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When Pete Went To Nashville
Label: Damaged Goods Records
Artist: Pete Molinari
Album: Today, Tomorrow and Forever EP
Damaged Goods' very own Pete Molinari is back with a bite. After the roaring success of his 2008 album A Virtual Landslide Molinari found himself in the reposeful between period of ‘the successful album' and ‘creating new material'. The result is the Today, Tomorrow and Forever EP available from the aforementioned and ever on-the-ball Damaged Goods Records.
Most cover albums are presented as fun attempts at favoured musicians and not to be taken seriously, which would be fine if every note offered didn't stink of over-cooked, depression-inducing effort on part of the artists' rediscovering the creative process of their heartiest songs that made them decide to become musicians in the first place. Yes, most cover albums fall victim of either over-zealous recreation or just feel embarrassingly contrived and laboured, with very few, albeit glaring omissions. Molinari's Nashville inspired effort is neither painstakingly crafted, nor contrived nor laboured. It's got the sound of a man, amongst friends (The Jordanaires in this case) sitting down for a camp-fire strum. The effects are as soothing as the American Country scene only ever ventured to promise.
The first lines uttered by Molinari show much of the ingenuous bellowing of Buddy Holly. Rock n Roll clever throughout, Today Tomorrow And Forever is the title and opening track. It's the sort of kitchen sink sound that had Mother's curvy behind swaying well beyond the 1950's. However, make no mistake; Molinari's Rockabilly-silly is not authentic. It's a splendid restructuring that an archaeologist would be proud of. That's not to suggest that this song or the swoony efforts recorded in the rest of the album are phoney. They're not. But the EP is somewhat of a period piece, albeit period piece every bit as honest as much of American post-War music echoed here by Pete Molinari, a native of Chatham, Kent.
Next up is a country-drenched outing that is as vocally strong as any on the album. Slow paced and reminiscent of the Self Portrait album in its delivery, this already much covered Joe ‘Red' Hayes sonnet-of-sorts has fresh Gospel qualities which prevent this thoughtful track from falling into the self-diminishing trap of having too much of a positive bounce. At times you expect the lyrics to break into "At first I was lost, but now I've been found." But instead we're offered Molinari's take on Joe Red's introspection as Molinari tells the tale of a narrator indisputably content with the riches of a Satisfied Mind.
Tennessee Waltz is the kind of song that makes you want to fall asleep under the table at a local barndance as parents stay up sharing secrets about the neighbours. As Waltzes go, it falls short. Something tells me it was not the intention of Betti Page, who popularized this Roy Acuff country song, to stick to the rules of the waltz. Neither, do I suspect, that is was the intention of Pete Molinari, who, if anything, gathers a similar sound and take on the song as Page, as opposed to that of the original or any other effort over the last fifty years (Norah Jones for one [sic]). Perhaps that's the joke? Carey Kotsionis provides the softly-softly vocals, which couldn't sit better behind Molinari's lead.
For me, Guilty is the stand out track, as aside from a gorgeous sound, has more than the rest of the record on offer in that it can boast more than just a skeleton retrospect. Flawed love being a staple of any self-respecting Rollers lyrical diet, this fourth track on the record would've been a sure fire A1 on the Jukebox should the Jukebox been born of our era and not theirs. With choruses that slip in and out of the song handsomely with a foul-smelling beat that persists in its monotony. Guilty is as repressive as it is impressive. It provokes the lonely spirit within and would have the most contemporary of us spitting tobacco, pulling our collars up and flicking back our quiffs with vigour. This four minute Jordanaires backed tearjerker makes satisfactory crescendo with the typical double dose of choruses prevalent of the era it so openly re-imagines - and doesn't miss the vital trick in doing so.
The other three tracks (available only on the mini-album version which is CD only) are B-sides of Molinari's that more than deserve their place on this release. All of them are acoustic and see good utilization of the harmonica. The mouth organ is once again cool of course (or has been for five years), but it's rare to see it employed so intuitively; as a separate member of the band or vocal replacement.
Ballad On A Milk Train could be plausible regarded as an out-and-out rip of Bob Dylan. Less Milk Train than Thin Man and perhaps an record name change to Another Side of Pete Molinari and I think we're closer to it. Thankfully, the music maintains its dignity by remaining confidently aware of this fact. I suppose, when in Greenwich Village...
Of course, it's distracting more so than prior to this record that Molinari sounds like a young Dylan. I suppose that's what comes with the luxury of being a certified ‘bounder of Kerouac's old hang-outs.
The Poet's Dream is the last track on the CD version and might seem like a jingle too far were it not for its cute simplicity, Cajun melody and strong sentiment that makes it a worthy conclusion to this latest instalment from Pete Molinari, an effort that unwinds with the listener.
At times the record can feel like it can never go back on itself. Like a machine losing parts over years. It loses electric and is noticeably vacant after it. Once the get-up-and-go liveliness of the first few floor fillers diminishes and Guilty comes to an end, it doesn't ever feel like the record can reignite in the same way. Somewhat like a match struck more than once.
But that won't stop what's at the core of this unobtrusive collection of unfashionable yet fantastic takes on yesteryears music. Kent's own Molinari has a truly exceptional voice and does no song covered any disservice whatsoever. Molinari remains a sub-star well in the process of coming to light. The energetic EP Today, Tomorrow and Forever is available on Damaged Goods 10" vinyl (first four tracks) or on CD mini-album release (all seven). Enjoy.
Release date: 1st January 70