Gal Holiday and the Honky Tonk Revue. Last To Leave.

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Isn’t the internet wonderful? A few months ago I happened on a video that stood out for two reasons. First was the one take approach to it as the camera panned and dollied around the band playing, nice. Second however was the band itself. A Patsy Cline like singer with an intriguing look sang wonderfully over a magnificent blowsy Spanish inflected twang laden backing. The band was Gal Holiday And The Honky Tonk Revue and the song was To Make Amends. It stuck with me so Blabber’n’Smoke eventually acquired a copy of their latest album, Last To Leave, and lo and behold, To Make Amends is but one of the gems contained therein.

New Orleans residents, Gal Holiday And the Honky Tonk Revue are fronted by Vanessa Niemann, a wonderful singer, fired by the likes of Cline, Wanda Jackson and Loretta Lynn. She’s a formidable looking lady, the album cover has her imperiously sitting, defiant, outside an old trailer van, bags packed. Her lizard green dress and cowboy boots, tattoos and flame red hair all flagging up danger, this woman is not to be messed with. The image is carried on to the music, she sings with a sultry confidence, a country torch singer with attitude. Meanwhile the band curl and swing hitting plain old honky tonk, sweet bluegrass stylings and killer outlaw country.

From the start Niemann asserts her authority as a hefty grunt from her opens the first song, The Long Black Ribbon, a wide screen cowboy clatter with sterling pedal steel and telecaster twang. She’s A Killer is a film noire piece set to Western swing with double bass plucking bravely and the guitars just hoovering it up as they duel and quarrel. It’s similar to the rockabilly stylings of Imelda Mae but to the nth degree. Last To Leave is a fairly straightforward country styled lament but again the performance is well above par and they continue at this level throughout the album. Broke Down And Broke is gritty trucking fare while Rainy Nights, Sunny Days is suffused with early sixties Nashville smoothness, slightly jazzy with an excellent guitar solo that shares joy and tears, you need to hear this but it really is magnificent. Teach Me How To Two Step ups the sassiness quotient as Niemann swaggers over some more excellent guitars (it has to be said here that Chris Adkins and Tony Martinez on guitar and pedal steel shine throughout the album) and on the one cover here, Pat Benatar’s Love Is A Battlefield, they rein in the temptation to offer an amped up country rock version and instead treat the song to a brisk Bakersfield jaunt which again has some superb picking.

Last To Leave is an audaciously great listen from start to finish and while New Orleans folk can catch the band on a regular basis it would be great if someone could entice the band to cross the water. In the meantime we have the disc and that video.

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Rachel Harrington & The Knock Outs

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Call me short sighted but my idea of Rachel Harrington was of an earnest solo artist who plays folk and bluegrassy songs conjuring up America’s past music traditions. Her album covers portrayed an artist who sounded rural and old timey. The cover of this however is a close up of Harrington with a twinkle in her eye and (forgive me, I’m trying not to be sexist), a “sassy” kind of “come on in and listen to this” attitude. Backed by The Knock Outs, an all female combo, Harrington has made a raunchy country album that one could imagine the likes of Loretta Lynn might produce if she were 50 years younger. Raucous at times with the opening song Makin’ Our House a Honky Tonk diving straight in at the deep end Harrington sounds tough as nails while the band are gutsy and solid. He’s My Man thumps along with a sixties rockabilly pop punch. There’s even a Stones type riff and cowbell drum clatter on Nothin’ To Do But You.
Having proved they can rock The Knock Outs and Harrington prove themselves just as capable of capturing the more country side of the fifties and sixties with Love Him Or Leave Him a pedal steel and fiddle driven Nashville coated confection while Wedding Ring Vacation captures the early feminist defiance that was the hallmark of Loretta Lynn. The guys get a look in with Mark Erelli singing a duet with Harrington on the slow country waltz of I’ll show You Mine while the closing song I’d Like To Take This Chance just about sums up the album with its pitch perfect recreation of late sixties/early seventies country pop.
A change in direction then for Harrington although as she says “I’m still channelling old writers and singers. It’s just that I moved forward about 40 years.” It’s safe to say that she’s done so with style and with a twinkle in her eye.

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He’s My Man

Yvette Landry. Should Have Known

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Yet another in what has been a bumper bag of fine honky tonking country swing type albums from female artists that have arrived over the past few months. Should Have Known is a fine debut from Yvette Landry, a seasoned sidekick for numerous bands and artists but here standing tall on her own two feet.
The 16 songs are written by Landry and while they remain firmly in the tried and tested tradition of being about drinking, loving, heartbreak and fighting she proves that she can dip into tradition and come up with a set anyone of which could become a staple on country radio. One More Broken Heart is perhaps the best example of a song that drips with an old time Nashville feeling with fat steel guitar but the mention of “cougars in the night” brings it smack up to date. Although the tempo is varied with the lighting quick title song, Blue Moon Girl’s frenzied delivery and the bluegrass rush of Jack all perfect for the dancehall the standouts are the tearstained ballads. Better Days and Friday Night Special are made to be listened to late at night after a few drinks and perhaps in a morose mood. At times like these the mournful guitar playing of Richard Comeaux and Chas Justus are like teardrops falling from the songs.
While Landry can sound like a Loretta Lynn for these days her Louisiana roots are evident at times. The album was co-produced by Joel Savoy who plays some fine harmony fiddle while Betse Ellis (of the Wilders) handles the main fiddle duties (and provides some of the highlights of the album especially on the opening title song).
An above average debut and one which already is reaping praise and awards.

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One More Broken Heart – Yvette Landry by paulk