It’s twice in a row now that Adam Hill has delivered. If another one of his discs winds up on my desk, he’s going to have to work hard to outdo himself again.
When examining Hill’s work, he starts to seem less like a folk musician and more like a folk composer. This album is not the work of a group that took the name of its leader. Hill, in fact, plays every instrument on Them Dirty Roads (except for the fiddle) and provides all the vocals (aside from some of the backups). Hill is in control of every aspect of the album and compiles it into a sort of an operatic Americana symphony.
Whereas his previous album, Four Shades of Green, was more subdued in tone, Them Dirty Roads comes off as restless and in need of wandering. Guitars, pianos, walking bass lines, and an almost total lack of percussion, along with Hill’s twangy vocals (which often come with some echoing reverb) provide an atmosphere akin to the wide open spaces that make up the album’s cover art.
Hill’s sound takes a more indie-minded turn in Them Dirty Roads, especially with the insertion of piano ballads like “Fool’s Gold” and his cover of Dave Carter’s “The River, Where She Sleeps.” The cover is especially wonderful with Hill’s choice to stick with piano and what sounds like wine glasses being played with spoons for the accompaniment to his vocals. The song exudes a sense of joy that will prove infectious to anyone.
In a sense, Hill also takes a turn toward classical music in the arrangement of the album. Similar to the way he put four versions of the song “Down In The Valley” in Four Shades of Green to provide cohesiveness to the album, Hill inserts transitional and framing tracks, “Prelude,” “Intermezzo I,” “Intermezzo II,” and “Coda” in Them Dirty Roads. These tracks are generally just a collection of sound effects, though “Prelude” includes a Bach arrangement played on trumpet over the sound of radio static. While normally I might write tracks like this off as superfluous to an album, when taken within the whole album, these tracks give Them Dirty Roads unity and cohesiveness.
Tracks of note are “Fueled Up,” which is very reminiscent of the later work of Johnny Cash, and the aforementioned “The River, Where She Sleeps,” as well as “State of Grace” and “Ribbons and Curls.”
Anyone who appreciates folk, bluegrass, or country should find something to love about Them Dirty Roads. And those who don’t should definitely give it a try as well.