The Grahams had a lot to live up to when they set about work on their second album. Their first, 2013’s ‘Riverman’s Daughter’, had been a brilliant slice of Americana written and recorded as they travelled along the Mississippi River, and had received appropriately enthusiastic acclaim (including ours). The follow-up ‘Glory Bound’ (released May 19 in the US and due October 2 in the UK), takes a similar journey through America’s heartland, but this time experiences it on rails, a backdrop that is expressed inherently within the album. From the first note of the title track and foot-tapping opener we are introduced to a steady, incessant rhythm that grabs us and holds us in place for the entire bumpy ride. ‘Glory Bound’ steams forward purposefully and defiantly, Alyssa Graham’s vocals infused with a renewed passion and fire that demand our time and attention.
All musicians develop and evolve over time, but this project from The Grahams appears altogether more ambitious, feistier, and more varied, Alyssa in particular helming the pace of the songs as she metaphorically struts around with attitude and real artistic voice. That’s not to diminish Doug Graham’s contributions, of course, and his harmonies coupled with dobro and Alyssa’s acoustic guitar work form the rock solid base of a powerful and affecting Americana sound. The record boasts an impressive list of contributors, from John Fullbright to Byron Berline (Bill Monroe, Flying Burrito Brothers, Dillard & Clark, Stephen Stills), and Ryan Engelman and Gabe Pearson of the Turnpike Troubadours. All of this was brought together with the help of the duo’s childhood friend and principle co-writer Bryan McCann, and Grammy-nominated producer Wes Sharon (John Fullbright, Parker Milsap). It’s safe to say it was a perfect match.
“Our methodology is to follow the paths and revisit the places that inspired our predecessors,” the band state. “Not because we want to imitate them or faithfully reproduce their work, but because we are looking for the modern echo of older sounds, and hope to give shape to these enduring reverberations. Nothing can serve that methodology better than riding the rails.” There is certainly an identifiably modern sound to this record even with the vintage bluegrass twang of ‘Kansas City’ and the ache of the Appalachian Mountains in ‘Mama’; the lines blur so much, however, that it’s impossible to tell where one influence starts and another begins, leading to a timeless sound that reflects the diversity of America.
And diversity is truly the name of the game. With gospel inflecting ‘The Wild One’, the Celtic folk of ‘Blow Wind Blow’ packing a bluesy punch, and soulful ballad ‘Lay Me Down’ allowing a rare moment of vulnerability, each track feels like a new chapter in the Grahams’ own multi-century storybook that channels the spirit and personality of the heartland. All rootsy paths are explored with a vigor and that returning train-like rhythm continues to propel us at seemingly breakneck speed; to what, we don’t know, but we strain to take everything in before it’s disappeared as quickly as it arrived, knowing that more is waiting just ahead. Occasionally we are treated to gentler, slower moments, such as the pretty country ballad ‘Biscuits’, but these are invariably joined by steady beats by around halfway through the song, never allowing us to settle too long in one place. There is too much to experience to spend too long taking it easy.
If you’re not taking a long-distance train through America when you listen to this album, then it will at the very least place you in that imaginary setting. There’s an infectious bluesy energy to the likes of ‘Gambling Girl’ that is appropriate for the spirited beginning of a journey, while the accordion charm of ‘Borderland’ has a more relaxed feel that takes comfort in thoughts drifting away into effortlessly beautiful landscape. In general, the record does slow down towards the end, the fervor wearing thin to be replaced by contentedness, but they are sure to go out with a last joyful hurrah for closer ‘Promised Land’.
The Grahams proved with their debut that they were incredibly gifted crafters of song, but with their sophomore effort they proved that they are also multi-faceted storytellers, painters and ambitious musicians, determined to push themselves into new, fresh and exciting territory.
Originally posted here.
