Sturgill Simpson “Metamodern Sounds In Country Music” High Top Mountain Records

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A Collection of New Vinyl for the Audiophile - September, 2014 - Sturgill Simpson

Seems to me that Sturgill Simpson is this year’s Alabama Shakes. His popularity appears to be swelling up from the grass beneath our very feet. The proverbial “grassroots” route to fame. His record is called Metamodern Sounds In Country Music, and a ton of folks whose musical opinions I trust are singing his Country praises. And I can tell you this much right now: I think they’re right. He’s opening for the Drive-By Truckers at the Fillmore (the real Fillmore in San Francisco) in November and I’ll have a better handle on the situation after that. I’ll be prepared. I don’t know that he can save Country music. Not in a popular sense. It’s too far gone. Unrecognizable. But Sturgill Simpson believes. And I think he came by it honestly. Sounds that way to me, anyway. And I’m the one doing the typing here. Let’s see…

I’m no historian when it comes to Country music. I like what I like, and I loathe what folks call Country now. I call that Country “Hot New Country” in order to make the delineation. Metamodern is not that. (I assume that the album’s title is a nod to the Ray Charles Modern Sounds In Country and Western Music records from the early ’60’s. If so, we can assume that Sturgill is a man of taste.) But I know enough to hear Waylon Jennings’ influence all over this record. Specifically, the vocal presentation. But Sturgill Simpson has a slant on traditional Country themes that I’ve not considered before. There are Bible references, but they’re far from preachy. (If I were the type to memorize lyrics, I’d offer some to the reader here. Luckily, folks have computing machines to handle those tasks for me. The most obvious examples will be found in “Turtles All The Way Down.”) There are drug references too, but they seem more concerned with an attempt at mind expansion or soul searching more so than hell raising for the sake of itself. If that’s been done in a Country format before, I’m unaware of it. There’s also a cover of “The Promise” which starts side two. You’d be smart to assume that I’m referencing Springsteen’s “The Promise,” but we’re dealing with the ’80’s hit by When In Rome here. You know the song whether you realize it or not. And this version is actually good! So it’s an improvement on the original. “It Ain’t All Light” is about as distinctive as it gets for new Country. It involves recorded parts played in reverse, slide guitars, whooping vocals, and a general sense of menace that’s sorely missing from today’s Country scene. I feel like we need Sturgill Simpson more than he needs us. So he has the potential to become dangerous. I hope he follows through.

Metamodern Sounds In Country Music is a high water mark for new music in 2014. It was recorded with care and it’s an honest record. And it was pressed on a slab of vinyl that I wouldn’t wish on my worst enemy’s collection. If I had to guess, and I do because I couldn’t find the info online, I’d say that it was pressed in Nashville at the same facility that gave us Jack White’s Lazzaretto fiasco. Side two, specifically, is unlistenable. There’s noise, distortion, whirring, and it feels like it’s just teetering on the verge of outright skipping in spots. I can’t play it. I listen to the download that was included with the record. Can you imagine that!? It makes me mad. I literally feel anger when I think about it. Hopefully, the music holds up, catches on, and we get a quality reissue at some point. The low sonic rating in this review is specific to the pressing. The recording is great. This is a tragedy. I hate to wrap up an exploration of such a fine work on such a horribly sour note. But that’s what just happened.

(This record was purchased at MusicDirect.com.)

JD McPherson “Signs and Signifiers” Rounder/HiStyle

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A Collection of New Vinyl for the Audiophile - September, 2014 - JD McPherson

While people are rightly excited about what Sturgill Simpson’s doing these days, I can’t imagine why we’re not hearing more about JD McPherson. I’d seen his name around (I suspect he’s probably played the festivals over the past couple of years), but I never dug in until I read Josh Homme rant about him. Homme is bringing McPherson in to open the Queens of the Stone Age’s forthcoming Halloween show in Los Angeles at the Forum. Based on Homme’s raving description, I bought McPherson’s Signs and Signifiers. Based on Signs and Signifiers, I bought a plane ticket to Los Angeles on October 31. I wanted to get another look at the Queens rocking the material from …Like Clockwork before they move on to what’s next, but McPherson sealed the deal. Now, I’m as excited about his set as I am the headliners. It’s going to be a time, boys. Buckle up.

If Sturgill Simpson’s most obvious influence is Waylon Jennings, I’d say McPherson’s is Little Richard. Good night, America, this stuff rocks so right. The record was recorded the way all records should be. I suspect it was done in a manner similar to the way that the Dap-Kings handle their business. Sounds to me like a few musicians standing in a dank room playing the style of music they love. And I can’t imagine that there were glass booths and too much separation of players involved. This record feels like intense eye contact was happening in the studio. Between the musicians. While they rocked. All together. Sounds like it was hot in there, and that there were women in fishnets. These women had pin-up tattoos on their arms and they were carrying their heels in one hand and their little patent red leather snap purses in the other. Unfortunately, they were smoking cigarettes. Fortunately, they were drinking whiskey. Clearly. We’ve got barrelhouse piano and dog house bass. Honking horns and hollow body guitars. Greasy hair and stiff jeans. Basically, we’ve got the glory of Rock ‘n Roll. A few more records like this, and we might be able to pull ourselves out of the cultural nadir that has enveloped us since the auto-tuner was co-opted as a viable artistic choice by the talentless. JD McPherson is not going to become a rock star by winning a game show. He is a Rock Star because that’s what he is. (Looks like he also has an M.F.A. as a visual artist. How’s about that?) If you can remember how lovely it was to have some Roll mixed in with your Rock, you’ll go for this record after the first 20 seconds. The album seems more solid as a cohesive work than as a collection of individual songs although “North Side Gal” and “I Can’t Complain” would stand tall in any crowd. He’s got another one ready for release and I’m hoping it compares favorably. But I won’t cry if it doesn’t. The man has given me so much already. The Avenging Angel of Rock ‘n Roll. Too much? Ask me again on November 1.

Rounder Records picked this one up for a “major label” release in 2012. They pressed it on a heavy record that is quiet and transparent. The grit that you hear is in the playing, not the grooves. Praise whatever higher being you prefer for allowing McPherson to channel this holy spirit. Comes with a download so you can badger your friends to death about the badass you’ve discovered. Get the record and get started. Hallelujah.

(This record was purchased at MusicDirect.com.)

St. Paul and the Broken Bones “Half the City” Single Lock Records

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A Collection of New Vinyl for the Audiophile - September, 2014 - St. Paul and the Broken Bones

I’ve always championed Athens, Georgia as the place to find unbelievably talented bands and musicians crammed together in a town too small to contain them. I’m not going to stop now, but I also want to recognize the state of Alabama with unbelievable players seemingly growing right up out of the mud in little towns with names like “Tuscumbia,” “Greenville,” “Muscle Shoals,” and their own Athens. I first got an inkling that something special was happening over there when the Drive-By Truckers kept finding these amazing talents to replace members that had been fired or moved on. It seemed like they had an endless supply. Then, when Jason Isbell parted ways with them, he formed his own band that turned out to be equally devastating albeit in an entirely different way. Then, the Alabama Shakes took off. Somewhere in there the Civil Wars hit it big. (Full disclosure: I’ve never heard the first note of that group’s music.) Then, Isbell’s guitarist left the 400 Unit and joined St. Paul and the Broken Bones. My Guy In Nashville recommended them to me, and he was right for doing so. Theirs is called Half the City. They’re based in Birmingham which most of us have heard of. I wasn’t expecting all this, but I reckon I should have been. I’m a slow learner.

These guys are carrying on the tradition of Alabama white guys with Soul to spare. The Swampers being the most celebrated example. Legend has it that the African-American vocalists recording at FAME Studios kept coming over there in the early days to get “the Muscle Shoals sound” and expecting that sound to be attached to other African-American players. But the Swampers were shockingly white. And wicked. (We could get really in depth about how that, alone, helped to break down racial boundaries in that neck of our country’s burning woods, but space is limited. I would encourage you to check out the Muscle Shoals documentary from a couple of years back to get a little taste of what music can do for us. You’ll cry.) Similarly, the Broken Bone who handles the vocals sounds at times like a more restrained, less ferocious Otis Redding. He looks like a substitute math teacher. The traditional guitar, bass, drums setup is supplemented by a small horn section and another Alabama veteran on keys by the name of Al Gamble (brother of a drummer, Chad, who plays in Isbell’s 400 Unit). Add it all up and you’ve got yourself a Soul band. Really. These folks are touring relentlessly and are slated for this year’s Hardly Strictly Bluegrass Festival in Golden Gate Park. I can’t wait. Things happened for them relatively quickly after forming in 2012, but the individual members have been toiling away for long enough. At least that’s how I understand it. It’s a lovely story with a ton of historical context. A quick look at the band’s performance on Jimmy Kimmel shows that the math teacher does hot shoe numbers and the whole nine yards. It’s pretty funny. I’m looking forward to our date in the Park. And I’m stoked to have come by Half the City.

Unfortunately, this record is a little noisy in spots. That seems to be a theme recently, and I am not the only one noticing. The Broken Bones share Sturgill Simpson’s managing group and I wouldn’t be surprised to learn that their records were pressed in the same place. Half the City came out on top as far as that goes. It’s listenable, at least. Download card included. Not for the audiophile. You could probably skate by with a digital copy. Such a pity.

(This record was purchased at MusicDirect.com.)

The Hold Steady “Teeth Dreams” Positive Jams / Razor and Tie / Washington Square

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A Collection of New Vinyl for the Audiophile - September, 2014 - The Hold Steady

There once was a band called Big Ass Truck. They were from Memphis and they played after Widespread Panic’s New Year’s Eve show that spanned 1999 – 2000 in Atlanta. When the show let out at 5am, I was not sober. You can take my word for that. Back at the hotel, after the limo ride with the unwrapped condom on the floorboard from the previous occupants, feet on the seat as if there were a rat loose in there, I couldn’t stop talking about Big Ass Truck. I’d never seen them perform, and I kept saying, “Man, I’ll tell you what. That Big Ass Truck is badass.” Over and over. People got mad. In one motion, my friend ripped my shirt off of me and put it in one of those blue mail boxes outside the hotel. Out of frustration. January 1, 2000. I remember none of it like it was yesterday. Big Ass Truck didn’t do much after that, I don’t think. Pretty sure they broke up within a couple of years. Their guitarist was especially great, and now he plays with the Hold Steady. Made his debut on their latest, Teeth Dreams. I was sure that this would be the Hold Steady record for me. Let’s see…

If you know much about the Hold Steady, you know that a big part of their draw is the literary quality of Craig Finn’s lyrics. I saw them at the Fillmore once. It was a little like watching George Costanza front a Rock ‘n Roll band. Maybe I need to get a look at these songs played live. The first song that jumped out at me was “The Ambassador.” I like it mostly because of the keys which, as luck would have it, were handled by Al Gamble. You may remember him from the St. Paul and the Broken Bones write-up. That tune kicks off the second side. The three songs comprising Side A all kind of run together in my mind. Big guitar sounds with no solos. I don’t mind the lack of solos, but I was hoping to be able to at least pick out what Steve Selvidge brought to the party. I can’t, but the two guitarists do weave some nice textures into the tapestry. “Saddle Shoes” is a rocker. There’s a solo on that one that’s hard to miss. Big ending, the whole nine yards. Things seem to heat up a bit as the record progresses. By the time “Big Cig” starts the third side, the guitarists are asserting themselves in major ways. There’s not much to sing along to. Lots and lots of words with little in the way of vocal melody. Costanza kinda talks more than he sings. He seems to like to ruminate on and describe particular types of women. The kind that frequents the bars. The kind that sleeps in storage units. The kind that goes from one relationship to the next with no break between. I’ve known them all, and that’s part of what makes Teeth Dreams an engaging listen for me. Might not be for everybody, but it’s grown on me with every listen. I’m happy to recommend it.

And I’m thrilled to report that the quality of the vinyl is superb. I needed that after having been traumatized by the Jack White and Sturgill Simpson pressings. My therapist was getting rich. These four sides probably could have been crammed onto two, but they left plenty of space on each side and the discs are dead quiet. Someone cared. The set comes with printed lyrics and a download card. All’s well. Serenity now.

(This record was purchased at MusicDirect.com.)

Spanish Gold “South of Nowhere” Del-Mar Records / BMG

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A Collection of New Vinyl for the Audiophile - September, 2014 - Spanish Gold

I saw Hacienda perform as Dan Auerbach’s backing band a few years back, and it was one of the most compelling discoveries I’d made in years. Still is. That night, they were supplemented by My Morning Jacket’s Patrick Hallahan on drums. More recently, the family band that was Hacienda has disbanded. The brothers in the band are still working together. Cousin Dante Schwebel has formed Spanish Gold. With Patrick Hallahan. Oh, baby. That takes a bit of the sting out of not having Hacienda around, at least. Spanish Gold’s third member is Adrian Quesada. He played in Grupo Fantasma. I never checked them out, but I guess I should. They’ve played with Prince and Maceo Parker. The debut album from Spanish Gold is called South of Nowhere, and it’s like finding a trunk of Spanish gold in the desert. Enough to share with everyone you know. Or at least the folks you know who like good music. I’ve got lots of those.

I guess Schwebel was a large part of the Hacienda sound because, if I didn’t know what I know, I’d have thought that this was another of their records. Seeing Hallahan perform is akin to what I imagine watching King Kong play percussion would be like if King Kong had metronome timing to go with his brute strength. And Hallahan’s thunderous approach does give the recording a much more muscular slant, but he leaves plenty of room for some finesse and textures too. The liner notes list all three players as keyboardists and that’s where most of the spacier qualities come from. But they never veer the record into Techno territory. They never even approach that border, in fact. The keys are more like the sprinkling of sea salt that brings the flavor out in the rest of the organic ingredients. “Out On The Street” is the obvious single. It was released as a Record Store Day 7-inch, and they played it on Letterman so I guess we’re in agreement on that score. The kids actually could dance to this one in the clubs, no problem, if they could get their collective face out of their iPhones long enough to recognize a decent song when they heard one. Whether anyone ever hears it or not, the percussion and bass on that tune would be enough to get a room moving by themselves. I’m sure a Spanish Gold show would be as good a place as any to shake a little sweat from your brow if you’re into that kind of thing. I’m more into standing by the soundboard and nodding my head and breathing. And there’s enough musicianship in these grooves to accommodate that urge too. “Something for everyone,” I believe the saying goes. Unless you like what’s being dolled out via popular radio these days. I always envision the line of psych patients lining up to get their pills in One Flew Over The Cuckoos Nest when I think of that. And I try not to think of that.

Seems like these guys might have had some extra dough to throw at this release. The single vinyl record, while not particularly heavy or without some visual cloudiness, is really well pressed. The gatefold cover is sturdy enough, and the exterior involves a bunch of gold leaf printing which looks kinda retro and really cool. It will age well. A download is included, and you’ll want to replace the white paper inner sleeve with one by MoFi or something similar. This one’s not for the kiddies. This is the real thing.

(This record was purchased at MusicDirect.com.)