Ghosts of Hallelujah
(Munich Records)
Here’s one for fans
of Americana, then, or maybe just anything
that’s very strange. The Gourds manage to
exude history and geography with their banjos,
dobros, sprinklings of Zydeco accordion and the
kind of delivery that has already prompted far
too many comparisons with The Band. Admittedly
the two main vocalists, Jimmy Smith and K.P.
Russell, are both more than similar to
Levon Helm in the larynx department, but the
difference with The Band was that people could
understand what they were singing about.
It is no doubt deliberate
that the vocals are partially buried in the mix
of Ghosts of Hallelujah and with great effect,
too, the voices acting primarily as extra
instruments to supply texture and melody rather
than devices for preaching Gourds philosophy,
whatever that is. But it is also a little
frustrating as the snatches of lyrics that can be
made out are brilliant, slightly surreal bursts
such as, "and while that dog was taking a
shit / I snuck up behind him and gave him a
kick" (from the album’s opener Up On
High) or "I took myself a German bride / All
empty and bloody inside" (Lowlands) that
suggest some highly original subject matter afoot
and make you lament the non-inclusion of a lyric
sheet among the CD’s packaging.
Musically the album is
without fault, so long as Roots Country tinged
with Mountain and Cajun influences is your bag,
and the line-up (and no doubt sales too) is
enhanced by new comers Max Johnson (ex Uncle
Tupelo / Wilco) and Rob Bernard, who provides a
mean electric guitar, especially on Ladies
Choice. That said though the one-guitar-one-voice
simplicity of the album’s aforementioned
closer "Lowlands" comes as a relief
after the general exuberance of the 45 minutes
preceding it, and hints at a maturity that could
make further Gourds releases indispensible, as do
fellow highlights Gangsta Lean and January 6.
"Where’s the
Mojo?/ I don’t know" is, as far as I
can tell, the first line of "Pair of
Goats", so let’s hope they find it soon
and listen out for the results.
A.G.
STEVE WYNN
My Midnight
(Zero Hour)
Ah yes, I remember the Dream Syndicate (and Steve
Wynn's cameo on Giant Sand's superlative'Swerve')
but this is my first encounter with him solo. And
it's a cracker. Great sound, including ex-Pere
Ubu bassist Tony Maimone, with a 'live in the
studio' feel, plus strong, simple songs equals a
redoubtable recording. The opening 'Nothing But
The Shell' made me think myWalkman's right
speaker had packed up until my right ear was
suddenly filled with maracas almost to Chocolate
Watch Band level. The couplet 'Neil Young and
Crazy Horse/A victim of a bad divorce' is
delivered with special relish here, as is Wynn's
coruscating harmonica solo. The Hammond on 'Cats
And Dogs' floats the song along effortlessly
whilst guitars smear huge major chords all over
'My Favourite Game', thus enabling me to forget
the dire Cardigans 'opus'; what higher
recommendation could there be? Varied and subtle
horns and strings add to the sound, the former on
'Cats And Dogs' the epitome of tasteful
simplicity, and the rhythm section of Maimone and
Linda Pitmon is superb throughout. Time to get
the obligatory L** R**d references out the way;
whilst his vocals remain as caustically
Velvetesque as ever, Wynn's neat, barbed lyrics
evoke Raymond Chandler as much as anyone; the
sharp turn of phrase out of nowhere sits well
among full yet unfussy arrangements. Wynn himself
describes the title track (co-written by Kurt
Ralske of Ultra Vivid Scene - where they now?) as
'a circular search for the bastard child of Lee
Hazelwood and Ennio Morricone'. I see his point.
The concluding ' 500 Girl Mornings' makes the
most of both chords utilized and is clearly
relished by all participants. Great stuff;
recommended.
J.Nagle
