DON GALLARDO - HICKORY
2015 - Clubhouse Records
Don Gallardo has one of the most consistently excellent back catalogues around at the moment with 'Hickory,' his fifth since 2002s excellent 'Pale Shade of Blue,' possibly if improbably, actually being even better than his previous four! Whilst this album will be labeled Americana, singer/songwriter, country, perhaps even folk, ultimately all are correct when describing this tremendous recording of stylistically varied songs. If we're going to be pedantic, which I am, I thought there was occasionally a detectable, if slight, New Orleans influence, perhaps even an occasional bluesiness! It is that sort of album. What binds it all together is Don's voice and songwriting ability, ensuring the album has a lovely even flow from one song to the next. Although all of the above mentioned styles are detectable none are dominant, although much of the instrumentation is found in country music, but conversely is also found in various other genres!
On first listen I thought it was a very good album with some great songs, vocals and playing but was a little too 'poppy' for my taste. As is frequently the case I stuck with it and now can't get these songs out of my head. Add to that the fact that there are some gorgeous, memorable melodies and in trying to listen to a variety of other albums as well, at least half a dozen 'ear worms' are no help at all!
Whilst there is no single style that can be attached to the recording there is a country edge to most of the songs and instrumentation and whilst the music rolls comfortably along, it is quite deceptive because the sheer quality of Don's tremendous songwriting varies between mellow love songs and a dark edginess that is not immediately obvious. He is one of the best songwriters so far this century and his warm, comfortable vocal style adds a perfectly balanced level of emotion that suits every songs requirements, even including a quite natural, at times almost imperceptible 'edginess' that lifts his music way above most of his peers.
All thirteen songs were written by Don, although two were co-writes, one with Jesse Cole and the other with Boo Ray. Don plays acoustic guitar and lead vocals, supported by his regular band, How Far West, a lineup that includes Travis Stock on bass and vocals, Clint Main, electric guitar and vocals, Stuart Bond, acoustic guitar, banjo and vocals, Jon Aanestad, fiddle, Andrew Squire is on percussion, Brad Pemberton, drums and David Pinkston on acoustic and electric guitars and pedal steel. The band is a hugely talented group of musicians and the fact that they have been with Don throughout most of his six album career really shows up in the tightness and all round musical quality that by now seems almost instinctive.
The albums gorgeous melodies and incredibly catchy hooks are what deceived me into thinking this was 'poppy' but in actual fact it is an incredibly strong album of rootsy music and one that could easily cross over into the mainstream, given a chance, whilst still holding huge appeal for the fans of 'edgy' roots music. He caresses his way gently through the ballads, whilst on the more attack minded songs there is a warm edginess that is difficult to define but does actually exist. It's as if his natural tendency is to be gentle but it is sometimes necessary to step out of that comfortable zone and show some teeth, something he is more than capable of, hence the edginess!
The stylistically nuanced album opens with Down In The Valley, an almost gospel like song and harmonies, with a lovely dobro that is soon joined by fiddle, percussion and lovely mandolin and with a warm expressive lead vocal from Don on a song that often has a folksy Appalachian feel. There is an excellent harmonica sound on Carousel, a hook laden song with excellent banjo, bass, keyboards and Don's expressive vocal on an easy going mid tempo tale that has uplifting harmonies and should appeal to anyone who still has a pulse, however slight! Things change a little on Midnight Sounds, a slow, moody tale with keyboards, fiddle, drums and bass on a song that has an entirely different structure to the preceding, having a swampy, New Orleans bluesy feel on a sad, spooky story that includes tremendous vocal support from the talented L.C. Jones. At least one of Don's influences is obvious with his tribute to one of the roots greats on Ophelia We Cry (Ode To Levon Helm) with its excellent piano, snare, bass and twangy guitar on a lovely mid tempo ballad. The North Dakota Blues sees another stylistic variation on a cinematic mid tempo story tale of the old outlaw life that is quite engrossing with our hero having been led astray by a woman and now it's too late to avoid paying the price. It includes fiddle, dobro, drums, bass, guitar and mandolin on a tale that updates the old 'country and western' style. The final song on the album is Pearls, a weeping steel guitar laden tale that has a slow moodiness and a build that gives this epic song the flavour of an old country rock ballad with several slight changes of direction and perspective making it easy to imagine Gram Parsons singing the song!
I don't think Don is capable of writing or performing songs that don't, whatever the subject matter, have a hugely appealing warmth and some of the strongest, most memorable melodies available today. Everything he does has such a high level of skill and consistency that it doesn't require much of a stretch to see him becoming more and more popular with each release. Having seen him at this year's Maverick festival he is at least as good live as he is on record. A hugely talented artist and a tremendous album that should hold appeal for most music fans.
http://www.dongallardo.com/
Don Gallardo has one of the most consistently excellent back catalogues around at the moment with 'Hickory,' his fifth since 2002s excellent 'Pale Shade of Blue,' possibly if improbably, actually being even better than his previous four! Whilst this album will be labeled Americana, singer/songwriter, country, perhaps even folk, ultimately all are correct when describing this tremendous recording of stylistically varied songs. If we're going to be pedantic, which I am, I thought there was occasionally a detectable, if slight, New Orleans influence, perhaps even an occasional bluesiness! It is that sort of album. What binds it all together is Don's voice and songwriting ability, ensuring the album has a lovely even flow from one song to the next. Although all of the above mentioned styles are detectable none are dominant, although much of the instrumentation is found in country music, but conversely is also found in various other genres!
On first listen I thought it was a very good album with some great songs, vocals and playing but was a little too 'poppy' for my taste. As is frequently the case I stuck with it and now can't get these songs out of my head. Add to that the fact that there are some gorgeous, memorable melodies and in trying to listen to a variety of other albums as well, at least half a dozen 'ear worms' are no help at all!
Whilst there is no single style that can be attached to the recording there is a country edge to most of the songs and instrumentation and whilst the music rolls comfortably along, it is quite deceptive because the sheer quality of Don's tremendous songwriting varies between mellow love songs and a dark edginess that is not immediately obvious. He is one of the best songwriters so far this century and his warm, comfortable vocal style adds a perfectly balanced level of emotion that suits every songs requirements, even including a quite natural, at times almost imperceptible 'edginess' that lifts his music way above most of his peers.
All thirteen songs were written by Don, although two were co-writes, one with Jesse Cole and the other with Boo Ray. Don plays acoustic guitar and lead vocals, supported by his regular band, How Far West, a lineup that includes Travis Stock on bass and vocals, Clint Main, electric guitar and vocals, Stuart Bond, acoustic guitar, banjo and vocals, Jon Aanestad, fiddle, Andrew Squire is on percussion, Brad Pemberton, drums and David Pinkston on acoustic and electric guitars and pedal steel. The band is a hugely talented group of musicians and the fact that they have been with Don throughout most of his six album career really shows up in the tightness and all round musical quality that by now seems almost instinctive.
The albums gorgeous melodies and incredibly catchy hooks are what deceived me into thinking this was 'poppy' but in actual fact it is an incredibly strong album of rootsy music and one that could easily cross over into the mainstream, given a chance, whilst still holding huge appeal for the fans of 'edgy' roots music. He caresses his way gently through the ballads, whilst on the more attack minded songs there is a warm edginess that is difficult to define but does actually exist. It's as if his natural tendency is to be gentle but it is sometimes necessary to step out of that comfortable zone and show some teeth, something he is more than capable of, hence the edginess!
The stylistically nuanced album opens with Down In The Valley, an almost gospel like song and harmonies, with a lovely dobro that is soon joined by fiddle, percussion and lovely mandolin and with a warm expressive lead vocal from Don on a song that often has a folksy Appalachian feel. There is an excellent harmonica sound on Carousel, a hook laden song with excellent banjo, bass, keyboards and Don's expressive vocal on an easy going mid tempo tale that has uplifting harmonies and should appeal to anyone who still has a pulse, however slight! Things change a little on Midnight Sounds, a slow, moody tale with keyboards, fiddle, drums and bass on a song that has an entirely different structure to the preceding, having a swampy, New Orleans bluesy feel on a sad, spooky story that includes tremendous vocal support from the talented L.C. Jones. At least one of Don's influences is obvious with his tribute to one of the roots greats on Ophelia We Cry (Ode To Levon Helm) with its excellent piano, snare, bass and twangy guitar on a lovely mid tempo ballad. The North Dakota Blues sees another stylistic variation on a cinematic mid tempo story tale of the old outlaw life that is quite engrossing with our hero having been led astray by a woman and now it's too late to avoid paying the price. It includes fiddle, dobro, drums, bass, guitar and mandolin on a tale that updates the old 'country and western' style. The final song on the album is Pearls, a weeping steel guitar laden tale that has a slow moodiness and a build that gives this epic song the flavour of an old country rock ballad with several slight changes of direction and perspective making it easy to imagine Gram Parsons singing the song!
I don't think Don is capable of writing or performing songs that don't, whatever the subject matter, have a hugely appealing warmth and some of the strongest, most memorable melodies available today. Everything he does has such a high level of skill and consistency that it doesn't require much of a stretch to see him becoming more and more popular with each release. Having seen him at this year's Maverick festival he is at least as good live as he is on record. A hugely talented artist and a tremendous album that should hold appeal for most music fans.
http://www.dongallardo.com/