Lost Classics: Gram Parsons and the Fallen Angels - Live 1973

Lost Classics: Gram Parsons & The Fallen Angels - Live 1973

by Kelcy Salisbury

 

Retro is cool these days.  Punks are wearing "Cash" tee shirts, as a shout out to the man who's frequently considered the ultimate symbol of rock-n-roll cool.  Hipsters are wearing them for irony.  The comic books of my childhood are blockbuster movies.  They even re-made Dukes of Hazzard (shudder).

 

In the rush to embrace "retro-cool" the true pioneers, the ones who influenced the folks who get the credit, very rarely are recognized.  I don't see anybody (punks, hipsters or otherwise) wearing "Rodgers" or "Cooke" tee shirts.  I'm pretty sure if I started a business making these shirts, I'd be even broker than I am in record time.  Personally, I've always embraced retro, always been interested in digging deeper and finding the roots of the music I loved.  When I heard Mama Tried on vinyl as a kid, it led me to Buck Owens.  When I heard Waylon Jennings sing that Bob Wills was still the king, I dug into Wills, Ernest Tubb, and so on.  I'm ashamed to say I didn't discover one of the most interesting, influential and tragic figures in American music until about 1998 or so.  Dwight Yoakam had released Under The Covers, an album of songs that had influenced him, and I heard an incredible duet titled Sin City.  I had to know who originally recorded it, which of course led me straight to The Flying Burrito Brothers and their seminal album, The Gilded Palace of Sin.  The album might have been around 30 years old at the time but the music jumped out of the speakers and grabbed ahold of me.  I had to find out more about the band and the man behind the songs, Gram Parsons, who up to that point I knew of only as the writer of the Rolling Stones hit Dead Flowers and a tragically (if not surprising) deceased friend of Keith Richards. 

 

What I found was fascinating.  Here was a true country music "outlaw", the father of a movement that gave America The Eagles, a breathtakingly talented songwriter, a man whose (albeit brief) commercial success of the early 1970s helped pave the way for the outlaw movement that was soon to follow, and a tragically flawed human being who left behind one of the all time great stories of a young rock-n-roller's death.  A man who did all this, didn't even live to 30, and was largely responsible for Emmylou Harris' career.

 

Of course even a casual Parsons fan is familiar with his work with The Byrds, The Flying Burrito Brothers and his two solo albums, GP & Grievous Angel.  Eventually I discovered a recording of an in-studio concert, recorded as part of a 1974 radio tour on Hempstead, Long Island, NY. 

 

The recording is a slice of Americana of the time, as banter between Parsons, Emmylou Harris and the disc jockey is all captured on the recording, right down to Parsons' tongue in cheek takes at live reads of a bread commercial, a brief discussion of the band's new tour bus, a stop in Blytheville,AR is mentioned, and Parsons personality and sense of humor shine through as he seems quite lucid and healthy in spite of his prodigous drug and alcohol abuse at the time.  Looking back it's a bittersweet thing to hear a man who would soon be dead, his ashes scattered in the California desert (look up the story, it's well worth the read), sounding so alive, and happy to be so.

 

The songs are superb.  Emmylou Harris never sounded better in her illustrious career than when she was backing Parsons as a member of the Fallen Angels.  Parsons himself sounds like the living embodiment of a fallen angel as the songs run the gamut from the regretful "We'll Sweep Out The Ashes In The Morning", the straight ahead gospel of "Country Baptizing", an extremely strong cover of Merle Haggard's "California Cotton Fields", Tompball Glaser's "Streets Of Baltimore", and on a version of "Love Hurts" that puts all others to shame.  These songs are primarily covers, but the versions of "Six Days On The Road" & "Cry One More Time" stand up favorably with the originals.  Parsons puts his own stamp on the album by playing "Big Mouth Blues" (a song Keith Richards of the Rolling Stones has long covered in concert), "The New Soft Shoe" and my personal favorite, the slightly subversive, definitely wierd, "Drug Store Truck Driving Man". 

 

In summary this is not an album to cherry pick songs from, or to skip songs while listening to.  It's meant to be heard as it is, because it was never really supposed to be an album anyway.  It's just a group of musicians who loved true country music playing it and having a good time at it, all while having no idea what they were doing that day on Long Island would still be heard and appreciated nearly 40 years later.  This might not be the best introduction to Gram Parsons music, although as brief as his catalog is almost any album is as good a place to start as another, but it's a solid addition to the collection of any fan of country, rock-n-roll, or just radio the way it ought to be.  Who knows, maybe soon Hot Topic will start carrying "Parsons" tee shirts (oh how I hope not!)

 

Until next time, enjoy some timeless music and throw on a Gram Parsons record.

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Gram Parsons and the Fallen Angels Live 1973

Available here.

The Pastures of Madison County

I was able to make it back to this year's incarnation of Pickin' in the Pasture, a family and friends event in Madison County, MS starring Fireman John's BBQ, Drew Kennedy's beard and usually Josh Grider and/or Matt Skinner, after I missed 2011. I won't do a big write-up like I did in 2010, but it was another great show. Our three heroes, along with Josh Grider's lovely wife, a lovely bassist named Chris and a lovely drummer named (___?) played a full band/four singer concert for the family, friends, dogs and a blogger. They took turns trading solo tunes (Drew Kennedy did "Vapor Trails" among others), cover songs (Josh Grider and his wife did a great version of Johnny and June's "Jackson") and co-writes (Matt Skinner did both an electric and an acoustic version of the haunting Corb Lund co-write "One Left in the Chamber"). It was a fun time and here are the pictures to prove it!

Matt Skinner, Josh Grider and Drew Kennedy tuning up pre-show.

Josh Grider accompanies his wife on guitar.

Drew Kennedy has a wallet chain. Remind you of anybody??

The band in reverse.

Matt Skinner tearing it up on guitar. 

The tall and handsome Josh Grider is now a Nashville songwriter. Please don't write about trucks, Josh!

Josh Grider with two future bluegrass or country superstars. Seriously, they were great!
Sidenote: Josh has gotten really good on the guitar.

Electric show-closing barn-burner "Ain't Livin' Long Like This"

The beginning of the late-night acoustic jam.

Annnnd, this isn't from Pickin' in the Pasture, but here's a video of Matt Skinner performing the awesome tune "One Left in the Chamber."

Lee Bains III and The Glory Fires - There is a Bomb in Gilead

For having such an indie, obtuse sounding title, There is a Bomb in Gilead is far more straight-forward a rock and soul album than anything so difficult to grasp as the latest Pitchfork darling. The forthright Lee Bains III and The Glory Fires emerges onto the scene already a full-fledged force to be reckoned with on this fantastic debut.

Mixing garage rock, country soul and southern swagger into an effortlessly authentic blend, Lee and the boys give a spirited go at every style across 11 spotless tracks. From the driving exploration of faith on album opener "Ain't No Stranger," through the sin, searching and nostalgia of the middle to the hymn-inspired closing title track, there isn't a weak point on the album. In fact, I've listened nearly 30 times and have yet to tire of it.

Lee Bains sings like Jason Isbell with a snarl, high and soulful at times, cranky and quick at others. He's a perfect outlet for these tales of desperation and longing. 

And though the band claims not to be a southern rock band, there's really no question about it to those of us who aren't wearing their boots. Bains drawls every line and the riffs are right there in the pocket of some of the legends who came before. And the settings - Magic City (Birmingham), Opelika, the Roebuck Parkway, Centreville - if it's not southern rock, it's at least rock music set squarely in the heart of Dixie.

While every song is a strong showcase of the band's skills, I do have some favorites, mostly right in the heart of the album. "Everything You Took," is a hooky take on the days just following a break-up where the material items kept by the girlfriend don't matter nearly as much to him as the memories she left him. 

"Righteous, Ragged Songs" is a motto for the band, if anything is. "I ain't figured out how to pack out a room just yet" speaks to the group's small beginnings, while the chorus proves them mature beyond their years. The song also mentions the profitable opportunities Bain's passed on to go with his heart. Let's be thankful he did.

"The Red, Red Dirt of Home" isn't about Texas - Alabama has red dirt too- it's about the foundations built by where they grew up and the tribulations they've been through. "Got my mama and daddy on speed dial in my phone"… that's some country cred right there that doesn't need a line about "I'm so country in my truck" to drive it home.

Lee Bains III and The Glory Fires have skipped right over the formative section of their career and stepped with both feet right into their potential. There is a Bomb in Gilead is an ass-kicking, heart-pumping, soul-reflecting chunk of rock n' roll goodness that another ten years on the road couldn't make any more honest or cohesive. This album is a statement of purpose.

If you're a Drive-by Truckers fan who isn't happy with the lifeless melancholy of their recent output, this is where to get back in the groove. If you want to like Lucero, but can't get past Ben Nichols' gruffness, Lee Bains is a smooth alternative. If you're a southern rock fan looking for new blood, look no further. 

To put a finer point on it, There is a Bomb in Gilead is my frontrunner for best album of 2012. It's that damn good.

Here's a free track  from the album: "Opelika"

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You can purchase There is a Bomb in Gilead on Amazon and iTunes.

Kelcy Reviews: Turnpike Troubadours - Goodbye Normal Street

This is one joyful goodbye

by Kelcy Salisbury

I've been a Turnpike Troubadours fan since Jason Boland introduced me to their music back about the time their debut album, Bossier City came out. The album was raw in places, sometimes loose, a little sloppy, but there was an honesty and a joy in the playing and a gripping, photographic quality to the lyrics that made me sit up and pay attention. I remember thinking to myself that this was a young band with incredible promise that could really blow up if they could only make it through the trials and pitfalls of being a young band on the road. 

Time went by and the Troubadours released one of the great sophomore albums of the past decade (at least), with Diamonds and Gasoline. It was a Mike McClure produced gem of an album. Everything was an improvement, the playing was stronger, the songwriting began to stand out from the crowd with its evocative pictures of everything from vivid dreams of MLK (1968, I challenge you to find a more uniquely themed song anywhere in country music in the past 5 years), and the haunting title song. 

So it was with great anticipation that I looked forward to May 8th when I learned that was the release date for Goodbye Normal Street, the Troubadours third album. Back in late September last year I finally saw the Troubadours life at a small festival in Morrilton,AR with Matt Stell & Jason Boland & The Stragglers. I heard about 5 of the new songs that night and learned at least three things about the band: they are a prodigiously talented bunch of players with every instrument on the stage, even better live than recorded. Second, Evan Felker lacks the motor skills to open a non twist off beer bottle without an opener. Finally, Felker bears a pretty strong resemblance to a non sexually ambiguous Daniel Tosh (although he did not show any videos of puking while on stage). Anyway, the experience certainly whet my appetite for the new album and it absolutely does not disappoint. 

The lead single, Gin, Smoke, Lies kicks off the album with fiery fiddle and a poundingly addictive drum track. The subject matter may be dark and sad, but as with the majority of the album, its presented with such infectiously upbeat musicianship and a lyrical delivery that veers toward tongue in cheek at times, the whole album sounds to me like a wonderful slice of Celtic influenced country that leans on a certain cynical, dark humor to set it apart from anything else I've heard in a while. 

This feeling comes across strongest in Before The Devil Knows We're Dead, a story song that draws directly on Irish traditions for both the catchy chorus and the fiery fiddle playing (Felker credits The Pogues as a major influence on this song.)

Southeastern Son & Blue Star tell stories of a young man joining the National Guard and a slightly older family member adjusting to life after a career in the military. 

Call A Spade A Spade features Jamie Wilson sharing vocal duties with Felker on a song that feels like a sequel to Down On Washington from Diamonds and Gasoline. 

Morgan Street is the classic tale of a group of misfits and past-their-prime party animals that could have easily come off as a retread of a number of other songs in the Texas/Red Dirt catalog, but the heartfelt treatment it gets from the entire band saves it from being the only possible weak link in the album. Truth be told I like the song a lot, even if one line always reminds me of Small Town Saturday night (give it a listen, you'll hear it too I'm sure). Perhaps the "Liquor on his breath, trouble on his mind" is an intentional homage to Hal Ketchum's mid 90s hit, perhaps not, but either way it's still an endearing number. 

It doesn't hurt that Morgan Street segues into two of the finest tracks on the album, Gone Gone Gone, a classic theme and story that sounds amazingly fresh thanks to incredibly strong and unique lyrics and Good God Lorrie, a song that I particularly love because of its spot-on references to the people and places of my native Arkansas. 

Things continue to stay on the right track with Empty As A Drum, probably the best take on the same basic story as Vern Gosdin's (RIP) Alone. Any time you can make a song that evokes positive comparisons to one of Gosdin's greatest songs, that's a huge compliment in my book. 

From there we move right into Wrecked, another dark song with the tiniest sliver of a certain dark humor in it. The clever lyrics may make this my favorite tune on the album, but anytime an album is this strong I could easily say the same of 7 or so other songs. 

Goodbye Normal Street closes with another song packed full of wry dark humor, Quit While I'm Ahead. It's obvious the frustrations and trials of the road on a young musician heavily influenced the song, and yet once again the Turnpike Troubadours bring just enough levity to the performance to give the song, like the entire album a vibe that can't help but put a smile on your face. 

It was a difficult feat to equal the quality of Diamonds and Gasoline, but with Goodbye Normal Street the Troubadours have not only made their strongest album to date but may have actually made an album that will transcend their current circles and push them past the barriers faced by independent musicians and into mainstream consciousness. The Turnpike Troubadours may soon be saying goodbye to their current state of normal and hello to a huge splash into the mainstream. I hope to see it happen, but even if it never does they will always be able to know that they have made about as perfect an album as anyone is likely to hear in this or any other year. 

Finally, if you want to catch the best country music show on the road keep an eye out for one of the frequent Turnpike Troubadours/Jason Boland & The Stragglers concerts. I've personally never seen a better one-two punch than these two since Willie & Waylon live, and I am completely serious about that. 

5 stars for sure.

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Turnpike Troubadours - Goodbye Normal Street is available at Amazon, Lone Star Music, iTunes and all the other usual outlets.

Beale Street Music Festival 2012: A Wrap-Up

Living in the deep south and not having pockets quite deep enough to go to Jazzfest in New Orleans or Hangout on the coast, Beale Street Music Festival is the only festival I can frequently attend, so I make a point of going as much as possible. This year, I missed Friday due to needing to work, but was still able to make it to Memphis for 2 hot, fun days of music. The crowd was down a little this year probably because the headliners weren't quite as big as usual, but you still can't get this much entertainment for $75 anywhere else. And as hot as it was, the weather was wonderful, considering it didn't rain for the first time in like, ever. Here's a rundown of who I saw at the festival.

Saturday

John Hiatt - We caught a few songs from Hiatt before heading over to Drew Holcomb. Sounded good. Other than his biggest "hits," I've never been a huge Hiatt fan, so I didn't feel guilty for cutting out.

Drew Holcomb and the Neighbors - Probably would be megastars if they changed their genre from pop-rock to "country"…way more interesting guy/girl duo at the lead than Sugarland possesses. Warm, melodious set full of great hooks and killer vocals.

Son Volt

Son Volt - What you'd expect from Jay Farrar, as far as stage presence, but the band sounded GREAT. Jay's vocals were excellent too. You know what you're getting with a Son Volt show, but there's nothing wrong with being all about the music. Finally got to hear my favorite song, "Windfall" in concert.

Childish Gambino - Culture and genre shock going from Son Volt to Donald Glover's rap alter-ego. Despite counting myself at least a moderate hip-hop fan, this was my first rap concert. The bass felt and sounded amazing. Childish Gambino was out to prove his rap cred and he did so. It got a bit tiresome midway, with no conversation breaks (guess I was hoping he'd do a little comedy routine in the middle or something), but he's a strong performer who never got winded and proved himself a true hip-hop artist, not just an actor doing a side gig for fun. Huge crowd for this set.

The Cult - I'd heard bad things about Ian Astbury and the boys live beforehand, but they were solid. They rocked pretty hard - some of their newer songs were very punk sounding, much less arena rock than the songs that made them (semi) famous. Ian was pretty engaging and though he didn't try particularly hard, they put on a good show.

Sundown on the Mississippi

Grace Potter and the Nocturnals - Hell of a show. Grace is a thoroughly engaging performer and her vocals were top notch. She also played nearly every instrument on the stage over the course of the show. Her band is tight as a drum too. Go see 'em if you get a chance. Not an ounce of disappointment from this one. Another big crowd for this set.

Jane's Addiction - Tired old man syndrome kicked in just before this set, so we only made it halfway through. Hey, gimme a break… I'm over 35, it was 90+ degrees most of the day and I'm a desk jockey. Jane's Addiction's set was much more lavish than earlier performers. They had digital screens, crazy lights and people hanging from circus swings. Perry Farrell was a great showman and the band seemed very much a well-oiled machine, despite the sound not being that great. I heard my favorite tune  ("Mountain Song") and their biggest hit ("Been Caught Stealing") so I didn't feel too bad calling it a night.

Sunday

Old 97s - Awesome show. Best sounding band of the weekend, for my money (of course Union Station is surely "better" but I'm more roots rock than bluegrass oriented). Rhett Miller was friendly and his voice was great as the band played all their better known songs ("Big Brown Eyes," "Question," "Barrier Reef" etc) along with some from recent albums ("I'm a Trainwreck" "Every Night is Friday Night"). Perfect set.

The Chris Robinson Brotherhood

The Chris Robinson Brotherhood - I prefer Robinson's harder rocking Black Crowes work, but his folksier side is also worth seeing live. Tight band, strong performance from Chris. A little jammier than I prefer, but I'd rather see them than say, Phish, any day.

Black Stone Cherry - We got our hard rock fix in at this show. Hottest freaking show of the weekend…. it was 93 and we couldn't squeeze up into the shade of the overhang, but we toughed it out with some adult beverages. Black Stone Cherry rocks hard; the guitarist seems straight out of some 80s hair metal band and he was the 2nd most energetic performer I saw this weekend, running around the stage nearly the entire set. BSC's vocalist is a treat to behold live - soulful and unique. These southern hard rockers played their biggest hits like "Blind Man," "White Trash Milllionaire" and "Like I Roll" along with a few cool covers like Joe Walsh's "Rocky Mountain Way." Very talented band. The drummer was nuts, all afro'd out and a blaze of arms and fingers - he once threw a stick at a stagehand mid-song… and never missed a beat.

Michael Franti

Michael Franti and Spearhead - Far and away the best show of the weekend. While the focus was more on love and fun than music, the band didn't slack at all, and Franti is surely one of the greatest live performers working the circuit right now. He spent a good third of the show out in the crowd, all 6'6' of him, singing, playing guitar, slapping hands and spreading love. I've read in previous concert reviews that this is their usual show protocol, but it didn't come off anywhere near "going through the motions." The atmosphere was sincere, warm and vibrant. They opened the show with "Everyone Deserves Music" and went on to make me think everyone deserves to see Spearhead live. Much like the Beastie Boys, Spearhead just has this vibe and broad appeal that's so contagious, I can't imagine anyone hating them. Other songs they played included "The Sound of Sunshine," "Say Hey (I Love You)" and "I Know I'm Not Alone." Despite the overwhelmingly positive bent of the performance, it never felt cheesy or awkward. This is a band with "it," whatever "it" is. Beach balls, cute kids on stage and other cute kids leading chants from the audience… the gruffest and most cynical individuals among us couldn't help but smile the whole show. Franti's a liberal, but I'm pretty sure you could get Congress in a Spearhead show and they'd agree on nearly everything by the last song. I don't care if you're not into reggae-influenced dancehall pop rock, if Michael Franti and Spearhead do a show close to you, be there.

The Civil Wars - As talented as you've heard. As boring as you may suspect. They were cute and cuddly and sounded great, but unless they pump up the volume a little in the future, I don't see them maintaining their level of popularity.  "Poison and Wine" was the highlight for me.  Huge crowd for them.

Alison Krauss and Union Station - Call it heresy, but we only stuck around for about 5 songs before moving on to Robert Randolph. I do want to hear a full show from AK at some point, but we were more in the mood for some bluesy slide guitar on this night. Alison sounds as good, no better, than you've heard. I swooned. The band was of course, untouchable.

Robert Randolph & the FB

Robert Randolph and the Family Band - Excellent, loud, supremely talented. Great show in the blues tent. How did this guy not get a full stage? Anyway, awesome set. Cool lights. I was tired so I don't remember a great deal more, but it was a nice end to a hot, fun weekend.

Luke Bryan - Tailgates and Tanlines: Track by Track

I know this album's been out a while, but after 3 putrid singles, I wanted to go back and give a listen and see how the rest of this album stacks up to the feces Luke Bryan has been pooping out to the radio waves.

1. Country Girl (Shake It For Me)

One of the most awesomely terrible songs released to country radio in the last… no, ever. It doesn't deserve any more words.

0/10

2. Kiss Tomorrow Goodbye

A song about goodbye sex. "Take off your leaving dress"… is a leaving dress something you can buy at Penney's? I'm just asking. As a country power ballad goes, I guess this isn't horrible, but I'd still go with a paper cut over listening to it again.

5/10

3. Drunk on You

The much maligned "boom-boom" song. So, is it as bad as generally thought? Well, the melody is pretty nice and the opening line is killer. But beyond that, yes, it's that bad - it's an embarrassing pile of rancid, maggot-infested garbage. Now that country singers have found a way to get all their laundry list of country touchstones into love songs, shouldn't pop country eat itself? This kind of song makes a man go "mmm mmm" (with his head shaking side to side and a frown upon his visage).

2/10

4. Too Damn Young

Oh, is this a Garth Brooks cover? No? Damn. It's just yet another song about teenagers doing it in the water. Tanlines mentioned? Check. Heartstring-pulling b.s. to make soccer moms look back wistfully on their senior summers? Check. I guess this sounds okay, but it brings nothing new and says nothing old in a new way.

4/10

5. I Don't Want This Night To End

Just another perfectly proportioned hit vehicle carefully created in a clandestine Nashville laboratory. My 5-year-old daughter likes this song. She also likes Caillou, Barbie mermaid movies and Glee songs, so maybe we shouldn't use her as a standard for good taste (though I love her dearly). "You got your hands up/you're rockin' in my truck"…has this scenario ever played out for any guys out there? How can you put your hands up? I mean, the roof isn't very high. Is she rocking to Aldean or Gilbert? Actually, who gives a damn?

3/10

7. You Don't Know Jack

One of the weakest drinking songs I've heard in some time, and that's saying something because "Red Solo Cup" was on the charts just a month or two ago. It sounds like somebody was trying to be deep here, but the silly title line trivializes any good intentions they had. Also, there's way too much weight put on kindergarten-ish lines like "double shot/80 proof on the rocks." If this dissuades a man from doing his wife wrong and ending up as one of Jack's best buddies, I'm Jim Beam.

2/10

8. Harvest Time

This sounds pretty good. It's a simplistic exploration of farming, but there's nothing too egregious here. It's reminiscent of one of Jason Aldean's better tunes "Amarillo Sky," but that's neither here nor there. Nothing I've heard on this album so far has lived up to any of the potential for interpretation I think Bryan showed earlier in his career, and this is no exception. His reading comes off a big generic. Still, not a bad song at all.

7/10

8. I Know You're Gonna Be There

I'm forgetting this song as I'm listening to it. It's such a fluff piece, it's fading as it plays. Nothing memorable whatsoever. I'm not even interested enough to pay attention, honestly. Probably shouldn't have made the album, and it's a terrible album.

2/10

9. Muckalee Creek Water

Um, okay I guess. There's some imagery here that's pretty nice. It has a fairly decent swamp groove. Still, there are a few negatives. What's with his preoccupation with onomatopoeia? Boom boom on other songs, bump bump on this one. It's childish and very irritating. I have to hear repetitious, annoying stuff like that from my kids all the time; I don't want to hear it in a song. And what's with all the singers claiming they drink moonshine? Right, I'm sure you hit the white lightening all the time Luke. Also, the bridge sucks and takes the air out of this one big time. This song had some promise, but I'd be lying if I said I'd listen to it again.

5/10

10. Tailgate Blues

This is actually kinda cool. If the production weren't so perfect, this could be a great song. As it stands, it's still surprisingly good. Great melody, nice harmonies from Ashton Shepherd, not too many cliches, lonesome atmosphere. I like it.

8.5/10

11. Been There, Done That

The title tells you all you need to know. See review of track 8.

2/10

12. Faded Away

Reminiscing song about trucks, balconies and spring break. Making love as waves roll in. Tans and names in the sand. It wants to be an update of Kenny Chesney's "Anything But Mine" (which is a guilty pleasure of mine), but it falls far short because Chesney's Spring Break song was far stronger on imagery and longing. This will speak to 15-19 year old girls and maybe a few moms with less discerning tastes, but that's about it.

3/10

13. I Knew You That Way

Probably Bryan's best vocal performance on the album. A pretty understated song without too many things that rub me wrong. Still, not particularly noteworthy. 

5/10

Album Average:

3.73/10 

That rates as an F on any scale. Luke, you used to not suck (too bad). What happened???

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-.