Customer Reviews

The Truth Will Set You Free

5 star:		(22)
4 star:		(1)
3 star:		(2)
2 star:		(0)
1 star:		(0)

 

 

Playing Time - 38:15 -- James Hand's raw and rootsy "The Truth Will Set You Free" was produced by two luminaries on the Texas music scene, Ray Benson and Lloyd Maines. Benson calls it "true honest down to earth country music songs from the heart." Maines, who plays acoustic guitar, pedal steel and dobro on the album, offers that this style of classic country music "uses no smoke or mirrors." James Hand has a weary soul, and his songs ooze with sadness, longing and loneliness. I can tell that he's been deeply inspired by Hank Williams, Ray Price, Johnny Cash, Lefty Frizzell and Merle Haggard. He's been on stage for over 40 years, and he trains horses when not singing and strumming his guitar in honky tonks and roadhouses.

Recreating a different musical era, James Hand strives for a raw-boned one with messages about hard knocks and road blocks that could very well be heard on a 1940s vintage Wurlitzer jukebox. Without all the hype and glitter we typically see in country music today, "In the Corner, at the Table, By the Jukebox" really says it all. Hailing from West, Tx., Hand sings life-affirming tales about loving and yearning on the "Banks of the Brazos," paying the price in "Leave the Lonely Alone," fighting and drinking in "Little Bitty Slip," and growing old and being wrong in "Just an Old Man with an Old Song." It would have been nice if the CD jacket had included lyrics for these 12 originals.

If there's any question that Hand has lost his game, think again. There's something special in these songs and the feelings they express. Hand's songs are simple, emotional, direct - all the essential rudiments of old country. Just listen to "Shadows Where the Magic Was" with its heartfelt story. Some stellar musicians help out on this project -- guys who know how to tap the river of tradition, history, values and beliefs that ran through yesteryear's country music. The instrumental riffs and fills emphasize electric guitar and pedal steel, often with some nice harmonies incorporated. Besides Lloyd Maines' fine work, other kudos are in order for Redd Volkaert's and Will Indian's electric guitar work. More of Jason Roberts' fiddle would have been nice, especially on a tearjerker like "When You Stopped Loving Me, So Did I." In authentic classic country fashion, backup vocals (sung by Layton Depenning) are very sparse. All in all, the album is honest-to-goodness "januwine" country music. For alternate cuts, some of the same numbers appear on Hand's live album from 5 or 6 years ago, "Live from the Saxon Pub Austin TX" on the KnightKlub label. (Joe Ross, Roseburg, OR.)

Like Dale Watson, the man who wrote the words to the title of this review, James Hand makes real Country Music. It doesn't sound like Dale's but it's mmm mmm good.

Now, the artwork and cover design are a different story. There is lots of black and everything is typeset in uppercase. There are no pictures of the players and credits are so sparse that unless you are familiar with the guitar playing styles of Will Indian and Redd Volkert already, chances are you will be wondering who played what. There are no lyrics either but after a few playings you'll know every word to every song by heart.

For the uninitiated, Redd plays the guitar licks that sound like no human could play them and Will plays like the guitar teacher that you wish had taught you.

It's difficult for me to describe how great this album is because I just don't know where to start. Maybe here: there isn't a track on this CD that you're going to want to skip over, even after repeated listenings (and while comparisons of James Hand to Hank Williams Sr. seem natural, as great as he was, ol' Hank had a few tracks that got on your nerves).

Maybe that won't be true for everyone though. James Hand's lyrics can hit pretty close to home -- "Leave the Lonely Alone" sounds like the product of a tortured soul. "When You Stopped Loving Me, So Did I" written or sung by someone else might have come across as a low self-esteem pitty-party anthem, but it just works. A couple of the other tracks make the hair on the back of my neck stand up. It's been a long time since I've heard an entire record that was this good because it's been a long time since any artist in any genre released one. Get this CD today.

Let us not burden Mr. Hand with comparisons to Hank. Should we put that burden on anyone? Hank had a rough enough line trying to carry that one.

Let us just say, that with a few exceptions, this is as good a colletion of songs a we've heard. If we get another one like this from him, wouldn't that be a treat?

If not, thanks James, you really reached me with this one.

Now here is one of the best "new" voices to come down the pike. I bought this one on a whim, after reading a few of the earlier reviews; and I'm glad I did. I really cannot do this man justice with a few written words, so you'll just have to buy the CD and enjoy it. James Hand picks up where the great Vernon Oxford left off. True, James continues much in the same vein as Hank Williams and Frankie Miller, but he's also adopted the modern shuffle and rhythm that Vernon Oxford did in his early years. In other words, this is great honky-tonk music. Maybe not quite up to the standards of Charlie Walker, but given time, I think James Hand will put his brand on "bar-room country"....actually, I think he had the potential to rule that sadly-shrinking genre we call Honky-Tonk. He is to Hank Williams, what Justin Trevino is to Johnny Bush, or Dale Watson is to Merle; and most importantly, James is not a mere imitator. There are 12 numbers here, and they're all excellent. Personal favorites include "Little Bitty Slip", "Baby, Baby,.....", and "In the Corner.....". If you've become disheartened (or just plain pissed-off) at the crap being pushed as country music today, then get this one; it will restore your faith. A+++++++++++++++++++++

first rate singer/songwriter in the cowboy/honkytonk traditional sound genre.accompaning musicians and arrangements are perfect. proves there ie hope for 50+ boomer musicians who have never had a commercial release before. i heard him initially on NPR in an interview and suggest you check out that program.

James Hand is a fresh as an evening breeze and as old as the hills that those breezes caress. Evoking memories of Hank Williams, he has little to do with the music that comes out of Nashville today.

A throwback to other days long past, he will leave you crying in your beer. The Truth Will Set You Free. He believes it and after playing this CD, you will believe it as well.

My husband had the opportunity to see James Hand...and talk with him...at a small bar in Richmond. We since then have purchased his CD for other people also.Good Stuff!!! I am not a big country music fan...but I really like his voice...this is real country music.

I had never heard of James Hand until I read an article in a Chicago paper about his upcoming performance at the Old Town Music & Roots festival praising him as a traditional old style country singer in the honky tonk vein with comparisons to Hank Williams, Ray Price and so on. So with a skeptical attitude I went on down to the outdoor show. Most modern country singers that sing old honky tonk come across as retro and do not even come close to that very important needed "southern vocal hillbilly accent" that is the soul of the whole sound plus the lyrical writing that is so clever and ironic in that country music way. George Jones is the last living artist it seems that can sing in this way naturally. Well when James Hand walked on the stage with his band an introduced himself I new I was in for a surprise and boy was I. When he started singing I was stunned and amazed how authentic and original he sounded. For the whole show I did not move from my spot as I watched a rare performance of true Texas country original singing and playing in that old Texas country hillbilly popping swinging sound that I could only find from old records of long ago. Take note he does not sound retro at all but truly unique to this time and place. At the end he received a couple of encores and sold out of all the CD's that was brought for the show. His new album further reflects this authentic sound and his unique personality shines through. His voice has that warm aged sound that blends well with his lyrical phrasing. His song writing is up there with best in country music. To me his vocals sound somewhere between Hank Williams and George Jones, but with a voice all his own. James Hand is the "real thang"

I was at a Dale Watson show in Newcastle, Australia and Dale mentioned James hand as a great singer/songwriter. I took note and ordered this album. Once received, it has NOT been off my CD player/s since; and I got it at the end of April 07!!!!! This album is probably one of the finest honky-tonk albums ever to be released. And to think James wrote all the material!! I would put this right up there with anything Hank Williams has done and that's saying something. Before you scoff at that, give this album a good listen and then tell me I'm wrong.

The production and playing on this record are first rate. It was produced by Ray Benson (of AATW) and Lloyd Maines with Red Volkaart and Lloyd playing superb guitar and steel respectively. But it's James' voice and songwritng which makes this an absolutely essential country album. His voice cracks slightly now and again as though his heart is about to break and it will send shivers down your spine. His songs are quite personal and show a life of hard times, lost love, heavy drinking and broken hearts; all classic country music fare but James does it better than just about anyone.

Just get this album, play it to death and you'll be in Honky Tonk heaven.