quickcrit - music reviews

Have DBT really released 8 to 11 albums, depending on how you count? It's only shocking because I still remember my first listen and the moment I was initially blown away by their roaring southern rock chords. Although, admittedly, my interest has faded since Jason Isbell branched off on his own, nevertheless DBT still undoubtedly delivers some of the best alternative country / southern rock being manufactured today. Patterson Hood, the constant songwriter with the whiskey & cigarettes rasp, pulls more material from hard times, rough lives, scraping-by and indulging heavily, making for an album packed with hard-rocking recession anthems. Perhaps the heaviest hitting jam however is Mike Cooley's "Birthday Boy," about the depressingly unglamorous life of a call girl sweating her nights away for a measly income. I think it's fair to say that this is a political album at it's core, and in many cases you don't have to read very far into the lyrics to realize rural, southern America has been in a recession (in one form or another) since... maybe forever. "This Fucking Job" sums up the tone of album quite nicely by addressing the epically painful experience of being stuck in a dead-end, no-way-out job, but being thankful that at the very least you still have one. DBT have returned to rocking hard, with ripping chords, rugged vocals and real-talk lyrics. This is a solid effort that should make the DBT faithful, my self included, quite satisfied.

Howdy Ladies and Gents, gettin on the record now as a lover of beer and Friday nights. This evening I decided to drink a nice I.P.A, Racer #5 to be exact. It comes from the Bear Republic Brewery in Sonoma County, and is described as having a "trophy in every glass". I think it's not too heavy (which I enjoy in an I.P.A), and is very smooth and crisp, with a high and tight bite at the end, very refreshing. Reminds me of the high and tight fade on the singer King Kendell of the Amazing Royal Crowns. This is the kind of beer a workin man in the summer drinks to cool down, or while workin on a "1965 GTO", which just happens to be the title of an awesome song that the Crowns do. So I am pairing the Crowns with the Racer no. 5, and I have to say it's going really well. I used to drink IPAs all the time in college then switched over to lagers later on, and it's nice to taste a good one again. It brings back good memories of the Sierra Nevada Brewery, good friends, and nights of front porch sittin with shorts and a beater till 2AM. Just as the beer is givin me good vibes, so is the tunes. I fucking love this band and I never listen to them anymore. "Shiverin' in the Corner" has to be one of my favorite songs of all time, and I guess I have moved on to other bands since, like I did eventually with the IPAs, for no apparent reason other than to rediscover them later and be stoked. Like finding a $20 in your coat pocket, or catchin a flirty look from the hot new bartender at your local watering hole. Sometimes I guess it's important to take time and reflect on good times and the simple things we love, instead of focusing on tomorrow's agenda and constantly moving forward with things. So I think tonight I will slow it down, take the time to enjoy my six pack, stroll down memory lane, and periodically rock out to jams like "Mr Lucky", "Still Royal", and "Invitation to Alienation", bottoms up!!

I caught Austin Lucas' set in the lounge at the Hawthorne Theater on Sunday. Although he tours with a band, this was his final show in town before heading down to South by Southwest, and it was just him and his guitar. It'd been a while since I went to an acoustic one mic show, but his charisma filled the room, as he bantered with the audience between songs and even interjected humorous antidotes into the middle of a couple of them.

As you can tell from his press shot, his roots aren't purely country and folk. However, little of his hardcore roots are present in his current songs. They range from the lovelorn to barroom rave up, strummed with an intensity that'll fire up your drinking but not quite get you off the bar stool. He's got a good voice, and while he'd likely admit to stumbling a bit, he plays well too. I look forward to catching him next time he passes through, with or without his band in tow.

It's kind of amazing that Don of Division Street's mostly known for being one of Portland's in demand drummers. Maybe that will change with Animals In Love, an album full of engaging Americana songwriting. It ebbs and flows from mid tempo alt. country pop to slower folk to plugged in roots rock, like on "You're Gone". Regardless of the style, Matt Cadenelli's voice rich vocals that adds depth to the songs. The two standouts are the beautiful and rolling "Mina Bird" and "I Never Crawled", which, with its Memphis-style horns and backup singers, reminds me a little of Tift Merritt's forays into blue-eyed soul on Tambourine. While the album lags a bit in the middle with three back to back slower tracks, most of the songs pleasantly accessible, like the warm and yearning "When I Release Me" or the loping "Mourning Light".

I'm on the fence with Jones Street Station. On one hand, they write catchy country rock that's immediately accessible. I liked the casual back porch harmonies and banjo right away. On the other hand, the music is scrubbed clean in places where it could use more riffs and grit. The final chorus on the pretty "Evergreen" hints that the lyrics might sound better as a guttural howl. On "The Just Keep Disappearing on Me", it's apparent that the soaring yet gravely voice was made for southern rock. A couple songs start slow, but build up to anthemic country rockers featuring a wailing harmonica. I love the punk group shout along at the end of "Neville", while"Winter Waltz" reminds me of the Band and features some soulful country vocals. But overall, they stop short of letting loose and as a result the album sounds a bit tame. They clearly are accomplished musicians, so maybe they need to be seen live.

I know am a bit late joining the Langhorne Slim fanclub, having just heard him for the first time before the Builders and the Butchers' set at MusicfestNW. But since then, I've been digging in to the newly released Be Set Free and last year's self-titled album. Both are fantastic, exactly the kind of singer-songwriting I love. It's passionate and more often than not the songs build until they are the brink of coming unhinged. "Cinderella" is a mix of foot stomping, piano banging, and call and response, somehow making silly lyrics seem universal. I could be wrong, but "Say Yes" sounds to me like a barroom party cry to have fun, using love as an allegory for drinking to excess. Or it could just be a celebration of love. Whatever. Langhorne Slim's powerful and emotive voice drives through a swirling organ on "Boots Boy". While there certainly a couple slower, regret-filled songs, like "Leaving My Love", Be Set Free feels loose and fun. Anyone who loved The Historical Conquests Of Josh Ritter should definitely pick this up.

Oh, and he's back in Portland on November 4th at the Crystal Ballroom. Life is good.

Lucero's 1372 Overton Park is quickly becoming one of my favorite albums this year. Here's a video for one of their slow and soulful ballads. It's the first in a series of 12 fan-made videos, one for each song on the album. Since I love this album, you can expect to see a couple posted here as they are released.

I can't wait until they return to Portland at the end of October. And once again they have a killer opener. This time it's Jack Oblivian. Last time it was Black Joe Lewis.

Back in April when I reviewed Ben Nichols' solo album, The Last Pale Light In The West, I knew this album, 1372 Overton Park, was in production and was curious what sort of effects, both negative and positive, a major label transition would have on Lucero's rough, road-warrior, southern indy rock sound. Any and all concerns were swept away with the opening notes of "Smoke," the opening track for both this album and their previously released six song EP. The simple, repetitious four-note piano opening builds with Nichols' vocal growl into the uplifting chorus of the year, in my opinion--"they bolted out into the streets / unknown and beautiful / UNKNOWN AND BEAUTIFUL!... into the streets" (very Springsteen)--and continues to mount into into an anthem of freedom and invincibility, until it all tapers back towards the sweet piano accents and the offer to, "run away with me tonight." How could I say "no."? I will refrain from breaking down each track, but know that Overton Park dodges the hiccups, and brings on a new and mature dynamic for the band. Perhaps my fear was that Lucero would loose some of their indy grit with this move up the corporate ladder to Universal, but by bringing in the right people to oversee the Memphis horns, which burn through tracks like "What Are You Willing To Lose" and "Sound Of The City," and due to the production and oversight, the Universal influence has simply sprinkled in a little glitter in with the southern grit.

Lucero has put together something pretty amazing here--the individual tracks are excellent, but the album as a whole is top-o-the charts. In my mind, Lucero has made great leaps forward with this album, and, thankfully, has done so without loosing their rock and punk rooted sound.

Jeremy's review: Hayden's new album, The Place Where We Lived, is very good but still feels to me sort of like a b-side to his previous album, In Field and Town. It checks in at only 30 minutes and lacks enough of the moments with a sharper edge (jangly guitar solos or bursts of distortion) which his previous albums have often deftly used to counter the more dominant dour and quiet strain. The laid back groove on a few tracks is reminiscent of a country-folk Bob Dylan in his Nashville years, and these toe-tappers do balance out the slower acoustic turns. Typical of Hayden's wistful lyrics, though, the most upbeat sounding song is titled "Let's Break Up." But it's the familiar warmth and depth of his voice, both playful and sad, that brings me back every time. Check out the title track as well as "Message from London," “Dilapidated Heart,” and “Never Lonely.”

I loved "Sketches (20 Something Life)" off of The Truth. I'm a sucker for a lively keyboard and a singable/shoutable chorus. In fact, the whole album was pretty good, catchy roots rock that had me looking forward to the follow up. Unfortunately, Ok Okay they seemed to have dropped most of the rock in favor of mid tempo Brit schlock. This album is seriously disappointing, not because it is particularly bad, more that it is just so average and well, boring. It seems like they tried to appeal to the Grey's Anatomy crowd, but end up just playing neutered rock. The three songs I'll salvage are the sweet "Senses", "Sing Her Song" with its soaring chorus, and "Ballad Of Arizona", which is by far the best song on the album, integrating harmonica and simple lyrics over a driving piano and drums.

It is no secret that I have a soft spot in my heart for female country singers. Nothing makes me happier than when I hear a woman with a mature voice belting out a tune from her gut. I was recently introduced to Paula Sinclair's new album, Steady Girl, and instantly fell in love with almost every single song. Her from-the-heart lyrics reveals a lady in search of love, but also hardened by the sadness romance often brings.

Sinclair commands attention from her very first track "Something Sweeter", and honestly, heartache has never sounded better. The fact that she has relocated from Kentucky to Portland only makes me love her more. Steady Girl also includes a cover of Steve Earle's "Fearless Heart", which I think is even better than the original (granted Earle wrote that song in 1986). Sinclair's rendition is warmer, more soulful, and is actually one of my favorites on the album.

Having been disappointed by Lucinda Williams' recent recordings, Paula Sinclair easily takes a firm position in my top favorites among the likes of Emmylou Harris, Loretta Lynn, and Caitlin Cary.

Other favorites on the album include: "Medicine Burn", "Blue-Eyed Kentucky Boy," and "Looking for Love".

I'd be surprised if fans of the Drive-By Truckers' Patterson Hood and Lucero's Ben Nichols aren't immediately drawn to Portland's similarly scratchy-voiced Michael Dean Damron and his barroom folk songs of heartbreak and regret. I also hear a lot of Steve Earle's simultaneously world-weary and rebellious attitude. He seems to aspire (and fit) Earle's definition of a "Hard Core Troubadour", a song referenced on "I'm A Bastard". Damron's soulful vocals on "Dead Days" mix acceptance and reflection and allow the electric guitar to provide a touch of optimism. Like early Bottle Rocket's albums, black humor runs throughout Father's Day, evident in songs like "Boy With A Car" and "SOS", which could be country punk if he picked up the pace. As usual, I tend to favor the electric guitar and harmonica driven tracks like "Tornado Song", but he does justice to the slower acoustic numbers as well, like a couple of covers of Townes Van Zandt and King Harvest.

My friend Jeremy and I both love Son Volt, however, aside from the obvious hits, we almost always disagree on our favorite songs. He prefers the slow and moody ruminations while I prefer the less-depressed rockers. After loving The Search and its upbeat horns, the quieter American Central Dust feels like a bit of a letdown. Overall, it's a still solid album, and for all I know, Jeremy might love it. It certainly is his prettiest album. Aside from the grind on "When The Wheels Don't Move", Jay Farrar mostly ditches the distortion in favor of layering guitar and organ to create a rich and full sound that highlights his voice and lyrics. As much as I like "Jukebox Of Steel", "Dynamite" and "Down To The Wire", I still miss the amps.

Lucero fans will most likely already be aware of this recent EP from the band's front man, Ben Nichols, but for those who are not tapped into the Lucero circle, this is definitely worth getting your hands on. The Last Pale Light In The West is a stripped-down, "Blood Meridian" themed, folk-country album that features Nichols' rasp and acoustic guitar, with subtle backing. The 7 track album moves quickly with minimalistic quality throughout, leaving me wanting more length to the existing tracks, and more tracks to the album; however, I'm happy with the likes of the title track, as well as "Chambers," "Tobin," & "The Kid."

Tonight at Berbati's Pan, I finally get to see Sam Roberts, four years after I picked up We Were Born In A Flame and instantly became a huge fan. Although I like about 90% of his songs, I'll try and narrow it down to just my top 5.

"End Of The Empire"
"Start a little fire in your best attire / You can blame the gin for the mess you're in"

"The Gate"
The best song off my third favorite album. Still a tough choice.

"Where Have All the Good People Gone?"
This is one of those songs I find myself singing along a little louder than I intended, or than my wife appreciates, especially when I'm wearing headphones.

"Love At The End Of The World"
The title and lead song from his newest album and worthy of its status.

"Don't Walk Away Eileen"
Probably the first song of his I heard, and it is still my favorite.

As far as I'm concerned, Neko Case shouldn't be new to anyone who has even a relatively loose grasp on what's "hot" in the world of female singer-songwriters, because she has one of the most astounding set of pipes in the business. Everything, from soft and soothing, to puissant and commanding, is within Case's vocal range, and she knows how to exploit her ability. Long before Starbucks peddled Fox Confessor Brings the Flood to the masses and made Neko Case an alt. country, indy-labeled chart buster, she was enhancing the sound of The New Pornographers, and cutting her own piece of immortality out of the music industry with her independent releases and intimate live performances. So, how does one follow up an album as excellent and acclaimed as Fox Confessor Brings the Flood? By conjuring up some of the most awesome album art I've seen in days, and by sticking to what works and featuring Ms. Case's most dynamic attribute—her powerful vocals. That is exactly what Middle Cyclone does, and what makes it so enchanting. Subtly and consistently Case continues to deliver tracks of quality and class that seem beyond the attainability of many pop-country divas and big label darlings. My favorites are "This Tornado Loves You," "Red Tide," "I'm An Animal," & "People Got A Lotta Nerve," but really, all the tracks are damn good (especially for those currently omnipresent rainy days), with the 31 minutes of birds chirping on "Marais La Nuit," being the non-song exception. Listen and love.

If you are in the mood for a couple barn burning rockers, you should check out Portland local, Fernando. "True Instigator" and "Word from the Inside", off his new album True Instigator, are hard charging roots rock. And they're free on his website! The rest of the album is a bit mellower, but still mostly pulls from the alt. country, roots, and Americana genres. Of the more reflective and beautiful ballads, I like "It's A Shame" and "Remember Me" the best.

As a long time fan of the Jayhawks, I was excited at the prospect of Mark Olson and Gary Louris playing together again -- perhaps my expectations were set too high. The Jayhawks loaded their songs with big beautiful hooks, jangly and ringing guitars, and high yearning harmonies. Those three elements are largely absent in Ready for the Flood. It's quieter, consisting mostly of just two guys with their guitars casually recording a collection of folk and Americana. Overall, it's a very pleasant album. "Doves And Stones" and "Gospel Song For You" are my favorites of the bunch. I'm sure the songs will continue to grow on me, but I can't help but wonder what they would've sounded like if Olson and Louris decided to fill out the album out with a full band. Maybe next time.

I would first like to say that I promise to start reviewing 2009 albums soon, but I felt obliged to share the SteelDrivers with the Quickcrit faithful. Overall, Bluegrass lately has disappointed me. However the SteelDrivers have been an absolute joy. If you aren’t into Bluegrass, I would say you probably haven’t given it a fair shake, in which case, I would advise watching O’Brother Where Art Thou’ and buying the SteelDrivers self titled release. These guys and gal aren’t your typical Bluegrass band. By that I mean make slow, put me to sleep gospel tracks. They have more of a blues/rock n’ roll tone, yet retain the twangy banjo, beechnut in my check fire in my boots fiddlin, and the utterly necessary high pitched lonesome sound. Chris Stapleton is the singer song writer and is amazing, think Eric Clapton as a Nashville outlaw. It seems “Blue Side Of The Mountain” is getting all the accolades due to it’s Grammy nomination, and don’t get me wrong it’s an awesome song, but I feel “If It Hadn’t Been For Love”* is their best jam. Stapleton’s simple chorus of “Four cold walls against my will, at least I know she’s lying still”, a song about murdering his lover, still sends chills up my spine. Stellar album all the way through, and I would definitely recommend this as a Bluegrass/Country fan, and as a nice change of pace if you are so inclined.