Cary Hudson
The Phoenix
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Cary Hudson
The Phoenix
Blackdog, 2002
RiYL: Blue Mountain, Wilco, Caitlin Cary |
Blue Mountain, led by the raspy, gravelly voice of Cary Hudson, released four solid-to-spectacular albums over the past five years, mixing Appalachian mountain music tunes like "Eyes of a Child" -- from their '96 debut, Dog Days -- with bluesy soul like "My Wicked, Wicked Ways" from '99's Tales Of A Traveler.
The band never developed a mainstream following, which is slightly surprising as Hudson's ex-wife, bassist and harmony vocalist Laurie Stirratt is also the sister of Wilco bassist and harmony vocalist John Stirratt. Neither did Blue Mountain pen any perceived "great" albums, which is also slightly surprising as Hudson's voice has unsuspecting range, sounding just as comfortable against the backdrop of a sole acoustic guitar as it does wailing against dizzying feedback and smashing drums.
No, Blue Mountain was destined to be remembered as one of those "not for everyone" bands, meaning that if you really like Southern traditional music, and I mean really like it, than you'd probably dig Blue Mountain. But if you're an urbanite who thinks Wilco's Being There is too country, than you'd better stay away from this group.
Blue Mountain was a modern traditional band, if there is such a thing, and Cary Hudson was, and still is, a modern traditional singer. Although the end of his marriage with Stirratt in 2000 ultimately ended Blue Mountain, Hudson re-grouped and re-kindled his gravelly spirit and voice and now returns with The Phoenix, a solid solo debut still firmly rooted in the musical world he mined with his former band.
There is nothing drastically new or particularly surprising on The Phoenix, but that's not necessarily a bad thing. The album perhaps most closely resembles Tales Of A Traveler, Blue Mountain's last album of original material. That album contained a fair amount of rockers, but also displayed a soothing side of Hudson that had yet to surface in the band's earlier records.
On The Phoenix, Hudson takes both to a new extreme, adding more feedback and attitude on the loud numbers like "Mad, Bad, and Dangerous" and "High Heel Sneakers," but gets a little more soulful and tender with "Butterfly," the album's strongest number, and "Lovin' Touch."
Hudson doesn't take too many chances on the record, save the electrified and feedback drenched update on an old blues standard "God Don't Never Change," complete with the lines "He's God in New York City / and in Washington, D.C. / and in times of great tribulation / well he's surely a better God than me / he's God / God don't never change / and he always will be God."
And the album closes with the simple "August Afternoon," a breezy yet confident number centered around a quick and dirty acoustic blues riff, fitting easily with Hudson's roving monologue about smoking pot, searching for his baby doll, and, well, just being high.
"Eat corn bread when I'm hungry / Cold whiskey when I'm dry / Sweet Mary Jane to ease my pain / to keep my spirits high," Hudson intones lazily.
The lighthearted song more or less reflects the rest of the album, a friendly disc who's attachments can only grow stronger with each spin. There's no secrets or complications about The Phoenix, so what you see is what you get. And sometimes, that's all you can ask for.
RODEO ROB | An expert on all things "alt," Rob spends his days covering the energy industry and his nights covering the DC-area bars. Raise yer glass especially high to this man, for he has contributed to this site constantly since its creation four years ago.