Ghost to a Ghost / Gutter Town

There is a reason which explains why I have recently reviewed two albums by Hank Williams III (when I started writing this it was a recent date but life has been fucking with me so I have not focused on writing), and that is that lately I am quite obsessed with this artist, and the main reason for that, is this work. In 2011 Hank achieved the record label independence and decided to ‘honour’ us with four albums that same year, being this a double album, where the southern artist displayed all his creativity without limits. Oh blessed limits as necessary as they sometimes are, because the other releases by him that are not this one are authentic pieces of trash, exposed to the sun to make them smell even worse. But this Ghost to a Ghost / Gutter Town is a completely different beast, 30 songs, two and a quarter hours long, and a totally unleashed Hank showing the best of his creative side, this is once in a life record, it is the result of years and years working in the industry, a work where you see reflected everything he has learned where he is able to be absolutely inventive and at the same time have absolute control of oneself. Ghost to a Ghost / Gutter Town is difficult to cover, because of its length, its variety and the amount of layers and registers it covers, but it is a work that I know will be worth delving into.

This is a double album where there are several common elements between them, but it is true that each one has an identity and a particular approach that makes them clearly differentiated, so, although I think the album works much better if listened to as a whole, in order to make it easier to understand it from a reviewing perspective, I will fragment my review between the two albums.

The first album, Ghost to a Ghost, opens in a classic way, with two songs of a more traditional country style, charming banjo playing, fiddle licks, and in overall, a powerful southern atmosphere, well distinguishable at times as in the guitar solo in ‘Day by Day’ which, with those characteristic guitar plucks, transports you directly to the south of the united states. However, already in these songs a darker touch to this traditional style is noticeable, and with the arrival of the song ‘Ridin the Wave’ this is completely confirmed, the tone is much darker, there is a gothic and macabre influence in the style, which is an element that will be very noticeable and characteristic throughout the two albums. But the importance of ‘Ridin the Wave’ is not only in this clear directional step, but it is also one of the songs that best conveys many of the characteristics of this double album, and it is the theme of variety, both disc 1 and 2 are full of songs with very different approaches and moods between them, and sometimes even contradictory, ‘Ridin the Wave’ itself feels a more danceable track than the tracks with a more classical approach despite having that dark subtext so clear in its sound.

Basically the point I want to make is that the double album lives from that variety between tracks, you can appreciate how it jumps from one style and mood to another in a dynamic way, helping the album to never get tiresome and boring. This variety always makes you look forward to the next track, as well as making everything feel more accessible, when the songs are easy going the tone is light-hearted and fun (like the absurdly fantastic ‘Troopers Hollar’), and when the tone is more subtle the approach is closer and more solemn, everything fits together as it should. All this helps to really make each song unique, it's true that not all the songs are equally good, and there are some that are clearly undermined by the superior quality of some tracks, but you can't say that there are any bad or over the top songs either (at least on disc 1) as they all have memorable moments that you feel add to the overall mood that they are trying to convey at that particular moment.

There are two reasons why the songs work so well, the first one I would say is because of the naturality that the songs transmit, as best exemplified by the track ‘Ray Lawrence Jr’ where the track portrays a group of friends getting together playing classical tunes rather than a professional studio recording, there is a sincere and almost naive character to most of the songs that makes them feel more relatable and alive. The other reason mentioned would be the amount of registers that Hank Williams III allows himself to show throughout disc 1, there is a lot of unbridled guitar playing, many songs manage to combine different types of music styles in one piece, like the song ‘Ghost to a Ghost’ where they combine tango instrumentation, with elements of gothic country and a metal chorus in the vocal approaching. All of that, and above all the impeccable ability to generate catchy hooks throughout 11 songs, makes the disc 1 track feel like a gold standard in itself thanks to its multitude of qualities in different terrains.

When disc 2 begins, the change is incredibly abrupt. Gutter Town starts as an ambient album, sometimes even dark ambient, with samples of field recordings, spoken word parts and even drone elements. This part is probably the most surprising of the whole work, it is present throughout the whole of disc 2 and presents a kind of narrative line. This part is probably the most inaccessible part of the album, they are mostly extremely minimalist pieces and in many occasions they border on being totally disconcerting and uncomfortable for the listener. I would understand if someone would give up on this part, but frankly I find them fascinating and full of details and nuances, they offer a dusty and gloomy perspective of the same geographical environment that disc 1 had, but this time it is much more desolate way, expressing a colder climate, where the nights are longer and the days are shorter. Sometimes some of these pieces can be too much, like the tedious ‘Dirt Road’, but other times they hit the absolute nail on the head like ‘The Low Line’, one of the best songs of the whole double album, a simple a cappella piece with several voices accompanied by industrial field recordings, giving it even a character that could be considered a soundtrack.

These ambient pieces are alternated with country songs that are more rooted in traditional country than the ones on disc 1, all of the songs have a folk derivation to their sound, delivering what I was talking about with the example of the song ‘Ray Lawrence Jr’, here it seems to be more of a performance of traditional songs played at some local festival, because clearly here there continues to be such a marked change of tone in the songs that helps the accessibility of the whole album thanks to the pacing and the distribution that the track listing has, because if you think that one track has gone too long you know that the next track is going to have a different tone that will be easier to digest, and when the album returns to the style that you've had before you know that the approach will also be different even though the style is the same.

This dynamic continues throughout disc 2, but towards the second half Hank Williams III gets into more artistic and avant-garde territory, perfectly represented in a track like ‘Chaos Queen’, the dark tone by this point has already evolved to almost surrealistic aspects, It's a song with a strange and unexpected pacing, it feels dissonant, like a violent clash against reality, ‘Thunderpain’ follows in this aspect pushing boundaries, of a strange nature, free and totally artistic, where Hank plays a pulse with the listener testing how far he can go. I won't lie by saying that this kind of pieces are always satisfying, it depends a lot on the mood of each moment, but the truth is that this passage towards the end has a real reward, whose name is ‘Fadin Moon’.

It's amazing how, when the album in its entirety is already two hours in, it is still able to hit you near the end with its best song, demonstrating how you can't take anything for granted with this work. ‘Fadin Moon’ is a track that shows that traditional and folkloric side that was present since the beginning of disc 2, but now shown in its plenitude, the piece has three clear lines, on one hand a strong and clear percussion of a clear folk music style, on the other hand the fiddles and the accordion with a more country style and finally the voices of Hank Williams and Tom Waits, the first one incredibly nasal as it is characteristic, with his powerful southern accent, and then there is the voice of Tom Waits who seems to have made gargling with gasoline before singing, and I say this as a total compliment, his torn voice forms a totally atypical duet that works wonderfully with the instrumentation, everything is balanced to perfection, in the production of the theme there is not a single section that stands out over the other, creating a flawless sound that invites you to listen to the chorus over and over again. Seriously, this track just started an obsession of mine with Tom Waits, that's how powerful it is.

The ending is strange, as it has been almost all the double album, ‘With the Ship’ is a sailor song about pirates, completely out of the tone that has been so far, it is extremely simple and silly, it almost seems like a joke, and maybe it is, but with its stupidity and repetitive percussion it ends up feeling funny and addictive. Perhaps it's a reminder to the listener not to take things too seriously or just another example of the limitless creativity that Hank Williams III displayed on this magnificent double album, full of creative licensing, crazy and nonsensical moments and above all absolute unparalleled talent. A double album that feels like a journey, full of adventures, muddy at times, but like all good things, simply unrepeatable.

Originally published at http://suite101.com

Perhaps better known as Hank Williams III, Hank 3 has been an incredibly busy but free man this year. He’s always been a musician who often crossed the line and played by his own rules, with little regard for what’s “cool” in country. But his finished contract with Curb Records and the formation of his own label have given him a great deal of creative freedom and the opportunity to pursue even more projects than usual. This release is the artist’s second double album, the first being 2006’s Straight To Hell, and it is one of three albums that he put out on September 6, 2011. While this album does have a lot of experimental moments, it is safe to say that this is probably the most “normal” release in comparison to the punk and metal sounds that immersed the other two.

The way that the two discs on this album work together is similar to the dynamic of Straight To Hell. Ghost To A Ghost has the real meat of the release while Gutter Town showcases experimental soundscapes and much more inaccessible structures. Thus, the first disc ends up being the album’s more enjoyable, accessible half, thanks to the more immediate songwriting. As expected, a bulk of the first disc’s songs have a more traditional country sound that is sure to remind listeners, such as myself, that not all country consists of the schlock that is constantly played on the radio. The opening “Gutter Town” is a probably the album’s best song, thanks to the fiddles and banjos that work well with Hank’s smooth vocal lines, and “The Devil’s Movin’ In” works as a traditionally depressing ballad.

But as someone from a decidedly more metal background, it is also great to see some of those heavier influences pop up from time to time. “Ridin’ The Wave” feels like it could’ve been an all-out metal track, thanks to the energetic drums and frantic feel, while songs like “Trooper’s Hollar” and the title track end up being favorites, as they show off a nicely placed guitar crunch and double- bass drumming. Though one song that really seems to stand out on this disc is “Time To Die,” a track that effectively reminds one of “When The Sun Rose Again” by Alice in Chains. Its more mellow sound and acoustic flourishes probably kept it off the doom metal album that he put out this year, but the vocal effects and morose tone give it a very similar feel.

Also noteworthy for some of the musicians who contribute alongside Hank’s nasally vocals and solid backing band. “Ray Lawrence Jr.” features the artist of the same name and sees the pair harmonize through two different songs with little awkwardness in the transition. In addition, Alan King comes in for the appropriately filthy “C*nt of a Bitch” and Tom Waits pops up on the title track providing some great contrasts with his ever gravelly rasp.

But as Ghost To A Ghost ends and is switched out for the second disc, the abrupt change of tone is quick to tell listeners that they aren’t exactly in Tennessee anymore. Instead, Gutter Town is a conceptual collection of tracks that aims for a much more Louisiana feel and manages to be quite authentic in its approach. In contrast to the first disc’s song-oriented approach, this disc deals much more with atmosphere and ambiance. Several tracks such as the opening “Goin’ to Gutter Town,” “The Dirt Road” and “The Low Line” are more about showing off swamp effects and unsettling spoken and sung vocals than they are about giving the listener memorable hooks.

Of course, there are still some traditional songs that are spread out on this disc. Songs like the upbeat “Gutterstomp” and “I’ll Be Gone” could’ve been incredibly obnoxious tracks due to its happy feel and infectious vocal lines. But it is an instantly memorable highlight, thanks to those same elements. In addition, the Eddie Pleasant-penned “I Promised” and “Move Them Songs” are brief but pleasant little ditties.

But with everything that changes, the musicians still manage to sound pretty solid. Hank’s vocal performance is noteworthy, as he goes from manic to somber, and from English to French, when the situation calls for it. The guest appearances are also still welcome on this disc, though not as prominent. There is some memorable harmonizing by Pleasant on “Move Them Songs," and Waits comes back again for “Fadin’ Moon,” while Primus bassist/singer Les Claypool comes in for the closing sea shanty “With The Ship.”

But while the first disc seems to have something for just about every kind of listener, there is no denying that some will not have the patience for Gutter Town. It is a very strange collection that definitely requires a good series of listens to get a feel for, and it can be an exhausting listen with the 19 tracks that it has to offer. But if anything, it would probably provide some interesting background music for your next Halloween party, if you’d care to go for a creepy Cajun them. ...

But this is an excellent collection overall. Most double albums show a loss of musical direction or an excessive amount of filler, but this release uses the format well, as it allows the two discs that work with one another while still remaining separate entities. This album is not only recommended to country fans who love to hear the old spirit played with a more unique touch, but also recommend ed to those who think that all country music is generic and interchangeable. And if it makes you feel any better, this may be one of the only double albums out there that can be purchased for less than than $12.

Current Highlights (Disc 1): “Gutter Town,” “The Devil’s Movin’ In,” “Time To Die,” “Trooper’s Hollar” and “Ghost To A Ghost”

Current Highlights (Disc 2): “Gutterstomp,” “Dyin’ Day,” “Move Them Songs,” “I’ll Be Gone” and “With the Ship”

If you're not already familiar with Hank Williams III, you should be. The grandson of the legendary Hank Williams and son of the equally legendary Hank Williams Jr., he embodies the outlaw mentality of underground country music. Most of us forget (or don't know) that there is such a thing as underground country, since what's passed off as country these days is just bad pop music with a twang. As Celtic Frost was to Poison in the mid-80's, so Hank 3 is to mainstream country. On top of that, he's been involved in projects with Phil Anselmo, and his shows are legendary for starting out country, turning punk, and ending metal.

Just released from a bad label deal (sound familiar?), Hank simultaneously released four albums: the weird speed metal / auctioneering experiment 3 Bar Ranch Cattle Callin, the stoner doom Attention Deficit Domination, and the double country album Ghost to a Ghost / Gutter Town.

I don't know much about country, but I like Ghost to a Ghost. There's a measure of metal in the formula, on evidence in "Riding the Wave" and the title track (which also has some tango). But mostly, it's old-school country with raunchy lyrics about sex and drugs, with a bit of silliness thrown in (Hank's dog Trooper provides vocals on one track). There's a little bit of "my wife left me, my dog is dead" kind of country ("Ray Lawrence Jr."), some dark Americana ("Time to Die"), and something that sounds kind of like Jerry Cantrell ("The Devil's Movin' In"). The songs are catchy and memorable, and there's enough metal to hook you in.

Sadly, Gutter Town should have been left in the gutter. It has disposable cuts (with a lot of accordion) that would make better B-sides and rarities, which is OK, but about half of it is useless ambient garbage. The last track features Les Claypool, and sounds like it should have been a hidden track on a Primus record. And that's one of the most interesting things on the 77 minute disc.

The Verdict: Ghost to a Ghost is a good time. I give it 70 percent. Gutter Town is almost useless. I give it 20 percent.

originally written for http://fullmetalattorney.blogspot.com/