Buck Meek Haunted Mountain and Gregory Alan Isakov Appaloosa Bones
Long time readers (haha! I say that to make myself feel like I have readers) may recall that Buck Meek’s last record, Two Saviors, was tied with Valerie June’s The Moon And Stars: Prescriptions For Dreamers as my favorite recordings of 2021. Well, I still love Two Saviors, and now I also love Meek’s latest, Haunted Mountain. Lyrically this collection doesn’t grab me quite as much as Two Saviors did, but I’m very taken with Haunted Mountain’s more expansive musical production. These arrangements bring a fuller sound without sacrificing any of the delicacy and spontaneity I associate with Meek’s solo work.
And on the topic of arrangements, I have read that Gregory Alan Isakov had originally intended his new album to be a stripped-down, “lo-fi” rock-n-roll record, but the songs wouldn’t cooperate. While I do enjoy speculating on exactly what an Isakov rock-n-roll record might sound like, I couldn’t be happier to find that Appaloosa Bones hews more closely to the path forged by his previous effort, Evening Machines. I can’t get enough of the way Isakov marries his relatively straightforward, down-to-earth lyrics to treatments that range from the simplest, contemplative strummed guitar to broadly atmospheric, often nearly surreal, soundscapes.
Haunted Mountain is, overall, the more spritely of these two picks. Spin it up while you’re enjoying a sunny afternoon. Then ease into Appaloosa Bones when you’re sipping a cocktail on the porch, watching the sun set.
I’ve flip-flopped so many times about which of these records to pick as my favorite of June’s releases that I finally just have no choice but to call another tie.
First up is Teeth Marks, the second record from Kentucky singer/songwriter S. G. Goodman. Goodman immediately went into permanent heavy rotation in our house with the release of her first album, Old Time Feeling, during shut-down-era 2020. This new release will definitely follow suit. Interesting lyrics and melodies, and an older-than-her-years vocal quality reminiscent of NPR storyteller Bailey White; this woman has it all.
We discovered Caamp several years ago at the Newport Folk Festival. For me their latest record, Lavender Days, is feel-good music at its finest. (I could say the same about the rest of their catalog, as well.) It sounds like we’re all in this together, doing what we can to have a little fun while we make our way through the day. There’s nothing pretentious or fancy going on anywhere near a Caamp record. Just a handful of chords that flow well, and good solid hooks to hold them together. Maybe with a nice, cool drink by your side. Put this on and enjoy a little piece of your summer.
One of this month’s contenders was Mike Clark & The Sugar Sounds with their new release, Moon Rock. I wasn’t familiar with Clark, but it seems that although he’s been around a good while, this is only The Sugar Sounds’ second record. Bluesy, funky R&B. Certainly it makes me want to hear more.
I am also really enjoying Superchunk’s latest, Wild Loneliness. Technically it was released in February, but since I managed to not know anything about it until Pitchfork reviewed it on March 1st, I’m calling it a technicality and allowing it into my March reviews. In fact, it was a veritable coin toss decision not to make it this month’s pick. Top-of-the-line power pop through and through. Nearly every song on it seems like something we would have wanted to cover back in the day when I was playing in the not-very-cover-song-oriented Frankie Big Face band.
I’m giving the aforementioned coin toss, though, to Julieta Eugenio’s debut album, Jump. While I love the spontaneity of live jazz, it’s pretty rare for me to like a jazz record this much. (It’s precisely the spontaneity that I miss.) But for whatever reason, the whole feel of this record —straight ahead sax/bass/drums trio arrangements— has just knocked me out this month.