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How much can one fan of OKOM (Our Kind Of Music) accomplish in just a couple of years? Plenty, if it's Rockzilla, aka photographer Michael Johnson. From 2003 to 2005, rockzilla.net was a chronicle of the alt.country scene from a uniquely Texan perspective. But all good things must end, and Rockzilla has retired from the online 'zine scene.

This mirror site was copied from the rockzilla.net site with the express permission of Rockzilla hisself. If you don't believe me, go to the KHYI-Fans email list and ask him! Buddy will back me up, too.



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Thad Cockrell
Warmth & Beauty
Yep Roc YEP 2048
By Marianne Ebertowski

Warmth & Beauty is only the second album of North Carolina singer-songwriter Thad Cockrell. His debut Stack of Dreams was highly praised by my ex-Rockzillaworld colleague, the much-missed William Michael Smith, which obviously sent me down review road with the highest of expectations. Like its predecessor Warmth & Beauty was more or less recorded 'live' in Chapel Hill N.C. with veteran musician/producer Chris Stamey and Cockrell himself twiddling the knobs in the studio.

The album has become very much a North Carolina home product. Released on N.C. label Yep Roc, it features fellow North Carolina musicians Caitlin Cary (ex-Whiskeytown fiddler) and Tift Merritt as well as drummer Zeke Hutchins and pedal steel player Greg Readling, both members of Tift's band, The Carbines.

If you call an album Warmth & Beauty, you are asking for trouble and opening with the rather indifferent power-pop ditty "I'd Rather Have You" isn't really helping. Fortunately, that song sets the listener on the completely wrong foot concerning the rest of the material. The title song "Warmth & Beauty," a charming, melancholic country ballad, fully lives up to its expectations and from there the album heads into the right direction: it stays on the (high lonesome) country road.

It takes time to get used to Cockrell's voice, a rather high tinny tenor not unlike Ricky Skaggs', a voice that screams for a harmony (baritone or higher tenor), and female voices, even as good as Tift Merritt's and Caitlin Cary's, do not quite do the trick. If you listen to "Why Go," where Cockrell takes off like Phil Everly, you're just praying for Don's voice to come in and, unfortunately, it never happens. However, this doesn't make "Why Go" a bad song, in fact, it's one of the best the Everly's have never written or recorded, and neither does it make Warmth & Beauty a bad album.

In "Some Tears," a song Cockrell wrote about his granddad, he comes dangerously close to Jackson Browne's best work. He stays on the same plaintive track with "She Ain't No You," all pedal steel, strings and acoustic guitars and "Breaking of a Day," a wonderfully wistful and soulful country ballad that can compete with the best in its genre. Followed by the equally sad and poignant "My Favorite Memory," a gorgeous heartbreaker prominently featuring Greg Readling on pedal steel, beauty and warmth have already built up strong enough to conquer most of the ugly and cold things you may be surrounded by right now.

The honky tonker "What's The Use," a fine opportunity for multi-instrumentalist John Teer to excel on fiddle, should be a real jukebox killer in any bar with some self-esteem and "I Was So Lonesome" is another Jackson Browne and gospel-inspired song with a truly triumphant role for Readling and his pedal steel. The gospel-feel some of the songs breathe can be explained by the fact that Cockrell is the son of a Baptist preacher, a graduate of Jerry Falwell's Liberty University in Lynchburg, Virginia and a student at the Southeastern Baptist Theological Seminary in Wake Forest. However, these credentials shouldn't put off the secular listeners: none of Cockrell's songs on this album are overtly religious.

Unfortunately, the closing song "Are You Still Missing Me?" doesn't really do it for me. It is one of these tedious piano ballads, where you keep looking for a guy with a wig and frivolous glasses nervously squeezing a cowboy hat between his knees, just in case some suit from Nashville is in the neighborhood. Still, even if Warmth & Beauty does not keep all the promises Thad Cockrell made with Stack of Dreams, it is an album full of emotionally potent songs written and delivered by a young man who has his whole career in front of him. If this year's CMA-awards rather than trying to exploit Johnny Cash's death commercially, have indeed established a trend to return to more traditional country music, Cockrell might even have a chance to slip into the main stream. It would be a deserved recognition for an artist who does not consider himself alt.country. Just "country" would be fine for him, I'm sure.

*www.thadcockrell.com

Contact Marianne Ebertowski at ebertowski-at-rockzilla.net

 

  
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