Album Review – Charley Crockett’s “Dollar A Day”

Western (#512) and R&B-inspired Americana (#570.5) on the Country DDS.

After announcing his signing to a major label in Island Records, Charley Crockett promised us a trilogy of albums that would weave through an underworld of dirty deals, shadowy characters, and general intrigue coined “The Sagebrush Trilogy.” It was hard to not get a little giddy about the prospects.

The first installment released in March titled Lonesome Drifter was entertaining enough, and with the incredible volume of releases from the Texas native, you forgive him if there’s a weak track or two on an album. With a new version of fan favorite “Jamestown Ferry” and a cover of George Strait’s “Amarillo By Morning” among other tracks, the album felt solid, but a little sleepy, and seemed to lack the vision and originality you would expect from the first installment of a cinematic trilogy.

With Dollar A Day, the grandiose promises Crockett is prone to slipping into are fulfilled. With 15 tracks, more variety in sound, and a more grand scope, this is everything what you want an album to be, from Charley Crockett or anyone else. It’s country. At times, it’s funky. It takes you places and tells interesting stories. And though it comes with many bold flavors of varying origins, this feels like a Charley Crockett Western overall.

You’re fair to wonder if co-producer Shooter Jennings has the same acumen for channeling the classic country and R&B sounds that previous producer Billy Horton did. But what is brought to Dollar A Day is plenty of imagination that takes the album beyond the mundane, infusing it with the thematic scope, while also keeping it just enough familiar and grounded to give it immediately infectious moments.

There is some great writing on this record, even if it’s not always Charley’s. When you think to yourself, “Oh, that’s a great concept for a song,” or “That’s a strong lyrical hook,” it sometimes comes from a cover or contribution like “All Around Cowboy,” or “Die With My Dreams On.” Don’t undersell Charley’s gift for finding good songs and making them his own, while “Tennessee Quick Cash” co-written by Charley with Shooter Jennings is perhaps the top banger on the record.

With the wild variations in mood and style in this collection, it only feels fair to regard the songs individually as opposed to trying to characterize them as a whole. It starts off a little slow, but overall, the sentiment on Charley Crockett’s Dollar A Day would be strongly positive, with kudos to the boldness brought to the project, and the immersive aspect it achieves.

8.2/10

– – – – – – – – – –

Purchase/stream Dollar A Day

1. Dollar A Day

Western (#512) – Not exactly the liveliest track to start an album off with, but it allows Crockett to prepare you for the cinematic journey this album takes you on, and is a good intro to the surprisingly Western flavor the album presents. “Dollar A Day” is a stripped-down and distinctly Western track written by Dick Glasser and Vincent LePar, and was recorded recently by Sterling Drake as well. It might have been better if the title track was written by Crockett himself, but he wears it well.

2. Crucified Son

Classic Country (#510.1) – An autobiographical song from Crockett, the lyrical hook was likely inspired from the experience of having his name turned to mud locally after his brother was arrested while he was a young man. The song also mentioned the massive parking lot out behind The Nashville Palace near the Grand Ole Opry. For years, this is where many touring performers parked their busses long term when they were off tour, and where some aspiring musicians lived in their cars. Crockett is playing a one night only show in the famous parking lot on Monday, August 11th as a promotional show for the album.

3. Woman In A Bar

Countrypolitan (#510.5) – This is an understated track with a classic arrangement and production. Written by Crockett himself, you could assume it’s about his wife Taylor Grace, and how someone can go from a stranger to the love of your life. Along with being understated, the track also feels a little under-developed, not really allowing Crockett’s vocals to hold any emotion, while the music fails to make a strong impression. This is one of the weaker tracks on a strong album.

4. Ain’t That Right

Classic Country (#510.1) – This sounds like a true tale from Charley Crockett about losing one of his managers, possibly gaining another while flying in a private plane, along with other escapades in Salt Lake City, Red Rocks, and back in Austin. This song might need a little explanation from Crockett to make sense to anyone but him. It sets a strong groove, but the guitar solos that seem to be purposely sloppy leave some to be desired.

5. Lone Star

R&B-Inspired Americana (#570.5) and Western (#512) – “Lone Star” is one of numerous songs on the album that is Western in the writing, but Motown in the sound. Crockett’s gift is being able to seamlessly work with various roots music forms, and this song is a good example of that. You might not even be aware it’s not a country song until someone points it out. The guitar soloing here sounds like Crockett himself and his thumb plucking style. The dirtiness of it gives the song that sweaty, gritty feel.

6. El Paso to Denver

Traditional country (#510) and Western (#512) – This is a song that can only be written and sung from intimate experience. The way Charley Crockett evokes geography on this album is one of the ways he’s makes the listening experience so immersive. Once again Crockett and Shooter challenge the audience with rather sparse production and a slow tempo. But in this case, it marries well with the story. Crockett co-wrote this song with Taylor Grace.

7. Santa Fe Ring

Western (#512) – Ennio Morricone is smiling down fondly over this track. Some of the songs on the album have little or nothing to do with the deeper narrative Crockett is trying to present in his Sagebrush Trilogy. Others are outright essential if you’re trying to thread the narrative together. “Santa Fe Ring” is one of those songs.

8. Age Of The Ram (Theme)

Western (#512) and Countrypolitan (#510.5) – This is a string interlude composed and performed in part by Stephen Barber. The track once again sets the cinematic stage for Charley’s deeper story. “Age of the Ram” is referenced numerous times during the album. In an astrological sense, the Age of the Ram refers to times of conquest and empire building. It also happens to be that with a birth date of March 24th, Charley Crockett is an Aries.

9. I Stay Ready

R&B-Inspired Americana (#570.5) – This is one of numerous songs that you wish Charley Crockett would have written for the album since it includes a lot of interesting verse and rhyme, but you also give credit to Crockett for hearing a song worth recording when it comes his way, and doing his best once he gets a hold of it. “I Stay Ready” was written by Austin’s Anthony Farrell of one of Crockett’s favorite local bands, The Greyhounds.

10. All Around Cowboy

Western (#512) – Folks who know about the rodeo know what the “All Around Cowboy” is. It’s not the person who necessarily wins any of the individual competitions, but competes in them all, and shows heart, guts, tenacity and skill. There’s perhaps never been a better premise for one of the hardest working men in country music to build a country song around. A great song to add to the Western flair of this record, written by Jack Wesley Routh and Lendell J. Pollard.

11. Tennessee Quick Cash

Classic Outlaw Country (#580.3) – This is a great song, and perhaps the best on the album. Though the direct reference is about pawnbrokers, the allusion is to to the record labels in Nashville, and their predatory ways. Sure, you can pawn your future with a major label and walk away with some jingle in your pocket. But they may own your ass indefinitely afterwards. This feels like a song that could become a Charley Crockett all-timer.

12. Die With My Dreams On

Classic Country (#510.1) – Along with the other attributes Crockett can boast, he’s a tireless student of the music, listening through obscure and overlooked releases to discover the hidden gems of the country music catalog, and expose them to a present-day audience. “Die With My Dreams On” is a great example of this. The great lyrical hook is complimented by the languid music and the mournful trumpet of Kullen Fox. Written by Rich Minus.

13. Ballad of a Lonesome Drifter

Western (#512) – You could hear this track appearing on an old Western album from Marty Robbins. It feels like the real title of the song should be “The Texican,” but perhaps Crockett was worried this would come across as polarizing. Classic Italian singer and film soundtrack composer Domenico Colarossi is credited on the track, likely because Crockett borrowed portions of a similar composition. This is a song that you can hear the age in. It meanders a bit, but sets a good mood.

14. Destroyed

R&B-Inspired Americana (#570.5) – If there is one track on Dollar a Day that feels completely extraneous, it’s this one originally recorded by Dan Pen and co-written with Spooner Oldham. That’s probably why it’s in the next to last spot on the track list where songs are often “hidden.” But it also might be one of the funnest songs on Dollar A Day. It doesn’t fit the thematic universe Crockett builds on this record. But as a standalone, it’s pretty darn entertaining.

15. Alamosa

R&B-Inspired Americana (#570.5) and Western (#512) – The final song on Dollar A Day is a great summation of the album itself. Referencing a Southern Colorado town in the rain shadow between the Sangre De Cristo and San Juan ranges of the Rocky Mountains where sagebrush grows, the lyrics unfold like a classic Western, while the music itself is vintage R&B. The strings add a cinematic touch to the music, and it’s a savory way to end a Charley Crockett record, encapsulating his sonic influences, and how he synthesizes them so well.