Americana Music Reviews

 

The Copperheads
The Copperheads
Narnian Records
by David Pilot

The blues comin' at ya, straight from the heart of Minneapolis? With big twang country licks thrown in?

Yeah. That's the Copperheads. Their debut disc is a surprising romp through a blend of sounds not normally associated with four white guys from up north. Since I'd never heard of 'em, first thing I did after spinning the record was head for Google. Came up with one hit, lead and slide guitarist Otis Oachs. He's been around the Twin Cities for some time with the Skydogs, a group that credits the Allmans, Santana, Clapton and The Jayhawks as influences. Further searching for lead vocalist Ray Barnard, bassist Bill Davis and drum man Marc Johnson turned up nada. So much for an air of informed insight and a shot at pithy little nuggets about the band's past efforts to brighten up the review.

That leaves us with just the facts, and the facts are these: the Copperheads know how to put some Delta rhythm and northern jazz into a country blender and mix to tight perfection. "Sweetwater Blues" sounds like a backwoods Loozyana shack, full of smoking riffs and a bluesy Cajun backbeat that sets toes to tapping in short order. The harmonica cutting through the smoke and grease is Barnard's work, and sets an authentic tone that belies the band's northern roots.

"Ain't No Black and White" mutes the blues feel by adding jazz-influenced guitar work, while Barnard's vocals go traipsing off into soul man territory and return surprisingly unscathed. "Letter From Houston," on the other hand, leans more toward a country-pop hybrid you might expect if, say, Brad Paisley fronted Chicago for a VH1 Crossroads episode. It turns out pretty well all things considered, and winds up one of the easiest listening and melodic tracks on the record. "White Lies & Dark Nights" stays in the same vein while the pace slows to ballad territory, but it's a bit difficult to tell where one song ends and the other begins.

The blues are back and the listeners the better for it with "Burning Darkness of Night" and "It's Not Right With Me." The latter pulls in some Orbison-influenced rock vocals, while the clashing guitar work stays just barely reined in by Johnson's groove on the drum kit.

Stop doing this
Cease and desist
Turn away
Stop doing this
Your mark you'll miss
On the Judgment Day

It's honky tonk time with "Ball and Chain," and then hard-drinkin' honky tonk time on the rhythm-guitar driven and positively smoking "Win Her For A While." Think Derailers here. Big bang precision evokes neon and all's right with the world. That sound sticks around for "The Proof," but in nowhere as strong a delivery. One of those songs that probably sounds great in a crowded little bar but just doesn't translate well to CD. Or at least didn't do so here.

"Caught Up In the Rain," the prettiest track on the record and my personal favorite, stays mellow and poignant. Here Barnard stretches his wings and shows a vocal depth not heard previously, while Oachs' slide guitar evokes memories most personal and bittersweet. A keeper, one that could be a mood-killer in terms of this track list if not for the upbeat just-shy-of-smoking "Black Mountain Blues" that closes out the record. The purest blues yet on The Copperheads, this is a sweet little back-of-the-pocket groove that must blow Minnesotans' minds when it gets unleashed live.

The band is online at www.thecopperheads.com, and the record's there too if you want to check it out. Surprisingly solid effort, and an interesting little journey down the backroads that's worth your time if you're in the mood to let your mind wander.

Contact David Pilot at: tailgunner-at-rockzilla.net

 
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