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Sound Bites For Your Consideration - Local and Regional CDsBy John Fonvielle Charlie The Horse
I must admit, hearing the first few notes of When U Gonna Love Somebody led me to believe I was going to be listening to the next Southern Culture On The Skids. Not that there’s anything wrong with that, but I was more-than-pleasantly surprised to be ushered into an utterly original and well-thought-out album. I love records where the playing appears loose, until I realize it’s just well-placed space and the band is actually tight. Charlie The Horse throws lots of curve balls, but they are all in control and over the plate every time. "Up and Down Ladies," for example, starts simply with acoustic guitar and a strummed banjo but, before I know it, in comes a horn and then drums. It all makes perfect sense in the context of the song. That song is followed by the reflective "Hey Girl" – with guitar and piano. The room sound is pronounced, so I got the feeling of listening to it live instead of it being a canned recording. The song ends with a chorus of friends singing along and, apparently, having some drinks. By the third or fourth track I realized that none of this is by mistake. Vocals, percussion, sounds and instruments are used as seasoning, sprinkled in at the right moment to great effect. CTH reminds me a lot of Canadian Bob Wiseman (if you know who he
is, I’ll buy you a beer) – raw, fluid and fun. This album has lots
of energy, great textural changes and flourishes but, best of all,
imagination. I look forward to seeing how this translates to a live
setting. I’m sure this intelligent, talented band won’t disappoint.
Shine’s aptly named American Cocktail is a smorgasbord of the over-generalized "Americana" sound. But that word is put to good use here. Blues, bluegrass, country and rockabilly are woven together throughout this album of originals. Fronted by Billy Barwick on guitar and lead vocals, Shine offers a good-time backyard party (check "Backyard Song"). From the rollicking "Honky Tonk Hokey Pokey" to the historic "Bullets and Brass Buttons" by local song master Catesby Jones, and the double entendre "Surf With Mary (Does Mary Wanna),"American Cocktail guarantees a good time for all. Barwick is backed by Davis Canady on bass, Jeff Hunnicutt on drums and Bryan Harrell on lead guitar, as well as guests Jason Woolwine on keyboards and Perry Hewlett on dobro and banjo. Barwick has a voice full of emotion and sincerity and the ability to soar and swoop through a wide range of melodic compositions. They unabashedly offer "let’s get down and party" tunes. No chance of hiding either, as they will catch you with this bright and affable album. Rick Tobey
From the opening air-tight "Charlene" they establish a solid foundation of well-played cuts. Ten of the 13 songs are written by Rick Toby and they all display a versed and studied bluesman. He also plays a range of instruments: guitar, drums, and keyboard, and with all of which he flaunts their vintages in the liner notes. Like they say, "if ya got it, flaunt it." An interesting twist within the band is Perry Smith on djembe. I can easily make the jump from blues music to African instruments, but it’s not something you see everyday. Also featured are guitar smith Justin Fox, sax wizard Benny Hill, Greg Mitchell tearing up the harp, Dave Harvey on bass, and David Pell on "Custom DP Guitar." There he goes again. Though a strong blues ensemble, not all the songs are straight-ahead blues. The djembe is evident in "Sumtin to Eat," and "What to Do about You" is an affective lament. Toby has Tom Waits as his vocal model, something I can get next to – rough, weathered and, well, bluesy. And all this "chicken talk" recalls Hasil Adkins, the king of chicken songs. Chicken Road is definitely worth the drive. Now, pass me another leg.
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© 2010 THE BEAT MAGAZINE Wilmington, NC 910.793.3668
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