Vintage Album Review – Sarah Shook & The Devil’s “Seven”
Before the debut album from Sarah Shook and the Disarmers called Sidelong, before Sarah was picked up by Bloodshot Records who later reissued Sidelong in 2017, and then released Sarah’s 2018 record Years that won the Saving Country Music Album of the Year, she was simply a bartender in North Carolina with a smoldering ambition to be an unknown dark country singer and songwriter haunting local dive bars. It’s from this desire and some nudging from musician friends that “Sarah Shook and The Devil” emerged in 2012 with a 7-song EP.
Recently reissued by Bloodshot Records on vinyl for the first time, Seven is Sarah’s slightly nascent, but surprisingly powerful and well-performed prototype for what would blossom into one of the most compelling underground talents of our time. A quartet that included Sarah’s current guitarist Eric Peterson and lap steel player Phil Sullivan, as well as upright bassist Jon Baughman, The Devil began playing bar gigs around North Carolina, eventually catching the ear of audio engineer Ian Schreier, who decided he wanted to give the outfit a shot in the studio.
Recorded all in only one day at Manifold Recording in Pittsboro, NC, Seven is much more than a collection of demo tracks. It may capture Sarah Shook in a formative state, but her smoky and haunting voice, and the warbles and yodels and moans that only she can pull off are all there and deftly utilized as she probes her vocal range and reigns in her control, discovering along with the audience her capabilities as a country vocalist, with that undeniable pain and darkness that makes her sound so enthralling bubbling to the surface. If nothing else, Seven is worth the listen just to hear more instances of Sarah Shook singing in studio, no matter the context.
If we’re being honest, some of the writing is where Seven comes across as a little undercooked, and Shook would be the first to fess up to that. But this is to be expected from an artist still discovering how best to articulate the thoughts from her troubled mind through song. Still the themes, the approach, the punk attitude and vision, and the smart use of dark melodies that makes Sarah Shook unique in country music are all there in raw expressions, along with lines and phrases that still deliver. An unpolished Sarah Shook is still so much more interesting and compelling than the super polished pop country of today.
And make no mistake, this is 100% country music, even if the growl and grit and dark mood is not what you often expect from a country record. Seven is even more rootsy and woody than Sarah’s later works, forgoing drums for the upright bass to drive the beat. Sarah and Seven are also distinctly underground, meaning it comes with an attitude many other players are too afraid to bring to the music, from the murderous “Shotgun Betty,” to the androgynous “Follow Me Home.”
And what really stands out beyond Sarah herself and the great partnership that has now been forged with her guitarist Eric Peterson is some of the tones and inflections lap steel player Phil Sullivan brings to this record. From moments that remind you of the stand up steel of the Hank Williams era, and others that remind you of the instrument’s Polynesian origination point, Sullivan puts on a clinic for the lap steel’s capabilities in the right hands, while creating an additional cool factor for these recordings.
The chemistry for Seven worked so well, when Sarah started the Disarmers years later, Eric Peterson and Phill Sullivan would make the migration, as would the producer/engineer of the album, Ian Schreier, who went on to produce Sarah’s Sidelong and Years as well.
Seven may not be Sarah Shook’s best work, but it’s a work from Sarah Shook, which means it still delivers a strong value only Sarah’s unique style and vision for country music can articulate. And for thirsty ears looking for more of her unique approach, Seven is very welcome and worthy of warm-regarded.
1 1/2 Guns Up (7.5/10)
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Purchase Seven on Vinyl
May 26, 2020 @ 7:14 pm
I have not been shy about my love for this album last year on here by any means. I originally ordered it on a lark when I’d ordered Sidelong and Years not having not having heard a note of it. Ya know, thinking I’d give it a couple spins out of curiosity and that would be that. Kind of wanted to see how it started. Nope! Over those months last year while seeing Sarah no less than 5 times this one (like the other 2) never left my rotation back in 2019. To me it’s just so real, so raw, and honest. What else can you ask from a young artist. Vocals are actually smoother to my ears than what I eventually came to love. Peterson and Sullivan are just as tastefully amazing on it as they still are today. Ghost Town was in the set for much of last year. This one might take a few spins but give it a chance. Damn you Sarah! Can’t wait for the new one.
May 27, 2020 @ 9:18 am
Agreed. She (and now the Disarmers) are 100% country and 100% punk. They’re not necessarily doing something that will make them famous or rich, but these albums will be touchstones for many years to come.
May 26, 2020 @ 7:36 pm
It’s unfortunate that Bloodshot is home to many of my favorite artists, because they invariably, time after time, produce the absolute shittiest vinyl pressings. And they know they do it. And they don’t care. Because they want to be able to sell them for $16, and they know that most of the people that buy vinyl don’t know what they are doing or think all the surface noise is cool.
It bothers me to no end because some of my favorite albums of all time are from this label.
May 27, 2020 @ 12:54 pm
Shoot, that sucks to hear, I was just about to search it out. You sound like someone who’s tried cleaning to see if it helps, yes? I buy vinyl as a general rule, but will go to the dark side if necessary for the music.
May 27, 2020 @ 5:47 pm
I have a few Bloodshot vinyl projects, and have never had a problem with them. That said, I do not have this specific title on vinyl, so I can’t speak for the quality. This review is based simply off the EP that I’ve been listening to for years.
May 27, 2020 @ 8:58 pm
LOL…..yeah I think this person got lost on judging the actual delivery method ie: the vinyl rather than the MUSIC which to their defense is what was released. Kind of like people reviewing albums on Amazon and giving it one star because the CD came cracked in the mail….lol BUT, and I will say this…… I personally gave up my turntable many many years ago so I have absolutely no idea of the quality variations in pressings of any albums these days but I do understand vinyl experts opinions on the matter. It’s like NOT debating the mix/production of every album we discuss which thank god we don’t do unless it’s ridiculous. Of course the review IS about the songs which speak for themselves on any format.
May 26, 2020 @ 8:02 pm
Great article. I’m excited to see them live sometime soon.
May 27, 2020 @ 5:47 am
Judging from the two songs shared, esp. the second, this is really amateur singer. Usually studio recording is used to disguise the singer’s shortcomings, but either no one cared or it was too hard to hide. She runs out of air halfway through phrases, can’t reach the low notes each and every time in either chorus or verse. She’s miked properly so the volume disguises her not-very-big voice, but you can’t disguise lack of ability unless you use autotune and effects, so I guess good job on choosing to not use those. Also if you write your own music, don’t write stuff that you can’t sing.
May 27, 2020 @ 8:47 am
Although I dont really like her music, i think you are wrong.
May 27, 2020 @ 9:00 am
Though I wouldn’t disagree with your points, I think that context is critical here. This was an artist who was five years away from taking music serious, going into a studio for a day to record with her bar buddies in a band that would break up the next year. Ideally, she would have gone back and re-sung her parts, and as I said in the review, you can definitely hear her finding herself as a singer in these recordings. But the bones are definitely there, and that’s what makes it a cool snapshot of Sarah Shook in her development. Not for everyone perhaps, but for those who really identify with her music, this EP is invaluable to them.
May 28, 2020 @ 12:01 am
You raise a good question here. Should this be viewed as a musical piece, on its own merits, immature/amateur as it is, or should this be viewed as “here’s where she started” piece. In view of the latter, it’s very interesting and her fans should definitely check it out and find a lot of interest. On its own, which is how I heard the songs, not even knowing she has that 2018 release, since I’ve joined this blog about a year ago, it’s, well, my original point stands. It’s a rough sketch, but I’ll make sure to listen to the actual painting.
May 27, 2020 @ 7:15 am
Chick Singer-Badass Rocker duet w Ray Wylie would be fitting…looking forward to the new tunes…totally underrated
May 27, 2020 @ 8:01 pm
Sarah Shook is one of my favorite artists. I’ve seen her a bunch of times. Great band really nice people. She sings about things I can just identify with.. not for everyone. But it’s for me.. I really wish she would catch on more. Deserving.. she really is unique.
May 28, 2020 @ 6:35 am
I can’t get into her. Her voice is Waffle House karaoke night. Kristofferson didn’t have the best voice, but delivery went along way.