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Written
by Pamela Bellmore, posted by blog admin
Cranford
Hollow are far from content revisiting elements of traditional music without
trying to make something new and individualistic from it. Their latest release
Color/Sound/Revive/Renew brings them ever closer to something wholly unique in
the Americana genre, so much so that they scarcely can be categorized in such
narrow terms. The eight song collection certainly sports a strong
bluegrass/classic country/blues influence, but John Cranford and his band mates
twist those influences in such a novel way that it often takes on the aspects
of something wholly their own. Five albums into their career, this album
represents a possible turning point where the past truly begins receding in
their rear view mirror and they approach something akin to a full on
transformation of their influences into something defying categorization. The
South Carolina based band began life as a shit-kicking, tough as nails whiskey
soaked four piece with a strong fidelity to the singer/songwriter tradition in
Americana music, but their evolution has led them to unexpected heights.
There’s
almost a progressive edge to some of these tracks. Cuts like the opener “Songfield”
make unabashed use of theatrical atmospherics to enhance solid songwriting and
there’s never any sense of them overreaching for effect. Primary songwriter and
second guitarist John Cranford has a sandpaper yowl that’s, nevertheless,
capable of enormous sensitivity and his lyrical prowess remains one of the band’s
defining strengths. The lyrical prowess is further demonstrated on “Long
Shadows” and made all the more memorable thanks to stunningly sympathetic
accompaniment from Eric “Thunder” Reid’s intense fiddle playing. His
musicianship is an excellent match for Cranford and lead guitarist Yannie
Reynecke’s six string work. The three engage in a near constant dialogue
throughout the course of Color/Sound/Renew/Revive that’s quite unlike anything
else you’ll hear in the genre. The brief bursts of flash coming from Reynecke
throughout this collection unequivocally prove he has the chops and presence to
dominate any recording but, to his credit, Reynecke is resolutely committed to
serving the song. Drummer Randy Rockolata and bassist Phillip Simans are key components
in the band’s quality and never overplay their musical hand. Instead, they lay
down inventive and tasteful support for the top line melodic instruments that
never wavers.
There’s
simmering emotions powering the track “Noise” and a particularly powerful
performance from Rockolata on drums. The revolving, modulated strength of his
drumming seems to hint the track will be an all out rocker, but it actually
gains more suggestive force from its restraint than a far more all out aural
assault would have ever brought listeners. Cranford’s emotional delivery is
freer of the phlegmy growl we hear on other tracks, but it has much of the same
hard bitten tone we’ve heard on earlier tracks. There some voice over from a
President John F, Kennedy speech overheard during the opening of “North” while
the band builds a a gradually escalating mid-tempo track behind it. Piano plays
an important role in this song’s development, but it never blankets the track
and there’s ample room for the other instrumentation to weave their magic.
Cranford’s lyrics have an overarching topicality, but studiously avoid anything
ripped from current events. Instead, this is topicality speaking to universal
human experience, the politics of life and heart. This is the sum of Cranford
Hollow’s music and their artistry grows with each new release.
Rating:
4 out of 5 stars
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