A Country Kiss From Seattle

At this reflective time of year thinking about what may lie ahead comes with a bit more apprehension than usual. If a bit of distraction from global or domestic gloom is what you’re after then this new album, Till the Daylight Comes from Country Lips could be the very thing. Released in the US a few months ago with an imminent UK debut, this is a record from a good time band whose sole intention appears to ensure anyone listening comes away feeling happier. After only a couple of listens I know I did and I’d love to see them live.

From a UK perspective that might be a bit harder as Country Lips are based in Seattle, WA, and while their website indicates no shortage of live appearances, these do not seem to go much further than the western states. Never mind; however you consume music just play this record, crack open a beer and turn it up.

Country Lips are an eight piece outfit and this is their fourth album; three in the studio (first in 2012) and perhaps not unsurprisingly, a live recording made in 2015; Live at the Little Red Hen which would appear to be their home venue. That’s definitely worth a listen too.

I haven’t been able to find out much about the band except that in looks they are a refreshing change from the sanitised images from the marketing departments seen at the pop end of country. These boys look like outlaws. If they entered your bar, silence would soon fall as heads turn to eyeball this ensemble. But after a few tunes they’d be everyone’s friends because so much of their repertoire is good time stuff. They don’t cry into their beer.

Country Lips are Austin Jacobsen (bass), Trevor Pendras (electric guitar, vocals), Miles Burnett (drums, vocals), Hamilton Boyce (electric guitar, vocals), Alex Leake (acoustic guitar, vocals), Jonah Byrne (fiddle), Kenny Aramaki (keys) and Gus Clark (accordion, mandolin). They are product of two bands in the Seattle area that got together to play the sort of country that would make Cash and Haggard proud. Whether foot stomper or balled, it comes from the heart and with that line-up’s musical range, it’s a big sound.

The opening track, “Laundromat”, has a chicka-boom opening that goes straight back to the Tennesse Three though the vocals don’t quite reach the depth of the Man in Black. “Grizzly Bear Billboard” doesn’t so much describe what’s being advertised as what goes on behind. Not a deep meditation but an honest account of love on the road this track gives the record’s first proper twang and next up, “Reason I’m Drinkin’”introduces the superb sound of Gus Clark’s accordion. There may be eight in Country Lips but they play as tight as a power trio. Next comes a wistful ballad with a true old country theme, “Only Here Long Enough to Leave Again” shows the band’s various talents, this time at a slower pace. “Bar Time” must be dedicated to all whose enthusiasm for staying in the bar right until closing time exceeds that of the bartender’s.  The blend of fiddle, accordion and a Texas Two- Step beat would make sure no-one left early. “Friday’s my Friday” has a slightly heavier feel giving the guitarists a chance to take the lead with some fine duelling licks. “Holding Out” has a real Cajun feel with a driving accordion more likely to be found in the Bayou than Seattle. Just to prove these guys are not to be labelled there is a hint of the Burrittos in the harmonies opening “Don’t Quit Your Day Man”. The album finishes at a perhaps surprisingly slower tempo but again, further proof of  how well this large group of musicians meld together.

Above all, what this record achieves is to create a live feel on a studio album. A compelling live band doesn’t always transfer easily to a studio album; these aren’t songs that require deep thought but they do say,”c’mon be happy and tap those toes, we can play”. And that’s what Country Lips do, they play. It’s a skilled group of musicians playing their socks off and as far as I’m concerned, hats off to them.