The (brief) version of my review of Fred Eaglesmith’s new album 6 Volts has been posted at Country Standard Time. For those of you who are not familiar with Ontarian Fred Eaglesmith, it is high time you become so; in my opinion, no one- not Buddy Miller, not Jim Lauderdale, not Alejandro Escovedo- has produced as solid a string of roots music over the past twenty years. http://www.countrystandardtime.com/d/cdreview.asp?xid=4822 will get you to the review.
Question? Why do American editors/writers so often refer to Canada as if it is one big ol’ mass o’ land without differentiation between our various provinces and territories? A review of any group’s latest album would never be identified as being from an “America-based” band; the descriptor would be localized as Texas-, California-, or Arkansas-based. When I’m writing for a Canadian audience, I will always refer to the outfit’s state, never simply as “an American band.” But for articles published in American publications, Canadian bands, often have their province specific description- such as Fred as an “Ontarian,” that is a person from Ontario- revised to “Canadian.”
I ask all American-based editors to consider beginning to identify Canadian acts with reference to their province or territory of origin. It isn’t really that big of a deal- I think most Americans can understand that a “Saskatchewan-based” band is indeed Canadian. We can trust that, right? It won’t horribly confuse most American readers, will it?
And heck- if it really confuses someone, they can always Google Nova Scotian.
Thanks for visiting Fervor Coulee. Donald
O, forgot- here is the ‘long’ version of my 6 Volts review:
Fred Eaglesmith 6 Volts A Major Label
From the opening notes of “Cemetery Road” it is obvious that the classic Fred Eaglesmith sound we fell for in the mid-90s is back. Absent this time out are the experimental revelations of recent albums, and as enjoyable and appreciated as those were it seems high time that the Fred of lonely gravel roads, lonelier women, frustrated Saturday evenings, roadside artistry and junkyard Americana paid a return visit.
In Ontarian Eaglesmith’s dark world, the “Dangerous” man, living on the corner of Stupidity and Recklessness has as much appeal as the broken hearted, drugged-out long hauler of “Trucker Speed.” Eaglesmith doesn’t attempt to provide answers; he is an observer, a writer of domestic history- through his acute writer’s eye, he captures the stories of the people we pass without notice.
Within his character studies, the details of Eaglesmith’s brilliance is revealed. Describing a multi-faceted breakdown within the title cut, Eaglesmith sings, “My clutches are slipping, the carbon gets in my throat. You get out on the passenger side, I swallow my pride. The radiators raging like a murderer, only God can bend tempered steel.” Is Eaglesmith describing the death of a relationship or a vehicle? Really, it doesn’t matter- those images work no matter the interpretation.
Eaglesmith’s characters are seldom obviously heroic; they are flawed, often lost. One example can be found within the wrong-eyed, farmer justice of “Katie,” in which a landowner holds out under pressure of residential expansion because he buried his unfaithful wife under the hickory tree…and there’s another grave down by the creek. A new classic is born, one waiting for a bluegrass interpretation from James King, James Reams, or Junior Sisk.
Elsewhere, Eaglesmith eviscerates those who ignored Johnny Cash prior to his Rick Rubin-driven comeback. Perhaps most poignant is “Stars” in which Eaglesmith reflects on his own legacy, the one in which “Willie played the mandolin, he jumped around the stage; we thought that it would never end.” Of course, everything fades and now Eaglesmith finds himself admitting, “My hands hurt from playing my guitar. Every night in all those bars, we played like we were stars.”
With a less elaborate sound than his previous Cha Cha Cha– mostly guitars and drums with pedal steel, banjo, and organ mixed in- Eaglesmith is more focused this time out but no less fierce in his determination to capture the sounds of the past within modern songs that will be as relevant in twenty years as they are today.
If Fred Eaglesmith lost you in recent years, it is time to get back on board. 6 Volts is a welcome return for Canada’s premier roots road warrior.