320 kbps | 79 MB | LINKS
The dust has barely settled on 3hattrio‘s Dark Desert Night (reviewed here) and here are Hal Canon, Greg Istock and Eli Wrankle already back with their third album Solitaire, the arid imagery inspired by their red-rock southern Utah base carrying over into a title derived, as the sleeve notes state, from Edward Abbey’s 1968 book about dryland ecosystems, Desert Solitaire.
Their stringband sound is again parched, but hot and vibrant, Cannon saying they set out to make this their dance album (“even if was the dance of a Scorpion”), opening with the throbbing Texas Time Traveler which sets new lyrics – croaky mid-song scat included – to a traditional African-American number. From here they move to border country gospel with Rose, its mandolin and violin backing conjuring the widescreen vistas of classic Westerns, getting bluesier on the sparse, lost love desolation of What Can You Do.
There are two non-originals here, the first something of a genre-blending surprise in the shape of a bluegrass slurringly sung restyling of Bob Marley’s hypnotic Get Up Stand Up with Cannon on claw-hammer banjo. Likewise, while the second, album closer Bury Me Not, may be more within expectations, they trio still put their own spin on this traditional cowboy tune with a bone dry, slow and somber arrangement dominated by brooding skeletal acoustic bass and ghostly electronic wind effects with the faint distorted sound of what may well be a funeral prayer in the fading moments.
The other credits are shared between Cannon and Istock, both together and individually, Mojave a (save for some scat singing towards the end) pizzicato bass, banjo and fiddle instrumental, its musical framework seemingly extending into the percussive itch of the riff circling Should I, the blues lyrics feeling almost extemporised.
320 kbps | 113 MB | LINKS
Dust Devil (featured on Folk Show Ep. 17 here) is a deceptive introduction to the latest album from the Utah desert-based string trio 3hattrio, a banjo, fiddle and double bass driven itchy rhythm stomp with Hal Cannon’s dust-dry vocals upfront and Greg Istock on reedier distant backing. The landscape remains familiar with the parched gospel blues Pilgrim, Eli Wrankle’s electric fiddle pulsing away behind the insistent double bass and glowering guitar. But then comes Night Sky and we’re into electronic effects colouring the violin-led instrumental with its dry psychedelic tumbleweed blown by tabla-like percussion. Then, get to the spiritual-themed In Our Hands and they’re experimenting with loops and samples as snatches of sermons weave behind the scratchy banjo and hypnotic sawing violin and double bass mantra as Cannon intones “faith is in our hands”.
Istock taking lead (on mostly impressionistic vocals) and with tabla again providing the rhythmic foundation, the atmospheric War paints in Middle Eastern and Egyptian colours, tinted with hints of Native American, further electronic winds blowing across the sandy terrain, while, again written and sung in desiccated tones by Istock, Faith blends sparse, minimalist banjo with orchestral violin, the title underscoring a thematic thread that weaves through the album.
A third Istock showcase, a lyrically opaque chanted I Am is pure peyote delirium enveloped in a haze of banjo, guitar, bass, fiddle lines and bass drum dancing around like the indigenous desert animal spirits evoked on the album cover. More spoken than sung by Cannon, the reflective, lost in memories skeletal mountain folk of Wastelands of Yesterday strips it back down to bleached bones basics.
The album’s second instrumental, Skeleton Tree, a drone built around sawing fiddle and spectral banjo, again conjures a ghostly night ambience, the tempo picking up with the urgent riffing and stomp rhythm of the near six-minute Motel, again largely undecipherably mumbled by Istock, with its suggestions of trance-inducing ritual tribal dances.
The final stretch begins with the Istock’s raspily arid, back of the throat blues moan Won’t Help, the lyrics again slurred to out of body effect. Lyrically downcast with its gaze turned on the state of the nation, Poor Boys, penned and sung by Cannon is a desolate fusion of blues and traditional folk, the album ending with the title track, co-written by Cannon and Wrankle, a spoken, echoing vocal, desert gospel come down from the mesa as, accompanied by haunting violin, the narrator preaches how his words paint the desert sand, that he is “the one that darkens the land and lashes her tenants with dust and sand”and who “holds dominion over all emptiness.” Their most adventurous and eclectic work yet, long may they reign.
320 kbps | 86 MB | LINKS
Traditional country has been having a good year in 2018 so far, with albums from Laura Benitez and Courtney Patton plus this new one from Bonnie Montgomery. Bonnie is from Arkansas and recorded Forever at the Ameripolitan studio in Austin, Texas which is owned by Dale Watson, who appears on the album and Chris Burns, who is her producer. The album cover shows the beautiful open highway, and these songs are a perfect soundtrack for highway queens and vagabonds everywhere.
Being a classically trained musician allows Montgomery to bring in other sounds and ideas that make this more than just a straight honky tonk record. For example we have the song ‘Forever’ woven through the album, with four versions which recur like a theme in a symphony. Each part reflects a slightly different mood, echoing the changing emotions we feel across time.
Songs like Fairytale and Thunder showcase the inviting tone of this album – full of wistful dreaming and a sense of optimism, even when life is tough.
No More is a breakup song with attitude and punch, channelling Loretta at her feistiest. She won’t be standing by any man, she’s had more than enough of his crap. Another classic country inspired song is the bluegrass stomper Alleyways and Castles. These stories of independent women hitting the highway and never looking back are totally inspiring.
Going Out Tonight is a Bonnie & Clyde inspired duet with guest vocals from Dale Watson. At first the woman is unsure whether she’s going to give her man another chance but soon she’s riding along with him on his crime spree. They might be heading towards jail or hell but when temptation sounds this good who could resist?
Comets takes us in a different direction – it’s an orchestral ballad, with some lovely evocative strings. This was influenced by The Beatles as well as classical music, suggesting this is an artist interested in experimenting with style and genre.
My favourite song on the album is the final track Desert Flower, a lovely acoustic folk ballad. You do need to give this album some time to grow but if you do then there is much to admire.
So hitch a ride on the Freedom wagon and you’re bound to find yourself heading somewhere worthwhile with Bonnie Montgomery at the helm.
320 kbps | 66 MB | LINKS
With a Ray Davies-like vocal delivery, mountains of songwriting credits, Clair’s gritty and provocative tunes are kicked into high gear with the muscular and stirring chops of the mighty Pushbacks.
320 kbps | 124 MB | LINKS
Featuring original artwork by Shepard Fairey/Obey Giant, the CD is comprised of eight previously unreleased tracks: four songs are outtakes from BLACK SABBATH’s worldwide #1, Grammy Award-winning album 13 and four live songs from the band’s critically acclaimed 13 World Tour. The CD features Ozzy Osbourne (Vocals), Tony Iommi (Guitar) and Geezer Butler (Bass), along with Brad Wilk (Drums) on tracks 1-4, Tommy Clufetos (Drums) on tracks 5-8, and Adam Wakeman (Keyboard) on tracks 5-8. Tracks 1-4 were recorded at Shangri La Studios in Malibu, CA and produced by Rick Rubin, mixed by Andrew Scheps at Punkerpad West and recorded by Greg Fidelman. Tracks 5-8 were recorded and engineered by Greg Price and mastered by Robert Vosgien at Capitol Studios Mastering.
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