Search - Nancy Mccallion :: Nancy Mccallion

Splendid Solo Debut from Nancy McCallion, co-founder of The

John Kwok | New York, NY USA | 11/11/2006

(5 out of 5 stars)

"When someone does write the definitive history of country music in the 1990s, Nancy McCallion should at last receive the superb recognition which has long been denied to her. Even as far back as the mid 1990s - with the debut of The Mollys's third album, "Moon over the Interstate" - she received ample praise for her fine songwriting craft, winning favorable comparisons to the likes of Lucinda Williams (Although stylistically her songwriting is different, I believe Nancy McCallion also deserves to be recognized as yet another fine country/folk songwriter in the mode of Mary Chapin Carpenter.). Now at long last, Nancy McCallion has struck out on her own, accompanied by a splendid mix of superb Tucson and Austin-based country musicians on her solo album debut, "Nancy McCallion". Long-time fans of The Mollys should be thrilled with this CD, in which she plunges deeper into country with a strong Tex-Mex twist, accompanied by the Celtic influences that have long been an important part of her songwriting craft. Although I am disappointed that The Mollys have broken up - except lately for the occasional "reunion" concerts with the original lineup of bassist Dan Sorenson, guitarists Catherine Zavala and Nancy McCallion, accordionist Kevin Schramm and drummer Gary Mackender (The latest will be held this New Year's Eve at The Boondocks in Tucson.), I am delighted that Nancy McCallion is still writing some wonderful, often poignant, tunes which deserve greater recognition than they have so far.



Among the highlights on this album are the uptempo "The Leaving Kind", and the bluegrass-Celtic ballad "Reckless Child". And then there is a fine vocal duet between Nancy and her sister Lisa in the song "Elvis Again". The Mollys may have broken up, but at least their musical heart is still as vibrant as ever in these new songs crafted by The Mollys co-founder Nancy McCallion. And those unfamiliar with Tucson's splendid country/folk music scene may be pleasantly surprised with this recording, which demonstrates yet again why the Old Pueblo is truly one of the most innovative centers for contemporary country/folk music; an observation that's all too apparent with the recent critical acclaim and cult status earned by Tucson's latest musical export, Calexico. If I was a gambler, then I would bet that Tucson's artistic preeminence in country/folk music remains in good hands in the likes of Nancy McCallion, and I also would surmise that this preeminence will be earning much more respect from country and folk music fans in future years than any music being created now here in New York City.



Tucson's emergence as a premier center for country/folk music is in stark contrast with the relatively nascent country music scene in Brooklyn, NY, especially when local Big Apple bands - including the popular Whisky Rebellion fronted by guitarist/songwriter/singer Alex Battles and featuring the talents of the best bluegrass/country fiddler I've heard not named Jay Ungar, fellow Brunonian Dotty Moore - have yet to earn any of the critical and popular acclaim (There may be two excellent reasons for this: the quality of the musicianship and the songwriting from - for example - Alex Battles - greatly pales in comparison to Nancy McCallion's.) which The Mollys so quickly earned after the band's great lineup of McCallion, Catherine Zavala (who co-founded The Mollys with McCallion), Dan Sorenson, Kevin Schramm and Gary Mackender formed back in 1994 (There's at least one excellent reason for the lavish praise bestowed upon The Mollys by devout fans and music critics; the quality of its musicianship was absolutely superb with excellent chemistry and synergy within the band, which is not surprising since three of them - McCallion, Zavala and Sorenson - had performed on and off together since the 1980s.); this acclaim included accolades from the likes of The Washington Post, and frequent visits to New York City to such prominent venues like Lincoln Center's "Live-Out-of-Doors", its annual August festival of free world music, and Manhattan's Rodeo Bar, years before a Brooklyn country music scene emerged."