Album Review: Black Joe Lewis - Electric Slave

By Matthew Martin

From the opening heavy, fuzzed-out riff of Electric Slave, we know that this is a new Black Joe Lewis.  Not only musically, but in name as well.  Black Joe Lewis has opted to drop the Honey Bears from the band name.  Not to worry, the horns are still there.  The funk is still prevalent.  But, this is something a bit heavier, a bit more Stooges than Stax.

One of the first things I noticed about this new outing by Black Joe Lewis is the more pissed off tone of the album versus his last two outings.  Not to say it hasn't been on other albums-Scandalous had the terrific "You Been Lyin."  It's just that this album takes that emotion and increases the tone to that proverbial 11 level.  The subject matter blends perfectly with the minor chords that dominate the album.  

"Skulldiggin" starts the album off with a bang and really never lets up.  By the time you get to the excellent "Come to My Party," it's clear that Black Joe Lewis wants to blend every style available to him.  I dare you to listen to that song and try to sit still.  I don't think it's possible.  

It's the next half of the album that really picks up and takes the album to another place.  The back-to-back songs "Vampire" and "Make Dat Money" are great band workouts.  Lewis's voice fits the songs so perfectly.  Rough and amplified, it's a vague reminder of The John Spencer Blues Explosion, albeit taking only rough notes from that playbook.  The next song, "The Hipster" is a song so perfectly angry and humorous- I can only imagine the Williamsburg crowd listening to the song very uncomfortably.

I don't know that I would say this is Black Joe Lewis's best album.  It's definitely not the worst.  This is a step in a direction that I think will suit Lewis in the long run.  The horns are still there.  The funky guitar rhythms are still there.  But, there is a new urgency.  There is a demeanor that the music has taken on....a more sinister demeanor?  I'm not sure if that's the best way to describe it.  I'm not sure I know how to put it in words.  I think you should listen to it.  You will like it.  That is something I am quite sure of.

If I had to complain about a couple things on the album, it would be the vocals mix and "Young Girls."  While I enjoy the sound most of the time, there are times where it gets a bit difficult to discern the vocals due to being lost amid the guitars, drums, and horns.  It's only a minor complaint, though.  Also, "Young Girls" starts off fairly weakly.  I nearly skipped it.  I didn't, and I was glad I didn't.  The song grows into it's own, but it's the weakest song on an otherwise incredibly strong album.

This album will grow on me.  I like it a lot so far.  I see it potentially being on my year-end list with more listens.  This is a blues album for the times.  No doubt about that.  It's been a frustrating year and some angry, fun, funky blues is just what we needed.

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Pick the album up here, here, or here.

Live Review: Dawes and Shovels & Rope

Dawes and Shovels & Rope at 9:30 Club 6/19/2013

by Matthew Martin

Around the time I heard Dawes was coming to D.C. again, a pretty big and gut-wrenching change occurred in my life. Don’t worry, I won’t bore you with the details, but it was enough to throw me off track for quite some time. So, I forgot about the Dawes show and rode a couple months of less than great luck. Before I knew it, the Dawes show sold out. Needless to say, I was pretty bummed.  

But then, on a whim, I decided to enter the contest Dawes had listed on their website/twitter which was simple- enter your name and email address and you could win a meet & greet, a signed set list, and 2 tickets to the show of your choice. And, I won. My luck is changing!

As seems to be the case with a lot of shows I have written about here, Shovels & Rope opened the night with their increasingly popular and well-oiled brand of Americana. There isn't a whole lot more I can say about Shovels & Rope that I haven’t said before. Cary Ann Hearst and Michael Trent traded instruments, per usual. Hearst was her charismatic self and the crowd was eating out of the palm of their hands by the time they ended with the biographical “Birmingham.” Really, their live show is something to behold. As great as their albums are, they just can’t do Shovels & Rope justice.  

Dawes has recently released a stellar third album- Stories Don’t End- and I was very excited to hear many of the songs from the album that had already become among my favorite Dawes recordings.

The show started with the first single off of the new album, “From a Window Seat.” One of the first things you notice at a Dawes show is that the reserved nature of the band on their albums really gives way to intense performances by Taylor Goldsmith. It’s one of my favorite things about seeing Dawes. If someone says Dawes is a bit softer for their taste, I always encourage them to see Dawes live.  

The band ripped through songs from all 3 of the albums with songs like “Peace In the Valley,” “Million Dollar Bill,” “From the Right Angle,” and more. Where pure elation really occurs at a Dawes show is when they play, what is likely, their most famous song- “When My Time Comes.” There is truly something cathartic about screaming/singing along with 1200+ other concertgoers to the chorus.  

Taylor Goldsmith owns the crowd as a singing, guitar slinging frontman. He saunters from each side of the stage to the next.  He demands attention from everyone in the crowd. And on this sold out night at the 9:30 Club, attention was all his. That’s not to take away anything from the rest of the band.  It is extremely apparent that this is a band that has spent years on the road, fine-tuning every nook and cranny of every song. It’s simply that Taylor Goldsmith is the frontman, and he wears that badge proudly and confidently.  

The show ended, apparently, on “A Little Bit of Everything” which is a truly great song to end a show on. The song may have some of the best lines Goldsmith has written. I could have ended the night right then. But, as we all know now, the end is never really the end.  So Dawes came out for two more songs, inviting Shovels & Rope up to end the evening with Traveling Wilburys song “End of the Line.” It was a great night ending with two bands I really enjoy singing a song by a band everyone loves, or at least should love.

As I always say, what I say pales in comparison to seeing the band for yourself. If you aren’t a fan of the albums, that’s fine. Go see them. Discover what they are all about. I think you will be very impressed by the show you see.  

Album Review: Jonny Fritz - Dad Country

by Matthew Martin

Jonny Fritz has had a pretty interesting career thus far; already changing his name just a few years in.  The name switched from Jonny "Corndawg" to Jonny Fritz around a year ago or so, in an attempt to not be pigeonholed as an exclusively comedic singer/songwriter.  But, not to fear, folks!  Fritz is still writing clever, catchy country songs about mundane life experiences.

The first thing you will likely notice on Fritz's new album, Dad Country, is the very talented backing band.  This band includes Fritz's trusty side kicks- Spencer Cullum, Jr. and Joshua Hedley- as well as members from Dawes.  Also, interestingly enough, the album was recorded at Jackson Browne's studio.

The album is full of songs about weirdos, truck stop darlings, and everyday screw-ups.  We all know the characters in Fritz's album.  We know that couple who fights over the most trivial issues ("Trash Day").  We know, or have been, that person who is sick and far from home ("Fever Dreams").  It's this uncanny ability of Fritz's to just take these otherwise troubled or annoying characters and make them a bit more tolerable.

One of the things that has always drawn me to Jonny Fritz's music is the classic country flair he brings to his witty songs.  Similar to the great songsmiths Porter Wagoner and Tom T. Hall, Fritz is not laughing at the characters in his songs.  He's merely giving you their side of the story.  Maybe it's just so inconceivable that it comes off as humorous.  Or, maybe it's so uncomfortable ("Ain't It Your Birthday"), that we have to laugh in order to break the tension.  

I think this is probably Fritz's strongest album to date with only one song really not grabbing me in- "Suck in Your Gut."  The collection of songs with strange characters and talented musicians backing them up create an extremely fun listening experience.  Go check out the album here and then go buy it here.  

Fritz has also released his first video for the album:

Live Review: Ryan Bingham - Northern VA

by Matthew Martin

It really bugs me when an artist plays right outside of D.C.- in this instance, northern Virginia. For a couple of reasons really; 1- I think the bars in D.C. are plenty and perfect for many of these artists, and 2- I don't have a car, so it's a bitch. Regardless, when you hear that Ryan Bingham is coming close, you go. You figure out public transportation, and you make sacrifices.

 

The Wild Feathers

To open up the night, The Wild Feathers out of Nashville, TN came out guns blazing.  The five piece band sounded like a mix between Ryan Adams and what Kings of Leon could sound like if they weren't so concerned about their perfect hair and sex of the fire variety.  There was 3-part harmony on most of the songs and vocal duties switched between the 2 guitarists and the bassist.  While the band itself was a tight, cohesive unit, I will say that the drummer was the most fun to watch.  My friend and I could not stop watching the full-on assault he was laying on the drums all night.  The Wild Feathers' set offered up an energetic, fun set.  They mentioned they will be putting out a new record this year, and I, for one, can not wait to hear it.

 

Last year, Ryan Bingham dropped his backing band The Dead Horses and opted for a solo album.  After seeing Ryan and The Dead Horses a couple years ago and really loving that line-up, I was a bit worried that maybe this would be a bit of different affair.  However, the troubadour and his new motley crew of a band made sure any notions of doubt were washed away with the first few notes of the show.

 

If you haven't heard his latest album, you might not know that Bingham is pissed off about the state of the nation, politics, and the separation between the haves and have-nots.  There's a certain anger that rings throughout the raucous "Guess Who's Knocking" and the restrained "Rising of the Ghetto."  These type songs have been the staple of his career and in a live setting, they come across as poignant and unabashedly fun.

 

Bingham ripped through a set that included all of the crowd favorites, such as, "Bread and Water," "Hard Times," "Sunrise," "Country Roads," "Tell My Mother I Miss Her So," "Hallelujah," and "The Poet."  Each song was sung with an intensity that is specific to Bingham's style of country-infused folk/rock music.  The crowd was entranced and fully enthralled by the music.  Every song turned into a sing-along and dance party.  If you can stand still during the breakdown of "Sunrise," you truly have no soul.

 

Bingham's new backing band was every bit up to the task of keeping up with the talented frontman.  The fiddle player seamlessly weaved in and out of every song.  The lead guitarist ripped and roared with killer slide guitar solos.  The rhythm section kept it all together at chest rattling volume.  By the time the last song of the first set was over, you could tell that no one was ready to go home and it was almost inevitable that we would stay until we got an encore.

 

The encore consisted of just Bingham with an acoustic guitar.  He played a couple of songs before ending with the appropriate "Ever Wonder Why."  With the final line being, "Well, I'll see you all around," it felt like there was no better song to have ended the show on.

 

If you are only familiar with Ryan Bingham because of this well-known (and deservedly so) song, "The Weary Kind," you are doing yourself a disservice.  He is not to be missed.  Maybe his albums could stand to cut out a song or two in order to be truly great, but each album is still important.  And, if you aren't a fan of his albums, go see him live.  Do yourself a favor.  The charasmatic troubadour will win you over. 

Album Reviews: Futurebirds - Baba Yaga

By Matthew Martin

According to Futurebirds' website, the making and shopping around of the new album was a massive headache and seemed to be doomed from the beginning.  Thus, the name, Baba Yaga.  Baba Yaga is a witch in Slavic folklore who could be either good, bad, or ambiguous.  Luckily for us, good prevailed, and the album was able to see the light of day nearly 2 years after it was begun.

One thing that really grabbed me about Futurebirds the first time I heard them was the reverb that drenched every song.  Also, the reckless abandon that permeates out of the songs like any moment things might fall apart.  The whole thing could just collapse.  Maybe the reverb holds everything together.  Whatever it is, I want neither attribute to change for the Futurebirds.

When the first song, "Virginia Slims" kicks in on Baba Yaga, it's clear that we have the same Futurebirds.  You get the distinct feeling that maybe this was all recorded in a church with no air conditioning.  The heat of the South seems to drip from every player in the band.  

Trading off vocal duties, each track feels very familiar, but very distinct.  The straightforward country-rock of "Tan Lines" differs from the slow-burn, dare I say, psychedelic rock of "Death Awaits." The great thing about Futurebirds is they know how to make these styles fit perfectly side-by-side.  They transition, with ease, from one style into another.  

Lyrically, this feels a lot more mature than previous Futurebirds albums.  Themes run the gamut; from death ("Death Awaits") and relationships ("Keith and Donna") to odd character sketches ("American Cowboy").

For many, the reverb added to the vocals is somewhat of a turn off as you can't quite pick up on some of the lyrics.  There is a feeling that it was not mixed correctly.  But, this is part of the charm that I find in the Futurebirds recordings.  If you're curious as to the level of reverb, think My Morning Jacket's The Tennessee Fire. 

For me, this is one of the best albums of 2013.  It's perfect music for a hot afternoon; to just sit on your porch or patio and drink a beer or 3.  This set of songs sees Futurebirds hit their stride and not let up.  The band has benefited from years on the road and has grown into a tight-knit band, albeit a tight-knit band that loves playing closely to the edge.  

Go listen to the album here.  Not sure how much longer it will be up, so do it quickly and discover your next favorite band.

Also, pick up their previous albums here and the new album here.

RIYL: My Morning Jacket, Shovels & Rope, Dawes, Calexico

Live Review: Lucero and Shovels & Rope, D.C.

Lucero and Shovels & Rope - 9:30 Club - 3/20/2013

By Matthew Martin

(Written before Matthew's Ronnie Fauss show review)
It's been a while since I've written about a show, but the pickins have been pretty slim up here in the nation's capitol.  Luckily, that drought ended on March 20th when Lucero came to 9:30 Club bringing Shovels & Rope in tow.

First, Shovels & Rope was up to get the crowd revved up for Lucero.  The past few months have been great for Shovels & Rope.  I have seen Shovels & Rope a few times in the past year and each time the amount of people that are showing up to hear them is larger and larger.  This time was no exception.

I read not too long ago (on NPR maybe?) that you should always try and make it to the opener because in a lot of cases the headliner has hand picked them.  Assuming this is, in fact, the case, Lucero picked a great opener and the crowd definitely showed up.

Playing their particular brand of folk/country music, Shovels & Rope got the crowd moving early on and really never let up.  They played a few songs I hadn't heard them play before such as "Who's Gonna Raise These Babies?"  They also played the standards that have made people fall in love with them so easily- i.e., my personal favorite "Birmingham."  The energy exhibited by Shovels & Rope is transferred to the crowd with ease.

By the end of their set, the crowd was buzzing about how incredible they thought Shovels & Rope were.  There were lots of looks of pure astonishment going around.  It was great seeing so many people appreciate what it is Shovels & Rope are doing.

Next up was the incomparable Lucero.  Seeing a Lucero show is always very interesting- you never know what the crowd is going to be like.  The crowd for this particular show was an excited, but not too rowdy, bunch.  

Lucero has continued to grow into their own on each passing album.  Starting off as  a bit of a rough edged country rock/punk band, they have added horns to their sound to build a sound that is distinctly their own.  A brand of Memphis country-soul-rock they wear with outright pride.

They started off with a strong set of old and new songs all backed by the very talented horn section.  It was worth noting that Todd Beene did not make the show here in Washington, D.C. because his other band, Glossary, had a string of dates they were playing.  So, while his very talented steel pedal playing was missed, everyone else picked up the slack.

Halfway through the set, the band decided to play a set of new songs that will be coming out on an EP soon (maybe Record Store Day- 4/20/2013?).  One of the strongest songs to come out of these songs was "Texas and Tennessee."  Another great lost love song that we have all come to know and love from Lucero.

As is typical for a Lucero show, the pace got a bit more rowdy as the night went on.  More whiskey was consumed than was probably necessary.  Even more beer was passed around.  Songs like "All Sewn Up" and "Tears Don't Matter Much" sent everyone into a whirlwind of elation and energy.

By the end of the show, all of the crowd's energy was spent, but seemed like we could have continued on for a few more songs.  Unfortunately, every thing must come to an end and this show was no exception.  Either way, Thursday was not a pleasant day for me, but any opportunity to see Shovels & Rope and Lucero in one evening is worth every bit of the pain endured!

I say it all the time, but go see either of these bands.  If you're coming to this site, you already know them.  So, go out and see them live to get the full experience.  Until then, pick up every album they own here and here.

Live Review: Ronnie Fauss, D.C.

Ronnie Fauss - 3/24/13 - Hill Country BBQ, Washington D.C.

By Matthew Martin

If you read my review for Ronnie Fauss's album I Am The Man You Know I'm Not, you probably gathered that I wasn't a huge fan of the album.  If you didn't read it, you can check it out here.  I have since changed my mind on the album, but if you want context, you should finish reading this review.

Around February or so I noticed Ronnie would be coming up to D.C. to play at Hill Country BBQ.  I figured the songs were growing on me and if nothing else, it's great to get to hear live interpretations.  To be honest, I was concerned that Ronnie would be a bit sour after the review, but that couldn't have been further from the truth.  He was very friendly and was open to the criticism I may have had with the album.

This was somewhat of a showcase, so there were no openers, just Ronnie playing a solo set with only his guitar and harmonica.  In this setting, his lyrics were able to take center stage and, for the most part, they really shined.

He played every song from his full length, as well as most of the songs from his 2 EPs.  I hadn't heard either of the EPs, but purchased both immediately.  One song that I really liked from his 2010 EP Mulligan was "Just Another Tuesday."  I really loved the bare bones version that he played compared to the souped up version on the EP.  He stated that he plans to record another version for an upcoming album.  It will be great to hear what he has in mind for the re-recording.

Halfway through the set, a group of children got up and began dancing to a lot of his songs which included "Pistols in the Air."  It was pretty neat to see these kids really liking a lot of the music. And, furthermore, Ronnie was more than happy to see them dancing along to songs he mentioned were written with his kid in mind.

By the end of the evening, Ronnie had played a slew of songs including my favorites: "The Night Before the War," "I Don't See You," "Just Another Tuesday," and "I Can't Remember (What You Can't Forget)."  Alongside these tunes, he played some covers of John Prine, Slobberbone, and Merle Haggard.

As I mentioned earlier, I have really grown to like the album I Am The Man You Know I'm Not.  Likewise, hearing the songs in person solidified that these are great songs sung by a genuine and nice guy.  As a lot of Texas musicians are prone to do, it seems like Ronnie does not play outside of Texas too often.  I am hoping that will change.  But, until then, if you see that he's coming around you, you should go see him.  Also, go support him and buy some music here.

FTM Top Albums of '12: Matthew's Top 10

-By Matthew Martin

1- Lee Bains III & the Glory Fires, "There is a Bomb in Gilead"- My God!  No band surprised me more this year than Birmingham's own Lee Bains III.  I witnessed them open up for Alabama Shakes in Baltimore and was just floored by these guys.  Evoking that Southern, soulful voice akin to fellow Alabama native Jason Isbell, Bains and his incredibly gifted band-mates have created an album that continues to grow stronger and stronger with each listen. 

2- American Aquarium, "Burn. Flicker. Die"- We've all heard it before, right?  Band hits road.  Band tries to make it.  Band gets weary.  Band breaks up.  This is where we meet BJ Barham and his band American Aquarium on their latest release: between weary and callin it quits.  What makes an album great is taking a subject we've heard and making it sound new and fresh.  Barham has done this to perfection with his road weary songs.  American Aquarium has had some really good albums, but this album achieves far beyond good- it is truly great.

3- The Pollies, "Where the Lies Begin"- Another great band from Alabama- there must be something in the water down there.  Listening to this album for the first time was such an awesome experience that I wish I could listen for the first time again.  I'm not sure you can get much better for a debut album.  Everything on this album works perfectly- from the interplay of instruments to the Jim James-esque echo vocal effects.  Just try to listen to this album and not be taken aback.  

4- Titus Andronicus, "Local Business"- Everyone's favorite Nihilistic band came back from their massively heavy and successful 2010 album "The Monitor" to record a more basic rock and roll record.  Recorded with the same 4 folks who had been touring for the last few months as Titus Andronicus, this album hits the ground running and really never lets up.  This album has less of the bombast than the previous 2 albums (i.e., no spoken intros, no droning noise, etc.), but Patrick Sickles and crew still run through 7+ minute songs at break-neck speed.  

5- Lucero, "Women & Work"- I don't know how Lucero continue to get better, but they do.  Taking the Memphis soul sound they incorporated on "1372 Overton Park," they honed their sound in to make this incredible album.  The songs on this album are your typical Lucero songs, but then you add in songs such as "Sometimes" and "Go Easy" and you have possibly their best album since "That Much Further West."  Some folks don't like the horn section Lucero have taken up, but I couldn't be more on board.  It works incredibly well for their sound and Nichols' gruff voice.  (Also, anyone else notice "Like Lightning" being played during some college and pro football games this year?)

6- Shovels & Rope, "O Be Joyful"- To truly appreciate Shovels & Rope, you should see them live, immediately.  Until then, this album serves as a great snapshot of their energy, harmony, and chemistry.  There have been a ton of "husband/wife" duos lately, it seems, but Shovels & Rope are doing everything right.  Some songs may initially seem sappy, but they play them with such sincerity and gusto that any sap is quickly overshadowed by their keen emotion.  There is no better song from 2012 than "Bimingham," which alone makes the album worth purchasing.

7- Arliss Nancy, "Simple Machines"- "I don't believe that we've been properly introduced.." So begins the newest album from Arliss Nancy.  I'd say that is a fair statement from the Denver rock band.  Their first album ("Dance to Forget") was a good album but this album shines much brighter due to upped production values, added instruments here and there, and a damn near perfect set of songs.  I'd say if you were just now hearing of Arliss Nancy this album would no doubt be the place to start and if you've been hesitating on listening, stop.  It's a great, catchy rock and roll album.

8- Natural Child, "For the Love of the Game"/"Hard in Heaven"- After seeing Natural Child open up for The Hold Steady this year, I went crazy for these guys.  The 3-man band from Nashville, TN were busy in 2012 releasing both "For the Love of the Game" and "Hard in Heaven."  I know it's probably cheating to include both albums here at #8, but when I was thinking about this list I couldn't pick a clear favorite.  Sounding like a combination of the Stones and the Ramones, Natural Child rock and roll through sleazy guitar licks and songs about women, partying, and drugs.  Just try to listen to these guys without moving.  I think it's impossible.

9- Alabama Shakes, "Boys and Girls"- I fell for this album and band hook, line, and sinker.  Talk about a powerful voice!  I think this is a fun, well-played, and well-written record.  While Alabama Shakes aren't really breaking new ground lyrically, they are laying down really great music and the songs are perfect vehicles for Brittany Howard to showcase her incredible vocals.  Also, it's really amazing how fast Alabama Shakes rose to stardom.  I'm sure it happens all the time, but it had never happened to a band I was on board with when they were just Alabama's best kept secret. 

10- Justin Townes Earle, "Nothing's Gonna Change the Way You Feel About Me Now"- Lots of folks aren't crazy about JTE's new album due to its subdued nature.  I, on the other hand, think it is the perfect Sunday morning album.  Once again, an artist added a horns section to an album and it worked perfectly.  The contemplative mood of the album works for Earle and the band he gathered to record with. This is a fine album that I believe will get much stronger with time.

Other albums just missing the top 10 include: The Bohanons- "Unaka Rising," The Gaslight Anthem- "Handwritten," Cory Branan- "Mutt," Shooter Jennings- "Family Man," and Patterson Hood- "Heat Lightning Rumbles in the Distance."

Album Review: Ronnie Fauss - I Am The Man You Know I'm Not

by Matthew Martin

I am still trying to figure out where I stand on Ronnie Fauss's new album, I Am The Man You Know I'm Not.  I think that it has very strong instrumentation.  The lyrics, on the other hand, are hit and miss.  That's not to say that this album isn't worth a listen.  There are songs on the album that make it a pretty appealing listen.  As with many singer/songwriters, Fauss strikes both gold and gravel in the same song a few times.  Take, for example, "A Pretty Nice Night for Houston."  He writes some really strong and convincing lyrics.  But, then he writes lines that seem a bit generic and lazy. I won't bias you with any examples- I think you should listen for yourself.  

Enough of the things I don't care for, though.  The opening song, "The Night Before The War" is one of the best offerings on the album.  It's everything a great country song should be.  It's a touching take on the atrocities of war that are hard to fathom prior to being deployed.  We forget about those real people out there fighting our battles for us.  Many times it's easy to think of them as far off characters.  Fauss writes a song that is effective at reminding us that these are real people dealing with real consequences.

This album really hits the ground running, with Fauss writing his best songs in the first 3 tracks.  The album slows down a bit after that with some tracks that I believe Fauss really fell short of that early promise on. He clearly has the ability (from listening to this album, solely) to write and record great country songs.  He falls a bit with songs like "Pistols in the Air."  

Fauss has written an album that, to me, is something of a grab bag of songs.  He has written one of the better songs of 2012 with "The Night Before The War," but missed the mark on cuts like "Pistols in the Air."  I think I Am The Man You Know I'm Not is worth your attention if for nothing more than the first half of the album.  I'm glad that Ronnie Fauss is now on my radar.  I look forward to seeing how he will hone his songwriting skills in the future.  The music is there. The voice is there. The lyrics are almost there.

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For another opinion on I Am The Man You Know I'm Not, check out Country California's review here.

Concert Review: The Mountain Goats - Baltimore 10-10-12

by Matthew Martin

I know that The Mountain Goats aren't typical of a lot of the music discussed here on Farce the Music.  However, I don't think that makes them any less relevant.  The lyrics are poignant, the music compelling, and the delivery heartfelt - The Mountain Goats deserve your attention.

After watching the Nats' crushing defeat to the St. Louis Cardinals on Tuesday, a friend and I drove up to Baltimore to witness the great John Darnielle, aka The Mountain Goats, perform in a small bar called Ottobar.  Opening was Matthew E White. 

Matthew E. White was perhaps a bit too ambitious for my tastes.  On stage there was a horn section of three, a percusionist, a drummer, a steel guitar player, a keyboardist, a bassist, and White.  So, with 8 players filling the tiny stage, they proceeded to play a mix of progressive and jam-band rock.  It was fairly good until they would go off on tangents that just weren't my tastes.  Doesn't mean they weren't talented, because they were.  Just feel that maybe they could take some of the filler out in order to create a more concise sound.  I'll let you judge for yourself here. 

The Mountain Goats came on next and were a relief with only 3 members.  It was a stripped-down (comparatively) set with lots of banter and "hits" from the MGs catalog.  The thing about the MGs is that if you are willing to work past his nasally and sometimes hard-to-deal-with voice, you will be rewarded.  The songs are some of the best short stories you will hear.  If you don't believe me, just look at some of the lyrics.  Just Google them.  Some will floor you.  

After you get past how good the lyrics are, there is the complete satisfaction of seeing them perform these songs live.  John Darnielle plays and sings with complete and utter joy.  It is akin to seeing Craig Finn perform.  Where every word is sung with conviction and every phrase ends with a smile on Darnielle's face.

Then, you have the other members of the MGs- Peter Hughes on bass and Jon Wurster on drums.  Peter Hughes creates great bass lines that are simple, but perfect for the songs that he accompanies.  And, Jon Wurster (also the drummer for Superchunk) is like an "indie rock" behind-the-scenes guru.  These two create a great backdrop for the character studies coming from John Darnielle.

They performed songs from the new album Transcendental Youth (you can get it here for cheap), Tallahassee, The Sunset Tree, All Hail West Texas, and more.  Darnielle, as always, looked comfortable and elated on stage where he could share his songs one more night to a group of approving and adoring fans. 

The final 2 songs of the evening were "This Year" and "No Children."   Never have two very heavy songs come off so triumphant.  The former pertaining to years of abuse from his step-father and the latter about the final unfolding of a marriage.  The crowd sang every word in a joyous and raucous manner, leaving no one standing still.  The 2 songs are, in my opinion, the only way to end any Mountain Goats set. 

It took me over a year to finally "get" the MGs.  That is one of the most annoying things people say, right?  You shouldn't have to "get" an artist.  However, if you put in the time to the MGs, the rewards are plenty.  My challenge to you is this: listen to Tallahassee.  It's a song-cycle revolving around the dissolution of a marriage.  Listen to it once more.  Then, if the MGs come around your neck of the woods, go see them.  Many bands love to be playing, and they show it.  But, there are very few bands that give off more elation and more happy-to-be-alive joy than the MGs.  The Hold Steady may be their only equal.

Concert Review: Shovels and Rope, Washington D.C., 8-22

Shovels & Rope At The Hamilton in D.C. 8/22/2012

by Matthew Martin

Shovels & Rope don't suck.  In fact, they do the opposite of suck.  They prove as much with each song on their first two albums.  And, they prove it even more in a live setting.

Why would I start it this way?  Well, to be honest, there have been a glut of guy/girl duos recently (She & Him, Honeyhoney, The Civil Wars, and even The White Stripes).  Don't get me wrong, I really like The Civil Wars.  But, there is something refreshing about what Shovels & Rope is doing.  

Blending countless genres, Shovels & Rope deliver a talented, raucous live show.  Michael Trent (formerly of The Films) and Cary Ann Hearst switch up duties on guitar, drums, vocals, harmonica, and keyboard.

I showed up to The Hamilton in D.C. right around the time the opener was about to end.  I had a prior engagement, so I can't really vouch one way or the other for this guy- much less remember his name!  Around the time of the show, Shovels & Rope tweeted that around 100 tickets were left for the 450 capacity venue.  I'd say it was even fewer than that by the time they went on stage.  It was pretty impressive considering they had opened up for Jonny Fritz at the same venue a few months ago and there were maybe 75 people total.  

Not sure where the recent fans have come from, but it was a welcome sight for such a hardworking band.  

They opened up with the song that I generally use to convince people to listen to Shovels & Rope-"Gasoline."    What always impresses me about bands like theirs is the amount of sound being cohesively created by two people.  It seems there must be one more hand on stage creating one of the many sounds being heard.  However, you look on stage and see that it is only Trent and Hearst switching up/blending instruments and vocals.

By the time the first 5 songs are done, both are dripping in sweat from the amount of work they are putting into a Wednesday night show.  It was also around this time that those sitting down migrated to the front of the stage.  Every driving, rock and roll song was met with dancing and swaying.  Each slow song was met with relative silence and attention.  Fortunately for those mover-and-shaker types, Shovels & Rope have more quick-paced songs up their sleeves.  Throughout the night they played most of the songs in their 2 album catalog, including what is quickly becoming my new favorite Shovels & Rope song- "Birmingham."

So the show went, with Trent and Hearst playing every instrument.  The chemistry between the two was insurmountable and each word not sung out to the crowd was sung directly into each other's eyes.  While this could be a distraction at times, Shovels & Rope pull it off.  It is a "show" after all.  You are there not only for the music.  You are there for the stage act.  

I'm not implying they are acting out their affection for each other.  I merely mean to say- remember that while the music is the most important thing, pay attention to all facets at a show.  It's easy to see those loving what they do and those trying to love what they do.  Shovels & Rope clearly love what they do and they love who they are doing it with: themselves.  

Get all of their albums here.

Concert Review: Jonny Fritz (The Artist Formerly Known as Jonny Corndawg)

Jonny Fritz at Red Palace in Washington, D.C. 08/07/2012

by Matthew Martin

Seeing Jonny play is something of a spectacle.  Is it serious music?  Is he laughing at the characters in his songs?  Or, merely relaying mundane stories his characters go through in the most sincere way possible?  It would be hard to argue with the last ponder.  I mean, when you hear the character in "Chevy Beretta" you know that you have met that guy.  You have hated that cocky SOB.  But, there was also something about him that endeared you to him.  And it's that precise feelings-at-odds sensation that makes Jonny's music so memorable.

This was the 3rd time in the past year I had seen Jonny.  While I could sense a little road weariness in Jonny's demeanor and banter, I still thought he put on a better show than many musicians- i.e., as much as I love James McMurtry, his frontman skills are slightly lacking.

The show began with a D.C. native Jonny Grave and the Tombstones. Jonny Grave played loud, raucous blues in the style of R.L. Burnside meets Jon Spencer Blues Explosion (think Ass Pocket of Whiskey).  It's very difficult to play this style of music and not have the audience pretty enthralled and dancing.  That's exactly what was happening as the set progressed.  Also, Jonny Grave is quite the front man playing with a chip on his shoulder.  If you don't know Jonny Grave already, I think it's worth your time to look him up and see what you think (here).  

Next was Jonny Corndawg (for the time being).  Bringing with him his backing band (The Almond Brothers Band), Jonny played all of the crowd favorites including "Exercise," "Middle Brother," "Shut Up," and "Silver Panty Liners" just to name a few.  Every song, however comical it may be, was played with utter seriousness and sincerity.  Is that to say that Jonny takes himself too seriously?  No, not at all.  But, he believes in the songs that he writes and the characters they portray.

Half way through the set, he made an announcement.  That announcement being that he would no longer be going by the name "Jonny Corndawg" but would instead be going by his real name, "Jonny Fritz."  I believe this is probably a smart move towards gaining more serious attention.  His songwriting is top notch and this change will likely get him more attention from those who might be put off by a country singer named Jonny Corndawg with an album titled "Down on the Bikini Line."  

As I said earlier, Jonny seemed a little road weary, but it did not detract from the show much at all.  It's hard to go into one of his shows and not come out in a very good mood.  It's fun to see musicians have fun and engage the crowd.  The band had fun.  They are a tight-knit country band and I'm excited for future shows and albums.

Go see Jonny Fritz when he comes through your town.  Go buy his albums.  Give them a listen.  Laugh if you want, that's alright.  There's a lot of humor in the absurd situations that go on day in and day out of our lives.  You have to laugh at them.  As the old Leadbelly lyric goes, "you see me laughin', Lord I'm laughin' just to keep from cryin'." 

I have to think that Jonny's characters might feel the same way.  Or, they don't.  And, I guess that's the beauty of interpretation.