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O.C.M.S.

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Old Crow Medicine Show

 
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O.C.M.S.
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Avg: 4.5 (487 ratings)

A rare modern country album where you can hear the fingers hitting the strings.

  • We Say...

    Originally from New York state, Old Crow Medicine Show began life as a quintet of street-corner buskers, before a you-wouldn’t-dare-make-it-up discovery by a passing Doc Watson outside a North Carolina pharmacy led to their relocation to Nashville — where, mercifully, Music Row signally failed to rub off OCMS’s rougher edges. Substantially recorded in Nashville’s legendary Studio B and Woodland Sound Studios, O.C.M.S., their full-length debut, sounds as far as possible like something Hank Williams might have made, had he survived into his 80s (the raffish, ragged works of Williams’ grandson, Hank Williams III, are actually a decentish reference point). As on few modern country albums, it’s possible to hear the fingers hitting the strings, and the horsehair scraping on the fiddle strings.

    Producer David Rawlings had the admirable sense to recognise that the biggest favour he could do these road-worn, mutually attuned and instinctive musicians was to let them get on with it. The result is that O.C.M.S. sounds like OCMS’s songs were issuing in through the window from a pitch at the end of your road, rather than from your speakers. Either way, you’d be grateful — the songs are consistently fabulous. The lament “We’re All in This Together” has something of the sepulchral fatalism of Neil Young’s “Harvest Moon,” the angry Vietnam fable “Big Time in the Jungle” a whiff of the simmering anger of Steve Earle. All are delivered in raw, throaty harmonies as furious yet finely honed as the arrangements behind them.

  • They Say...

    Old Crow Medicine Show is an all-acoustic quintet from four states whose members met in New York City and currently reside in Nash Vegas. Their storied beginnings include a North American cross-continent ramble while they learned their instruments and how to play together, eventually ending up playing on the street in front of the Grand Ole Opry before being asked to the stage some weeks later. Their self-titled debut album is equal parts Woody Guthrie's dust bowl weariness and Cisco Houston's rambling code of the road, Phil Ochs' view of a passing America, the Kingston Trio's wide-eyed enthusiastic earnestness, the New Christy Minstrels' sense of community, Doc and Merle Watson's home-grown blues as informed by Bill Monroe, Beat Generation lamentations, forlorn 1960s idealism, and the musical mindset that fueled America's original folk revival from the 1950s as it moved toward rockabilly. In other words, this record is informed by ghosts but executed in flesh, blood, sweat, and laughter. Whether the tunes are covers from antiquity ("CC Rider," "Poor Man," "Tell It to Me") or originals by fiddler and vocalist Ketch Secor and his songwriting and singing partner, Willie Watson ("Trials & Troubles," "Hard to Tell," "We're in This Together"), the feel is the same: passion, humor, and relentless drive to get to the heart of the tune and put it across. There is so much enthusiasm here, so much willingness and fire, that it would be hard to do anything but want to sing along. Thoroughly enjoyable, wonderfully raw and sinewy, Old Crow Medicine Show may be evoking the sounds of the old string bands, but they do it with a crackling rock & roll energy.

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