RYAN KOENIG - TWO DIFFERENT WORLDS
2017 - Big Muddy Records
There are many versatile, talented musicians working in the broad expanse of country music and then there are musicians so talented they put most of the former in the shade! Ryan Koenig is one such musician. If you are scratching your head and thinking the name rings a bell and you are also a fan of Pokey Lafarge and the South City Three, don't worry, Ryan is a main stay of that hugely talented aggregation, as well as a number of others! When I received my download of this new recording, sent by Big Muddy Records boss and talented musician in his own right Chris Baricevic, I thought it looked interesting and started checking out the work of Ryan Koenig. I was astounded at not only his musical qualities but also at the bands who would have been the poorer without his interventions, to say nothing (or very little) about his 'alter ego,' 'Lonesome Cowboy Ryan,' or his duo with wife Kellie Everett (Hooten Hallers) in 'The Southwest Watson Sweethearts.' He also works live and in the studio with The Loot Rock Gang, Tortuga, Jack Grelle and The Sidney Street Shakers to name just a few. It will pay dividends if you look those artists up because whatever your taste in 'roots music' they are catered for by the above who include, honky tonk, blues, soul, gothic spaghetti western, hillbilly, what used to be called 'country and western' and trad jazz.
That gives you a little background to this talented character but what about this new recording I hear you ask! In a word, it is 'brilliant!' This is 'authentic' 1940s, 50s and perhaps 60s 'classic country' but with absolutely no sanitization whatsoever; instead having a unique edginess, albeit a melodic one that is pretty much peerless. There are very few people he can be compared to but, loath as I am to make the comparison, Hank Williams comes to mind! Now, I'm not saying he is another Hank and he certainly hasn't tried to copy his style, but there are at least faint echoes of Hanks edgy vocal attitude and to a degree song structure and to a much lesser degree similarities in arrangements, although I suppose that is something that can be said about all modern country music. Ryan Koenig certainly has more of Hank in his music than any of the big selling 'country' chart acts, most of which are little more than sanitized 'country pop.' I've never liked referring to mid twentieth century country music as 'traditional' for the simple reason that I can never quite shake off the feeling that, rightly or wrongly, the early days of recording, the 1920s, were the times that set the tradition, although even that was merely derived from centuries of folk music, but then again, we have to start somewhere! Having said that, there are musicians whose roots the listener can trace back to the 1920s, Hank was certainly one and Ryan Koenig is another. There are quite a few others who spring to mind, although they are a minority when compared to the whole commercial shebang of 'country' music. Perhaps it is that edginess and lack of sanitization that creates the echo of those early days, although it can also, perhaps justifiably, be claimed that the raw sound of the originals was as much due to the limitations in the equipment as it was choice. Whatever the technical issues Ryan Koenig is most definitely a 21st century musician whose roots are there for all to witness along with his huge talent that includes songwriting and vocals added to which he is a multi instrumentalist!
It's probably not stretching the facts too far to say that the early 'hillbilly' music was generally created by and for people who didn't need any great sophistication in their lives. Their music skills were picked up as they went along and they had no formal musical tuition or any real media outlets to learn from so they simply sang and played in a way that was natural to them, whilst the sophisticated sounds of the city were a world away from their often isolated communities. That to me is the thread to which Ryan is bound with his completely natural style that, whilst highly skilled, has the rough edges left on!
Ryan is completely immersed in his love for country music (and to a lesser degree several other genres and sub genres) as even a casual listener will understand. Whilst this is his 'solo' debut album there are a couple of excellent recordings that he made as 'Lonesome Cowboy Ryan' and of course there are the series of albums from his 'day job' with Pokey Lafarge and the South City Three. The ten original songs on this album are all excellent, as are all of the performances with Ryan being helped out by John Horton of The Bottle Rockets, Gary Hunt Jr, (Son Volt), various members of the South City Three and several of the other talented Big Muddy Records artists including Jack Grelle and Ryan’s wife, Kellie Everett. Every song has a strong, memorable melody with many of them being rooted in 'honky tonk' or mid 20th century 'country and western' although that 'old timey' edginess is never far away.
Keyboards and twangy melodic guitar gets things going on album opener Miss Edie before Ryan's evocative vocal comes in, supported by some lovely sympathetic harmonies on an excellent mid tempo country song. The keyboards give the song a slightly different perspective, almost reminiscent of Sir Doug's quintet, with the addition of an excellent guitar break and tremendous all round playing! Strugglin' with a lot has a lovely fiddle and guitar intro, with chugging percussion and an atmospheric vocal from Ryan on a 'classic' country song that includes a lovely atmospheric guitar and fiddle break. Ryan's vocal may not have the smoothness of a George Strait etc. but his voice gives the music much more of an edgy and totally 'real' feel. On Podemos si te quieres Ryan's vocal introduces a gorgeous 'Tex Mex' song with lovely accordion, throbbing bass and clicking percussion evoking the atmosphere of a 'cantina.' The unusual guitar break helps lift the song above most others with a generic similarity and the background vocals add a casual air to a song that when all is put together really creates a late night cantina atmosphere. It's easy to see is a gentle, twangy country ballad with guitar, thudding bass, percussion and some lovely haunting harmonies on a song that has a duet feel. Whilst it is a lovely ballad with a 'contemporary' feel the song and the performance still creates that edgy, if beautiful, atmosphere that seems to evade the modern country pop artists.
There's no doubt Ryan Koenig is a man who doesn't just perform country music but feels every note. His voice doesn't have the smooth perfection of 'country pop' artists such as Alan Jackson or George Strait but the album is made stronger because he creates a raw edgy atmosphere that is so necessary in strengthening country music and he does it completely naturally. There are no extraneous contrivances in Ryan's music; just plain and simply 'real country music' by an artist with very few peers. Many of his songs could easily cross over to the country pop world; I just hope he doesn't and that he can build on this tremendous recording that will doubtless figure in my 'Albums of 2017' list!
http://www.ryankoenigstl.com/
There are many versatile, talented musicians working in the broad expanse of country music and then there are musicians so talented they put most of the former in the shade! Ryan Koenig is one such musician. If you are scratching your head and thinking the name rings a bell and you are also a fan of Pokey Lafarge and the South City Three, don't worry, Ryan is a main stay of that hugely talented aggregation, as well as a number of others! When I received my download of this new recording, sent by Big Muddy Records boss and talented musician in his own right Chris Baricevic, I thought it looked interesting and started checking out the work of Ryan Koenig. I was astounded at not only his musical qualities but also at the bands who would have been the poorer without his interventions, to say nothing (or very little) about his 'alter ego,' 'Lonesome Cowboy Ryan,' or his duo with wife Kellie Everett (Hooten Hallers) in 'The Southwest Watson Sweethearts.' He also works live and in the studio with The Loot Rock Gang, Tortuga, Jack Grelle and The Sidney Street Shakers to name just a few. It will pay dividends if you look those artists up because whatever your taste in 'roots music' they are catered for by the above who include, honky tonk, blues, soul, gothic spaghetti western, hillbilly, what used to be called 'country and western' and trad jazz.
That gives you a little background to this talented character but what about this new recording I hear you ask! In a word, it is 'brilliant!' This is 'authentic' 1940s, 50s and perhaps 60s 'classic country' but with absolutely no sanitization whatsoever; instead having a unique edginess, albeit a melodic one that is pretty much peerless. There are very few people he can be compared to but, loath as I am to make the comparison, Hank Williams comes to mind! Now, I'm not saying he is another Hank and he certainly hasn't tried to copy his style, but there are at least faint echoes of Hanks edgy vocal attitude and to a degree song structure and to a much lesser degree similarities in arrangements, although I suppose that is something that can be said about all modern country music. Ryan Koenig certainly has more of Hank in his music than any of the big selling 'country' chart acts, most of which are little more than sanitized 'country pop.' I've never liked referring to mid twentieth century country music as 'traditional' for the simple reason that I can never quite shake off the feeling that, rightly or wrongly, the early days of recording, the 1920s, were the times that set the tradition, although even that was merely derived from centuries of folk music, but then again, we have to start somewhere! Having said that, there are musicians whose roots the listener can trace back to the 1920s, Hank was certainly one and Ryan Koenig is another. There are quite a few others who spring to mind, although they are a minority when compared to the whole commercial shebang of 'country' music. Perhaps it is that edginess and lack of sanitization that creates the echo of those early days, although it can also, perhaps justifiably, be claimed that the raw sound of the originals was as much due to the limitations in the equipment as it was choice. Whatever the technical issues Ryan Koenig is most definitely a 21st century musician whose roots are there for all to witness along with his huge talent that includes songwriting and vocals added to which he is a multi instrumentalist!
It's probably not stretching the facts too far to say that the early 'hillbilly' music was generally created by and for people who didn't need any great sophistication in their lives. Their music skills were picked up as they went along and they had no formal musical tuition or any real media outlets to learn from so they simply sang and played in a way that was natural to them, whilst the sophisticated sounds of the city were a world away from their often isolated communities. That to me is the thread to which Ryan is bound with his completely natural style that, whilst highly skilled, has the rough edges left on!
Ryan is completely immersed in his love for country music (and to a lesser degree several other genres and sub genres) as even a casual listener will understand. Whilst this is his 'solo' debut album there are a couple of excellent recordings that he made as 'Lonesome Cowboy Ryan' and of course there are the series of albums from his 'day job' with Pokey Lafarge and the South City Three. The ten original songs on this album are all excellent, as are all of the performances with Ryan being helped out by John Horton of The Bottle Rockets, Gary Hunt Jr, (Son Volt), various members of the South City Three and several of the other talented Big Muddy Records artists including Jack Grelle and Ryan’s wife, Kellie Everett. Every song has a strong, memorable melody with many of them being rooted in 'honky tonk' or mid 20th century 'country and western' although that 'old timey' edginess is never far away.
Keyboards and twangy melodic guitar gets things going on album opener Miss Edie before Ryan's evocative vocal comes in, supported by some lovely sympathetic harmonies on an excellent mid tempo country song. The keyboards give the song a slightly different perspective, almost reminiscent of Sir Doug's quintet, with the addition of an excellent guitar break and tremendous all round playing! Strugglin' with a lot has a lovely fiddle and guitar intro, with chugging percussion and an atmospheric vocal from Ryan on a 'classic' country song that includes a lovely atmospheric guitar and fiddle break. Ryan's vocal may not have the smoothness of a George Strait etc. but his voice gives the music much more of an edgy and totally 'real' feel. On Podemos si te quieres Ryan's vocal introduces a gorgeous 'Tex Mex' song with lovely accordion, throbbing bass and clicking percussion evoking the atmosphere of a 'cantina.' The unusual guitar break helps lift the song above most others with a generic similarity and the background vocals add a casual air to a song that when all is put together really creates a late night cantina atmosphere. It's easy to see is a gentle, twangy country ballad with guitar, thudding bass, percussion and some lovely haunting harmonies on a song that has a duet feel. Whilst it is a lovely ballad with a 'contemporary' feel the song and the performance still creates that edgy, if beautiful, atmosphere that seems to evade the modern country pop artists.
There's no doubt Ryan Koenig is a man who doesn't just perform country music but feels every note. His voice doesn't have the smooth perfection of 'country pop' artists such as Alan Jackson or George Strait but the album is made stronger because he creates a raw edgy atmosphere that is so necessary in strengthening country music and he does it completely naturally. There are no extraneous contrivances in Ryan's music; just plain and simply 'real country music' by an artist with very few peers. Many of his songs could easily cross over to the country pop world; I just hope he doesn't and that he can build on this tremendous recording that will doubtless figure in my 'Albums of 2017' list!
http://www.ryankoenigstl.com/