Found it interesting that in the latest issue of CMJ New Music Monthly,
where they feature five or six CDs as the Best New Music of the month,
that 3 out of 6 releases reflect the interests of this list. Think it
speaks to the vitality and how interest in this music is growing.
Thought others might enjoy reading the reviews.
STEVE EARLE & THE DEL MCCOURY BAND "The Mountain"
Although The Mountain marks Steve Earle's first true bluegrass album, it
sure ain't high and lonesome. But neither is Earle--at least not
anymore. To continue the potsherd renaissance that began with 1995's
similarly rootsy and acoustic Train A-Comin', Earle enlists one of the
world's finest bluegrass bands to support his latest batch of well
crafted songs, and what results feels like a hoe-down, a hootenanny, and
a house party. Earle's worn and weary voice rasps appealingly against
the McCoury brothers' plucky banjo and mandolin playing (Del's classic
high tenor hides in the background), and if some songs smack of genre
exercises, it's because of bluegrass's relatively fixed conventions. But
even when "Yours Forever Blue" rewrites El Corazon's "You Know The Rest"
and "Leroy's Dustbowl Blues" cribs a chorus from Dylan's "Tombstone
Blues," Earle and company invest the songs with the joy of collaboration
and celebration. Truth be told, Earle's in a bit of a rut: Like his
recent albums, The Mountain includes a sweet-and-sour duet (here with
Iris Dement), a couple geographic rave ups ("Texas Eagle," "Dixieland"),
and an in memoriam valedictory (the gospel "Pilgrim"). But it's a high
caliber rut, of classic sounding songs, and The Mountain should appeal
to bluegrass aficionados and neophytes alike. -Steve Klinge
DAMNATIONS TX "Half Mad Moon"
Amy Boone and Deborah kelly, co-leaders of the Damnations EX, might be
New York bred, but they cut their teeth in the early '90s at venerable,
folksy Austin venues like (the sadly defunct) Chicago House. Now a
regular and popular part of Austin's rich scene, the Damnations deliver
an irresistible debut that proves Austinites still know their tunes.
Clearly, so do the Damnations. From the folksy, bittersweet "Spit and
Tears" and tender "Jack's Waltz" to the bright, gritty "Things I Once
Adored" and rollicking "Down The Line," Half Mad Moon is the kind of
record y'allternative fans have been waiting for--a challenge from
country-rock's second generation, packed with character, class, and
originality. Neighbor John Croslin's tasteful, understated production
brings out the Damnations' best, as the group piles on stellar
musicianship, warm keyboards, and a host of strings (acoustic and
electric guitars, banjo, mandolin, etc.). Half sisters Boone and Kelly
hook listeners in with supple vocals, heartfelt harmonies, and engaging
stories, including a simple, gorgeous tale of a stolen amplifier ("Black
Widow"). Mixing fun and frolic ("Finger The Pie," "Unholy Train") into
their twang and tears, the group confidently honors the past as it keeps
its eyes and ears on the future. -Mark Woodlief
KELLY WILLIS "What I Deserve"
It's all too easy to compare Kelly Willis to Lucinda Williams. Like
Williams, she transcends genre, beautifully blurring the lines between
country, rock, and folk, and like Williams, her critical acclaim is
matched only by her commercial frustrations and music biz missteps
(Willis has gone through three record labels in this decade alone). But
there's a problem with this spindle. See, Lucinda Williams is, as the
kids say, cary-talented--a peerless songwriter and a very tough act to
follow. That's too bad for Willis, because What I Deserve is her most
assured album to date. Its best songs, in particular the title track and
"Real Deep Feeling," sway with ease and a strangely abiding sadness.
They find solace in life's limitations, and a universe in the space
between two people. Willis's voice--pure as a tear, real as a lump in
your throat--has never sounded better. And her subtle harmonies recall
those of the Everly Brothers at their keening best. In any other 12
month cycle Willis's new album would be a much fawned over salve for the
new country blues. And while Williams's recent Car Wheels On A Gravel
Road has raised the critical bar on that salvation, so that What I
Deserve doesn't sound quite as good as it might have a year ago, it
still spotlights a talented craftswoman in her prime.
-Matt Hanks
Enjoy. I am really looking forward to hearing all three of these CDs
myself next week when they arrive.
John
