Wayne Hancock – Thunderstorms and Neon Signs

It’s inevitable that within the span of that same breath that first mentions Wayne Hancock, you’ll also hear “…sounds like Hank Williams.” It’s true. Looking like a character from a John Steinbeck novel, Wayne Hancock invites comparisons to country pioneers.

The simple the fact that Wayne “sounds like Hank” might be enough to pique the curiosity for just one listen to his new Dejadisc CD, “Thunderstorms and Neon Signs”. But there already has been one Hank Williams — well, OK… two of ’em — but just one that matters to us “real” country fans — and that one was a mighty fine one. So, it’s imperitive that Wayne delivers on this record more than just a decent Hank Williams impersonation. I’m happy to report that he delivers considerably more.

“Thunderstorms” was produced by veteran pedal-steel virtuoso, Lloyd Maines, who also is responsible for several of my other favorite Texas country projects, notably Jimmie Dale Gilmore’s eponymous Hightone release. Instrumental support is provided by a solid group of Texas players including guitarists Bob Stafford and Paul Skelton, and bass virtuosos Ric Ramirez and Kevin Smith. Guest soloists include Sue Foley on guitar, and Herb Steiner on steel. Of particular interest is the total absence of drums on the disk. One might not notice this absence, so strong is the rhythm set up by Wayne’s acoustic guitar and the slappin’ bass.

Prior to the release of this CD, I’d heard Wayne Hancock on several occasions — always in the context of covering traditional country material. This in mind, I was very pleasantly surprised by the song writing. With one exception, the material was written by Hancock ( no relation to Butch, by the way.)

There’s a tragi-comic element throughout this album — that Emmit Kelly, smile-painted-over-a- frown — exemplified by the title cut, “Thunderstorms and Neon Signs”, a poignant portrait of a person whose childhood was spent moving from town to town, but who loves the “motel life.” Moving beyond the traditional three chord country prototype, the song musically and lyrically evokes the type of dustbowl images that Wayne himself embodies.

I really like this record… it’s spent plenty of time in my CD player. While I don’t expect that Wayne’s hardcore country twang will nudge Vince Gill off his “vocalist of the year” throne in next years Country Music Awards, we may, nevertheless, one day hear some new country artist described thus: “…sounds like Wayne Hancock.”