Seasick Steve
Man From Another Time
buy album here
Pushing into his seventies, Steve Wold has got a few stories to tell and several notches on his belt that make for some great songs. Known to an affectionate and constantly growing following as Seasick Steve, his colorful mix of narrative country blues and Southern delta twang comes as second nature to a man who has earned his daily bread busking, working as a carnie, and living a rough life, hopping trains and seeing the world through the eyes of what many would deem a drifter. According to Steve, "Hobos are people who move around looking for work, tramps are people who move around but don't look for work, and bums are people who don't move and don't work. I've been all three." Musically, Seasick Steve makes his own instruments, ranging from one and two-stringed guitars to cigar box banjos, records his own albums and writes from those life experiences that only he could have lived, seeing more in two months than most of us will ever see in a lifetime.
His latest album, Man From Another Time features some of best material to date with equal parts blues stomp and his haunting narrative ballads that are sure to give you chills with every listen. Not quite as rowdy as Scott H. Biram, Seasick Steve is pretty much a one-man show that sounds a great deal like Waylon Jennings mixed with the likes of T-Model Ford or Cedel Davis. He takes his time with the songs and lets them open up as they will, never forcing anything and relying heavily on the groove at hand as it determines just which way each will go. What comes through is equal parts Appalachia and Delta, bound to strike a chord within those who love both country and blues music along with everything in between. Joining Steve on several songs on the album is Dan Magnusson on drums, who does an excellent job of keeping things steady and letting Seasick work his mojo magic throughout. Opening things up with "Diddley Bo", a classic feeling track with the Bo Diddley beat that most can identify in their sleep, Steve and Dan set up a strong 3/2 clave rhythm and sing of the simplicity of making your own musical instruments out of everyday items and the fun you'll have while doing this activity. "Big Green and Yellow" follows during which Steve yearns for an old Model 60 John Deer tractor. Magnusson does some of his best percussive work on this song, creating the perfect rickety, mechanic feel of an ambling tractor down a gravel or dirt road. Though his more upbeat songs are catchy as hell, I personally feel that Seasick Steve shines best on those tracks when he is by himself, many of which are heart-felt ballads that tell of his rough life before the music. On Man From Another Time, these songs include "Just Because I Can(CSX)" telling of his joy in being a hobo while traveling in boxcars throughout the South, the drifter's lament in "Dark", and the album's title track exploring just why his audiences listen to his music when they "don't got nothin' better to do." The icing on the cake for this record is an unlisted track at the album's end, a version of Hank Williams' "I'm So Lonesome I Could Cry" on which he duets with Amy Lavere. This cover is absolutely gorgeous and extremely appropriate coming from an individual like Seasick Steve, who has been to this point in his life countless times just like Hank Sr, giving extra meaning behind the lyrics.
A great album and great tool to discover a true American legend who is just getting started at the ripe age of 69, Man From Another Time will most assuredly be one of 2010's best records. For those who love The Reverend Scott H. Biram, The Black Diamond Heavies, and Left Lane Cruiser to those who prefer the more rough cut blues sounds of the likes of Watermelon Slim and C.W. Stoneking, Seasick Steve is sure to fit right in and find a new fan with each listen. -Andrew Bryant
Monday, April 26, 2010
Saturday, April 24, 2010
Kongh
Kongh
Shadows of the Shapeless
buy album here
When a description reads, "Six Hundred and sixty six possessed Orange Amps under water," chances are, I will give it a whirl. Kongh, a doom metal outfit hailing from, you guessed it, Sweden formed in 2004 with three individuals from different musical backgrounds with one goal in mind, to be as loud as humanly possible while having as much fun as they could. Simple enough, yet as so many in this genre try hard and fall short, the Swedes seem to have what it takes to bring this music to fruition each and every time. Mark my word, there must be something that Swedish parents feed their children or elements added to the drinking water to give them the ability to make the music that they do. In addition there must be a massive stockpile of vintage Orange Amplifiers in each community center and as each young person chooses to pick up a guitar or bass, they are automatically given some of the best sounding amps in existence with some of the crunchiest, meatiest tone that you will find across the globe. In the past six years, I can't tell you how many Swedish bands have blown me away with some of the best heavy music out there, including Witchcraft, Graveyard, Horisont, and now Kongh whose newest album Shadows of the Shapeless was just released on Seventh Rule Recordings.
As noted above, the three members of Kongh come from a variety of backgrounds and simply want to be big, loud and have fun when making the music that they make. What comes across is a highly intelligent mix of doom, black, and experimental heaviness that keeps things fresh and interesting without boring the listeners with the same-old-same-old drones that so many other similar bands' sounds rely on today. What first jumps out with Shadows of the Shapeless is the great mixture of darkness and light and the corresponding contrasts that are exhibited on this record. This tension and release is especially present in the guitar work of David Johansson in that he has carefully crafted his playing to range from both heavy and distorted to pretty and clean. This dichotomy serves each song extremely well in opening up the arrangements and giving the listener some variance from the expected slow dirge and mammoth assault that comes with most doom metal outfits. Johansson's vocals also vary from being raspy and harsh to more melodious sections that are sung rather than screamed, each being placed in just the right sections as the music needs at the time. This duality of Kongh brings to mind early Neurosis and even Opeth at certain points, bringing both thunderous brutality and beauty into their music as they add dimension to the overall experiences associated with the band itself. Drummer Tomas Salonen is an extremely tasteful player who knows just when to throw a swing feel on a certain section and a primitive pounding on another. Rounding out the rhythm section, bassist Oskar Ryden remains mostly in the lower register, filling the gaps with rumble and thus providing the perfect root bass playing that a trio of this caliber needs.
With only five songs, Shadows of the Shapeless clocks in just below the one hour mark, giving each track the time it needs to be developed without being monotonous and boring. All three members of Kongh perform an integral part in keeping the music structured yet organic, allowing the songs to breathe and gain volume, momentum, and intensity at all points necessary. This gives the entire record a continuous flow that connects all five tracks together as one cohesive piece of music that proves itself as a strong album time and time again. With both their music and direction, Kongh reminds me a great deal of Yob, a heavy American three-piece powerhouse and I would almost bet all my chips on the fact that Yob has had a large influence on this band and their sound. Nothing at all wrong with that though, because you can't get much heavier than the mighty Yob and the impact that they have had on the doom scene.
As a whole, this album is very heavy and great addition to Sweden's stellar roster of metal bands. The only bad thing about this album being so good is the fact that, like most heavy music coming from this particular area of the globe, it might be several years before we can actually see Kongh live. Oh well, until then we can just throw on Shadows of the Shapeless and make our walls shake and windows rattle until the neighbors call the authorities. -Andrew Bryant
Shadows of the Shapeless
buy album here
When a description reads, "Six Hundred and sixty six possessed Orange Amps under water," chances are, I will give it a whirl. Kongh, a doom metal outfit hailing from, you guessed it, Sweden formed in 2004 with three individuals from different musical backgrounds with one goal in mind, to be as loud as humanly possible while having as much fun as they could. Simple enough, yet as so many in this genre try hard and fall short, the Swedes seem to have what it takes to bring this music to fruition each and every time. Mark my word, there must be something that Swedish parents feed their children or elements added to the drinking water to give them the ability to make the music that they do. In addition there must be a massive stockpile of vintage Orange Amplifiers in each community center and as each young person chooses to pick up a guitar or bass, they are automatically given some of the best sounding amps in existence with some of the crunchiest, meatiest tone that you will find across the globe. In the past six years, I can't tell you how many Swedish bands have blown me away with some of the best heavy music out there, including Witchcraft, Graveyard, Horisont, and now Kongh whose newest album Shadows of the Shapeless was just released on Seventh Rule Recordings.
As noted above, the three members of Kongh come from a variety of backgrounds and simply want to be big, loud and have fun when making the music that they make. What comes across is a highly intelligent mix of doom, black, and experimental heaviness that keeps things fresh and interesting without boring the listeners with the same-old-same-old drones that so many other similar bands' sounds rely on today. What first jumps out with Shadows of the Shapeless is the great mixture of darkness and light and the corresponding contrasts that are exhibited on this record. This tension and release is especially present in the guitar work of David Johansson in that he has carefully crafted his playing to range from both heavy and distorted to pretty and clean. This dichotomy serves each song extremely well in opening up the arrangements and giving the listener some variance from the expected slow dirge and mammoth assault that comes with most doom metal outfits. Johansson's vocals also vary from being raspy and harsh to more melodious sections that are sung rather than screamed, each being placed in just the right sections as the music needs at the time. This duality of Kongh brings to mind early Neurosis and even Opeth at certain points, bringing both thunderous brutality and beauty into their music as they add dimension to the overall experiences associated with the band itself. Drummer Tomas Salonen is an extremely tasteful player who knows just when to throw a swing feel on a certain section and a primitive pounding on another. Rounding out the rhythm section, bassist Oskar Ryden remains mostly in the lower register, filling the gaps with rumble and thus providing the perfect root bass playing that a trio of this caliber needs.
With only five songs, Shadows of the Shapeless clocks in just below the one hour mark, giving each track the time it needs to be developed without being monotonous and boring. All three members of Kongh perform an integral part in keeping the music structured yet organic, allowing the songs to breathe and gain volume, momentum, and intensity at all points necessary. This gives the entire record a continuous flow that connects all five tracks together as one cohesive piece of music that proves itself as a strong album time and time again. With both their music and direction, Kongh reminds me a great deal of Yob, a heavy American three-piece powerhouse and I would almost bet all my chips on the fact that Yob has had a large influence on this band and their sound. Nothing at all wrong with that though, because you can't get much heavier than the mighty Yob and the impact that they have had on the doom scene.
As a whole, this album is very heavy and great addition to Sweden's stellar roster of metal bands. The only bad thing about this album being so good is the fact that, like most heavy music coming from this particular area of the globe, it might be several years before we can actually see Kongh live. Oh well, until then we can just throw on Shadows of the Shapeless and make our walls shake and windows rattle until the neighbors call the authorities. -Andrew Bryant
Monday, April 12, 2010
Barn Burner
Barn Burner
Bangers
buy album here
Straight out of Montreal, screams Barn Burner with their own special blend of high energy stoner rock that is sure to keep you driving fast and partying hard this summer. Their debut album Bangers, released on Metal Blade Records, dropped in mid-February, however has just caught it's second wind with me now that weather is getting warm and sunny. With my research, I kept running into references to Black Sabbath with this release, though I really don't see too many similarities here besides the heavy emphasis that these Canadians place on the riff almighty and the occasional distorted fuzz that accompanies several of the guitar lines throughout. Instead, I find much more common ground between Barn Burner and other stoner rock bands including Fu Manchu, Queens of the Stone Age, Sasquatch, and Sheavy, with influences including Iron Maiden and Thin Lizzy replacing the Sabbath and Blue Cheer in the mix. Their sound is gives things a more alternative rock spin than most in this subgenre, with the "stoner" label being much more implied than in most cases. But don't worry, this album is full of beer drinking, bong smoking, bag of Doritos passing, and rowdy nights of high fives amongst you and your buds. What comes through this thick haze is a great rock and roll band whose aggressive sound could be welcomed in the classic rock, alternative, and stoner metal camps with high praise.
One of the strongest assets working in their favor, is the simple fact that Barn Burner do not take themselves too seriously. They are who they are and make no excuses one way or another. With song titles such as "Fast Women", "Beer Today Bong Tomorrow", and "Half Past Haggard" there is absolutely no doubt as to what these gents are all about and what kind of album this is. The guitar work is quite strong, with dual lead lines that complement each other throughout and serve as the true driving force of the album, propelling each song with hooks and riffs that draw from both the Thrash and NWOBHM pools of influence. Several songs are a bit too similar to one another, thus giving the album a few moments of redundancy at certain points. However, Bangers is a great first impression for a new band to make. Everything is tight and can hold it's own in the highly homogenized stoner rock/metal genre, giving things a fresh dose of fast paced adrenaline to the mix.
Now that the warmth has graced us with its presence, there should be no excuse to crank things up, put the pedal to the metal, and be ready to throw down at the drop of a hat. I would almost bet you anything that the boys in Barn Burner will be doing the same day in and day out. Bangers is sure to keep the blood pumping and the party going to the break of dawn. Cheers! -Andrew Bryant
Bangers
buy album here
Straight out of Montreal, screams Barn Burner with their own special blend of high energy stoner rock that is sure to keep you driving fast and partying hard this summer. Their debut album Bangers, released on Metal Blade Records, dropped in mid-February, however has just caught it's second wind with me now that weather is getting warm and sunny. With my research, I kept running into references to Black Sabbath with this release, though I really don't see too many similarities here besides the heavy emphasis that these Canadians place on the riff almighty and the occasional distorted fuzz that accompanies several of the guitar lines throughout. Instead, I find much more common ground between Barn Burner and other stoner rock bands including Fu Manchu, Queens of the Stone Age, Sasquatch, and Sheavy, with influences including Iron Maiden and Thin Lizzy replacing the Sabbath and Blue Cheer in the mix. Their sound is gives things a more alternative rock spin than most in this subgenre, with the "stoner" label being much more implied than in most cases. But don't worry, this album is full of beer drinking, bong smoking, bag of Doritos passing, and rowdy nights of high fives amongst you and your buds. What comes through this thick haze is a great rock and roll band whose aggressive sound could be welcomed in the classic rock, alternative, and stoner metal camps with high praise.
One of the strongest assets working in their favor, is the simple fact that Barn Burner do not take themselves too seriously. They are who they are and make no excuses one way or another. With song titles such as "Fast Women", "Beer Today Bong Tomorrow", and "Half Past Haggard" there is absolutely no doubt as to what these gents are all about and what kind of album this is. The guitar work is quite strong, with dual lead lines that complement each other throughout and serve as the true driving force of the album, propelling each song with hooks and riffs that draw from both the Thrash and NWOBHM pools of influence. Several songs are a bit too similar to one another, thus giving the album a few moments of redundancy at certain points. However, Bangers is a great first impression for a new band to make. Everything is tight and can hold it's own in the highly homogenized stoner rock/metal genre, giving things a fresh dose of fast paced adrenaline to the mix.
Now that the warmth has graced us with its presence, there should be no excuse to crank things up, put the pedal to the metal, and be ready to throw down at the drop of a hat. I would almost bet you anything that the boys in Barn Burner will be doing the same day in and day out. Bangers is sure to keep the blood pumping and the party going to the break of dawn. Cheers! -Andrew Bryant
Monday, April 5, 2010
Acrassicauda
Acrassicauda
Only the Dead See the End of the War
buy album here
So you think that it's hard to keep a band together these days with constant squabbles and power struggles that feed each other's egos and keep the emotional wells full to the brim with the beginnings of countless angry solo material? Well, try living in a country in which your long hair and concert tees will get you killed and the mere existence of your heavy rock or metal band angers some sects enough to blow you, your family, and your cohorts to bits. And what of the fact that your band might even be lucky enough to play only one show every two years, in secluded locations, most ending in bomb threats or terrorist attacks before your third song is even underway? Acrassicaudia, the Iraqui heavy metal band featured in Heavy Metal from Baghdad, fled from war torn Iraq to Syria, Turkey, and finally have made it to the United States and released their first four-song EP, Only the Dead See the End of the War. Their perseverance, heart, and love for the music itself has guided them through struggles that we could only dream of and gives them a leg up against all other metal bands out there today.
Though this band has had only a handful of shows and is still relatively young to the metal scene in terms of experience and exposure, Acrassicauda proves that they can indeed hold their own in the metal genre and will have a future that will indeed be fruitful, allowing them to create, record, and perform their music live as more individuals gain the knowledge of this band. Produced by Testament's Alex Skolnick, Only the Dead See the End of the War sounds just as you would expect: a mixture of Metallica, Slayer, and at times Alice in Chains. Acrassicauda's sound most definitely shows their influences, yet gives things a new spin that is sure to blossom into a style that is by far their own as time passes. Though a great deal of metal music is constantly subgenred to death, I have say that this band's sound is just plain heavy metal in it's truest form. "Message from Baghdad" opens things up with an aggressive riff and quick tempo that sounds like something out of early 90's camp Metallica and a message that is straight up pissed off. My personal favorite, "Garden of Stones", follows with great double kick drum grooves and chunky guitar rhythms that fall into the pocket and further reinforce the half-time feels that are scattered throughout. One aspect of this track that really stands out among the other three is the strong Middle-Eastern influence that surfaces towards the end of the song with changing chord progressions, added hand percussion, and Iraqi vocals that are clean. The vocals on "Massacre" change things up in being a bit more grunge influenced than the other material on this release, sounding a great deal like early Stone Temple Pilots and Alice in Chains.
If you have seen Heavy Metal in Baghdad or are in any way a fan of heavy music, you should go ahead and grab this album. Though nothing new or ground-breaking, the story and struggle of this band alone is worth giving them a listen. -Andrew Bryant
Only the Dead See the End of the War
buy album here
So you think that it's hard to keep a band together these days with constant squabbles and power struggles that feed each other's egos and keep the emotional wells full to the brim with the beginnings of countless angry solo material? Well, try living in a country in which your long hair and concert tees will get you killed and the mere existence of your heavy rock or metal band angers some sects enough to blow you, your family, and your cohorts to bits. And what of the fact that your band might even be lucky enough to play only one show every two years, in secluded locations, most ending in bomb threats or terrorist attacks before your third song is even underway? Acrassicaudia, the Iraqui heavy metal band featured in Heavy Metal from Baghdad, fled from war torn Iraq to Syria, Turkey, and finally have made it to the United States and released their first four-song EP, Only the Dead See the End of the War. Their perseverance, heart, and love for the music itself has guided them through struggles that we could only dream of and gives them a leg up against all other metal bands out there today.
Though this band has had only a handful of shows and is still relatively young to the metal scene in terms of experience and exposure, Acrassicauda proves that they can indeed hold their own in the metal genre and will have a future that will indeed be fruitful, allowing them to create, record, and perform their music live as more individuals gain the knowledge of this band. Produced by Testament's Alex Skolnick, Only the Dead See the End of the War sounds just as you would expect: a mixture of Metallica, Slayer, and at times Alice in Chains. Acrassicauda's sound most definitely shows their influences, yet gives things a new spin that is sure to blossom into a style that is by far their own as time passes. Though a great deal of metal music is constantly subgenred to death, I have say that this band's sound is just plain heavy metal in it's truest form. "Message from Baghdad" opens things up with an aggressive riff and quick tempo that sounds like something out of early 90's camp Metallica and a message that is straight up pissed off. My personal favorite, "Garden of Stones", follows with great double kick drum grooves and chunky guitar rhythms that fall into the pocket and further reinforce the half-time feels that are scattered throughout. One aspect of this track that really stands out among the other three is the strong Middle-Eastern influence that surfaces towards the end of the song with changing chord progressions, added hand percussion, and Iraqi vocals that are clean. The vocals on "Massacre" change things up in being a bit more grunge influenced than the other material on this release, sounding a great deal like early Stone Temple Pilots and Alice in Chains.
If you have seen Heavy Metal in Baghdad or are in any way a fan of heavy music, you should go ahead and grab this album. Though nothing new or ground-breaking, the story and struggle of this band alone is worth giving them a listen. -Andrew Bryant
Saturday, April 3, 2010
Drive-By Truckers
Drive-By Truckers
The Big To-Do
buy album here
With The Big To-Do, I have re-discovered the greatness that I initially found in the Drive-By Truckers. Like the early albums that first caught my ear, this new record finds the guitars bigger than ever, Patterson Hood exhibiting his unique story-telling craft to the utmost extent, and Mike Cooley channeling the Stroker Ace in full effect. What I love most about this record is the fact that it rocks and does so fluidly, with every song placed in just the right spot for maximum complement to the entire piece. This album reminds me of their sound on The Dirty South with every song exploring some darker, more depressing subject matter of the South along with some great stories that could only be told by those who have grown up in this region, hearing the yarns and legends spun by family members, friends, and neighbors.
Opening with "Daddy Learned To Fly" is the perfect way to kick things off with The Big To-Do. This song is big and loud, with an almost celebratory feel, despite it's subject matter of children dealing with their father's death. Both in structure and style, this particular song reminds me a lot of "February 14th" from A Blessing and a Curse in just how massive and positive the chord progressions are, giving listeners a reason to raise their glass and sing along. Another standout as far as Patterson Hood songs go is "Drag the Lake Charlie" with it's scratchy guitar melodies and a chorus that you'll catch yourself humming as you vividly imagine what is going on with this sea of deception, secrets, and an implied murder cover up that only a small Southern town could boast. Mike Cooley, though his songs are a bit more few and far between on this record, chimes in with the wisdom that we have all come to expect from this rough-around-the-edges poet of tough luck and subtle, dry humor. With "Birthday Boy", Cooley brings forth an almost Dire Straights vibe with this one, if Knopfler was a skinny Southern boy from Alabama, telling of money, married men, and unhappy strippers. "Get Downtown" is a true boot-stomper that gives a bit more oomph to the boogie-woogie style of the likes of Jerry Lee Lewis and is thus the most toe-tapping track on the record. As with Brighter Than Creations Dark, The Big To-Do finds Shonna Tucker contributing a few herself, breaking the dirty Southern chain of Hood and Cooley, with "You Got Another" being the standout of the two. This song is a the first somber track of the record, with a higher vocal range than we have heard from Shonna in the past and a swirling Hammond B-3 and Mellotron canvas provided by the Truckers' newest member, Jay Gonzalez. The Big To-Do ends with two slower numbers, including one of Patterson Hood's finest moments that brings back the chills that earlier songs like "The Deeper In" and "Tornadoes" evoked. "The Flying Walendas" is a an absolutely beautiful track that tells the story of a family of acrobats and trapeze artists that were the stars of many of the famous circuit circuses, whose lives were tragically taken when feats went wrong under the big top. This song has a slow, lazy waltz feel and finds the mighty John Neff behind his trusty pedal steel with some of his finest lead lines that almost weep for the subjects at hand.
It is a given that many of us will always be fans of anything and everything that the Drive-By Truckers will ever give us, however there is something about The Big To-Do that could quite possibly be their finest work thus far. Every piece of the puzzle is here on this one and there are absolutely no throw-away tracks in my opinion; each one falling perfectly into place and at just the right time in the grand scheme of things. One of 2010's best already, this one is going to be damn near hard to beat this year. -Andrew Bryant
The Big To-Do
buy album here
With The Big To-Do, I have re-discovered the greatness that I initially found in the Drive-By Truckers. Like the early albums that first caught my ear, this new record finds the guitars bigger than ever, Patterson Hood exhibiting his unique story-telling craft to the utmost extent, and Mike Cooley channeling the Stroker Ace in full effect. What I love most about this record is the fact that it rocks and does so fluidly, with every song placed in just the right spot for maximum complement to the entire piece. This album reminds me of their sound on The Dirty South with every song exploring some darker, more depressing subject matter of the South along with some great stories that could only be told by those who have grown up in this region, hearing the yarns and legends spun by family members, friends, and neighbors.
Opening with "Daddy Learned To Fly" is the perfect way to kick things off with The Big To-Do. This song is big and loud, with an almost celebratory feel, despite it's subject matter of children dealing with their father's death. Both in structure and style, this particular song reminds me a lot of "February 14th" from A Blessing and a Curse in just how massive and positive the chord progressions are, giving listeners a reason to raise their glass and sing along. Another standout as far as Patterson Hood songs go is "Drag the Lake Charlie" with it's scratchy guitar melodies and a chorus that you'll catch yourself humming as you vividly imagine what is going on with this sea of deception, secrets, and an implied murder cover up that only a small Southern town could boast. Mike Cooley, though his songs are a bit more few and far between on this record, chimes in with the wisdom that we have all come to expect from this rough-around-the-edges poet of tough luck and subtle, dry humor. With "Birthday Boy", Cooley brings forth an almost Dire Straights vibe with this one, if Knopfler was a skinny Southern boy from Alabama, telling of money, married men, and unhappy strippers. "Get Downtown" is a true boot-stomper that gives a bit more oomph to the boogie-woogie style of the likes of Jerry Lee Lewis and is thus the most toe-tapping track on the record. As with Brighter Than Creations Dark, The Big To-Do finds Shonna Tucker contributing a few herself, breaking the dirty Southern chain of Hood and Cooley, with "You Got Another" being the standout of the two. This song is a the first somber track of the record, with a higher vocal range than we have heard from Shonna in the past and a swirling Hammond B-3 and Mellotron canvas provided by the Truckers' newest member, Jay Gonzalez. The Big To-Do ends with two slower numbers, including one of Patterson Hood's finest moments that brings back the chills that earlier songs like "The Deeper In" and "Tornadoes" evoked. "The Flying Walendas" is a an absolutely beautiful track that tells the story of a family of acrobats and trapeze artists that were the stars of many of the famous circuit circuses, whose lives were tragically taken when feats went wrong under the big top. This song has a slow, lazy waltz feel and finds the mighty John Neff behind his trusty pedal steel with some of his finest lead lines that almost weep for the subjects at hand.
It is a given that many of us will always be fans of anything and everything that the Drive-By Truckers will ever give us, however there is something about The Big To-Do that could quite possibly be their finest work thus far. Every piece of the puzzle is here on this one and there are absolutely no throw-away tracks in my opinion; each one falling perfectly into place and at just the right time in the grand scheme of things. One of 2010's best already, this one is going to be damn near hard to beat this year. -Andrew Bryant
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