Search - Paul Burch, Wpa Ballclub :: Blue Notes

Postmodern country

Jerome Clark | Canby, Minnesota | 09/15/2000

(4 out of 5 stars)

"Yes, this recording does grow on you. The first time I heard it, it went right past me, and I feared that I had committed a serious mispurchase. On second hearing the subtle grace, beauty, and originality of Paul Burch's approach started to come through. Burch is clearly in love with country music and its traditions, not just the usual honkytonk but old-time and bluegrass as well; yet he is less a traditional country singer than a postmodern one, fusing deeply felt influences into something new, distinctive, and personal. Much of Blue Notes sounds like an organic hybrid of Hank Williams and Revolver-era Beatles. Not all of it, though. "Long Distance Call" -- not to be confused with the classic Muddy Waters blues of the same name -- is Burch's nod to obscure early rockabilly cats like Onie Wheeler. "How Do I Know?" is a rewriting of, and riff on, the Appalachian folk song "Little Birdie," the sort of thing one can imagine Tom House doing; in fact, House sings a verse, sounding more like Dylan than House. For sheer loveliness, however, it's hard to beat "Tonight, Tonight," with its almost inexpressibly melancholic opening line: "Tonight, tonight I saw the one I'm gonna lose you to." This is a heartbreaker that Hank himself would have been proud to claim."

Paul Burch's "Blue Notes": A Subtle Knockout!

tobi rates | Washington, D.C. | 08/10/2000

(5 out of 5 stars)

"Recently, I got an copy of "Blue Notes" from a relative and have kept it in heavy rotation in my CD player ever since. Paul Burch's new CD is even more compelling than his first two (which I consider to be contemporary country-music classics). There's not a weak song on the CD and each time through I hear something new. The best example is "Willpower", the opening track. Burch's haunting lyric and tender crooning, accompanied by Paul Niehaus' melodic pedal steel, just pull you in further each time you hear the song. So that I am now convinced that it is the finest song on the CD even though it took me several times through before I became knocked out by it. The song the most immediately catches the listener is "Isolda". It's reminescent of the Stones' (perhaps "Wild Horses" or "Till the Next Time We Say Goodbye") but lyrically more clever (like Dylan's "Tom Thumb Blues"). Yet it is still a country song with a smooth, sweet pedal steel guitar line. If this song got any airplay, it could easily be a hit record because its undeniably good. "Long Distance Call" jumps like a rock'a'billy number from Elvis' Sun Sessions. The song, which is about a trucker driving through "another all night morning" to get home, contains the line: "all I'm stoppin' for is the pills and the smokes and the state patrol" which makes me smile every time I hear it. The guitar solo in "Hard Woman Blues" doesn't blast off but pulls you in so that you listen intently to every note. In "Hitting Bottom", Burch takes a simple drinking cliche and turns it into a penetrating song about the long hard fall from your youthful prime that we all will face -- if we're lucky. Like the rest of the CD, the themes are mature and thoughtful as opposed to empty cliches. Finally, Burch's voice is as versatile and melodic as his compositions are catchy and intelligent. He clearly understands the subtle sophistication that made country music great (George Jones, Hank Williams, Sr., etc.). Too bad the most of the stuff on country radio these days doesn't seem to get it. "Blue Notes" may take a couple of turns through your CD player before you're hooked -- but if you love sweet, subtle country music with compellling lyrics, then you'll love this record."

Great album

Joe Sixpack -- Slipcue.com | ...in Middle America | 05/29/2002

(5 out of 5 stars)

"When recording with his indie-politan ensemble, Lambchop, Burch's country leanings are a bit more sublimnal. Here, everything is right up front, and it's all really cool. Mainly in a moody, singer-songwriter mode with a richly complex "Blonde On Blonde" production style, this album has a strong musical foundation, solidly country but also intensely unique. Burch bears a strong vocal resemblance to Jimmie Dale Gilmore, but unlike that Austin icon, Burch lacks the self-conscious aura of "significance"... He seems to have far less need to prove himself, and far more interest in letting the music develop on its own merits. The lyrics are engrossing, but somewhat elusive, with the same heads-down inscrutiablity as his more orchestral pop work. But while this may sound high-falutin' on paper (or onscreen...), the album is in fact quite rich with a toe-tapping, roots-respecting good old country vibe, which encompasses lighthearted rockabilly as well as intricate latter-day honkytonk. It's that groovy next level of artsy "Americana" that so many folks are trying to perfect, but without the leaden pretensions or emotional heavy-handedness that folks usually come up with. Instead, Burch manages to just plain enjoy himself, and the feeling is infectious. Recommended!!"