Modern Day Hillbilly, Traditional Country Jambalaya With Savory Tradition

At first, Ryan’s voice was peculiar and nasally but on second listen Ryan’s showcase was as penetrating as Jimmie Dale Gilmore. So, I took my time and listened to Ryan’s lyrics and music with a more focused ear and this St. Louis native — Ryan Koenig has some wonderful moments on his debut solo album Two Different Worlds. It’s sprightly, has a drive and its melodies are rich — somewhat modern-day hillbilly. But don’t let that discourage you if you’re city bred. These songs navigate well through the collection and it’s not hokey-pokey at all. Ryan has played honky-tonk, country, blues-soul, hot trad-jazz, and a host of other genres. There are surprises and if nothing else – he is an accomplished touring and studio musician.

Ryan has played and performed with many well-known country artists and is a multi-instrumentalist known for his performances with Pokey LaFarge. Ryan has recorded and performed on harmonica (quite excellent), guitar, guitjo, banjo, dobro, fiddle, mandolin, washboard, bass, bones, and jug–just to name a few. I play solitaire. 

His vocals on track two “Strugglin’ With a Lot,” is rousing and distinctive. Wonderful guitar work and fiddles. I guess my appreciation of Ryan at this point is more in his expressiveness and not an attempt to sound sugary and sweet like so many more commercially adventurous country singers. Instead, Ryan is all original and comes off as the talented guy next door who can kick ass on any instrument and it’s his unmistakable voice that lends a special sensitivity and authenticity to it all.

“The Old Main Drag is About to Drag Me Down,” is in a no-frills Townes Van Zandt style sung by a Jimmie Scott of country. The tune has finesse and because it’s a little weird is what makes it so attractive. Ryan’s choice of words in his lyrics are wonderful. His songs touch upon gentrification, mortality and the dichotomy of romance and violence, which are part of the country canon. All of this cited on his press release and I agree, it’s accurate in its description.

“Podemos Si Te Quieres,” is a short Mexican-flavored song that could have been performed by The Texas Tornados – you know, that group that featured such talent as the late Freddy Fender and Doug Sahm. They would have loved this stuff. Heartbreak and longing, the addition of the female vocal – all powerful stuff and convincing. Ryan plays rhythm guitar, lead vocals and, harmonica. Mat Wilson and Justin Brown play lead guitar and harmony vocals, John Horton (The Bottle Rockets) is baritone guitar, and there are other lead guitarists sprinkled throughout the recording: Adam Hoskins and Jack Grelle.

“Am I Still in Your Heart,” is a typical country ballad with a simple standard beat but Ryan’s instinctive vocals peels back the heartbreak like the skin of an onion. It’s wrenching and it could have been a great song for the late Johnny Cash, Willie Nelson, Johnny Horton or a deep baritone like the late Jim Reeves. The build up on this tune is wonderful. Could be a hit for someone. Maybe even Ryan. 

A horn opens “Cheyenne,” and it’s supported by deep retro lead guitar. This is one of the more melodic, accessible and catchy of Ryan’s songs. He’s steeped in an old tradition that he single handedly spit and polished like a ’49 Buick Roadmaster. This particular track is impressive and worth multiple listens. The horns are charged and Ryan’s peculiar vocals work here and resonate. His voice with the brief female vocal that comes in offers a nice contrast. This album gets stronger as each track proceeds.

“It Don’t Matter,” is energetic and impressive. A shiny, glistening voice would not lend any more intensity to it. Ryan’s voice here is perfect. Nice military type drums are different and the instruments punctuate nicely all-around Ryan’s voice. Ryan is definitely, if nothing else, a legitimate link to a rich bygone country era. Maybe that alone is the reason many established artists reach out to his abilities. Country music runs through his veins and he is capable of allowing that voodoo to come through his musicianship.

Why more country-established musicians like Ryan haven’t captured a greater share of the spotlight is beyond me. His music should be poured all over country stations. “Easy to See,” is dynamic. Ryan needs to sing more songs with that accentuated female vocal because it works magically with his type of voice. Ellen Herget, Jenny Roques, and Nick Zengerling provide this harmony vocal and it’s balanced. Tom Heath plays pedal steel guitar, Brice Baricevic – bass guitar, Joey Glynn is on upright bass and Matt Meyer takes care of the drums.

Additional musicians include Kristo Baricevic on organ and piano, Kellie Everett is on baritone and tenor saxes and adds harmony vocals. Mary Ann Schulte is on accordion and Gary Hunt is the fiddle player.

On “Pueblo, Mexico” Ryan once again provides a song The Texas Tornados or Los Lobos could have also enjoyed performing. Nice touch on the saxes gives this bouncy song its lift and the aggressive lead guitars shimmer. Ryan always offers emotive vocals and the arrangements are intricate at times. If I were a country singer I would definitely dip into this man’s songbook for potent songs. These are vintage sounding at times, but not old-timey. Ryan is too wise for that. I also like the way Ryan looks – he is authentic right down to his appearance. After awhile his voice becomes easier to listen to and so much so that when he stops you are waiting for the next song.

Ryan Koenig’s contribution to country is to be commended. I guess what I’ve come to like and respect about Ryan is that he doesn’t surround his material in clichés. He writes creatively, thoughtfully and then he kicks hard like a mule. This is a songwriter to keep an eye on because his instincts are good. His dedication is unquestionable and he is free of the restraints of the calories that are commerciality. You will certainly not find tedium in a Ryan Keonig collection.

The 34-minute CD collection concludes with “Last Resident,” and it closes out his album with another song that could become a country classic. Jack White hired Ryan to play on his Grammy-nominated album Blunderbuss, and though Ryan was a side man when people like Jack White asks, no – that’s wrong, when Jack White relies upon and depends on you to play – the value-added to your ability and name goes up. Ryan’s been playing and recording since 2005 – his time is sure to come. He’s just waiting for that spotlight to turn a little inch his way.

All songs were written by Ryan except “It Don’t Matter,” (written by the late Bob Reuter). It was Produced by Ryan Keonig with Kellie Everett, Kristo Baricevic, and Ben Majchrzak.

The CD is a four-panel sepia toned glossy package with no lyrics unfortunately. Ryan seated with the chairs up on a bar wearing his Smith-Brothers cough-drop beard. Actually, lends a lot of credibility to his music and suits him. There are ten tracks on this collection.

I learned recently that Ryan Koenig was seriously struck by a car in 2017 in South Carolina and is recuperating. Send him a card – that would be a considerate thing to do. See below. Get well, Ryan.

Website:  http://www.ryankoenigstl.com/

Facebook: https://www.facebook.com/Ryan-Koenig-707338392703209/

YourCaring: https://www.youcaring.com/ryankoenig-1037455

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 a reference and will be removed on request. YouTube images are standard YouTube license.

John Apice / No Depression / June 2018