Blackie and the Rodeo Kings
BARK
True North Records
By Michael Hansen
 Willie P. Bennett
must be some kinda guy. As one of the most enduring and endearing
stalwarts of the Canadian alt-country scene, Bennett is best
known as a vital cog in Fred Eaglesmith's band supplying harmonica,
vocals and his trademark turbocharged electric freak-out mandolin
for more years than either would care to think about. In fact
Eaglesmith relates a tale of playing at a festival in Ontario
and being approached by a "crazed hippie" who he later
came to know as Bennett. "Ya wanna harmonica player?"
says the hippie. "Sure, OK, why not?" says Fred. Later,
Eaglesmith recalls, "I meant OK for the afternoon, Willie
clearly had something different in mind."
Between rising to cult-hero status through the Eaglesmith
gig both on the road and in the studio, Bennett managed to record
four solo CDs and write more good songs than Rocky and Bullwinkle
had adventures. So what other accolades could a Canadian roots
music icon gather? How about have three of Canada's finest talents
form a band, name it after one of your songs AND have them cut
100% Willie P. Bennett compositions on their debut recording?
And so Blackie and the Rodeo Kings and their first CD, High
or Hurtin' (Songs of Willie P. Bennett) came into being in
1996. And don't for one minute think we're talking about some
lame-assed cover/tribute band here. In Colin Linden, Stephen
Fearing and Tom Wilson we have three of the most accomplished,
most respected and most successful artists that Canada has produced
in recent years.
Bluesman Colin Linden is possibly the best known, having twelve
solo recordings in his portfolio, plus numerous production and
session credits. He played small parts in the Coen brother's
films "O Brother Where Art Thou", and "Intolerable
Cruelty", and participated in the "O Brother"
spin off "Down From The Mountain"(concert tour and
DVD), teaming up with Chris Thomas King for a spirited duet on
"John Law Burned Down The Liquor Store."
Stephen Fearing was a stalwart of the Canadian west coast
folk-rock scene for many years and is a formidable solo acoustic
performer as well as a skilled ensemble player. His work and
stage presence has been compared favourably with Richard Thompson.
In recent years he has foregone the waterscape of Vancouver for
marriage and a move to the Ontario heartland of Canadian roots
music.
Tom Wilson's pedigree has been shaped by the uncompromising
South Ontario environment that has so famously produced Eaglesmith,
Bruce Cockburn, the WainwrightMcGarrigle clan, and four-fifths
of Canada's greatest, The Band. Wilson has an impressive back
catalogue including recordings with hard rocking bands The Florida
Razors, Junkhouse, and his 2001 solo CD, "Planet Love."
The fact that three such highly credentialed players came
together without the clashes of ego, and "artistic differences"
that would be expected is not only a testament to the class of
the three principals, but is largely attributable to the "High
or Hurtin" project, which saw the material for the recording
laid out in front of them. Fearing has said that "it gave
us a way to come together and sort of consciously pitch aside
all of our own particular agendas . it laid down a template for
us. Roles were defined within the scope of our little band around
Willie's music."
1999 saw the trio release Kings Of Love, a 23 track
double CD, that featured a sprinkling of Bennett songs along
with writing contributions from Linden, Fearing and Wilson, plus
covers of songs by Eaglesmith, Cockburn, Jules Shear and John
Martyn. Kings Of Love won Canada's 2000 Juno Award for
Best Roots and Traditional Album.
Which brings us to BARK, Blackie and the Rodeo Kings
latest CD and their first US release. On BARK the guitar,
vocal and songwriting contributions of Linden, Fearing and Wilson
are supplemented by Gary Craig on drums, John Dymond on bass
and Richard Bell on keyboards. Linden handles production duties,
with the recording being cut in Louisiana, Nashville and Toronto.
From the first few bars of "Swinging from the Chains
of Love" it's abundantly clear that we are in for an exuberant,
high-energy ride. Propelled by twanging, Pete Anderson style
countrified guitars and anchored by the rollicking rhythm section,
the song swings like mad and is an impressive opener.
"If I Catch You Crying" features an organ embellished
Latin groove, soulful vocals from Fearing, and a catchy chorus
that sticks in the mind. It's a touching affirmation of the power
of friendship to aid the healing of loss and heartache. The song
has a Michael McDonald era Doobie Brothers feel about it.
A major feature that distinguishes Blackie and the Rodeo Kings
from similar twang rock acts (say The Bottle Rockets) is that
in Linden, Fearing and Wilson they boast three singers each capable
of taking lead vocal duties, but who are equally comfortable
taking a second or third voice role as the song demands. This
aspect of their work is where they most recall The Band. Just
as the three extraordinary (and very different) voices of Richard
Manuel, Rick Danko and Levon Helm, and the way they meshed lifted
the Band's music to it's sublime heights, so it is that the vocal
arsenal of Blackie and the Rodeo Kings separates them from the
pack.
This is evident on "Water or Gasoline", written
by Linden with Louisiana roots rocker Kevin Gordon and featured
on Gordon's 2000 album Down To The Well. Driven by blazing
slide guitar from Linden, the three singers take the verses in
turn, coming together for riveting unison choruses. First up,
Fearing's well-worn tenor sets the scene for Wilson to let loose
his menacing baritone, which seems capable of loosening the nails
in the floor.
You'd better believe it when Wilson growls:
"I could drive down to the Church of Christ
Hold hands with the preacher and pray
Or hunker on down with a hundred dollar whore
Dolled up in orange lingerie"
Linden finishes the tale off with his lighter voice (interestingly,
one I have felt struggles to sustain interest for a full roster
of songs on his solo work, works fine here), with the classic
line "she used to smile a lot more at me before I drug her
down to this town". "drug her down", I love it!
"Water Or Gasoline" rocks out without inhibition or
restraint, and goes to the essence of the Blackie and the Rodeo
Kings sound.
"Stoned", is a writing collaboration between Fearing
and Wilson. Wilson's laconic vocal proclaims "Last night
in the park I was watching werewolves in the dark: Stoned"
"Ah hah hah hah" sing the others in response, with
some irony. "Stoned" was released as a single in Canada,
and despite the subject matter got considerable airplay, particularly
in Montreal. Not just because of the talk of werewolves, "Stoned"
is the kind of irreverent, badass, renegade song we came to expect
and love from the sadly missed Warren Zevon.
In the CD liner notes, almost hidden amongst the usual thanks,
Tom Wilson takes the opportunity to thank "my ex-wife for
driving me to Buffalo and inspiring "Had Enough Of You Today."
That must have been some ride. Dunno what she did or said, but
it can't have been good. Over percussion heavy, exuberant rock
n roll track, Wilson struts with tough guy swagger and he just
ain't taking no more.
"So shut up I'll give up when I want to
Just shut up I'm not listening to you
Say anything, 'cause it don't mean nothing
I've had enough of you today"
Tongue in cheek? Somehow I doubt it. No question that he has
had enough of her today, certainly tomorrow, and I'm guessing
for some considerable time to come.
"Born To Be A Traveller" is a gorgeous country soul
tune in the manner of Buddy Miller or Jesse Winchester. Exploring
themes of leaving, Fearing's poignant vocal is augmented by lovely
chiming mandoguitar and 12 string electric. The oh-so-sweet guitar
solo is sparse, economical, yet telling. Lyrically the song is
redolent of resigned yearning for things that might have been,
and unsentimental acceptance of what is.
"Early in the evening, I take my stuff out of the
car
Someone asks me, maybe they could look at my guitar
And I open up the case, a little worn, a little frayed
A little weary of creating all the miles I have made
A gallery of faces, where the memories collide
I was born to be a traveller
To roll and ride."
Like Winchester's masterful "A Showman's Life",
Fearing's song unequivocally strips the gloss and glamour from
the lifestyle of the touring musician. "Born To Be A Traveller"
is as righteous as it is honest. A teriffic song.
"Heaven Knows Your Name" oozes class. Ringing, echo-laden
guitar and rim shot snare push a Wilson vocal that is reminiscent
of Greg Brown. Despite his resigned, world-weary tone, the song
carries hope, a notion that however low one may fall there's
a helping hand within reach.
"You became one of the lonely
When all your heroes turned to dust
Stirring up ghosts of courage baby
So far away
You pick up the pieces and move along"
For Stephen Fearing, "Song On The Radio" provides
the setting for his finest moment on BARK. Not only has
he written the premier song on the record, but he also delivers
a peerless, passionate vocal performance. No harmonies, or back
up vocals here, and Fearing is up to the task. The feel of the
song is optimistic; a celebration of good times and good friends,
where:
"Money in the bank
Is knowing people that you like
Knowing people you can trust in troubled times"
This mood soon becomes wistful; one of fond nostalgia for
a time of trust and innocence, but the bustle of "people
making plans up and down the avenue" is destined not to
last.
"A flash of silver caught the public eye
And we all turned to stare
Into the New York sky"
And none of us will ever be the same again; the song on the
radio is now "red, white and blue, a scar and a tattoo."
This is one tremendous, moving song.
Layers of stately electric Dobro from Linden introduce the
one Willie P. Bennett tune: "Willie's Diamond Joe".
Linden's yearning, aching vocal is his best on the album and
tells a sorry tale of the star struck lover who has been let
down once too often by the capricious woman. Fearing's plaintive
harmony on the choruses brings a "high and lonesome"
feel to the song, reminiscent of The Band on a song like "It
Makes No Difference". The singer's counsel to the would-be
suitor is laden with regret.
"Give her diamonds for her fingers
And rhinestones for her hair
Give her dresses for her body
But don't ever give her a care
She'll curse you and she'll haunt you
And she'll do it with a smile
Even when you're on the long road
And been down it many a mile."
Linden's prowess as a guitarist of the highest order is nowhere
better demonstrated than on this track. "Willies Diamond
Joe" showcases what's best about Blackie and the Rodeo Kings,
great vocals and assured but sympathetic playing.
Fellow Canadian Bruce Cockburn's writing contribution to BARK
is (perhaps a little surprisingly) just under three minutes of
uninhibited garage guitar thrash. "Tie Me At The Crossroads"
sees the triple guitar attack of our Three Mooseketeers roaring
through the song with robust rock and roll energy.
"Lock All The Doors", "Jackie Washington",
"You're So Easy To Love" and "House Of Sin",
the last being written by Linden with his wife, author Janice
Powers, round out the fourteen tracks on BARK. All are
very good songs and protests that they weren't dealt with in
depth here would be justified.
BARK is a recording made by three first class singer/songwriter/instrumentalists
at the top of their game. Never just a vehicle for showcasing
the individual talents of the component parts of Blackie and
the Rodeo Kings, it's a truly collaborative exercise. The obvious
chemistry between Linden, Fearing and Wilson gives us a set of
emotion charged, infectious and moving songs played and sung
with style and dazzling virtuosity.
With a nod and a wink to Fred Eaglesmith whose legions of
devotees like to be known as Fredheads, taking after the legendary
Deadheads, Blackie and the Rodeo Kings also have a nickname for
their fans. You guessed it. Blackheads! Somehow I don't think
it's gonna be real big. Guess its good thing we're not talking
about Dick Dale!
BARK is dedicated to Rick Danko, Zal Yanovsky, Richard
Newell and Joe Strummer.
With the eulogy: "Wheels on fire rolling down the road."
www.truenorthrecords.com
www.rodeokings.com
www.colinlinden.com
www.stephenfearing.com
www.tomwilson.net
www.williepbennett.com
Contact Michael Hansen at hansen-at-rockzilla.net
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