Country and blues music has always mined the life’s mundane moments and extracted nuggets of domestic mythology shimmering with love, lust, booze, blood, tears, asphalt and diesel fuel. With these elements masters like Hank Williams Sr., Neil Young, Townes Van Zandt and Bob Dylan – and latter day troubadours like Bruce Springsteen, Steve Earle and Chris Knight – transcend whatever genre they are bridled with and forge minor pedestrian masterpieces.
This second solo release from Sioux City, IA’s Mat D (Mat deRiso) draws from the same humanistic sources. Assuming a more Americana tone than the country-rock his Profane Saints offers, Plank Road Drag works a well-worn sonic landscape but still manages to uncover many dusty gems.
Resurrection Cadillac, the album opener is bathed in the sanctified blues of Leadbelly and Lightnin’ Hopkins as it lurches forward like a revved-up version of Led Zeppelin’s back-porch stomper Black Country Woman.
Street souls collide in Ford Marriage. Mat D colorfully throws his Born to Run-style tramps toward a ramshackle wedding – “I’ll trade a fan belt and a hub cap for a suit-coat and a tie, we’ll use her panties a a veil and wrap an old rag around her thigh and make a bouquet out of tumbleweeds and hold on ‘til we die, my my.” – until passion’s heat burns away all that’s left is matrimonial ash – ”Turns out a house of love don’t run on truck-stop grease and gasoline.”
Doomed romance continues with Cannonball as family plight and hardship runs as rough as their path toward Texas. Three A.M. refuels the dirt-floor romance, gliding like a fever-dream vision of trailer-part trysts. 40 Watt Moon is the fever aftermath recounting beautiful memories and empty bottles.
Ribbon of Dirt uses the hard-bluegrass of Steve Earle’s Copperhead Road to tell another hard tale of the road’s siren call and Motorbelle is a beautiful, moody white-trash serenade “she was silver and gold from the trailer, she was sequins and jewels from the trash, she was flesh, she was blood,she was lonely, spilling out of old strapless dress with her big hair all pinned up and perfect all that Tammy Faye make-up a mess.”
The album closes with the bluegrass-tinted title song, where Mat d uses hillbilly poetry that could easily be inspired by watching the Coen brothers’ O Brother, Where Art Thou? with the sound down and Guy Clark on the turntable turned way up high.
Mat D’s Plank Road Drag is an ambitious record that hits on all cylinders to set a high water mark for any other contender for this year’s album of the year.
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I was directed to this great video of Kim Deal (The Pixies/The Breeders) and Kelly Deal (The Breeders) doing a cover Hank Williams’ I Can’t Help It (if I’m still in love with you)
Portland Oregon’s Michael Dean Damron, or Mike D. as he was known when fronting his former hell-raising roots-rock band I Can Lick Any Sonofabitch in the House, isn’t your garden variety sensitive, market tested, conveyor belt type of singer/songwriter. The emotion, fear and anger is laid out on his third solo release Father’s Day for all to feel. He’s not just singing, he’s testifying.
The youthful flame-thrower intensity of ICLASOBITH has been condensed into a focused, welding torch constructing a dark and twisted terrain of one mans life and soul.
The lost love songs here – Dead Days, Boy With A Car and the provocatively titled I Hope Your New Boyfriend Gives You Aids (do NOT judge the album based on the title of this song, it doesn’t show up once in this beautifully heart wrenching cut.) display just as much defiance as they do remorse. Love songs are welcome, whining is not.
The specter of the Damron family patriarch is summoned and exorcised in the title track. The song tells of Damron’s father’s life as a hard, violent, and lonely one. The song is both a celebration and an unflinchingly cautionary tale. The excellent Angels Fly Up carries on the divisional theme, devils and angels, suicide and celebration- that seems to run through Fathers Day.
Tornado Song is a chugging blues-Gospel number veined with wailing harmonica and I’m A Bastard has Damron unmitigated affirmation of his place among the best of the worst in the troubadour trade.
As if the original songs weren’t enough to make this a fine album the three covers Damron has chosen to include speak volumes, fit nicely and are done with deftness and deference. Drag the River’s Beautiful And Damned is a solemn pedal-steel laced number and a ’round the campfire treatment of Thin Lizzy’s Dancing In The Moonlight are wonderful. The real courage, as with anyone willing to cover the Late Great Townes Van Zandt, comes with the inclusion of an accomplished rendition of Towne’s bleak tale of perseverance Waiting Around To Die.
Damron’s whiskey-and-dust vocals brings to mind modern day contemporaries like Ryan Bingham, Drive By Truckers’ Patterson Hood, William Elliot Whitmore and Lucero’s Ben Nichols. The worn nature of the delivery adds another depth of ragged beauty to each of these gems. Damron sites Steve Earle, Alejandro Escovedo, Townes Van Zant and Waylon Jennings as heroes. But I believe that the true Patron Saint to his unique style of edgy storytelling, with a penchant for tenderness might well be David Allen Coe.
Sure Father’s Day is not a sunny Summer party album, who cares. It’s a great example of a mature and excellent singer/songwriter venting his own private Winter.
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The Canadian late night talk show the Hour has a great interview with Steve Earle. Earle talks abut making his career and his newest release Townes, a tribute to his mentor Townes Van Zandt and recounts some great stories with his time with Townes. The snake wrangler story is worth the watch!
Jim Fusilli at the Wall Street Journal (wsj.com) reviews the Steve Martin Concert at the Rubin Museum of Art in New York City. Martin, Supported by the Steep Canyon Rangers, performed work from his latest bluegrass release “The Crow—New Songs for the Five-String Banjo” (Rounder)
John Jurgensen, also of the Wall Street Journal, covers the upcoming Elvis Costello twang-tinged release Secret, Profane & Sugarcane, Costello’s varied career and his thoughts on the current state of the record industry. The album was cut in three day in Nashville and is produced by Americana-roots journeyman T-Bone Burnett (who Costello collaberted with on 1986′s King of America) and featured Grammy-winning singer/songwriter Jim Lauderdale.
Whitney Self at the CMT.com blog reviews the recent Jamey Johnson show at Nashville’s legendary Ryman Auditorium and and states is the rowdiest (and drunkest) he’s ever seen at the venue.
AamericanaRoots.com give sa listeds to the new Scott H. Biram Bloodshot release Something’s Wrong/Lost Forever.
Kevin Ransom at Ann Arbor’s Mlive.com interviews Austin’s guit-steel master Junior Brown.