Highlights: Into My Future, Wake Me In The Night, Raging Eyes
Being a musician and having
‘Gilmore’ as a last name is not such a good idea. Having a musician-father,
however, is a downright bad one, particularly if you are going to follow in his
footsteps. Art does on occasion allow for such things to happen (‘Wainwright’,
if you are looking at good examples in music business), but that is more like a
crude, glaring exception. Usually, it’s either bad or nothing. So considering
all that, Colin (son of country musician Jimmie Dale Gilmore; also of The
Flatlands, also Smokey (‘OVER THE LINE!!!”)
in the Coen brothers’ classic) is doing all right. In fact, I’d place him just
a little bellow Teddy Thompson, Richard’s stylish if unspectacular son.
Whatever I might say
below, it will not be as good a description of Colin’s music as this album’s
cover. I swear when I first saw it, I knew exactly
what The Wild And Hollow would sound
like. The glasses told me Roy Orbison, the tasteful colours alluded to Marshall
Crenshaw. Which is what the record is, and I can’t but welcome the arrangement:
in the world where the word ‘derivative’ can hardly be used in a pejorative sense,
ripping off Orbison is not a crime.
The perky 60’s styled
bass guitar opening this album is nostalgia at its loveliest. Obviously there’s
not a note of originality here, but the abundance of taste, masterful playing
(musicians include Joe Ely and Colin’s father) and arrangements, as well as
generally strong melodies almost make up for that. I’m embarrassed to admit how
much I enjoy “Wake Me In The Night” (great tune, but a borrowed one), but then
there’s nothing shameful in loving the gorgeously articulate violin of “Warm
Days Love” or the chiming gem that is the closing “Raging Eyes” (could easily
rival some of Crenshaw’s best songs).
The Wild And Hollow is inessential and will soon disappear without
traces, so all the more reasons to enjoy it while it lasts. Stylish and
unpretentious, Colin Gilmore makes so much more sense to me than Jake Bugg.
7/10
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