Album Review – Barrence Whitfield “Under The Savage Sky”
As each day passes it seems the “Americana” genre is infiltrated more and more by these eepish shoegazing post-grad white boys and girls looking to emulate the Motown or Muscle Shoals or Memphis sound with what’s basically throwback R&B or rock and roll flying the “Americana” flag for no other relevant designation to name to it. Not that there isn’t some great music being made in this space. JD McPherson deserves high praise as a rock and roll throwback revivalist that really gets what’s at the heart of the music, even though we may have been a little spoiled for our rock and roll fix by the more energetic approach of Nick Curran and others before him.
Everybody is going gaga these days over anything producer Dave Cobb touches after his success with Sturgill Simpson and Jason Isbell, but some forget Cobb cut his teeth helping to record those early Jamey Johnson albums, and was seminal to the early sound of Justin Townes Earle that really helped set off this whole Muscle Shoals soul revival sound found permeating both independent and mainstream roots music. The issue is not the sound itself, it’s the abundance of it, and how it’s slowly becoming the mono-influence of Americana.
When Justin Townes Earle released Midnight At The Movies, it was pretty innovative. Now we hear the latest track from Canadian country star Corb Lund called “The Weight of the Gun,” (produced by Dave Cobb), and it has that same Muscle Shoals sound we’ve heard from lots of other Americana artists.
I say all of this as an introduction to Barrence Whitfield and The Savages’ new record Under The Savage Sky to illustrate that even though Americana may be hitting some high water marks these days, there’s a lack of authenticity there, too much sameness, and not a lot of underlying enthusiasm to the music. This becomes patently clear when the raucous Barrence Whitfield is unleashed in front of the microphone, and the growls and screams and grit missing from the current Americana scene are rediscovered, and the joy of music is rekindled in the listener’s heart.
Under The Savage Sky is the reason you can’t ever let a release from Bloodshot Records pass under your nose without at least a sniff. From being the first to pick up on Justin Townes Earle, Ryan Adams, and so many more, to maintaining a home for artists like Wayne Hancock and Dex Romweber, if you want to listen to the music that influences others, this is where to look.
Barrence Whitfield is not country. He’s not even close. This is old school blues-inspired rock and rock soul brought hard and heavy with an unhinged attitude virtually unheard these days and welcomed to the ears of those looking for music with guts. Barrence has a history hanging around the periphery of the country realm though, earning the respect of alt-country types. It was during the heyday of Whitfield’s career when he released four records through Rounder between 1985 and 1989 that the foundations were forming for what later would become Americana. Then in 1993, he collaborated with country and roots artist Tom Russell on Cowboy Mambo and Hillbilly Voodoo. These two records, plus an appearance on a Merle Haggard tribute record put Barrence on the radar of some in the country realm.
Now 60-years-old, Barrence Whitfield isn’t showing signs of slowing down, he’s showing signs that he doesn’t know how to. Whitfield & The Savages come out kicking and screaming in this soul punk record with billowing sax, blistering guitar tones, and most importantly, Mr. Whitfield himself holding nothing back as he steps up to the mic, unhinges his jaw like a boa, and leaves no emotion left unstirred. The way he’s able to sing with a sincerity to his soul tones, and then rear back into a wild scream is the stuff a totally immersive musical experience is made of.
This is music meant to be felt as it pounds at your heart and rattles around in your rib cage, but Barrence Whitfield is no songwriting slouch, proven in the slower songs of the album like “Adjunct Street” and “Full Moon in the Daylight Sky.” But the blistering rockers like “Incarceration Casserole” and “Bad News Perfume” are what you come for, and what you find waiting to kick our ass in the track list of Under The Savage Sky.
Barrence Whitfield is not a name you’re going to see praised to the rafters or land on every end-of-year “best of” list, but his influence and the power of his music is unwavering, and Under The Savage Sky is as good of a place to start discovering his genius as any.
1 3/4 of 2 Guns Up. (8/10)
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September 8, 2015 @ 6:40 pm
Yeah I can appreciate it… Kinda bummed it’s not country though
September 8, 2015 @ 7:43 pm
His name is fitting; Whitfield is the name of a nuthouse near here;)
September 8, 2015 @ 7:46 pm
Didn’t have the space to get into it in the review, but his real name is Barry White. He changed it so there would be no confusion.
September 8, 2015 @ 7:57 pm
Wow! I love the two tracks. I’m definitely getting this tomorrow.
Since his name came up, the more I listen to Isbell’s SMTF, the more I think Cobb did the album a disservice. As strong as the songwriting is on the album, I can’t get past the filmy, NPR, dated Adult Contemporary sound of the album. It feels too much like early Ryan Adams – Heartbreaker, Gold – predictable and safe.
September 14, 2015 @ 9:04 am
I have been on the anti-Dave Cobb bandwagon for a while. I guess any producer tends to have a similar approach regardless of the artist they are producing. I think an artist needs to consider that carefully going in–do I really need the thing that this producer does? And I don’t hear much breadth of production from the (admittedly limited amount of) DC material I have heard.
Mutt Lange: Great for AC/DC; not so much Brian Adams IMHO. (No comment on Shania)
Pete Anderson: Great for Dwight, but I read an article about one of the women he produced who felt very stifled working with him (wish I could remember it).
I personally do not feel that the ‘name value’ matters very much once the needle drops. If it sounds wrong, it won’t sell as well. And it might put off potential buyers for the next album.
September 8, 2015 @ 8:33 pm
I fondly remember seeing multiple Barrence Whitfield shows in the mid/late 1980s when he rolled through North Carolina, including an unforgettable first show where of all places his band played in the basement of my freshman dorm. They just ignited the room, we were dancing on top of tables, Barrence lost his voice half way through the show, and then somehow he kept on singing. No matter how good they sound in the studio you’ve got to see them live. Just amazing.
September 10, 2015 @ 10:27 am
I saw him too at the same period here in France, in a bar near my hometown, fantastic and powerfull show, saw him again last year, but not with the originals savages,
September 8, 2015 @ 9:44 pm
I listened to the two tracks first before I read the article and was gonna say that clearly ain’t country but you addressed that. As I knew you would.
This ain’t a criticism as much as an observation. You do have to admit that it may be a bit confusing for someone who may stumble across this site and see it’s name and then the first article they read is an album review of whatever hardcore kind of rock music this is.
Anyway, again, thanks for all the hard work you put in to preserving this genre (Country that is).
September 9, 2015 @ 6:55 am
I think it falls under the umbrella of roots music, which is addressed in the site’s stated mission. It’s not that different from artists like Lee Bains III and Black Joe Lewis, who have been covered here in the past.
September 9, 2015 @ 8:29 am
Yeah, I’m not sure why the non-country-ness of this is such an issue. We’re all music fans first, and then our loyalties break down genre lines. This definitely has relevance in the country and roots world. All this tells me is I need to do more reviews like this (as I’ve done in the past) just to make sure folks are surprised when I post something along these lines. Frankly, if there was a country project that caught me ear like this one did, I’d be writing about it.
September 9, 2015 @ 10:28 pm
Oh I completely understand. I was speaking of the more casual reader or a newbie to the site.
September 9, 2015 @ 11:01 pm
How is this music “rootsy” in any way, unless the two songs posted above are unrepresentative of the album? Sounds like typical hard rock or metal to me.
September 10, 2015 @ 9:45 am
Metal? Please. This is total old school high octane rhythm and blues.
September 9, 2015 @ 7:11 am
Man, I enjoyed the hell out of those two songs. Thanks for the review.
September 9, 2015 @ 7:26 am
I happened onto BW&S while on the Bloodshot website ordering some Vinyl. I bought his last album on a lark. Man alive that man is crazy. Crazy good. I’ve enjoyed the absolute shit out of that album. I will be buying this one as well. Barrence Whitfield is on my top five artists to see live. Right behind Sturgill and Jason, who I will be striking off my list in November when I go to Nashville and Chattanooga.
September 9, 2015 @ 8:28 am
Is that “Dig Thy Savage Soul?” Was thinking of picking up the new one and that one.
September 9, 2015 @ 9:19 am
Yes it was. Corner Man, Turn your Damper Down, and Oscar Levant all great songs, but all in all a solid album.
September 9, 2015 @ 10:57 pm
Pretty terrible music. Both of the songs posted sound ridiculously harsh and completely lack melody, and are topped off by amateurish production.