Let me start off by saying that I love the sh*t out of this band! They have never done a weak album. Sure, some are better than others, but fans tend to get spoiled after the likes of Southern Rock Opera, Decoration Day, the Dirty South and the fantastic Live at the 40 Watt DVD.
I've noticed a bit of rumbling in the ranks since the release of A Blessing and a Curse. Even Patterson Hood has had some misgivings about that album. But it still is quite a fine album when compared to the sad state of rock 'n' roll these days. As far as A Blessing and a Curse is concerned, the longer I owned it and played it, the more it grew on me. DBT albums tend to be that way.
Which brings us to the subject at hand, Brighter Than Creation's Dark, the latest release by DBT. The album is clearly transitional, and not just because Jason Isbell has left the band. The record also showcases the softer, "acoustic" side of the band more than any other previous release. Then there is the emergence of Shonna Tucker as a songwriter and vocalist. John Neff also rises to the occasion with extremely atmospheric pedal steel guitar (Jesus, his work on "The Opening Act" is beyond evocative and atmospheric and really makes that tune the highlight of the album), tasty slide and electric lead("3 Dimes Down") and gorgeous acoustic lead guitar ("Perfect Timing", which sounds like some bastard child of the Grateful Dead's Workingman and American Beauty period with a touch of Reckoning thrown in). It also includes the incredibly wise keyboard playing of veteran sideman Spooner Oldham whose timing is deliciously and perfectly off-kilter for the Jack Daniels meets heroin sound of the DBT.
Hood's nine contributions to the album vary in quality and style, the best being the aforementioned "The Opening Act" (which is just killer), "Two Daughters and a Beautiful Wife", "Daddy Needs a Drink" and the lethargic "Monument Valley". Patterson's, "That Man I Shot", has powerful and ferocious guitar work which lends to the moral dilema of the song's subject. But the tune, as brash and furious as Hood's interesting lyrics are presented, lacks an interesting bridge. "The Righteous Path" is another interesting lyric which is set to a plodding repetitive simple chord progression which seems borrowed from "The Buford Stick", but the latter song was more interesting. The thankfully short, "You and Your Crystal Meth", is about as interesting musically as an anti-drug TV ad - very forgettable on a musical level.
Hood's other midling efforts for this album include "The Home Front" (an Iraqi war veteran's wife's story) and the suicidal and monotonous "Goode's Field Road".
Shonna Tucker's three contributions to the album deserve more credit than most have given them in previous reviews. The rockin' "Home Field Advantage" has the makings of a hit, although perhaps it should fade out during the dissonant "jam" at the end for the single edit. "Purgatory Line," is gorgeous and atypical of DBT, exposing the possibilities still yet unexplored by this band. "I'm Sorry Huston," leaves plenty of mystery in its lyrics' story line and the melody is palpably mournful. I encourage Shonna to continue her pursuit as a songwriter. She's got some interesting stuff to be heard.
Cooley's always accessible contributions to the album are a welcome interval between the stylings of Hood and Tucker. Mike weighs in with seven tunes, the best of which are "Ghost To Most" (this is classic DBT), and the gorgeous, if not somewhat melodically predictable, "Checkout Time In Vegas." "Lisa's Birthday," might be melodically and subjectively tried and true, but dammit I love this tune. "Bob," is also a cool, melodically simple, yet complex character study done with an economy of words ("He might kneel but he doesn't bend over"). "Self Destructive Zones" is a graet tune melodically, with a lyric which puzzles me at times. The aforementioned "Perfect Timing," has really tasty acoustic guitar by John Neff which really dresses the Cooley tune up nicely.
Cooley's earliest effort on the record, "3 Dimes Down," has stellar slide and other guitar work by John Neff. The track begins in a completely promising fashion with great guitar riffs and interplay with a sound reminiscent of the Stones and Faces in their heyday. It's a great song but I wish it had another verse at the end instead of two verses and a long instrumental bridge and ending. Seems like this tune, like this album, falls 25 cents shy of a slice of the Doublemint Twins.
Still, a DBT album that falls short is ninety nine times better than anything else out there. I give it four stars! So rock on and enjoy it. Play this CD frequently until you are able to see this great band when they come to your town. Make sure you're in a Jack Daniels frame of mind. It's the heroin of booze.
When listening to the earlier "The Dirty South" I felt a sudden urge to become an alcoholic, beat up my boss, and get behind the wheel of a rusted early 70's Pontiac and find my way into a confrontation with local law enforcement. So these guys know how to have an effect with their music. For those who are looking to music help them escape their own problems vs. become wrapped up in the hard luck and troubles of the down and out trailer crowd, you're in luck (well, sort of). "Brighter than Creations Dark" is still full of characters and people either headed the wrong way or stuck there by forces beyond their control, but some of the desperation is gone and now they find some time for hanging in a bar rocking out to some adrenaline pumping tunes like "3 Dimes Down," "Home Field Advantage," and "Self Destructive Zones" (a great send-up of some of Rock's lamer fads). Sure "Daddy Needs a Drink" and "You and Your Crystal Meth" are nothing to listen to if you need a pick-me up, but you can throw on "Perfect Timing" for a little feel good sing-along. The guys who told the moonshiners' side of the story in "Bufford Stick" are still going strong, but they're willing to allow a little more daylight on the scene and this album has more genuine rockers than was typically the case in earlier efforts. Still, the DBT's songs generally aren't to be taken lightly and if you really listen to them you hear a band that knows how to play, but also has staked out the voice of the economically disadvantaged in a way that shows clearly how Springsteen and Mellencamp only postured -- these guys sound like they lived it. As far as being "Southern Rock" -- think Athens as much as Statesboro -- they have both that unique authenticity old Southern Rock was synonymous with as well as the willingness to experiment and move beyond the slide guitars and beards clichés.
The Truckers have delivered a pretty darn good album. It's not great, but it does rank among their best. For my tastes SRO is always the best. But this one ranks up along side Decoration Day and The Dirty South. It is very comparable to those two. The biggest difference being that Jason is no longer in the picture and Shonna has assumed his role as the third song writer. I do prefer Jason's songs to hers, but she does add nice harmonies to the songs. I also prefer Cooley to Patterson and this album has a very healthy does of Cooley. This is just a very nice album to listen to and if you like the Truckers you should like this one.
This is a great album with a nice variety of styles. The best way to describe it is that it's real Rock and Roll for real people. Think Lynyrd Skynyrd, Neil Young, The Rolling Stones, and Buffalo Springfield all wrapped up in one channeled for the 21st Century! If you don't like those groups you need not apply. Favorites include Two Daughters and a Beautiful Wife, The Righteous Path, Three Dimes Down, and The Man I Shot to name just a few. Brighter Than Creation's Dark Rocks!
I got turned onto DBT a couple of years ago. If you liked Little Feat, Lynyrd Skynyrd, or any of that ilk, you're going to really enjoy DBT. Solid vocals, three guitars, and lyrics that pack a punch.
Favorites here:
Bob--great personal sketch
Monument Valley--takes you there
One thing, DBT gave us a 'heapin' helpin'. At 19 songs and 1.2 hours' runtime, "Brighter Than Creation's Dark" offers more music than most artists' double CD packs. And yes, most is worth it.
Rebecca Kyle, April 2009
