For a rip-roarin’ good time, country singer/songwriter Charlie Treat’s new album is the perfect answer to your prayers. Beginning with the amped-up energy of “I Ain’t Gonna Be The One To Do It,” he finds a way to lure the audience in with wit and a bite of nostalgia in the instrumentals. Even the slow down of pace with the second track “Drink With Me” holds lengthy, rhythmic lines, with (what appears to me to be) clear nods to The Black Crowes. (“Hard To Handle,” specifically, for those of you asking. And yes, it did take me calling the insanely talented music journalist Elizabeth Schneider to pinpoint the exact sound. Kudos to her.) Just those two tracks will have your mind spinning, but there are ten more inspired songs left to enjoy past that with this new release.
“The Two Best People” really brings the energy down, while singing of “bringing each other down.” Bluesy, beautiful energy to launch you into a light, airy “Tune As Pretty As You.” “Steamshovel Blues” brings the pace up again, but “So Much Better” lulls us back into that slow, glittering, 70’s sound. “Rain Again” comes at you with an edge off the bat, with some quick bongos and even quicker lyrics.
“Drive My Blues Away” is the most melancholic track we have yet to experience on this collection. The vocals seem very inspired, at times Springsteen, and at others Steven Tyler. The piano and whirring guitar solo make the whole thing feel like it could have been recorded in the 90s.
Thank goodness “Dollar For Dollar” brings the pace back up, as the subject matter isn’t entirely something to celebrate. However, the idea of rallying for the working man is something we can all relate to, especially after the trials the last year has presented us with. “Dancing At The Bar (The Quarantine Song)” starts out with glittering synth, and honestly we could see this track being performed alongside anything by ABBA. (Can you hear it?) “Candi” plays with dissonance before the first vocals hit, making it feel almost calmer as the lyrics set in. The whole album is rounded out quite well with “Biggest Fool,” which somehow blendsseveral of the aforementioned genres into one song. (Is that sitar? Are we in a 70’s music video? Where did that trumpet come from?)
One thing is for certain. Charlie Treat has chops. His ability to write lyrics that somehow perfectly complement each instrumental, creating new sounds that simultaneously pay homage to genre-spanning predecessors, is actually quite unique and very appreciated. The Comet should be approached as an adventure and a very appreciated leap into nostalgia.
The Comet is out on March 26.
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