May 13, 2014

Album Review: Matt Woods - With Love From Brushy Mountain


The first thing you'll notice is the voice. Matt Woods has a robust, vibrato-heavy baritone that is unmistakably country. His drawl is neither muted nor faked, and it's twangy as hell. He sounds good singing smooth and steady or letting it rip, his timbre becoming ragged and strained. His is an unforgettable set of pipes.

The next thing that sticks out is the songwriting. Or maybe that's the first thing. They are both more than notable, so you're right either way.

Matt's writing is truth. Period. Exclamation point. "It ain't no living, it's my life" he sings on With Love from Brushy Mountain's opener, a treatise on the road life of a singer. "I'll trade you a song for a beer" and there's no doubt some nights that's all he got paid and in the grand scheme of things, he didn't mind too much.

"Tiny Anchors" is a showcase of Woods' songwriting abilities. It's a subtle, insightful look into what are possibly last days of a relationship. But there's still some hope. "Hang on with me" he pleads.

Then there's "Deadman's Blues," which was FTM's 2013 song of the year. It's still as striking and raw as ever and it's the apologetic heart of this record.


"Lucero Song" speaks to all of us fans of the little band from Tennessee. Woods gets meta, describing his own drunken loneliness inside the frame of this being  something Ben Nichols and the boys might sing to some rowdy crowd. Now, if Lucero ever covers this song, the universe might implode. 

Matt Woods has released his strongest album to date with With Love from Brushy Mountain. He's shaken off some of the "spot the influence" unsureness I heard in his earlier works and found his own voice and sound. This is country music filtered through rock, folk, punk, red-dirt and bar room soul and it doesn't sound like anybody else. For me it falls into the realm of what mainstream country should have evolved into, rather than the Fords and fornication free-for-all that it is. Highly recommended for fans of Lucero, Fifth on the Floor, Shooter Jennings, John Moreland, etc.


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With Love From Brushy Mountain is available at Matt's site and Bandcamp.

Live Review: Alabama Shakes with Lee Bains III & The Glory Fires

Alabama Shakes w/Lee Bains III & The Glory Fires
Apr. 25, 2014 - 9:30 Club, Washington, DC

By Matthew Martin


It's been a while since I've written up any shows I've been to, and in the time that has past I've been to quite a few.  However, I just didn't think they were worth writing about.  Not because they weren't good enough.  Maybe I just hit a lull in writing, or maybe I felt like things got just a little bit blurry near the end of the show.  So, I put off writing anything.  Until, now.  I come back to you guns blazing with a review of one of the best shows I've been a part of in the past 2-3 years.

There are few things in this world better than a show on a Friday night.  The release of all emotions that comes with a great show.  The suspension of anything that is happening in your life.  And, of course, the pure joy of being with 1200+ (in the case of a 9:30 Club show) of your newest friends.

This was absolutely the case on Friday April 25th, 2014 at 9:30 Club when Alabama Shakes made their triumphant return to 9:30 Club and D.C.  I believe the last time they were in D.C. was in 2012 with the Drive-By Truckers.  And shortly after that, they headlined the Rams Head stage in Baltimore with a band opening for them I had never heard of- Lee Bains III & the Glory Fires.  I happened to be at that show, and both bands shook me, albeit in different ways.  So, when I found out that this same line-up would be coming back to D.C., I (im)patiently waited for the tickets to go on sale on the 9:30 Club website and got secured my spot to a show that sold-out in 5 minutes.

First up, Lee Bains III & the Glory Fires came out and ripped through a set that seemed like a cocaine-fueled punk version of Southern rock & roll.  I do not know how else to put it.  They are a stunning band and watching them on stage is incredible.  Guitars are up to 11, drums are relentlessly pounded, and the bass is forcefully plucked.  Songs from their first album, There Is A Bomb In Gilead, are amped up to a 100 mph speed.  Songs like "Red Red Dirt of Home" have the tempo increased and the songs are transformed.  It works.  I actually prefer the faster versions.  It seems this is the speed Bains and crew are more comfortable in.  When you hear the new album, Dereconstructed, it's clear that this is the new Glory Fires sound: loud, fast, and pissed off.  The set closed with the new song "Dirt Track" of the new album.  It was during this time that the guitarist, to the cheers of 1200+ people, got on Bains' shoulders and both proceeded to give killer solos.  The set lasted about 50 minutes and seemed far too short.  It's fair to say, the boys gained a hell of a lot of new fans that night.

Now the wait for Alabama Shakes began and the crowd was beginning to become electrified.  There was a buzz in the air unlike any show I've been to in a really long time.  Folks seemed not quite sure what to expect.  After all, Alabama Shakes have released exactly one album (Boys and Girls), and that was in 2011- three years ago!  

Needless to say, Brittany Howard and crew still had it.  They had the crowd in the palm of their collective hand from the opening note of the opening song.  By the time they reached "Hold On," I thought the place was going to come down.  I have seen many shows at 9:30 Club and I can honestly say that I have never heard the crowd roar as loud as I heard when they ended that song.

They ripped through the majority of their debut album along with a few others that were new, and some that were B-sides and singles; i.e., "Always Alright" and "Heavy Chevy."  Throughout the show, it was clear that Brittany had gained a new confidence that I didn't quite recall from the show in Baltimore a few years back.  This confidence went a long way that night.  She owned the stage.  She proved that being a frontwoman can be a hard and easy task all in one.  She roamed the stage, looking at everyone, singing to them.  I witnessed first hand, I suppose, what it means to gain that confidence and what a difference that made.

By the time the show ended, everyone was wearing the biggest smiles.  Something pretty awesome had just been seen, and no one was quite ready for that.  To be impressed by a band is one thing, but to be blown away by the complete package is another.  We were lucky that night to be in the latter group.  If it sounds like I'm gushing, I am.  We all knew Alabama Shakes had talent.  We knew that they made catchy-as-hell songs.  I'm just not quite sure we expected to be blown away.  

As I always say, go see these bands - both of them! - when they come anywhere near you.  I'm confident that you won't be disappointed.  Until then, go buy their music.  Support them.  Let's keep these folks around for as long as we can.  It's a short lifespan sometimes in rock and roll, but these folks deserve to be old-timers.  As Lee Bains III sang, "keep on rollin, keep it on the dirt track."

I Think I've Heard This Song Before



I Think I've Heard This Song Before
©2014 FTM Satire

This opening riff sounds so familiar
And this beat is kinda deja vu
Here's a line for good times in the pasture
With vocals that are auto-tuned

Chorus
I think I've heard this song before
Let's all party cause thinking's a chore
Country music's stuck in a revolving door
I think I've heard this song before

I predict a fine girl in tight denim
Will put a drink to her cherry lips
A pretty white boy is talking in rhythm
Moonlight, moonshine and mud-grips

I think I've heard this song before
Same cut-offs the girl in the last song wore
Tilt your head back and let the Fireball pour
I think I've heard this song before

Bridge
They say country music's now for the kids
Who never heard these well worn rhymes
But when every song sounds like the last one did
That excuse doesn't hold shine

I think I've heard this song before
Does anybody think for themselves anymore?
Hip hop slang over some power chords
I think I've heard this song before

Just throw your hands in the honkey-flippin' air
Wave 'em all around like a millionaire
Say "hooo"
Say "ho ho"
Ain't no party like the same ol' party cause the same ol' party don't stop

I think I've heard this song before
I don't wanna hear it anymore

May 12, 2014

Album Review: Sturgill Simpson - Metamodern Sounds in Country Music

There's hardly a point in reviewing the new Sturgill Simpson album. Most of you who read Farce the Music in a non-ironic way already love his music or at least respect it. Ol' Sturge, who was a few mere months ago playing places like Hal & Mal's in Jackson, MS to 20 appreciative fans (including me), is now the toast of the town. He's opening for Jason Isbell. He's getting pub on NPR, Fader, The Wall Street Journal, Juggs and more these days (okay, not the last one). Suffice it to say, people get it.

Metamodern Sounds in Country Music is epic. Despite there only being 9 songs on the official release (plus a bonus track), this is a big big record. Simpson takes the hard country brilliance we all loved on High Top Mountain and expands on the textures and topics. He gets weird in a few places, trippy and edgy even, but it never feels like a put on. This is where Sturgill wanted to go and hopes we'll come along.

The opener (and first single) "Turtles All the Way Down" pretty much draws the line in the sand. If you're willing to give a song that goes the long way around (and I mean, Phoenix to Calcutta long), questioning religion, legacy, and drug laws, to basically say love is all that matters... a chance, well then, you're in for quite a ride.



"Life of Sin" follows that up with a down-to-earth honky-tonker that still manages to dig a lot deeper into the troubadour psyche than you'd expect. It sounds like a Waylon standard, 30 years after.

Later on, "The Promise" takes an 80's new wave hit and turns it on its head. What was once bouncy and emotionally cool is now thoughtfully considered then laid bare. It's as 'original' and stirring a cover song as I've ever heard.

Before Metamodern Sounds has completed its strange journey, Simpson takes us through gospel glory, internal journeys and back into a psychedelic howler of a closing track. He covers a lot of ground on this album, but the transitions are so natural you'll never notice till your head is swirling 30-something minutes later. Albums don't come much more highly recommended from this source. Sturgill Simpson has created a monster of an album that not only created its own buzz-storm, but is more than worthy of the hype.

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Metamodern Sounds in Country Music is available (5-13) at Bandcamp, iTunes, Amazon and wherever else you'd find great music.

Put Your Hands Up for Variety!


*Lyrics from recent popular country songs

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