New York Music Daily

No New Abnormal

Tag: metrobilly

Great Oldtime Country Sounds from the Weal and Woe

The Weal and Woe write great original oldtime style country songs, and play them with soulful expertise. The guy/girl close harmonies of guitarist Russell Scholl and bassist Barbara Ann have an unaffected southern charm, soaring over an early 1950s style backdrop with fiddle, lapsteel and occasional resonator guitar. Ex-Moonlighter Mark Deffenbaugh’s lapsteel steel playing is absolutely off the hook, whether adding smartly spaced accents or sly Leon McAuliffe-style swoops and dives – just his parts alone make their debut album The One to Blame one of the most enjoyable recent releases in Americana roots music. The Weal and Woe are playing the record release show at the Jalopy on Feb 18 at 9 – if really smart songwriting and great musicianship are your thing, you should go.

Most of the songs on the new album are short, clocking in at about three minutes or less. They get things going with the harmony-driven In the West, which has more of an oldtime, 19th century folk feel than anything else on this collection, with a tasty, sailing resonator solo that Deffenbaugh hands off elegantly to fiddler Jason Cade. The title track is one of those songs that sounds like a classic from about 1952, except that it’s new. Barbara Ann sings it with a sad, biting edge, from the point of view of a girl who’s thinking about going to the bottom of her neighbor’s pool, and staying there – and maybe taking the guy who broke her heart with her. Once again, the steel handing over a terse instrumental break to the fiddle is absolutely gorgeous. They Think We Don’t Know, a brisk shuffle with twinkling steel guitar, also has an element of mystery. Sung as a duet, it’s about a couple who are the talk of the town, but because everybody wants to set them up? Or because they’re on the fast track to some serious cheating together? “If wishes came true, I’d drive them crazy with my moves,” Barbara Ann croons: “I’d stay up late and drink their booze,” Scholl replies goodnaturedly.

The one instrumental here is Kings County Blues, a western swing number driven by swaying fiddle, steel in the background until Deffenbaugh busts out with a clever, wryly swooping solo. The longest song is a big, somewhat brooding ballad, Taking One on the Chin, which chronicles someone’s long decline to barroom dissolution, pensive lapsteel contrasting with Cade’s offhandedly bright lines. There are also two covers here: a vintage Grand Old Opry-style duet version of Frankenpine’s clever I Don’t Love You ‘Cause You’re Pretty, and a brisk bluegrass take on the country gospel song S-A-V-E-D. Fans of the Maddoxes, the Louvins, the Delmores, Hank Williams and also current country songwriters like Laura Cantrell who’ve found a home in an oldtime Nashville vernacular will love this record.

Smart, Socially Aware Americana from 2/3 Goat

Like every other style, country music is evolving. In the case of 2/3 Goat, this is a good thing. What they play is basically catchy rock with acoustic instrumentation and oldtime country flair: they call it metrobilly. Much of their new ep, Stream of Conscience addresses the destruction of rural areas caused by mountaintop mining. As Rev. Billy and scores of activists have documented, mining companies rain debris and toxic metals down on rural communities – including families who’ve been there for decades – in a mad race to extract every chunk of coal out of the earth. And while you’d think that those corporations would also make a nice profit from all the timber they have to cut in order to get into the ground, that’s not how they usually do it. Instead, they typically dispose of it as waste. Not exactly a recipe for sustainability.

And in the spirit of great socially aware performers from Phil Ochs to Johnny Cash, 2/3 Goat don’t preach: instead, they paint vivid pictures with their songs. The opening track, Band of Gold (an original, not the soul hit from the 70s) could be a kiss-off anthem, or it could be a slap upside the head of anyone who’s being disrespectful. Frontwoman Annalyse McCoy unleashes a potent, vitrolic, high lonesome wail: “You see this fire in my eyes, is it a fire you defy? That’s not my fault…I call a stone a stone, I don’t care how it’s thrown.” The album’s title track kicks off with a nice minor-key mandolin/violin intro and eventually builds to a gallop, a bitter chronicle of the collision between “two dying cultures” – the locals, and the one percenters who’re trying to enrich themselves there. “Your runoff is not fit for me to drain,” McCoy sings caustically. The next track, sung by guitarist Ryan Dunn, is essentially an acoustic grunge song.

The best track on the album is Green Paper Mountains, a quietly scorching indictment. As McCoy tells it, the clearcutter’s tombstone will be his only friend: “Nothing grows in these miles of weeds but green paper mountains.” The album’s last track, Lay It on the Line is a showcase for Ryan Guerra’s spiraling violin and Dunn’s agile dobro work. 2/3 Goat play the album release show for this one on Nov 20 at 9ish at Bowery Electric.