Messerly and Ewing
The Last Twelve Hours
RocA Records 00012

by Al Kunz

My initial impressions of Messerly and Ewing were of the similarities to HensleySturgis, another band I recently reviewed. Both are based in Ohio (HensleySturgis in Columbus, Messerly and Ewing down the road in Cincinnati). Both provide an outlet for two songwriters, each writing separately, and then contributing an equal number of songs to the disc. As with HensleySturgis, each partner has a distinctive lyrical style -- styles that provide variety, but complement rather than conflict. Last, but most importantly, I really liked both discs.

But comparing Mark Messerly and Brian Ewing to Barry Hensley and Jason Sturgis doesn't do justice to the originality of either band. Messerly and Ewing describe their music as, "Equal parts Americana, Triple A, and Acoustic Modern Rock." I'd call it roots-based music still contemporary enough to fit within more mainstream radio formats.

Messerly and Ewing share vocals and play a multitude of instruments. Joining them for this recording were a rotating group of musicians culled from the finest of their Cincinnati area peers, with brothers Greg and Brian Mahan and members of Dave Purcell's band, Pike 27, among the most prominent. Pike 27 bass player and No Depression contributing editor Jon Weisberger plays on three tracks, including opening cut "I Fell," the tale of a ne'er-do-well who somehow lucked into getting the girl of his dreams.

I could find trouble even in my Sunday best
Hellfire on the Lord's day of rest
Wrong turns in my life are plain to see
But how I wound up with you is a mystery

Don't know how I fell into lovin' you
Don't know how I fell into lovin' you

For me the rules would break before they bend
And even if I could sit down I'd be on the hot seat again
Trouble follows me wherever I go
So how I wound up with you I'll never know

I thought Paul McCartney was speaking for me when he said he was tired of "silly love songs." As a rule I despise love-ballads but of the millions (well, it seems like millions) that I can't avoid hearing every year, a few will connect and I'll end up loving them. "Everything" is one of those. Beautiful harmonies sung with passion, simple, yet evocative lyrics, and that indefinable something that lifts it above pack. It reminds me of "More Than Words," the out-of-character, early 90s hit for hair-metal band Extreme that shared these same qualities.

How many years gone by?
How many seasons turned?
How many tears you cry?
How many lessons learned?

I can tell you everything
You've ever said to me
This love is a good as love
Was ever meant to be

Two tunes contrast the different lyrical styles of Messerly and Ewing. On the surface Messerly's "Drive" may seem to be the account of an all-night drive. But symbolically it's the story of life, something that becomes clearest as you reach the final verses.

Everything's the same if you wait long enough
But I will never be here again, no I will never

I'm feeling tired, I'm feeling low
I'm all over the fucking road
Could use some rest stop coffee right now

But in the world there's nothing free
Roll down the window and jab my knee
Listen to the preacher say
Hell's waiting for me

Brian Ewing also tackles the story of life in "The Story." This song contrasts the seasons of life and how a person's approach to decision making changes over time. Worrying about "what's gonna happen" while young, "how did this happen" as they grow older, and ending with these thoughts.

I guess the key is just to live day by day
And in-between you do the things you believe you should do
The world is yours, it's all up to you
Just leave it a little better than the one you came into
And don't spend too much time wondering what's gonna happen
No you shouldn't spend too much time wondering what's gonna happen

The cut with an infectious rhythm most likely to get stuck in your brain is "I Own a Cemetery." When you start singing this to yourself it's sure to draw puzzled (maybe concerned) looks from family and friends. The song's underlying message is that what's best for one segment of society might not be best for society as a whole. If crime stopped, what would police do, how would the oil industry feel about development of an economical electric car, or the subject tackled in this tune, the priorities of a cemetery owner.

I own a cemetery, don't you wanna get married?
I'm ready, hey hey I'm set
As long as people keep dying
I won't be in debt

I own a cemetery, don't you want to get married?
Well there seems to me to be a drought
Of people who are falling down
Getting in accidents, getting in wrecks
If they don't start dying I will be in debt
I'm ready, hey hey I'm set
If they don't start dying
I will be in debt

Whether singing of the rapid rate of change in the world ("The Last Twelve Hours") or about a man's weekend of debauchery in Las Vegas ("City of Sin"), Messerly and Ewing combine melodies that stick with you and lyrics smart enough to hold your interest as you peel back the layers of meaning. People in their hometown have already discovered Messerly and Ewing, nominating them multiple times for Cincinnati Entertainment Awards (Cammys). In 1999 they won a Cammy in the Best Singer-Songwriters category. Now it's your turn to discover them.

*The Last Twelve Hours is slated for national release in February 2002, but you can buy it now. Visit www.messerlyandewing.com for a list of purchase options and for the latest scoop on Mark and Brian.


Contact Al Kunz at kunz-at-rockzilla.net

 
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