Customer Reviews

The Black Dirt Sessions

5 star:		(5)
4 star:		(6)
3 star:		(2)
2 star:		(0)
1 star:		(0)

 

 

I have been a long time Deer Tick fan, and about 1 out of 3 people I show them too are not terribly impressed. Maybe its John's harsh unconventional voice, or country pickin', or they are turned off because a new and well respected band is doing little to nothing to be "hip". After this initial dislike, I play Deer Tick around them enough, they always seem to come around. There is just an honestly, and infectious nature to John's songwriting and singing that is undeniable. They may not give a darn about their image, or if anything try to counteract this falseness that seems to loom around even some of the best bands, and get back to what was so great about early rock and roll. The Black Dirt Sessions keeps this trueness so to speak, and is my favorite of their album's to date. Something that "Black Dirt" has that neither War Elephant or Born on Flag Day is a cohesiveness and seriousness that was needed for the boys from RI, to fully mature as a band. Its not nearly as rambunctious as their previous albums, and certainly not as much as their Ep - More fuel for the Fire. But thats okay. It is a beautiful demonstration that they are capable of a variety of song types, and should not be disregarded in those respects. Mr. McCauley writes from a much more personal place, and lets us see a whole new side of Deer Tick.

The Music: If you're familiar with Deer Tick's previous two albums, you might be surprised to find how laid back and mellow this album is. At first I was a bit disappointed because I was expecting some fast-paced songs, but I've gotten over that and really love this album. My favorite song is Goodby, Dear Friend (nearly brings me to tears). I'm not going to go into the pros and cons of every song, because that's different for everyone. But, I definitely recommend this album. It's nice to have some Deer Tick that's an acceptable pace for first thing in the morning listening. Amazing work!

The Medium: Vinyl quality was a bit dissappointing, especially compared to the pressings of their previous two albums. Although it's pressed on 180gm vinyl, it doesn't have the quietest noise floor. Quite a few pops and static. I have mid-range equipment (Rega, Jolida, etc) and take extremely good care of my records, so I was surprised at how much noise there was. I even cleaned this with my record cleaning machine. It's not so bad that you shouldn't purchase it, just a little frustrating. It's possible that my copy was defective, too. I was happy to see that an mp3 download card was included (this wasn't mentioned in the item description).

Since I loved "Born on Flag Day" I picked this up when i saw it on promotion. Sadness permeates this release but it does have some good songs, it's just a tougher listen. IF BOFD wore it's influences on it's sleeve, this effort shows a maturity that demonstrates those influences have been synthesized and turned into a voice that stands on it's own. This voice is the equivalent of a charcoal drawing, it can be beautiful but it can also make you wonder what a splash of color would have brought to it.

Like many I absolutely loved the previous album 'Born on flag day'Born On Flag Day and so was really looking forward to this one. It starts off reasonably well with 'Choir of Angels' being almost reminiscent of `Crying Shame from their first release `War Elephant', but it does go a bit maudlin on track 3 'Goodbye Dear Friend', which does exactly what it says on the tin. The same could also be levelled at `Mange', but the strangest thing is a reprise of 'Christ Jesus' which was on 'War Elephant' and seems to run counter to the general up beatness that we have come to expect from John Joseph McCauley III and co. Can not think of a reason for getting the import other than the UK release unless I clicked on the wrong one so a big oops for me.

That said 'When she comes home' is just brilliant and I don't think I can ever tire of hearing it. As has been commented elsewhere they are a force to be reckoned with live, even with a power failure as happened at End Of The Road Festival in 2010 (their second of three sets) and they joined the wonderful Phosphorescent on stage who kindly repaid the compliment to them on backing vocals.

Whilst it is not a real change in direction it is a change of pace but I feel they are still cutting their teeth and I firmly feel that they have better to come (hence not 5 stars) but would suggest getting Born on Flag Day first and if that grabs you then you would be twattish not to indulge in this one.

While evoking the music of the '70s is seldom meant as a compliment, the tone and energy that Deer Tick create on "The Black Dirt Sessions" sound inspired by and soaked in the dark underbelly of that hedonistic decade. Not the cocaine, disco, swinger underbelly, but the neighborhood bar, smoky room, a local band drinking whiskey and pouring their heart out in the dark corner underbelly, and Deer Tick is that band in the corner. John McCauley's voice sounds like a young Tom Waits, verging on slipping into a country Bob Dylan. His every vocal drips with cigarette smoke, jail time, and a dozen broken hearts. This is an emotionally intense album, with McCauley pouring his soul out on each track while the band maintains a steady mid-tempo stomp, walking the path somewhere between garage rock and outlaw country. On "Goodbye Dear Friend" and the album closing "Christ Jesus", the band steps back and its essentially voice and piano only, evoking healthy images of last call and one final song of heartache. When the band does step up and put a little swagger in their step, the result sounds like the Marshall Tucker Band ("Can't You See", specifically), except the song ending guitar solo is a pleasant surprise.
While the band's live shows are known for their intensity (in which the acoustic "Christ Jesus" transforms into a noisy rocker), here Deer Tick has managed to capture much of that same emotion and put it in these songs. It is a low-key album, and probably won't make you want to get up and dance, but in the same way Tom Waits, Neil Young, and others injected simple musical ideas with unbelievable rawness, Deer Tick does the same here. This is a solid album and marks a definite growth in maturity from the last two.

I got the song Twenty Miles for free for some promotion, and couldn't get enough of it. So I though I would check out the rest of the album, and luckily enough, I was equally pleased by the rest of the tracks. I would definitely recommend it. He's got an amazing voice, and there are some really beautiful songs on here.

I am a new Deer Tick fan, with The Black Dirt Sessions being the first album of theirs I own. A very raw and authentic sound and listening experience. I truly enjoy artists who put it out there, and don't care about air play and/or commercial success, and the song writing here is very good. I like the band, but suggest you listen to a couple of cuts before you buy, to make sure you are getting what you expect. I like them, and hope you do too.

Deer Tick's 3rd full-length release is still just as soulful and beautiful as their freshman and sophomore releases. While still a fantastic album, I prefer their earlier releases, which have more energy. Their mid-winter ep, More Fuel for the Fire, has a country twang and is lot of fun and seems like a natural direction for John's writing. But, Black Dirt Session went the other direction and is much more folksy, almost too much. Most importantly, though, their relentless touring and recording makes them one of the best young bands to follow and I can't wait to hear more.

3.5 Stars

It's the third album in for this band from Providence Rhode Island and things are getting serious. Their first two albums "War elephant" (Download "Ashamed") and the truly excellent "Born on a flag day" (Download "Houston TX") were raucous and tremendous fun where Deer Tick flexed their alt country blues to great affect. On this third album the band named with painful logic after a parasite from a deer, have an opportunity to set out there stall and to make that step change from cult to contender, from teen to adult. After listening to Black Dirt Sessions over the past days I am not certain they have achieved the desired objective although they make a fine attempt at it. Indeed if only you could cherry pick the best songs from all three albums thus far there is little doubt that you would have one of the great Americana albums of modern times with John J. McCauley III deemed to be one of its greatest exponents and with his raggedy haggard like voice once described as a borderline death-yowl rivalling some of the great country troubadours.

"Black Dirt Sessions" contains great songs and aimless songs, and that is its problem. For every simply stunning "20 Miles" easily one of the top five songs I have heard this year there is a bit of a plodder like "Goodbye Dear Friend" which must have sounded like a great idea in the studio but does not really engage. "Pensive" is the best description I can apply to this album. There is certainly nothing wrong with a darker and more gothic approach but the loss of some of the raw energy from the first two albums means that throughout shades of grey are hard to find. Certainly when this album clicks it does so with some with real style and gravitas. There are shadowy ballads on here which are second to none including the atmospheric dark blues of "Blood Moon", the rough hewn John Lennon like opener "Choir of Angels" and Stones style centre point of the album "Mange". Alternatively others like dowdy dirge "I will not be myself" or the closer "Christ Jesus" a barely different reprise of a song on their debut are just too overwrought and by this time McCauley's voice sounds like it needs a well deserved rest.

McCauley remains painfully young (24) and the guy literally sweats talent, but with Black Dirt Sessions perhaps he has tried to produce his "Tonight's the night" a little bit too early without the world weary experience to carry it off? Whatever the case while it is an audacious set of songs you feel that somewhere still in McCauley's mental universe exists "the album" which will one day blow us away. "The Black Dirt Sessions" is not quite it, but it lays down a trail that could eventually lead to greatness.

I came to this CD after being stone cold knocked out by Middle Brother on which John McCauley is a prime player. "The Black Dirt Sessions" is a powerful set. "Goodbye, Dear Friend" is a somber elegy, "But you will carry on in pictures & in songs, and the unmade bed where I laid you down to rest one last time." "The Sad Sun" is a simple folk tune with Elizabeth Rodgers Isenberg's vocals contrasting the gravel in McCauley's voice, "If heaven exists, we'll never know until the moment we're finished." It's stark & slightly unsettling. "When She Comes Home" is a strong track with the chiming electric guitars, McCauley's lyrics complex & quirky, "I just want a kiss, a kiss goodbye; I just want a kiss; Bye." "Christ Jesus" is a powerful track with McCauley's voice wracked with emotional pain and hoping for hope. "The Black Dirt Sessions" is not a happy album. The music reflects a sense of struggle, pain, trying not to give into despair. Although dark, it is gripping. Enjoy!