10.08.08
The West Coast comes through for us again
There was a simpler musical time, say 50 years ago, before rock n’ roll and country split and become estranged brothers. Careless Hearts still straddles this divide, beating out twangy, folk-infused rock. The rhythm and the tune bore down into the heart of country, the guitar pulls it back into modern rock n’ roll, and the lyrics are folktastic (though entirely evoking the dusty rural country life of America, rather than some citified folk rock). The Hearts boys are out with their sophomore effort, Heart’s Delight, and I couldn’t be more delighted with the results.
Hailing from San Jose, CA these guys are the inheritors of clean, straight forward country rock. California is as country as Texas or the South (Bakersfield, anyone?) though the Careless Hearts take it farther, making just country with no location. This is a band you could hear anytime in the last half a century in a rundown roadhouse or dusty honky-tonk anywhere in America. Though they shine more than that–if you did stumble across them in some back road bar you’d be astounded to have found a band this good in the middle of nowhere. Front man Paul Kimball’s lyric writing is astounding uncomplicated and articulate, and lead guitarist Derek See pens a few of the tracks with equally awesome results. The rhythm section, Brian Michael on bass and Eric Powers on drums, rounds out the band’s sound very evenly.
I covered their self-titled debut release about 18 months back and I have had that album in regular rotation since then. Indeed, it was part of the sound track to help me get through my most recent break-up. When I got word of the new release from these boys I was most definitely excited. And a little wary, as one never knows if a band can pull off a sustained level of greatness on their second release. Heart’s Delight shows clear growth from their first release, but hasn’t lost any of the gritty musical luster.
“Yolo County Line” opens the album with a soft chattering melody underscored by the heart-rending pull of steel guitar. Listening to only the music, despite the sad cry of the steel, the song sounds hopeful, upbeat even. The lyrics pull it back into one of the main staples of country: loss. Though in this case, it’s not his woman, truck or dog that’s been lost. It’s youth (and mistakes made there), security and happiness. It’s answered, though, with the deeper comfort of home, of having a place you can go no matter what. “Home is where you go to take the truest measure of your shame,” sings Kimball before See launches into a guitar solo that answers the verse perfectly, like an embrace from your mother, who will always let you come back, no matter what you’ve done.
I have to confess, I might praise “Halloween” simply because it gives a shout-out to my boys in Drag the River, but it is a praise-worthy song even without that. The rhythm beats harder here, full of the narrator’s frustration and isolation. The song is unquestionably catchy, though the theme is quite original. This is old-style country about the isolation of modern life: sure you can joke and have fun with your co-workers, but do they even see you, especially when you put on such a false face just to fit in, never letting them see the rock n’ roll in your soul? This is surely a musician’s song for his brethren.
I am positive that “Starlings’ Darlings” is here just to remind me to go driving in the country with the windows down– that I go anywhere, do anything. One of the things I love most in the world is migrating birds bursting up in huge swirling clouds of life, filling the sky with the possibility of escape. I love this concept so much that I have a representation of it tattooed on my arm. Kimball has captured here, in the song as whole, but pinpointed when he parallels driving with his girl with the line, “Out along the highway starlings by the millions twist in ropy marathons of flight.” The harmonica here adds surprising bit of cheer (as harmonica can so often be sad and moody).
“Learning to Lose” and “I Like The Way Your Sun Shines” are both written by Derek See. Though audibly different from the rest of the tracks they fit seamlessly into the album. The riffs are more Chuck Berry than Johnny Cash, more Blasters than Dwight Yoakum. The vibe is more rockabilly than the rest of the album while retaining the modern country rock sound. “Learning to Lose” is my current anthem for my love life and “Sun Shines” is certainly the kind of song that smart girls like me imagine cute cowboys will write for them.
There is a subtle cleverness to “Draw the Line.” It is political, though not overtly so, more a commentary on the individual politics of people you know. It calls back to Dylan, The Carters and Woody Guthrie, while directly referencing them. Neither too serious, nor too cheesy, it’s buoyant musically and cheerful in its kind send up of how people are today.
No good country album can measure up without a drinking song or a tale of heartbreak. “Hell of a Man” is both. Again this track rocks more than it twangs, though it stays true the band’s rootsy rock sound. Here we sit in bar, hearing of how our ex has moved on, and we drink some more. Goodness, it’s just like my life! Oh, wait isn’t that really what country music is all about? Yeah, well here I can definitely relate.
I feel like I am cheating you all a little here by not detailing every single song on the album, but really I don’t have time, because I’d like to get back to listening to it some more. There’s a sample track to be heard here and on their MySpace. Go buy Heart’s Delight (also be sure to check out their first release if you haven’t already) and toe-tap your way through songs of the real world transcended. There’s enough twang to merit bourbon drinking while listening, or of that isn’t your thing, you can play it in your car while you drive off to the country and explore the possibilities of freedom.
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