Kenny Roby

Mercury’s Blues
Kenny Roby
RiceBox

Kenny Roby, former leader of the oft-missed 6 String Drag, strikes an easy balance between his country roots and a taste for pop music. Singing like a hick Elvis Costello — particularly in the way he ends a lyrical line — Roby’s first solo release is a satisfying affair, with nods to folks like Randy Newman and the Band. Playing most of the stringed instruments himself (with former Drag drummer Ray Duffey on skins), Roby showcases himself with a spare sound, adding only slight embellishments to the overall mix. Caitlin Cary, violinist for Whiskeytown, adds her touch to songs such as “Early Morning Blues (pt. 1),” and they are the better for it. Roby has an interesting way with words, for example “You go with all the older girls/I bet you take ’em from my dreams” from “Why Can’t I Be You.” The record, while too short, gives a good indication of the talent of Kenny Roby. Play on, brother.

Originally published Ink 19, 2000

Sean Croghan

From Burnt Orange to Midnight Blue
Sean Croghan
In Music We Trust, Inc.

When your opening song features the line “Morrissey is taunting me from the stereo” you better have some goods to back up such a goofy statement- and former Crackerbush/ Jr. High member Sean Croghan does. Sounding a bit like Elvis C. did before the volume hurt his ears, Croghan ranges in style from up-tempo rock (“Cupid’s Credit Card”) to the Elliot Smith-ish (without the Beatle framework) folk of “Friday’s Face in Sunday’s Suit”. The piano-based “Tom R.” comes off a bit too precious, but by “Little Miss Whiplash” or “Its Gonna Be Alright” Croghan has regained his grit, and is all the better for it. With help from former Freewheeler Luther Russell and Rebecca Cole and Martin Leaper (The Minders) the record sounds relaxed when desired, strident when required. As the title suggests, this is a ranging record that for the most part goes down as smooth as ice cream. And what is better in summer than that?

Originally published Amplifier, 2001

The Mayflies U.S.A

Summertown
The Mayflies U.S.A
Yep Roc

When “You and I” opens this album with a wail of savage feedback and distortion, then moves smartly into Teenage Fanclub-style pop, you get the feeling it’s gonna be a fun night. And right you would be, because the Mayflies U.S.A are one of those noisy, pretty, and harmonious pop groups that just happens to play rock music. Great songwriting, nifty guitars and layered vocals that I think they stole from a spare tape in Brian Wilson’s bedroom make for a listening experience akin to taking a long car trip with the radio fading from station to station, and you hearing all those songs you used to love. Snippets of Big Star bump up against Costello, who is playing guitar for the Who on a Hollies track. Hey, anybody who name-checks semi-obscure British guitarists who leave civilization to join a cult are coolio with me. (“Down With Peter Green”). Confused? Don’t be. Spin the disc. All will become clear. Produced by Chris Stamey, as so many great things are.

Originally published Ink 19, 1999

Elvis Costello & the Imposters

Elvis Costello & the Imposters
with Laura Cantrell
The Tabernacle, Atlanta, GA November 7, 2002

Just who was this smiling, jovial man before us? It certainly couldn’t be the renowned sourpuss Elvis Costello, who in the past has limited his interaction with his subjects to a sneer, biting off song titles and generally rushing from one end of a scant set list to another, could it? Well, perhaps it was the induction of Costello and the Attractions (two thirds of which are the Imposters) to the Rock and Roll Hall of Fame, or maybe just the weather, but whatever caused it, Costello entertained us for a 32-song marathon that erased any doubts over who is the preeminent songwriter of the last few decades. To those of us who might have fallen off the bandwagon, moments such as “Deep Dark Truthful Mirror” or an electrifying “Green Shirt” had you going “oh yeah” quite a bit, marveling at his talent. Grinning like a loon, with humorous asides about George Bush and J-Lo, Costello seems to completely enjoy performing these days. With former Attractions Pete Thomas on drums and Steve Nieve on keyboards, along with journeyman bassist Davey Faragher (Cracker, John Hiatt), the sound was tight, and flowed seamlessly from number to number, which was a trick, since it seemed evident that only the barest structure of a set list existed, but the band kept up with Elvis every step of the way.

Costello is one of the few from the class of ’77 that has maintained a high level of quality output. The Clash, The Pistols, etc have faded away, and even with quite a few uneven records along the way, Elvis Costello still manages to find that combination between bemusement and anger that fueled his best work. His new record, When I Was Cruel gives us both, from the sly “I told you so” of “Stupid Girlfriend” to the monstrous set-closing “I Want You” which featured a demonic-looking Elvis, under lit with a single spot on the darkened stage. Old favorites such as “Radio Radio” and “What’s So Funny (About Peace Love and Understanding?)” matched up well with the newer material, and songs such as “Brilliant Mistake” (from the generally ignored King Of America album) probably sent many listeners scurrying back to their LP collections at concert’s end.

Opener Laura Cantrell’s short set of country-ish pop went over well, but most any female attempting to make a name for herself performing this sort of stuff will struggle to rise above comparisons to Patsy Cline, Emmylou Harris, and Lucinda Williams, and few can. But the evening was clearly Elvis Costello’s, and he made great use of it. Short of him playing his first three records back to back, you couldn’t have asked for more. He proved that maturing doesn’t necessarily mean mellowing, and that perhaps his best work might lie in front of him.

Originally published Ink 19, 2002