Rating:
Genre:
Country
Release Date: 04/06/1999
With all of the comparisons to
Southern rock legends
Lynyrd Skynyrd,
Marshall Tucker,
Charlie Daniels,
the Outlaws, and so forth, this solid, hardcore rockin'
honky tonk duo and their amazing band is an entity unto themselves.
Eddie Montgomery (brother of
John Michael) and
Troy Gentry are equal parts
country music that comes from
Merle Haggard,
George Jones,
Wynn Stewart,
Dwight Yoakam, and even
Hank Williams. At the same time, they play a scorching brand of
rock & roll that has everything to do with the aforementioned heroes of the 1970s and
the Allmans too because the
blues are at the root of everything they do. This is an auspicious debut album, one that not only shows promise, but delivers the goods in the form of great songs written by a host of Nash Vegas' and Texas' finest -- if unknown new breed -- and absolutely tremendous performances. Check the hard rocking opener,
"Hillbilly Shoes," with its flatpicking guitar intro supplanted by overdriven fiddles and screaming dual lead guitars. And
"Trying to Survive" with its guitar, pedal steel, and piano fills is reminiscent of the feel, not sound, of
Tucker's
"Can't You See." It's easy to embrace
Tim McGraw and a host of others who use
rock & roll as way of framing their
country music, but
Montgomery Gentry don't use
rock; they are a
rock band who make
country music, real
country music. Check the gorgeous chorus on
"Lonely and Gone" that is commenced with a
heavy metal guitar intro only to become a gorgeous mid-tempo
ballad. Other tracks, like
"Self-Made Man," are pure modern
honky tonk. Vocally, the harmonies between this pair are a perfect balance of beer and fine whiskey.
Montgomery's rough hewn baritone and
Gentry's almost unreal range and trademark phrasing make something highly original in the face of so much cookie-cutter Nash Vegas big-hatted crap. The funky
blues on
"Daddy Won't Sell the Farm" with those fiddles and pedal steels wrapping around a greasy keyboard line lead into a rebel Southern son's admiration for a man and a way of life that is quickly disappearing. The drums propel the tune forward, and the guitars fill what little space there is with rollin' and tumblin'
blues. The
Bakerfield honky tonk of
"I've Loved a Lot More Than I've Hurt" is as traditional as it gets, and
Jones or
Yoakam could have cut it. The title track is a great morality tale, and
"Trouble Is" is a
Gentry showcase with his singing tenor in the hillbilly groove that is equal parts
blues, tonkin' stride, and
arena rock.
Montgomery Gentry should be nothing less than amazing in a few years if they keep this up, because this is solid, ass-kickin'
country-rock. This is one of the best
pop records of the year. Period.
~Thom Jurek, All Music Guide
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