Roger's Waltz
Luther Wright and the Wrongs
Snake Eye Muzak
1999
11 tracks
The music is country but it doesn't seem to quite fit any particular style. Sometimes it approaches the old Western style and sometimes Bluegrass. Sometimes it's almost Folk or Americana or Cowboy music. There's always something quirky you can't quite put your finger on, something that keeps this music just the other side of the pigeonholes. The Wrongs, if they may be considered wrong, are not wrong by mistake but by a subtle outlaw sensibility that pervades their sound.
The closest I can come to describing this music is two words: Michael Nesmith.
I've said this before. Luther Wright's vocals have that same quirky quality that was so recognizeable in Nesmith's solo work. What's interesting is that Dan Curtis, usually known as a very fine guitarist, sings two of the songs on this release. Curtis' vocal style is as reflective of Nesmith as Wright's.
Instrumentally, the sound is also that offbeat country style epitomized by Nesmith but sometimes picked up by other groups. [Remember "Nashville Cats" for one.] The effect is to create a bright, creative country sound that is contemporary yet honours the tradition from which this music arises.
With this group especially, I wish lyrics were included. Since their first release, Hurtin' for Certain, I have been impressed by Luther Wright's abilities as a songwriter. At first hearing, the lyrics are plain homegrown stories told simple. Their apparent simplicity masks a certain quirkiness that blends right in with the musical approach of this band.
It's a welcome change to hear a release which includes two instrumental tracks. "Good Night" and "The 7 Seas" are both bright, lively numbers with that round-dance foot-stomping quality about them.
Roger's Waltz was recorded at Sarah Harmer's Back Porch studio and, among other guests, features Harmer helping out with some of the vocals.
As with many contemporary musicians, these fellows sometimes seem to play songs faster than they really need to be, and faster than the speed at which they might sound best. "Rogers Waltz" is a good example. While the title song of this release has a clearly defined waltz time signature, it seems to be played at about double time. As I listen to the words and music, I would like to hear "Roger's Waltz" at about half to one quarter the tempo recorded here.
By now, most listeners know about the practice of slipping a bonus track or two onto a release. It used to be that such tracks were a bonus. Often these days, the extra tracks are only that: extra, unlisted tracks thrown on for no apparent reason. Luther Wright and the Wrongs have taken another step down that road. This release features not a bonus track but a surprise track.
"The Seven Seas" clocks in at 25 minutes and 6 seconds. The thing is, it's not really anywhere near that long. The actual song is only about a minute and a quarter long. There follows about twenty minutes of dead air for no apparent reason. The track ends with almost three minutes of band members indulging in banal and ultimately boring conversation. On such a good release, it's surprising to discover something this bad.
No web page for this group either. That's too bad. I'm sure readers would enjoy discovering the broad musical background and influences of members of Luther Wright and the Wrongs. I don't have the space to give it here, but it's impressive. Perhaps a web presence will develop later.
Meanwhile, if you're interested in country music with a positive difference, I do recommend giving a listen to Luther Wright and the Wrongs. I'm not sure whether it's available at your local store, but you'll find Roger's Waltz at Cold Snap Music.
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