Kelcy Reviews: Fred Andrews and Honeybrowne - This Side of Crazy

by Kelcy Salisbury

Of Throatpunches, Reactions & The Lack Thereof

Fred Andrews & Honeybrowne (Aka Honeybrowne) have been around for a few years. They had a pretty big regional hit with Texas Angel a little while back and while I'd heard of them I'd never really listened to them until I was asked to review their latest offering, This Side of Crazy.

Let me set the stage by saying a couple of things about my musical tastes. First I have very eclectic tastes. I had James Blake, Jason Boland & The Stragglers and Adele all in my top albums list last year. I tell people who ask what kind of music I listen to that I like good music, genre doesn't matter. I also am not a musician or a music expert, just a fan. Finally I like music that hits you like a punch to the throat. Stuff with the kind of grit and realness to it that you know the artist HAD to make it. Now with that out of the way, on to the This Side Of Crazy.

This isn't a bad album. In fact it's pretty good. Fred Andrews has a pleasant enough voice, the band is musically competent and the songwriting is decent if unexceptional. I listened to the album a few times through looking for something to grab me, something that got my attention, something with some urgency to it. Other than the title track and "When Good Love Dies" I just didn't hear it. The whole album is decent enough in its own way but I couldn't find anything that sets it aside from the rest of the pack of mid-tempo Texas Country bands and albums. I couldn't help but feel that the overall low standard of current country music makes this offering seem better than it is. I certainly don't hate the album and if you're looking for a fairly safe offering of almost mainstream country with above average vocals and a pleasant sound it might be the album for you, it just won't find a permanent place in my rotation simply because its a bit too safe and predictable to hold my attention. Nothing is really wrong with this album it just doesn't have the "it" factor to set it apart. 

Casey Donahew Band - Live at Billy Bob's Texas

A few weeks ago, I was presented the opportunity to go see the Casey Donahew Band live at Billy Bob's in Ft. Worth, Texas with uh, "minimal impact upon my financial situation." I've clearly never been a fan of the band, but how could I pass up visiting the world's largest honky-tonk, enjoying the best of Texas' food (at Cooper's BBQ, preshow - try the peach cobbler, it's divine!) and drink and meeting a band who's seemingly on the cusp of stardom? 

From most peoples' perspective, this was a no-brainer, but I pondered on the invitation for a bit. Was it "selling out" to take up this offer? Did I care if it was? A few people whose opinion I respect said I should go, so I did.

I had a great time at Billy Bob's Texas. "Everything is bigger in Texas" certainly applies to this montrous honky-tonk, with it's multiple bars, bull-riding arena (real bulls, not the Urban Cowboy kind) and football field-sized main arena. I'd heard bad things ahead of time about the service, but it seemed no different than any other overcrowded barroom to me.

We sat at long tables, which was new to me for a concert. Standing was frowned upon as far as I could tell. Okay, if that's your thing. 

So how was the band? Well, not bad at all, in my estimation. They were tight, yet playful as they tore through an hour-and-a-half set of their Texas hits and fan favorites. The crowd sang along with nearly every number, so I felt in the minority not knowing most of the words. On the other hand, I felt completely at home though, as the crowd was very friendly and upbeat.

Some songs CDB played were "White Trash Story," "Give You a Ring," and CMT.com hit "Double-Wide Dream." They also, of course, played their signature hit "Stockyards," about the very area we enjoyed this show in. My favorite choice was the Delbert McClinton-esque "One Star Flag," a Texas-celebrating country-rocker. I may be mistaken (or my memory faded by adult beverages), but I believe their final song was "Runaway Train," during which Casey called on the audience to break free of their seated politeness and get loud. They complied enthusiastically.

Casey Donahew and yours truly.

I thought all members of the band were solid players, especially lead guitarist JJ Soto, who had rock star swagger and chops. Casey, himself, seemed to stand at odds from the cutting edge buzz of his band, and not necessarily in a bad way. Mr. Donahew comes across as an everyman. He's so down-to-earth in his mannerisms, delivery and rapport with the audience, that he almost seems like a karaoke singer showing off for his friends. That's not meant as a slight - much the opposite, it's a compliment -  his vocals are far above that of your typical karaoke singer; Casey just seems to lack any sort of "untouchable star" presence onstage. He's like your buddy who used to be in the high school show choir getting up onstage and wowing everybody.

He and the members of his band that I met after the show, were all friendly and welcoming to me, despite my previous venomous jabs at them. Casey, in particular, took time out of his meeting and greeting to talk with me for quite a while about music and how I came to start Farce the Music. Seemed like a very nice guy to me, and he even introduced me to Boston Red Sox pitcher John Lackey, who was pretty cool in his own right. I also spent half the night sharing tales and brews with Billy Bob's Director of Entertainment, Robert Gallagher, who's a big fan of FTM. He's a hilarious older gent with a taste for "monkeys" (a drink specialty) and off-color language. Casey's wife, Melinda, was also very warm and genial towards me, despite some preconceptions I may or may not have had about her. :)

In summation, I had a very cool time in Ft. Worth and I'd certainly see the band again if given the chance. I'm still not a big fan of their recorded output, and they're not out of my crosshairs here at FTM, but I certainly see how and why they relate so well to their audience.

Snap Judgements - Promo Only Country Radio January '12

Trace Adkins - Million Dollar View

Like I've said before, Trace's songs are usually gold nuggets or turds. This one actually falls somewhere in the middle, for the first time in a while. The lyric resembles something I'd have written back in my aspiring lyricist days. Which is to say, a decent idea with a few good lines thrown in, but doesn't have much new to say. The tune is kinda unmemorable.. okay, very. Trace's general charm will probably lift this into the top 20, but it doesn't sound like a smash.

C+

Keith Urban - You Gonna Fly

Why he (actually, our old friends the LoCash Cowboys wrote it) chose to give it a grammatically incorrect title is beyond me. That's the only thing really different about this song from his last 20 singles. You not gonna be surprised by the formula: anthemic guitars, plucking banjo, uplifting lyrics, female friendly subject matter, foot-tapping beat, solid guitar solo. That's Keith's career in a nutshell. Nothing offensive here - completely catchy and totally interchangeable with most of his other songs.

C+

David Bradley - If You Can't Make Money

"If you can't make money/make out with somebody/if you can't make money/make love"… that's the gist and it goes no deeper. Nice sentiment, but I'd like to see it developed a little further. It's a tolerable song, but David's vocals aren't particularly distinctive. The cheesy crowd cheering at the end knocks this down half a grade.

C

Lauren Alaina - Georgia Peaches

Wow, she doesn't sound like Carrie Underwood for a change. And the instruments are all country.. the instrumentation, however is rocked up. Oh no, the chorus is half "oh -whoa-ohs." Not cool with me, almost ever. "We got homegrown in our genes" opens itself up for way too many jokes. Okay song, but the chorus destroys it for me. Oh yeah, and she name drops Jason freakin' Aldean. WTF?

C-

Uncle Kracker - My Hometown

Is this a Montgomery Gentry cover? Nope. Kracker's saying "America's my hometown" here, pandering to everybody, not just small town lovers. Tuscaloosa, New York, San Diego, everybody gets mentioned so hopefully every radio station will play it. This sounds like something of a hit, but it's pretty dull - one chord and the truth. On a positive note, Kracker's vocals are getting better. Nothing to see here.

C

Love and Theft - Angel Eyes

Is this a Jeff Healey Band cover? Nope. There's only two guys in the group now - so which one's love and which one's theft? Eh, really dull song. A Jeff Healey cover would have been better. "There's a little bit of devil in her angel eyes" ….who cares? Female friendly, for females who don't really care what they're listening to, anyway. Yawnz.

D+

Rodney Atkins - He's Mine

Rock! Oh wait, country. But it's got a rocking swamp groove. Is this a declaration that he wants custody in the divorce? This is a tried-and-true Rodney Atkins formula tune… several story snippets framed by an interlocking chorus that fits each scenario. Not as godawful as some of his recent singles, but meh.

C

George Strait - Love's Gonna Make it Alright

This was my least favorite song on George's new album at first, but it's grown on me. You would think George + repetitive chorus would = boring, but it doesn't here. It's kinda cheesy, but he can do whatever he wants at this point and it'll sound just fine. 

B

Gloriana - (Kissed You) Goodnight

This started with some promise with a little well-defined regret in the lyric, but it's all downhill from there. Crap. This is ready-made for a Glee episode. Schmaltzy show-choir girly junk. I was embarrassed someone might hear me listening to this. They make Lady Antebellum sound like Megadeth.

F

Billy Currington - Like My Dog

I kinda liked this the first time I heard it, but it never struck me as single-material. Still doesn't, but my opinion of it has dropped. The edits drive a nail into this song. What? You can't say "hell" on the radio now? If this promo only collection is any sign, 2012 will be the most neutered (see what I did there?) year ever in country music. Also, the dogs barking as censorship of the word "bitch" sounds like it was edited in on an old Emerson cassette tape recorder. Awful.

D

Craig Campbell - When I Get It

Another edit-out of "hell." Really people? Hell hell hell hell hell hell hell. Get over it. This song is a deep consideration of the times we're living in. Not really, but it does hit on the economic problems we're living through, with a bit of humor. It's okay, that's about all I can say about it.

C

Andy Gibson - Wanna Make You Love Me

This guy's voice has about as much grit as greased plastic. Sissy crap. I guess Andy noticed that Chuck Wicks wasn't on the scene and decided to jump into his namby-pamby slot. Wait, that sounded homo-erotic. Sorry, this utterly sucks. Jimmy Wayne could pound this guy into submission.

F

Levi Hart - We All Make Mistakes

Sound like an Uncle Kracker song at the start. More middle-of-the-road radio ready country. I've heard this guy is good, but this song wouldn't bear that out. The chorus is very nearly catchy, but not quite. The guitar work sounds canned. Boring. 

D

Sugarland with Matt Nathanson - Run

Do I have to? I like some of Matt's music. Not this. Can't Sugarland write an actual chorus anymore? If it wasn't for all the caffeine I'd consumed today, I'd be gone by now. If Zzzz was a grade, I'd give it to this song. 

D+

Mark Cooke - Any Way the Wind Blows

This song isn't anything special, but at this point, anything with an actual melody sounds like a masterpiece. This one has one. The lyrics are unspectacular but the tune makes this listenable. Coulda been a hit in the late 90's. Not sure about now.

C+

Toby Keith - Red Solo Cup (Album Version)

This is the one with the naughty bits. Testicles and whatnot. I guess I have to actually nail down my feelings about this song now… I've been beating around the bush because I don't know. I like a lot of the stupid lyrics. The chorus irks me because it's decidedly ramshackle and tossed-off, but an earworm none-the-less. Uh, well… 

C-

Toby Keith - Red Solo Cup (Vegetables - Explicit)

This is the one where "testicles" is replaced with "vegetables." That's dumb. In a song this flimsy, it's enough to knock off a grade.

D-

Toby Keith - Red Solo Cup (Bleeped - Explicit)

This is the one where "testicles" is replaced with "whoop!" Even dumber. 

F

Video Review: Casey Donahew Band - Double Wide Dream

Go here to view the video.

Jacked up truck. American flag. Trucker caps. Cut-off jeans. Sleeveless shirts. Beer. Party in a field. 

This sounds like the checklist for a Jason Aldean video, but it's not. It's just a sampling of the clichés used with reckless abandon in the video for the Casey Donahew Band's "Double Wide Dream." If it weren't for the slightly different band playing in a slightly different abandoned house, nobody'd know the difference between this video and that of any of dozens of other "I'm by-God country" songs.

There's not a single scene that steers clear of hackneyed imagery. In every case that creativity could have been used, banality is slapped on like a do-it-yourself camo paint job on a swamp mudder pickup. Every stock image one could possibly imagine is here. 

Oh, the wonders of modern technology. Surely this was created in some video template software. Just take pictures of each band member's face and a couple of action shots, have the singer do a few lines, tick off your preferred "country truisms," set the tempo to the particular song, and boom: instant redneck video! 

I bet you'll never guess how the video end. Go on, guess. 

You must be some kind of Nostradamus! Yep, Mr. Donahew gets hauled off to jail for partying too hard! Hahahahaha, I just wet my overalls. So funny and unique!

What makes this all even worse is that the lesser CDB hails from the Texas music scene - a scene that scoffs at the trappings of Nashville. Yet, here they are, blending in, joining 'em not beating 'em, Pat Greening. We saw how the latter worked out, but CDB is striking at the right time so they may fit right in and climb the heights of success in Nashvegas. Don't forget: king of the turds is still a turd.

Anyway, this video is not worth repeat viewing, other than a little nice scenery of the female sort. It's not terrible enough to enjoy in the "so bad it's good" way either. I'd prefer an A or an F. This is a D-.

Review: The Damn Quails - Down the Hatch

First of all, I'd like to welcome Kelcy Salisbury ( @slingblade322 ) into the fold as an occasional reviewer and possible regular contributor to Farce the Music! His debut piece is a review of my current favorite album of 2011.

The Damn Quails - Down the Hatch

by Kelcy Salisbury

A great man (I’ve heard the quote variously attributed to Kris Kristofferson & Guy Clark) once said that there are two ways to write great lyrics. One is to write about “uncommon things in common words”. The other is to write about “common things in uncommon words”. As a music fan I’ve always leaned strongly on the lyrical quality of the music when choosing between what I consider good or bad. Of course good music requires strong playing and solid arrangements but that’s just the cover charge. To actually get in the club and make an impression, it had better have some serious lyrical weight.

I’m happy to report that the Damn Quails debut album, Down The Hatch, delivers on all counts. Most great songwriters excel at either common themes in uncommon words, or vice versa, to reference the previous quote one last time. The lyrical strength of the one-two punch that is Damn Quails songwriting is that they can pull off either type of writing with equal aplomb.

But there is much more here than just great lyrics and well crafted songs (I may be labeled as a heretic, but I’m looking at you Bob Dylan and you too, Neil Young when I say this). The performances, both vocally and musically more than hold up their end of the bargain and actually enhance the lyrics of each song.

Now, at this point in time the Quails are one of the most buzzed about bands in this region of the country and possibly in all of independent/Americana/Red Dirt music, so I’ll spare you the biographical information, but let me just say that I haven’t heard a duo that works this well together since at least Foster & Loyd, again risking being burned at the stake for heresy I actually prefer the Damn Quails to any musical duo I can recall hearing since the height of the Waylon & Willie collaborations and truthfully the Damn Quails are more of an actual duo than those efforts ever were. The third person whose contributions cannot be overstated is producer and Oklahoma music kingpin Mike McClure. The production is spot-on throughout the album. After about two dozen spins I can’t hear a single spot where I felt like the production was flawed or lacking, yet the album never loses it’s organic feel. It’s truly a remarkable achievement.

My personal favorite feature of the Damn Quails music is the interplay in vocal styles as they trade off lead vocals from song to song. Gabriel has a voice that vaguely reminds me of a celtic singer I heard once at a bar in Canada. Random I know, but I could definitely imagine him singing some Chieftains cover songs on a lark. Byron has what feels like a more classic country/folk voice to me. Neither voice is incredible on it’s own, though both are certainly very good. It’s the interplay of the two, and the changing styles from one song to the next that really give the album such a uniquely wonderful vocal quality.

Musically, there is plenty to love. The guitar work on opening track, Better Place To Stop, and Parachute both stand out to me but every song has great instrumentals, even a touch of organ in places. There is not a weak link musically on the entire album.

Lyrically every song is exceptional, I suspect everyone who listens closely will have a different favorite and will possibly change their minds about what that favorite is after each listen. Each song evokes the emotions of the story being told as the lyrics are perfectly blended with the instrumental arrangements to paint a picture that words alone simply cannot do. My personal favorites on the album are Fools Gold, Parachute and California Open Invitation but I don’t skip a single song any time I listen and I doubt I ever will.

If you can buy only one song on this album, save your money until you can buy the whole thing. A true piece of art deserves to be seen/heard the way it was intended to be, as a whole and this is a truly great piece of art. I simply have nothing negative to say about it.

Finally, this is deservedly the most buzzed about band out of the musical hotbed that is central Oklahoma in quite a while and (with all due respect to Jason Boland & The Stragglers whose Rancho Alto is incredible and all the other acts who put out great work this year) I am willing to state that this is the best record of the year, regardless of genre. It’s simply that good.