Karen Hudson’s Long-Awaited Sonic Bloom Finally Busts Out
With her edgy wit, elegant stage presence and a great band behind her, songwriter Karen Hudson has been a mainstay of the New York Americana scene since the early zeros. She’s playing the long-awaited release show for her new album Sonic Bloom tonight, June 13 at her usual hangout, Rodeo Bar at 7 PM sharp. Eric “Roscoe” Ambel – whose legendary Del-Lords have a killer new album, Elvis Club, out as well – produced it with his usual purist touch and played guitar on it. Hudson’s brilliant lead guitarist Homeboy Steve Antonakos, also of surf rockers the Byzan-Tones, zydeco crew the Dirty Water Dogs and Greek psychedelic revivalists Magges joins along with pedal steel player Skip Krevens, bassist and Steve Martin sideman Skip Ward, and Tom Curiano and Kenny Soule sharing drum duties.
“Kicking out some rock, making room for roots” is the opening line of the first track, Late Bloomer and pretty much describes this album. Over a steady backbeat and a tasty blend of twang and grit, Hudson reminds that “Just when your dead flowers have wilted in their vase, I’ll be blooming in your garden some sunny day.” Call Me is not the Blondie hit but a restlessly pulsing Laurel Canyon rock tune. Better Half of Me sets wry honkytonk wit and high lonesome pedal steel to a steady four-on-the-floor rock beat, while St. John’s Isle pays homage to the solidity of the man in Hudson’s life, who is “a rock in the middle of the ocean, while I swim in search of frivolous emotion.”
The best song on the album, Mama Was a Train Wreck looks back in shellshocked anger at dysfunctional family hell, reaching fever pitch with a smoldering Antonakos guitar solo. Better Days makes a good segue with its similarly slow-burning, minor-key angst: it’s sort of an imploring attempt to break through to someone like the monster in the previous song before the guy’s too far gone. A Woman Knows These Things offers some no-nonsense, vintage Tammy Wynette-style advice to a guy with a wandering eye, while Daydream looks at the other side of the equation via a regretful country ballad. Hudson sticks with the classic country on Dead Letter File, memorializing someone Hudson regarded as a beloved brother. The album winds up with the catchy, Byrdsy, janglerocking Beauty of the Now, co-written with Antonakos.
Throughout the album, Hudson’s matter-of-fact vocals carry the lyrics with passion, soul, and rich dynamics, from an insistent wail to a warm, caressing timbre: she’s never sung better. Who is the audience for this? Fans of acts as diverse as Miranda Lambert, Gram Parsons and Loretta Lynn in her prime…and for that matter, Loretta Lynn now.