Shannon McNally: Geronimo
|
Shannon McNally: Geronimo
(Back Porch Records: p2005)
How does the saying go? ‘Don’t judge a song by the sound of its twang.’ Okay, maybe that is not exactly how the adage goes, but the analogy is what you need to take home. After first being mesmerized by the haunting bluesy-rock of McNally’s live North American Ghost Music, I impatiently awaited to hear Geronimo, the studio album from which many of the songs were taken. Not being a big fan of country music to begin with, I squirmed uncomfortably after hearing the opening track’s sound as well as its chorus about –surprise- a ‘broken heart’. Fortunately I make it a point to listen to a recording at least once through. In this case, patience paid off.
While the twang in Shannon McNally’s second full length studio release, Geronimo, is not as shrill as some, its country flavour is clearly evident. However, this recording is far from being a country record. Like some of the other artists on the same label, Back Porch Records, McNally’s music could better be described by the multi-genre encompassing term, Americana. In Geronimo, there are enough elements of rock, blues, and pop that it becomes impossible to describe it using just one hyphen.
Following the opening track, “Miracle Mile” unabashedly churns out some familiar sounding yet catchy riffs. “The Hard Way” is the record’s main mover. It rumbles along like Charlie Daniels’ “Devil Came Down to Georgia”, but the chorus packs more of a punch. Geronimo’s true wealth, however, lies in McNally’s song writing and soulful voice. That mix creates a mysterious and at times eerie mood that moves the listener to the deserted and dusty regions of the American West. The album hints of early ZZ Top, though the attitude and lyrics are more serious. Just check out a line from “Sweet Forgiveness”: “Cause I don't want a life that's soft and high, if it means that others must suffer and die, for my comfort, cause I just don't know how to shut my eyes…” McNally’s voice powers the regret and hope behind “Sweet Forgiveness” to the palpable longing delivered on “Pale Moon”. On “Weathervane”, McNally weaves together a groove and vocal timbre that results in a spellbinding melody.
Not every song on the album is at a premium. There are a couple of songs that tempt me to hit the next button. However, unlike some albums that are basically a bunch of individual tunes, Geronimo really does have an overall mood to it that makes each song work, even the two covers that close the recording. After a few times through, the opening track even grew on me. Actually the song was great from the get-go. It was just my anticipation that clouded my initial impression. At its worst, Geronimo is still a meaty alternative to the likes of Shania Twain’s musical vegetarian country-pop. At its best, Geronimo is a must have soundtrack for an Americana road trip, from Chicago through the Delta to Texas and beyond. I still prefer the live release more because of the arrangements (especially the soulful cover of New Riders of the Purple Sage’s “Last lonely eagle”), but there is so much great song writing on Geronimo that I just keep coming back to it.
Availability:
http://www.helmet.fi/
Artist’s homepage:
www.shannonmcnally.com/
18.3.2008 Harri Annala
Library 10
|
|
|