A Thrilling, Haunting, Stark Collection of Traditionally Inspired Mountain-Hillbilly Music

A ghostly opening to a strange collection of traditionally inspired mountain / hillbilly music is the introduction — “North Idaho Zombie Rag (Mix)”  with its psycho-hillbilly saw that slices through the melody and maniacal guitar. Swamp eerie at best, the performance sets the stage, along with the plucking of an upright bass (Michael P. Waite) and with Alison M. Ward and Travis C Ward: they are Hillfolk Noir. Hailing from Boise, Idaho, the Wards sing on this first song with imaginative intensity. Their gritty, grinding and penetrating vocals do have an otherwordly attractiveness but a deep, dark Depression-era breeze blows through each note.

Lots of old Appalachian type ghosts possess their voices, but for the most part it’s more mid-West Depression-era in the mood. “Round I Sing / Mile On Up,”  is sung in an old-fashioned retro mountain family manner with dominant banjo and washboard throughout. However, there’s a vein of modern approach that runs through the rhythm and drives the tune. It’s rural, you can smell plenty of rain in the mud, and it has solid rootsy sensibilities. The tunes possess remarkable melodies and consistency. This veers close to the edge of novelty but it isn’t. The washboard effects are effective, the arrangements are accomplished. The majority of the “special effects” seem to be derived from household items instead of synthesizers. Tom Waits would appreciate the wealth of inspiration found on this collection from Hillfolk Noir.

“Poor Man’s Love Song,” opens customarily with plaintive acoustic guitar and Travis’ thin, yet delicate plea is fortified. With “Uncle Jake,”  Travis reasserts himself vocally with a more spritely vocal supported by Alison. Both Travis and Alison play banjo and the credits don’t outline who plays what or when and on which song. But the banjo playing is quite adept. The collection’s infused with interesting musical passages and for a three-man band it’s sound is quite full. While it all unfolds in retro fashion the production itself hints that its modernized and that can be an attraction to the untrained ear or younger ears. There is an element of hillbilly-punk in the concoction but it would be like trying to find the pinch of salt in boiling pasta water. 

If this old-time music is to your liking, Hillfolk Noir offer an interesting, eclectic collection. “Woods On Fire,”  while not sounding vocally like Ramblin’ Jack Elliott does possess his vocal inflection as Travis and Alison sing. One of the most catchy tunes on this album. With “Little Red Caboose,”  the music is fatter and the kind of song that children would love to sing with. Travis and Alison are at full-throttle vocally. There’s a lot of Carter Family enthusiasm in this and some old fashion folk music, and Jimmie Rodgers spirit in it.

From what I can muster — some tunes have an echo or reverb on the instruments and voice. It’s one of the few things I find as a distraction. The performance is so good, so honest to good rootsy and traditional that the “effects” seem to do more subtracting than adding to their quality. Of course, this can all be modified. Alison and Travis’ voices are “cool enough” not to need the bending of their expression. They should believe in their work and dispense with the weirdness. They should concentrate on how to use their natural resources to create their ambience. 

But, I could be wrong. The song “Gettin’ Late,” has more than the others and does have excellent banjo. But the vocal is reminicent of what Matt Johnson and his band The The did several years ago with a collection of Hank Williams covers that also utilized vocal effects on the album: “Hanky Panky.”  Samples are available on YouTube if you need to check it out. The songs all sounded like they were recorded in a bathroom or under the damp, basement stairs with water bugs and all. Johnson, however, had a much deeper voice than Travis and seemed to pull off his renditions a little better — or should I say, a little more interesting. 

However, I can’t slight Travis because his voice does have personality – especially on the next track “Shimmy,” which is marvelous.

It moves, it bops and shimmies like it should. The song is rollicking in a vintage style and on this track the effects work well despite the tin can sound – which may have been intended. It works because it sounds like it was recorded in the 1920’s and how it would have sounded coming off a Depression-era Philco radio in a remote farm house in Kansas.

Many of the songs are short but they get to the point quickly. Is this commercial music? Nah. But, it is a slice of “Depression-era commercial music” that many desperate ears searched for late at night twisting the nobs to find something entertaining as the wind blew against the door and the dust piled up outside. Songs like these were part of the landscape and history of the era. Travis and Alison succeed in capturing that feeling as if it were returning skeleton and all. I shoulkd mention that in pictures, the band of three also look the part and that’s a sure sign that they love what they do. They are thorough in their embrace of a gone-by music. Their performance makes it all the more interesting and Alison’s voice compliments Travis’ weary farmhand voice. He cultivates the back porch singer and he does it admirably.

“Little Sadie/Walkin’ Boss”  is arranged with electricity and “My Train,” is the little masterpiece of this collection.

Alison sings lead and interprets this song with gusto, believe-ability and heartworn sincerity. Travis’ back-up vocal is credible and it’s all expertly rendered. This tune could make any musician of this type of song from the Depression era proud. It has that prairie, field-worker soul and there’s wheat and corn in the melody. Both Alison and Travis sing very well on this song. They sound as if they could have easily opened for the Carter Family at a picnic or tent show, at a fair or rodeo. There is absolutely no novelty here as I said earlier. There is an underlining, genuine love for yesteryear projected in each strum, pluck or shuffle. This song is quite impressive. For young musicians this deserves foot stomping applause. A job well done.

Hillfolk Noir may not be for everyone, but it is musical and it is a document that is well-made, excellently performed in the spirit in which it was made and sung. It has moments that summon up the reasons this music is part of our heritage as much as the blues, jazz or country. It shaped the country and it’s all done with respect and creativity.

The final tune is a mis-step. Novelty is fine but it doesn’t fit with the quality of the previous songs. A song about sniffing glue would never be part of a Depression-era collection or make it to the radio – well, maybe making moonshine would. So next time, they should sing about wood-alcohol and it’s dangers straining the devil’s tea through an old car radiator with all its residual antifreeze in it. Sniffing glue is more for the hippies and not the Okies and Alison and Travis have provided such a strong collection throughout that they would be better suited to end on a strong note. Maybe they should just find a great cover song from the era they represent. How about one of the old Annette Hanshaw songs — “Who’s That Knockin’ At My Door,” or “We Just Couldn’t Say Goodbye.”  That would have been a more respectful bow out on an otherwise fine album. 

That said, the collection is dressed up in a simple six-panel diecut package. With all the space that was available to them a nice picture of the three musicians — in sepia — would have been nice. Maybe some lyrics to their most musical tunes would have been beneficial. Maybe next time.

The collection was recorded in Portland, Oregon – far, far away from Appalachia. There was no production credits but, I would assume Travis and Alison produced their collection. For lovers of this type of music – I do recommend it. It has a down to earth vitality and you can hear that it was done with plenty of enthusiasm.

Website:    http://www.hillfolknoir.com/

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Disclaimer: The opinions expressed in this review / commentary are those of the author and do not necessarily reflect the official position of No Depression. All photography is owned by the respective photographers and is their copyrighted image; credited where photographer’s name was known & being used here solely as reference and will be removed on request.

John Apice / No Depression / December 2015