Indie folk rock musicians Red Sammy & Some Charming Trespassers channel some greats here in their latest release, True Believer, dropping this fall. Taking a page from the song book of Tom Waits is a challenge, often landing in a crash. This is definitely not the case here, with a collection of eight songs that feel like a throwback to something past, a campfire along the train tracks of life.
Adam Trice is Red Sammy, and that is an important distinction to make. His songwriting is inspired, simple and down to earth. Storytelling is a lost art to many indie musicians; a few come to mind, like Sedona’s decker. and Brooklyn transplant Charles Ellsworth. Both pull in ghosts from the greats as shadows to call on. Some Charming Trespassers are a band of highly skilled musicians including Sarah Kennedy (violin), John Decker (resonator), and Rebecca Edwards (backing vocals) who, with the help of sparse arrangements, play a simple part in the success of this album. They are vehicles that get out of the way and let the music soar.
Opener “Caribou” takes this release out in a stampede for people not yet familiar with Red Sammy. Subtle and powerful, it weaves together a beautiful violin and loaded lyricism. At a little over three minutes, a lifetime is a picture the song paints. “Barefoot in Baltimore” is a love song in the tradition of Appalachian bluegrass, except this is coming out of Maryland, which makes it all the more transcendent of race and economic status. Music is a great equalizer, and “Barefoot” is just that.
“Chickenwire” is poetry bleeding with pain, and “Western Bound” is pain bleeding with hope, all done with skilled arrangements and poetry. Strange thing is, the message is the same, just wrapped in different ribbon. “Heaven the Electric Sky” is filled with harmonic echoes that flesh out the song, reinforcing the band’s stated desire for sparse arrangements on this album. The music shines. Choices like this make this album, and indie music in general, such a force.
“I Knew You Better” is a testament to thinking and how this is a dangerous pastime. Violin-driven, it is terrific. “Santa Ana Wildfire” is that drawn out feeling that isolates us all. As a bit of sequencing genius, it tells a beautiful story that is a complete contradiction and paradox to the previous song. True Believer closes with “Aunt Mary”: sometimes all there is in life is the comfort of an old song, a campfire, a cold beer or a cup of coffee with friends. Desperation is a shared and palpable thing, with taste, sound, and feel. Let this one settle in like a pair of well-worn boots. —Lisa Whealy
Instead of writing new blurbs for each of these albums, I’m going to let the reviews stand as my comments about each of them except the album of the year. Since I had so many EPs on my EPs of the year list, there are less than my standard 20 albums of the year this year.
Album of the Year: Worn Out Skin – Annabelle’s Curse. (Review) This album came out of nowhere and established itself as a standard component of my listening life. It fits on the shelf right next to Josh Ritter and The Barr Brothers in terms of maturity of songwriting, lyrical depth, beauty, and overall engagement. Each of the songs here have their own charms, which is rare for an album: this one will keep you interested the whole way through. It’s a complete album in every sense of the word, and so it was the easy choice for album of the year.
I’ve often compared Red Sammy to Tom Waits, as Adam Trice’s gravelly baritone and minor-key acoustic musings drew a pretty clear line between the two of them. However, the relationship is less clear on Creeps and Cheaters: Trice moves his outfit into its own territory by incorporating swampy Southern rock (“King on the Road”) and CCR-esque country-rock (“Seeds”) alongside his ominous, minor-key acoustic tunes.
The base sound is still there: opener “Dirty Water” situates the listener in a dark, seedy bar and delivers the gravelly rasp that I’ve come to love. The walking-speed tempo, subtly dramatic electric guitar and lyrical images of the underbelly of society (“I’m the dog that roams the streets” / “dirty water dripping down”) are all square in the wheelhouse–until the end, where Trice jumps an octave, gets all ratcheted up and pushes the bounds of his voice. It serves to change the mood, and that shift is continued throughout the record.
“I Got Creepy When Lou Reed Died” continues the vocal shift by being more akin to Reed’s work in the Velvet Underground than a country-rock song. Trice’s voice shines as the arrangement frames his pipes in an unique way. The aforementioned “King on the Road” and “Seeds” turn out different vibes too, allowing Trice to get out some great punctuating yawps in the rock’n’roll style. “Hanging with Uncle Elvis on Christmas” sees another turn, going more traditionally country with a dobro guitar and a clean vocal delivery. Trice’s vocals are still recognizably his own, but this performance shows that he can give the listener a lot of different looks. It’s one of the prettiest songs he’s ever put to tape–mostly because Red Sammy songs aren’t shooting for “pretty” in the conventional sense most of the time.
And there are some of the back alley tunes that he’s come to specialize in: the ominous vibe of “Lawnchair” sounds just like it should, fitting like a coat that doesn’t quite keep out the cold. “Take a Ride” pulls out a similar vibe. The centerpiece of the record is the 6:31 of “Sometimes You Forget What’s Real,” which IC had the pleasure of premiering. The whole band sounds assured and tight, coming together to create a seamless tune that rolls along effortlessly, like a lazy river in fall. It distills all that this album is about into one track: starts off in his pensive style, but grows to a different mood with some excellent electric guitar work.
Creeps and Cheaters shirks genre barriers and instead makes excellent tunes. If you’re interested in any type of alt-country, you’ll be interested in Red Sammy’s take on things. The growth that this album shows points to great things in the future, but that shouldn’t minimize the great things now: Creeps and Cheaters is the sound of a band hitting its stride and not slowing down.
I’m all about alt-country, which is a deceptively hard genre to get right. You can’t lean too country, or too indie, or too singer/songwriter. Red Sammy walks the line between all of these with a tune that’s equal parts Tom Waits, Counting Crows, and Jayhawks.
Adam Trice’s rough vocals aren’t the only place that Waits comparisons fit: “Sometimes You Forget What’s Real” is a long, walking-speed tune that relies heavily on a world-weary mood to compel listeners’ ears. There’s a genial, earnest feel to the guitar that calls up August and Everything After-era Counting Crows, while the weeping electric guitar gives the tune a big ‘ol “alt-country” stamp not too far from the Jayhawks’ work. Extra bonus: Mountain Goats-quality yawps at the end of the vocals’ contributions. The whole tune comes together so beautifully that it’s hard to believe that it’s over 6 minutes long. If you’re into old-school, loose folk/country jams or any of the previous acts, this tune will perk your ears up.
“Sometimes You Forget What’s Real” is the lead single on an upcoming album, set to drop Fall 2015.
1. “Old Hope” – Angelo de Augustine. It’s like Elliott Smith is alive. Maybe there’s some Joshua Radin and Nick Drake in there, but mostly the whispered vocals and style of acoustic guitar remind me of Smith.
2. “Amarillo” – Anna Vogelzang. Combine the charm of Ingrid Michaelson with the full arrangements of Laura Stevenson, and you’ve got a little bit of an idea of Vogelzang’s talent. She’s one to watch.
3. “Red River” – Tyler Sjöström. Fans of Mumford and Sons will love this theatrical, finger-picked folk-pop tune.
4. “Forever Gone” – Andrew Marica. The morose romanticism of Damien Rice + the distant reverb-heavy atmospherics of Bon Iver create this downtempo ballad.
5. “Delilah” – Tony Lucca. This one’s pretty boss: Wide-open, sneering, engaging full-band country-rock with an eye toward Coldplay-style, radio-friendly vocal melodies. Also, there’s some awesome saloon-style piano playing.
6. “Angel Tonight” – Peter Galperin. Musical adventurer Galperin moves from his bossa nova experiments towards ’80s country-flavored classic rock. There’s some Springsteen, some Paul Simon, and more all combined here.
7. “Time” – Night Windows. Acoustic-based indie-pop a la David Bazan that teeters on the edge between twee and melancholy.
8. “I Got Creepy When Lou Reed Died” – Red Sammy. The husky, gravel-throated country of Red Sammy gets an electric makeover for this tribute tune. The title a weird thing to chant, but you’ll probably want to sing along repeatedly to the mantra-esque chorus.
Wherein I Remember That I Mostly Listen to Music With Acoustic Guitars In It
1. “So, what exactly does it say?” – The Weather Machine. I loved Joe Pug’s first record lyrically, and I love Passenger’s vocal stylings now. Mash them together, and my heart melts. Add in steel drums, and you end up as the lead track on an MP3 mix. Super excited to hear more of this album.
2. “Passing Ships” – The Travelling Band. If you wish the Decemberists would go back to being flamboyant and triumphant musically, The Travelling Band might be your solution. Cello, piano, speedy drums and group vocals swirl around in a wonderfully theatrical way.
3. “Walk Away” – The Bone Chimes. There’s a lot of musical theater going on in this interesting indie-pop track, from the vocal stylings to high-drama arrangements to even a carnival music section.
4. “Sour” – Tim Fitz. There’s downers psych, uppers psych, and giddy psych. This shimmery track fits that latter category. Its favorite color is probably neon green and neon pink, because it can’t pick just one.
5. “Doin’ It to You” – Luke Sweeney. Everybody needs a slice of happy-go-lucky, charming, perky SanFran indie-pop every now and then.
6. “Way Out Weather” – Steve Gunn. Gunn opens up a classic space with this rolling arrangement, as if Joe Walsh got a little folkier.
7. “Roll the Dice” – Charles Mansfield. If The Mountain Goats had a bit more ’50s-pop nostalgia, they might turn out charming, perky, intelligent songs like this one.
8. “Noma” – Dear Blanca. With outrage in the left hand, depression in the right, and a singing saw in the third hand, “Noma” manages to be brash and raucous without being fast or particularly noisy. Impressive tune!
9. “Get Your Fill of Feelin’ Hungry” – Jay Brown. James Taylor is underappreciated in indie circles for his pristine melodies, tight guitarwork, and general great songsmithing. Jay Brown appreciates those qualities; “Get Your Fill” is smooth, tight, and melodically memorable. Whatever you call it (pop, folk, singer/songwriter, etc.), this is great songwriting.
10. “Under the Weather” – The Good Graces. Alt-country and indie-pop haven’t had enough crossover, I think. The Good Graces are making that happen, with the swaying arrangements of the former and the quirky vocal melodies of the latter in this fun tune. Also, horns!!
11. “Seasons” – Palm Ghosts. Folk loves its sadness, but this beautiful song is warm nostalgia in song form.
12. “Childhood Home” – The Healing. This pensive alt-country tune has that rare, magical male/female duet connection. The chorus is haunting and yet comforting; it’s a powerful tune.
13. “Lion’s Lair” – Red Sammy. “I like Megadeth / I don’t like Slayer,” relates the narrator in this quiet, lovely, lonely alt-country track reminiscent of Mojave 3. Caught my attention for sure.
I love reading and writing poetry. (I am likely one of the few people in the world who was so moved as to do a happy dance when Natasha Trethewey was named United States Poet Laureate.) So I was thrilled to hear that folk/country outfit Red Sammy had teamed up with poet Steve Matanle for these poems with kerosene. The gritty, gravelly-voiced country fits perfectly with Matanle’s detailed scenes, making for a fascinating album. The two only team up for “Nightriff,” instead preferring to trade spread the four spoken-word tracks among the eight songs. This creates an intriguing flow for the album, making both the songs and the poems memorable.
The tunes are low-slung, largely eschewing treble, cymbals, and screaming guitar solos. This melodic breathing room allows for more nuance in the tunes, giving “Rank & File” a solemn beauty. “Monstertruck” throws in an acoustic slide-guitar solo from the low end of the frets, something I love to hear in this pop-friendly era. The low-end riffing continues on the collaborative track “Nightriff,” foregrounding Matanle’s dry but still evocative voice over the guitar. The descriptive, abstract poem itself is eclipsed in quality by the much more concrete “Hobbies of the Damned,” “Man with a Suitcase,” and “Bar,” all of which tether their small revelations to finely explained events. Matanle gets a lot done in a few words, as none of his spoken word pieces go over 1:30; this is the perfect length to serve as powerful interludes between the longer Red Sammy songs (roughly 4 minutes each).
these poems with kerosene isn’t near as volatile as its title would suggest: it’s more of a slow-burner, working its way into your consciousness bit by bit. Both Steve Matanle and Red Sammy have contributed pieces that give you space to think: they don’t hit you over the head anything. That’s a welcome blessing. kerosene is a must-hear for alt-country fans.
(p.s.: I would love to hear more pairings like this, songwriters. And I’d love to be a part of one, too.)
Fiery Crash is a prolific songwriting project by Josh Jackson (not the Paste editor-in-chief) that specializes in hazy, acoustic-led dream-pop. There are occasional moments of noisy clutter, but Carbondale is largely a chill affair that finds its stride on ambling, easy-going tunes which allow Jackson’s mid-range voice to meander in an M. Ward-esque way (“Forward,” “Caroline”).
The best tracks show off Jackson’s ability to create and sustain moods through subtle, appealing instrumental arrangements: “Drought Finale” pairs a quirky lead guitar line with an ethereal arrangement while Jackson casually tosses off a speak/sung vocal melody. These moves result in an engaging idiom that could be mined for a long time.
There are still some youthful missteps, as in the vocally overbearing “Headrone” and the grating “Half Life,” but they are balanced out by sublime instrumental moments like “Fever Song No. 2” and “The First Moment.” If you’re interested in hazy/dreamy pop, Fiery Crash is a name to watch for in the coming years.
Red Sammy vocalist and songwriter Adam Trice describes his music as “graveyard country,” and it’s not hard to see why. A Cheaper Kind of Love Song‘s country/folk has one very noticeable distinguishing feature: a gravelly, broken, Tom Waits-ian voice leading the way.
The voice is the band; other than the sung notes, the songs are very nice, unimpeachable country/folk tunes. A vintage National guitar plays the leads, but without prior knowledge of the National sound (of which I don’t have much; I discovered this tidbit in the press release) it will sound like any other steel guitar (even though it is most assuredly not). An acoustic guitar provides the rhythm, and the drums and bass fall in behind.
So, for all intents and purposes, listeners’ appreciation of Red Sammy depends on your feelings for vocalists in the Tom Waits arena. If you love a mangled instrument (as I seem to remember a writer describing Waits’ voice), you’re going to eat up Red Sammy, regardless of your genre affinity. If the phrase “permanent damage” floats ominously through your mind each time you hear Waits’ music, you will want to pass on Red Sammy.
For those taking things on a case-by-case basis, it’s less simple. You can’t count the whole album as a simple “take it or leave it” endeavor, as the band has an upbeat side and a mellow side. “Come Back Home” turns Trice’s rasp into a roar that gives the shambling tune power; “It Ain’t You (Carolina Road Anthem)” doesn’t electrify the song in the same way as the previous, but it certainly fits in authentically.
The slower work, which is most of the other six songs on the album, leans on the contrast between Trice’s low, gruff croak and the smooth, folky instrumental performances. Trice summons a surprising amount of pathos on the downtrodden “Baltimore,” making it a standout on the album. “Cactus Flower” is less empathetic, but still memorable.
A Cheaper Kind of Love Song is divisive, but a recognition that Tom Waits has been rocking his shtick for over 40 years proves that there’s an audience for sounds like these. If you’re in the market, this is an album you’ll want to pick up. Adventurous types are also recommended to check it out.
Stephen Carradini and friends write reviews of instrumental music. We write about those trying to make the next step in their careers and established artists.