2023-09-13 14:34:47
After the ambivalently received double from the bluegrass excursion Long Violent History and the purist poison experiment Can I Take My Hounds to Heaven? remains Tyler Childers his unorthodox approach to the album Rustin‘ in the Rain primarily only faithful in terms of playing time.
After all, a track list with seven songs over just 27 minutes of playing time in the format still defies the conventional perception of it, even in today’s times correct Album. And actually feels Rustin‘ in the Rain incomplete, has no well-rounded arc of suspense or a satisfying climax.
Apart from that, Childers has recorded a fan pleaser with this entertaining song collection, which, alongside the studio versions of long-standing favorite songs, more adequately follows in the footsteps of Purgatory and Country Squire occurs, than his two previous albums, in that the compositions function, so to speak, through a universal accessibility of country mannerisms, and with a quasi-concept (namely: numbers that Tyler could have offered Elvis) not only under a completely homogeneous (and actually suitable! ) banners were brought, but rather let each number ignite catchily and without failure.
The most unusual thing is the great title track opener, with its chiselled twang guitars (which are definitely reminiscent of classic rock, Grateful Dead or the Allman Brothers) in bar honkey tonk rock with smooth grooving strumming in the exuberance of a statement, as well Percheron Muleswhich captures the country vibe so quickly and lively Calexico-Flair articulated as a catchy tune, but then a rich instrumentation, gospel gang vocals and the fundamentally fine (clean, but not clinical) sound the abilities of the Food StampsTyler’s famous backing band, underlines.
Otherwise there is Rustin‘ in the Rain namely soft and cuddly over long stretches, calm and reveling in a slower pace. The wonderfully soulful, so romantic and dreamy Phone Calls and Emails sets the direction in which Luke 2:8-10 after a strange, otherworldly Bible quote, picking up the harmonica in a homely and down-to-earth manner, swaying soulfully in evocative solemnity: “Tell them there’s no time to sleep/ My God, it’s the end of the world“.
The eternal Kris Kristofferson classic Help Me Make It Through the Night Childers has long since internalized it as a must-have in his live repertoire and has created an enchanting, graceful interpretation that gets under your skin in its emotional fragility.
Das S.G. Goodman-Cover Space and Time can’t keep up with that, but it’s pleasantly swaying in its harmonies. Strictly speaking, it hardly does anything wrong. But well, the final third of the record in particular is completely overshadowed by In Your Love – one of the most beautiful numbers that Childers has presented to date: the ballad-like grandeur of the touching song gem is exemplary of the ambience of Rustin‘ in the Rain; the delicate synth shimmer in a melody that makes your heart soar with gracious love represents the detailed, deftly staged timelessness of the record; Childers’ flawless singing is emblematic of perhaps his strongest vocal performance yet.
In this respect, it is of course a shame if Rustin‘ in the Rain As a whole, it ends unsatisfactorily and no more quantity is added in order to draw the maximum potential from its existing substance, to complete it. Continuing his frustrating refusal to record a “real” album – that is, one that feels full by traditional standards – Childers has this time, in a sense, contented himself with amassing a little more than half of his preliminary masterpiece.
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