Feel /t against layers of electric Auitarchords from Michael Jenkins and Cozmo
Holloway. The mood continues with Don'f
Give Up On Me featuring Chris Doody's
Hammond organ, while the solid Good
LuckCharm conjures up memories
of the Stones, Wilco and Southside
Johnny, introducing some raunchy
saxophone accompaniment. Doody's
keyboards again render strong supportonTemptotion, while brothers Justin and
Aaron Hoskins keep things steady on
bass and drums respectively as Trimble
delivers a frenetic chanted vocal. There
are more Stones echoes on HoneyYou,
while Dear Alice opens softly on mellow
piano chords before those scrubbed
southern rock guitars crash in once more,
Child lurches dangerously close to a
metal sensibility, and a rare acoustic intro
ushers in Goodnight Chicago. The album
closes on the thundering One Dance Left.
SOMEWHERE BENEATH THESE SOUTHERN
SKIES is a solid southern rock set, all
of whose 14 self-penned tracks are
immune to criticism. Okay, it's a tadderivative (hence four stars), but whatmusic isn't? And with album standoutssuch as the country-influenced Llve
Forever, the pensive, slightly distortedguitar notes of current single j000 Miles
and the gospel-tinged Lead Kindly
Light, il's really not a problem. This is
supercharged roots rock, its abrasive
electric guitar sounds fencing with cool
organ and soulful horns against wild,hollering vocals lf this studio offeringis anything to go by, the Guv'nahs must
be a devastating live act. Jeremy lsaocwww.thedirtyguvnahs.com
TimO'BrienandDarrell ScottMEMORIESANDMOMENTSFull Skies
****Supertwangy,
sto rytel li ng Am erica n a o nd cou ntry!It was more than a dozen years ago
that Tim O'Brien and Darrell Scott got
together to record their acclaimed
REALTIME. ln the ensuing years they
have more-or-less pursued their own
solo musical careers, occasionally
getting together for the odd gig or
finding themselves on the same show.
Preceding this long-overdue-and much
anticipated-follow-up, last year theyreleased LIVE: WE'RE USUALLY A LOT BETTER
THAN THIS, with performances from duo
shows in 2005 and 2006. This new set was
recorded 'live'in the studio, with the pair
facing each other and bouncing off each
other to create an in-the-moment vibe
with few if any overdubs. lt is a traditional
album in every sense, a combination ofunabashed bluegrass, country, hillbillyand stomping, swampy mountain blues
that offers its allegiance to authentic
Americana origins.
Deft originals and covers such as
George )ones' Just One More, Hank
Williams'Aione And Forsaken and
.John Prine's Paradise, with the writerguesting on vocals, slide headlong
into one another in the guises of old-time, bluegrass, boisterous hillbilly,
and shufflin'blues. Each highlights theduo's expert string-bending and clearly
passionate singing. I first encountered
Tim's Brother Wind way back in 1995 on
his vastly underrated ROCK lN MY SHoE;
it's still a great song and this stripped-back version is first class. Together on
TheWell, their vocals exude passion, and
when they let loose with that soulful
edge, it's enough to make you wantto stand up and shout. As satisfying as
their debut was, this album has more
depth and texture and more of an
appealing, soulful approach. But Tim
and Darrell also do something far trickierthan making a satisfying record. By
touching the raw emotions underlyingthe traditional music they admire, theyexecute a call-and response between
the hardscrabble past and the anxious
present, a field holler echoing across theages. Alan Cackett
wwwtimanddarrell.com
MandoSaenzSTUDEBAKERCarnival Recording
Company
****The Nashville-based
singer-songwriter's
thi rd al bu m i s a p e rfect mix of tra ditio naland alternotive country styles-with a
dash of 1960s popthrown in
Having made hiswayto Nashvillevia
North Carolina;and spells in Corpus
Christi, 5an Antonio and Houston, Texas,
the Mexican-born singer songwriter
N EW RELEASES
follows his first two outings, the acoustic-
styled WATERTOWN (2005) and the more
upbeat BUCKET (2008) with a 1 2-track set
that sits well between the two, featuring
cameo appearances by a clutch of friends
including Kim Richey and Bobby Bare, Jr.
Mando Saenz's songwriting skills have
been well-honed, having penned most ofthe songs on recent albums by Stoney
LaRue and 5helly Colvin, while Lee Ann
Womackand Richey have also picked up on
his work, the latter including STUDEBAKER's
opener Breokaway Speedfor her latest
THORN IN MYHEARTaIbum.
Produced by Mark Nevers (the man
behind the desk for everybody from trad
acts such as Paul Overstreet, Laura Cantrell,
Alan Jackson, Charley Louvin and Marty
Stuart to Brooks & Dunn, Amy Grant and off-
the-wall acts including Lambchop, Calexico
and Bonnie'Prince'Billy), STUDEBAKER is a
perfect marriage of country and rock
melded to present Saenz's observational
lyrics. The pop-oriented opening cut,
Breakowoy Speed, was co-written with Kim
Richey who also provides vocal harmonies,
and features a strong electric guitar part
reminiscent of Jonathan Richman's
Roadrunner, and Bottle Scar optslor a
traditional toe-tapping rhythm complete
with understated twang.
WhileTallGrass is a nice snatch ofDobro-decorated western swing, and
Sweet Marie,with its playful keyboard runs,
shuffling rhythm and dual harmonies, is a .
gentle ode to love, there are a couple ofless appealing numbers here: Nobodyis
something of a funereal dirge, whileColorodo,which, the press release
purports: 'transports listeners to John
Ford's West,' may succeed lyrically, but
somehow fails to capture the wide open
spaces of the film director's best work, due
to its oppressive guitar chords and
lumbering rhythm. The closing Smiles AtThe Dooris another tender love song, once
again spotlighting Richey's fine vocal
harmonies, but for me the jewels in
STUDEBAKER's crown are the appropriately-titled Pocket Chonge, which invites
comparisons with the Beatles and Buffalo
Springfield and features a grating electric
guitar solo that evokes a host of 1960s
bands on both sides ofthe Atlantic, and
the slow love balladThey Don't Make'Em
LikeYou Anymore, whose appealing chorus
underlines Richey's shimmering harmony
vocal accompaniment. Jeremy lsoacwww.mandosaenzmusic.com/
Maverick 79