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The Idaho
Falls:
Concrete Prairie
Anyone who took notice of Loretta Lynns fantastic Van Lear Rose last year (and there were quite a few) should find much to like about The Idaho Falls Concrete Prairie. An L.A. band steeped in tradition, the Falls bring a modern touch to sweet country ballads and light rockers that will have even those familiar with country only through osmosis tapping their toes. Filled with gorgeous pedal steel and exquisite harmonizing, songs here cant help but feel nostalgic the album practically glows with an unabashed love for country (or even just the idea of it). But despite an old-time feel, smatterings of guitar effects and a punchy rhythm section tip the scales ever-so-slightly, and there are moments during the finest outings here that perfectly sum up what this band does best. The albums title track beams Hawaiian-flavored 1940s AM radio before a startling segue into space-age balladry, with a lover beckoning to a city love with promises of a better life, before landing back in Don Ho territory. Its wonderful, but love isnt always so peachy in the desert, as Canyon Walls might attest, with a slow build-up to an even bigger payoff. In the songs final charged moments, Raymond Richards heart-wrenching cry of Its me thats doing things wrong surrenders to overlapping harmonies, cascading drums that seem to fall from the sky and a pedal steel that could make the stars cry. Its positively moving. They shine again on the closer, My Favorite One, and this might be Richards best vocal performance. Theres something sad in singing about lost love, but something sadder in singing Im glad you came along. It takes a big man, and its a line that defines Richards perhaps in a way his voice cant. As the story goes, The Idaho Falls formed late one night when two city kids discovered their mutual love for pedal steel guitar and classic country artists, and though they cant quite escape the revivalist-giveaways, their intention smacks of authenticity. Surely the songs are sharply crafted and the playing always excellent, and yes theres good pop throughout, but their utter lack of pretension might be their biggest triumph. Credit should also be given for their avoidance of the all-to-easy city-bashing (they live in L.A. after all), but songs do lie in the juxtaposition presented between the bustling metropolis and the open range. Thats very L.A., come to think of it. No, their business seems to be in romanticism: Concrete Prairie above all is a love letter to the past, and who doesnt want to escape now and then?
This album can be purchased at Tone Vendor About LOTD Contact/Staff Advertise Home All content LEFT OFF THE DIAL 2001-2005. All rights reserved. |
