows up with a great song of her own. “We Miss You,” an ode to her (or the song’s main character, at least) deceased father. In the song, she discusses how while she and her mom are doing fine, they still miss him. Loretta Lynn could EASILY have written this song… a definite winner.

Just as it should be, though, Hallways of Always’ best songs are Hoyston and Whitmore’s duets. The EP’s opener, “Feast of a Thousand Beasts,” is a dedication to our existence in the natural world. A supernatural power seems to hover over the two artists’ combined voice in this song, as though a higher power (Nature? God?) is speaking through them. Following this song is the organ-powered “You’re Already Gone.” This extremely powerful tearjerker is a story about a love that could not survive the trials and tribulations that the two characters have had to face. What makes the song memorable is that while both characters seem to realize that they have grown apart, they still are sorrowful about the end of their love. And Hoyston and Whitmore’s effective vocals make listeners believe that sorrow. Finally, after the two solo songs comes the EP’s greatest number: “Marrow.” The song tells the basic tale of a man proposing to a woman. After he promises never to break her heart again, she accepts… even though she knows her father will be irate. The story seems simple, but it works extremely well for a couple of reasons. The old-timey banjo-filled sound of the song matches perfectly with the song’s imagery, and the conversational style of lyrics is absolutely phenomenal! Hoyston and Whitmore play the roles of the lovers perfectly, and it makes for an incredible listening experience.

It is a shame that in today’s Tim and Faith world, thanks to mainstream radio, this EP will have such a limited listening audience. Other than the instrumental at the end, the songs range from solid to excellent, and the EP is a highly recommended purchase for anyone who longs for the day of classic country duets, or for those who just love outstanding singing and songwriting. Hallways of Always is a wonderful achievement for both Hoyston and Whitmore that leaves listeners hoping that the duo will be recording together again in the future.

CD REVIEW: Wayne Hancock's "Tulsa"

noreply@blogger.com (Jared Morningstar) — Mon, 04 Sep 2006 11:02:00 +0000

Label: Bloodshot Records

Listen to the jingle, the rumble, and the roar! A familiar Train is coming up around the bend. Ladies and gentlemen, the King of Juke Joint Swing has returned after five long years since his last studio record… and he’s better than ever.

2006 has been a tremendous year for real country music. More new, solid country records have been released this year than any in recent memory. Artists who have released new albums this year range from underground powerhouses like Hank Williams III, Dale Watson, and BR549 to bona fide legends like Kris Kristofferson and Johnny Cash. As the year comes to a close, it becomes more and more difficult to find a noteworthy artist that does not have a new record in stores. For the fans of one such noteworthy artist, the wait for a new album ends on October 10th. This is the day when Wayne “The Train” Hancock’s fifth studio record Tulsa hits the shelves. In case anyone forgot who Hancock is (and I doubt anyone has), he is one of the most outstanding country songwriters in this or in any era. However, he has not had a new album since 2001, and many were likely wondering what exactly had happened to him. Well, for those worried about Wayne Hancock, Tulsa will ease their weary minds with a sound that is equal parts country and jazz. The Train is back to swing listeners to their own personal hillbilly heavens.

Even though many compare Hancock’s musical style to Hank Williams, Sr., he has just as much Bob Wills in him as he does Williams. This Wills side of The Train’s music has a strong presence on Tulsa; one that is stronger than on any Hancock album since his sophomore effort That’s What Daddy Wants. His country and jazz influences blend together perfectly to create an incredibly smooth sonic experience, whether it’s the fast, lively swing of the title track, or the mellow sway of “Ain’t Gonna Worry No More.” Helping Hancock create this sound is longtime producer Lloyd Maines and Wayne’s always-phenomenal touring band. As usual, they are on top of their game, helping to record Tulsa in only two and a half days, which explains its loose, live feel. Eddie Biebel, Dave Biller, and Paul Skelton take turns on lead guitar, while Chris Darrell maintains an always slap happy doghouse bass. Eddie Rivers’ steel guitar whines mournfully, while Bob “Texaco” Stafford and John Doyle cook up just enough jazz on trombone and clarinet, respectively, to create Hancock’s unique musical style. After almost ten years of constant touring, Wayne and the boys have perfected that style on Tulsa.

Since Wayne Hancock is country’s ultimate road warrior, playing over 200 shows a year, it should not surprise anyone that Tulsa is filled with great songs about life on the road. The first half of the record features songs about hitting the highway, while the second half explores the reasons for heading back home. Numbers like “I Don’t Care Anymore” and “Goin’ Home Blues” are tales of escape from the memories of a broken heart, and tunes such as the toe-tapper “Gonna Be Flyin’ Tonight” and the horn-fused “Goin’ Back to Texas When I’m Through” find Hancock excited for a rest from the road. Tulsa’s standout road songs are the country singer’s seemingly autobiographical “Shootin Star From Texas,” the lyrically outstanding “Back Home,” and the dark, desperate “Highway Bound.” The latter track is particularly interesting for while most of the road songs on Tulsa are “wild, free, and reckless,” “Highway Bound” finds Wayne on the edge of quiet madness. A ghostly feeling surrounds the creaky voice, as though the highway has trapped the spirit of the lonely troubadour. It is haunting as hell, and damn wonderful.

Of course, no flawless country album can be without songs about booze and broken hearts, and Tulsa is no exception. Hancock delivers listeners a tremendous bluesy number entitled “Drinkin Blues,” which finds the singer trying desperately to avoid the temptation of alcohol, only to fail in the end. There is plenty of heartache to go around too. Whether it’s the lounge jazz lament “This Lonely Night” or one of the best Hank Williams-like songs in years “Lord Take My Pain,” Wayne proves he is a master of serving the lovesick blues. He can even make those blues fun, as he proves in the Johnny Horton/Hank Williams hybrid “No Sleep Blues”: a song anyone can relate to, and one that begs folks to sing along. Hancock has always been a master storyteller, but he’s never told better tales than those found on Tulsa.

A few days away from the five-year anniversary of the September 11th terrorist attacks, we will be reminded more times than needed in the coming weeks about the dangers of today’s world. However, Wayne Hancock is here to help us escape from our worries. “There’s a band across the way, everything will be okay,” and “when you hear these folks playing, there’s no point in feeling down,” he says in the song “Brother Music, Sister Rhythm.” Finally, The Train is back to give old fans another ride and pick up a few new passengers as well. His timing could not be better. With the quality of his juke joint swing at its all-time high and some of the best songs that he has ever penned, Tulsa is Wayne Hancock’s strongest album of his distinguished career... and the country record of the year.

CD REVIEW: William Elliott Whitmore's "Song of the Blackbird"

noreply@blogger.com (Jared Morningstar) — Sun, 03 Sep 2006 12:36:00 +0000

Label: Southern Records

Imagine you are a Plains states farmer in the early twentieth century. Scorching summer hits, and horrible drought ensues. Dependent on the dead or dying crops, hard times rush towards you and leave you helpless and faithless. And yet, you are still hoping for a miracle, a rainstorm, to heal your own personal Great Depression. This is the world presented by singer/songwriter William Elliott Whitmore with his 2006 release Song of the Blackbird. Whitmore tells this tale of survival both through his sparse, traditional musical arrangements and excellent lyrics for any era. As good as any concept album in recent years, Blackbird is sure to be a hit with anyone that loves traditional music, deep, growling vocals, and superb songwriting.

Even though Whitmore is a 28-year old white man from Iowa, he sings with the soul of an elderly black man moaning the blues on his porch under the hellish 1930s Alabama sun. His Tom Waits-like vocals have never sounded better than they do on Song of the Blackbird. As with his previous two albums, Whitmore keeps his musical arrangements small, effectively playing most of the instruments himself, including guitar and banjo. On a few tracks, however, Whitmore gets a hand from drummer John “Crawdaddy” Crawford and Dave Zollo on piano and Hammond organ. Piano hasn’t been a staple of his past releases, but it adds a great deal of quality to two featured tracks. Indeed the music is solid, but Whitmore chose wisely to keep it from dominating his incredible voice, for it truly is Blackbird’s most noteworthy instrument.

With the exception of a couple of songs, musically, Song of the Blackbird is almost identical to Whitmore’s previous albums. What makes it his strongest record is the songwriting. Whitmore has always been a great lyricist, but this time, the entire album is one long, complete story. This sort of concept record isn’t tried often, and for good reason because most of the time, the effort falls flat on its musical face. Not so with Blackbird. The tale begins with the banjo-and-vocal song “Dry,” which sets the stage for the deadly drought. This simple arrangement gives away for the piano-and-organ filled “The Chariot”: an album standout that finds Whitmore questioning his faith. “The Chariot swung low and sweet, but it could not carry me home,” he howls. The now faithless voice then concedes that he is “not bound for glory, but for flames” in the eerily quiet banjo number “One Man’s Shame.” The banjo is replaced by guitar for the mournful “Rest His Soul,” where the voice reflects on the journey he’s shared with a departed loved one, whom he seems content to let rest in peace rather than suffer along with the dying land.

This could have been the end of a terribly sad, but solid EP. But then, something happened. The rain came, and it came in hard musical sheets. After a two-minute instrumental intermission that ends with the sound of heaven’s blessed teardrops, the “Lee County Flood” begins. Whitmore’s driving banjo simulates the rain, which sounded like “a thousand horses’ hooves.” Even though the rain is harsh as it floods the land, it is welcomed with open arms. As a result of the watery miracle, the remaining songs are used for lessons and remembrance. “Take it on the Chin” finds a father using the horrible drought experience to teach his son about the nature of life. The next number, “Red Buds,” brings the piano and organ back to give the song a religious feel. For Whitmore, nature and spirituality are synonymous, and his gospel-like delivery of such lines as “when the rain beats down on a poor man’s head” drives home his message. The song successfully gives listeners the same feeling of new life as the people who suffered in this musical story. The final track, “Everyday,” wraps things up well, as a survivor remembers a loved one who wasn’t so lucky, regretting the pain he had put that person through. It is an appropriate way to end Song of the Blackbird: an outstanding musical representation of nature’s life cycle.

In today’s world, where soulless, lifeless pop music dominates radio stations across the country, we are lucky to have artists like Whitmore who can tell powerful tales like Blackbird. The collective musical voice of the working man is quickly disappearing, with its most influential artists either already dead or aging. However, so long as life continues to thrive inside the body of William Elliott Whitmore, the American farmer will always have that strong voice to get behind. If he were alive today to hear Song of the Blackbird, Woody Guthrie would be proud.

CD REVIEW: Old Crow Medicine Show's "Big Iron World"

noreply@blogger.com (Jared Morningstar) — Sat, 02 Sep 2006 12:17:00 +0000

Label: Nettwerk Records

On August 29th, 2006, a certain singer/songwriter by the name of Bob Dylan released an album entitled Modern Times. While the album title is largely ironic since nothing is modern about its musical arrangements, the music does not resemble anything like his early folk sound either. So what is the pre-electric Dylan fan supposed to turn to in these “modern times?” Well… how about to another album released on August 29th? Big Iron World by the punky-folky-bluegrass outfit Old Crow Medicine Show is just what the doctor ordered. In many respects a concept album, Big Iron World is a lyrical and musical picture of a harsh, cold world… one that largely contradicts OCMS’ irresistible upbeat sound. Yet, somehow, this combination ultimately proves to be the band’s strongest effort to date.

Produced by the great David Rawlings, the music of Big Iron World is solid. OCMS has always been a musically strong group, and they surely do not disappoint here. Each member of the band delivers, and delivers well. Joined on some tracks by the light drumming of songstress Gillian Welch, the tight-knit group of Critter Fuqua (banjo), Kevin Hayes (guitjo), Morgan Jahnig (bass), Ketch Secor (fiddle), and Willie Watson (guitar) deliver listeners an old-timey sonic blast that is sure to please… and on some occasions, make them want to dance. While their previous two albums were a little more raw and gritty, Big Iron World is OCMS’ most consistently impressive musical record.

In addition to their outstanding musicianship, four members of OCMS contribute lead vocals to songs on the album as well, and all four handle the duty well when called upon. The laid back voice of Critter Fuqua works on both the boatman’s hard time lament “James River Blues” and the lively “New Virginia Creeper,” while the “rocker” of the group, Keith Secor, proves he can be sorrowful as well on the murder tale “My Good Gal.” Even though Kevin Hayes doesn’t have the strongest voice, he still uses it well on a cover of the traditional “Let it Alone.” However, providing the most memorable vocals on the album is guitarist Willie Watson. His haunting, howling vocals on songs like “Don’t Ride That Horse” send chills down one’s spine. A band that has multiple members who can deliver effective lead vocals is rare, but Big Iron World proves that OCMS is one of them.

Yet, what makes this album such a great listen is the cover and original song selection that creates this Big Iron World. Beginning with the twangy, bluesy cover of The Coasters’ “Down Home Girl” and the Dylanesque “Bobcat Tracks,” there is plenty of musical goodness in between for listeners to experience. While many of these songs are fast-paced, they often feature just as much of a dark undertone as the sad and haunting numbers. Some of these are stories of addiction (“Cocaine Habit”), some are stories of infidelity (“Minglewood Blues”), and some are stories of the working man doing what he can to survive (a blistering cover of Woody Guthrie’s “Union Maid”). Hard times define the album, and it is evident that some of the hard times discussed are those that we face today. One of the album’s standouts, “God’s Got It,” sounds like a southern gospel song on the surface, but hints at the irony of wealthy evangelists selling Christianity to the poor. Another very memorable song, “I Hear Them All,” finds OCMS protesting against tyranny in the world in the name of the suffering. In times when such songs are a dime-a-dozen, this is as good as any song of the kind that has been released in recent years, and manages to deliver its political message without bashing listeners over the head with it (are you listening Neil Young??). From start to finish, each song on Big Iron World is a winner.

With all respect to Mr. Dylan, perhaps the greatest musical statement about modern times released on August 29th was Big Iron World. In discussing the darkness around each of us, OCMS has delivered their best album. And in a world where we face the horrors of war, terror, and mediocre noise on mainstream radio, thank heaven for Old Crow Medicine Show!

CD REVIEW: Joey Allcorn's "50 Years Too Late"

noreply@blogger.com (Jared Morningstar) — Sun, 27 Aug 2006 05:12:00 +0000

Label: Self-Released

Fiddle. Steel Guitar. The Yodel. These are all elements of country music that have long been forgotten. Artists who strive to be Lynyrd Skynyrd-lite rather than Ernest Tubb now dominate mainstream country radio, and fans of country’s golden years are led to believe that the genre’s heart and soul have been buried along with the previously mentioned country elements in favor of corny ballads and faux rodeo cowboy ditties. To these fans, rejoice, for a different kind of country scene is alive and well… one that celebrates the past, yet still sounds fresh in 2006. This scene features several artists, including Joey Allcorn. The young singer/songwriter from Columbus, GA’s debut album 50 Years Too Late is a perfect introduction to those fans interested in exploring this other side of country music. On his outstanding debut, Allcorn shines with a blend of the heartbreak and honky tonkin’ of old and a heavy modern grunge rock attitude.

For someone only 25 years old, 50 Years shows that Joey Allcorn has an extensive knowledge of what used to make country music so special. He has a strong, nasal vocal delivery complete with a yodel that would make even the Opry stars of old smile. His songs of broken hearts (like the fiddle-driven “So Say Goodbye”) do not sound plastic or fake, and his hard-living numbers (such as the rockin’ “Tired of Being Blue”) are raw without being ridiculous. He also delivers an excellent prison song that quickly has listeners singing along (“Alabama Chain Gang”), pays tribute to the legends in the album’s title track, and sends an angry message to Nashville and its pop country sound in “In Nashville, Tennessee.” 50 Years proves that Allcorn is no one-trick pony as a songwriter. Whatever kind story he decides to tell, he always does an incredible job.

Of course, what makes 50 Years particularly interesting is the wide range of sound it covers. The album begins with songs like “I Just Don’t Know” and the Lefty Frizzell-like “Here I Go Again” that have a straight, old school country sound. As the album progresses however, the style changes. Dark tales like “Son of a Ramblin Man” and more progressive numbers like the jazz-fused “Don’t You Call on Me” are featured. Finally, towards the album’s end are songs that could just as easily fit in on a hard rock album as a country album, like the outstanding country/grunge rock hybrid “Like I Never Will Again,” where both the heavy electric and steel guitar play powerful roles. Yet, even these heavier songs have a country heart that is beating strong. In a way, the album plays like a country music trip through time, which makes for a listen that is both interesting and highly entertaining.

50 Years Too Late is also given a major boost from Allcorn’s talented friends who appear on the record. The most famous of these friends, Hank Williams III, gives perhaps his most thought-provoking vocal performance ever on “This Ain’t Montgomery”: a song about avoiding Hank Williams Sr.’s shadow to create one’s own identity in a world far different than the one he dominated fifty years ago. Lonesome Wyatt of Those Poor Bastards, the writer of Hank III’s hit “Pills I Took,” also lends his creepy vocal chops on the dark, Jimmie Rodgers-esque “Graveyard Bound.” Several outstanding musicians are also featured, including the amazing Donnie Herron of BR549 and Bob Dylan’s current touring band on fiddle, Andy Gibson of Hank Williams III’s Damn Band’s steel guitar perfection, guitar master Johnny Hiland, and legendary country pianist Walter Cunningham. This all-star cast makes Allcorn’s already great songs even better, and 50 Years an even bigger pleasure for country fans.

Allcorn states in the album’s title track that, “it might turn out that it was fate that I was born fifty years too late.” 50 Years Too Late listeners will agree, for the record could have just as easily been titled “50 Years in the Making.” He would have been a star fifty years ago just like his idols, but after listening to his wonderful debut album, fans will be very happy that we have Joey Allcorn here with us in 2006, and if the good Lord’s willing, for a good fifty years more to come.

CD REVIEW: James Reams and the Barnstormers' "Troubled Times"

noreply@blogger.com (Jared Morningstar) — Sat, 26 Aug 2006 10:48:00 +0000

Label: Mountain Redbird Music

Bill Monroe lives! Bill Monroe lives!

Okay, well unfortunately this isn’t entirely true, for Mr. Monroe passed away in 1996. However, the wonderful style of music he is credited with creating, bluegrass, is alive and well in the new millennium. Those of you who only know of the modern country scene presented by country radio and CMT are likely thinking I am crazy, but a few outstanding bands in the underground music community have me not only celebrating bluegrass’s past, but its present as well. One of these bands is James Reams and the Barnstormers and their 2005 release Troubled Times is an indicator of the band’s tremendous talent.

One of the many reasons that Troubled Times is such a great listen is the quality of the music. A single spin of the album is enough for one to conclude that it is bluegrass at its best. Reams is a wonderful bluegrass vocalist and delivers each song with a voice straight out of the 1940s, and band mates Carl Hayano and Mark Farrell provide effective complementary backing vocals. The musicianship is equally impressive, especially Farrell’s work on mandolin and fiddle, and the banjo-playing of Mickey Maguire, which is good enough to bring a smile to even Earl Scruggs’s face. This is no attempt to shrug off Reams as a guitarist or Hayano as a bassist, however, for they do a fine job as well. There are no better examples of this excellent musicianship than on the album’s three cookin’ instrumentals: a cover of country fiddle legend Arthur Smith’s “Lost Train Blues” and Maguire’s originals “Erin’s Flight” and “Lost Forest.” Troubled Times proves that James Reams and the Barnstormers are not only well schooled in the old school bluegrass sound, but have mastered it.

While the music is outstanding, what makes the album so memorable is the song-by-song quality. Filled with great bluegrass covers, Troubled Times is appropriately titled. Bluegrass may have a lively sound, but overall, this record has a dark aura. This is established right from the beginning with the classic “Head of the Holler,” which, despite its deceivingly happy sound, contains a harsh warning to anyone who might consider moving in on the speaker’s woman. This early warning tells listeners that happy love songs will not be found on Troubled Times. “You Better Wake Up” features a fed-up husband telling his wife that he’s sick of her ways and is about ready to make like Hank Williams and become a long gone daddy. Other songs dealing with men and women take a much more violent turn. “Cruel Willie” tells the tale of a man who mistreats one woman too many, and ends up paying for it with his life, while the outstanding Robbie Fulks cover “Cold Statesville Ground” is one of the best murder ballads ever written. The Barnstormers’ version of this masterpiece surprisingly lives up to Fulks’ original. The album also contains songs about religion including “Lazarus,” which warns listeners that they can’t buy their way into heaven, and the traditional number “Cool Down on the Banks of Jordan,” which finds the Lord calling the troubled and weary down to the river to find eternal happiness and salvation. Finally, some songs simply deal with life’s rocky path (“Ain’ta Bump in the Road”) and hard work (“Winsboro Cotton Mill Blues”).

However, the best of these “troubled times” come from James Reams’ own pen. The album contains three Reams originals (two of which were co-written with usual songwriting partner Tina Aridas), and all three are standouts. The heartbreaking title track finds Reams lamenting about the loss of a family farm to a bank foreclosure, and in perhaps the album’s finest track, “The Hills of My County,” while watching mining companies destroy his county, friends, and family, he ponders whether or not God wishes He had never “blessed” the hills with coal. Finally, the album’s most interesting track, “Eye of the Storm,” has a couple of possible meanings. Literally, it plays out like a tragic Hurricane Katrina story where a man makes the mistake of attempting to wait out the storm and loses everything. The “storm” can also have a figurative meaning though, representing, appropriately enough, any troubled time in the song’s family’s life. Whether or not the storm is real or a metaphor for something else is up to the listener, giving it a kind of depth not found in the average bluegrass number.

In the year 2006, we are now without most of the bluegrass legends that made the genre so great. We lost Jimmy Martin last year. It’s been a decade since Bill Monroe left us, and several years more since Lester Flatt left Earl Scruggs to join heaven’s angel band. Fortunately, thanks to bands like James Reams and the Barnstormers, it has been ensured that bluegrass will not die along with its creators. Troubled Times, along with its bonus DVD, which includes over 100 minutes of outstanding bluegrass documentary, is Reams and his band’s statement to the world that not only do they want to help listeners remember bluegrass’s history, but that they are ready to lead the genre into the future.

CD REVIEW: The U-Joints' "Straight Out of the Trunk" EP

noreply@blogger.com (Jared Morningstar) — Sat, 26 Aug 2006 07:15:00 +0000

Label: Self-Released

Hellbilly. It is a word that is becoming more and more common in the world of underground country as a certain “son of a son” with the last name of Williams gains even greater popularity. Yet, it is a word that is often used inaccurately. Some artists are simply too traditional and others’ sounds go down way too smooth to be considered “hellbilly,” but still get tagged with the label regardless. However, this is not a problem for the Houston, Texas band The U-Joints. With a heavy rockabilly sound that delivers a hard honky-tonk-punk-rock punch to the jaws of listeners, the band establishes their hellbilly status on their debut EP, Straight Out of the Trunk: an outstanding six song set that is sure to get juke-joint hearts beating strong.

Dominated by Warren Rhone’s edgy Texas vocals and Ray Marchese’s powerful guitar, The U-Joints’ sound shows a wide range of musical influences. One can hear heavy doses of rockabilly in one song, punk in another, and in others… both. And in some cases, the songs are just straight-up rock and roll. Yet, the songs never sound cluttered. Somehow, all of these sounds seem to blend together. This makes Straight Out of the Trunk an interesting and very satisfying musical experience.

Each of the six songs on Straight Out of the Trunk is a sonic treat, especially for the hellraisers that have lived the tales that the songs tell. Numbers like “Hellbilly Holiday Weekend” and “U-Joint Boogie” have a rockabilly foundation, but with a hard edge that reminds one more of The Reverend Horton Heat than Carl Perkins. A dark, eerie, western atmosphere is given to “Train Song”: a tale of a man who escapes his life of misery through the sound of the trains passing by. “There’s the Door” is a particularly interesting tune, as while one person could argue that it sounds like a Waylon Jennings song, another could just as legitimately dub it to be a Social Distortion rocker. Either way, it is an EP standout, as is “I Can’t Live Alone”: a song that leaves listeners wondering why it is not being celebrated on rock radio. Finally, “Walkin My Tab,” Trunk’s closer, has a Johnny Cash feel… if the Man in Black were on a heavy dose of speed, that is. A successful combination of country heartbreak and a heavy rebellious rock nature, Straight Out of the Trunk is a major achievement in musical diversity.

While the label “hellbilly” will likely continue to be given to several upcoming bands and artists in the future, The U-Joints actually deserve this honorary distinction. The only downside to the EP is that it leaves listeners wanting more. However, if Straight Out of the Trunk is any indication of what is to come from The U-Joints, their full-length debut will be well worth the wait!

CD REVIEW: JB Beverley and the Wayward Drifters' "Dark Bar in a Juke Box"

noreply@blogger.com (Jared Morningstar) — Fri, 25 Aug 2006 04:25:00 +0000

Label: Helltrain Records

“I hear that train a ‘comin.” These immortal words by Johnny Cash begin his classic song, “Folsom Prison Blues.” The song was recorded early in The Man in Black’s career, and these opening words forecasted his nearly fifty years as the dominant force in country music. While today’s mainstream country radio bears next to no resemblance to the soulful sound established by Cash and others, in the underground scene, there’s a new train a ’comin to take country back. JB Beverley and The Wayward Drifters are not only on this train, but their debut album, Dark Bar and a Jukebox, establishes them already as preeminent passengers. With a sound that combines the hobo spirit of Jimmie Rodgers, the attitude of Johnny Cash, and the heavy banjo of Bill Monroe, Beverley and the band have created an album that will please any traditional country music fan.

As a songwriter, Beverley shows a great deal of skill. Dark Bar and a Jukebox features several well-crafted songs, both lyrically and musically. There is a lot of variety as well, and many standout tracks. The album begins with the excellent, straight-up fast bluegrass number, “Shoulda Thought About It.” The title track, a to-the-point criticism of today’s country radio, stands up with the best of the songs with a similar message. ”Memories of You” is an old-time country weeper, which could have been written by Hank Williams, Sr. “Before They Get These Cuffs On Me” is a fun, Jimmie Rodgers-esque story song about a bank robber. Beverley pays tribute to the dedicated live supporters of live music in “Going to the Show,” and “Ghost of Old DC” is quite possibly the greatest song ever written about a haunted train. Perfect musically and lyrically, it’s a masterpiece in every way. Finally, the album also features a different sort of “Train Song,” an excellent high-speed rumble down the musical tracks. Listeners can’t help but go along for the ride.

Yet, the album’s greatest tracks find Beverley writing autobiographical episodes. These songs, “Lonesome Loaded and Cold,” “Rainin in Philly,” and “Wayward Drifter” are written with so much heart that even if they aren’t 100%, the listener believes every word. Filled with helplessness, hopelessness, homelessness, and heartbreak, they don’t just pull at one’s heartstrings, they rip them apart.

Of course, the lyrics aren’t the only strength of the album. The music is also tremendous. Beverley and Johnny Ray Carroll, Jr (AKA Johnny Lawless) play a great acoustic guitar and bass, respectively, and the incomparable Dan Mazer (AKA Banjer Dan) handles the banjo, dobro, and mandolin duties. Mazer is incredible, and his signature banjo is essential to the band’s sound. To make these songs even better, Beverley brought in other excellent musical guests as well. The fabulous Donnie Herron of BR549 and Bob Dylan’s current touring band brings his skill with the fiddle, Andy Gibson of Hank Williams III’s Damn Band contributes on steel guitar, and Ronnie McCoury shines when his mandolin is called upon. Fellow underground country traditionalist Kenneth Brian lends his vocal and guitar chops, and some guy who sounds eerily similar to Hank Williams III, credited in the liner notes as “Dixie Coon,” sings with Beverley on a couple songs. Old-timey with an edge, Dark Bar and a Jukebox is a musical pleasure.

Despite Music Row’s attempt to bury it, this 13-song effort by JB Beverley and the Wayward Drifters shows that real country music is very much alive. While all of these songs like they could have been written in the 1930s-1950s, the band gives them a modern, heavy edge, making them accessible to fans of old school country and punk rock alike. 2006 has been a very strong year for traditional country music releases with several more still scheduled, but Dark Bar and a Jukebox ranks right up there with the year’s best. Go ahead and get on the train. The Wayward Drifters send you on a hell of a ride!