The Statesboro Revue are a Texas band that don’t sound like they’re from Texas. In fact, they defy convention with understated brilliance; some achievements don’t have to be bragged and shouted about, and this band know that well. ‘Jukehouse Revival’ is their third studio album, an 11-track collection due for release tomorrow (August 7) that follows 2013’s ‘Ramble On Privilege Creek’ and 2009’s ‘Different Kind of Light’, furthering their impressive reputation and building upon their loyal fan base.
At the center of the band’s trademark progressive (but uniquely rootsy) sound is lead singer Stewart Mann’s standout vocals, an instrument that afforded him executive callbacks for NBC’s The Voice and the starring role in The Buddy Holly Story back in Texas; still, those accolades do not do justice to the husky, blue-eyed soul his voice evokes on every track, a mascot of the South and as musically versatile as they come. Put frankly, Stewart could sing anything and excel, but there’s more to The Statesboro Revue than just one man’s gift. The remaining three members are less a support system and more a cohesive unit that subsumes Mann into their overall life force, playing with chemistry and union that has been cemented over years of pounding the road together. The best way to describe ‘Jukehouse Revival’ and the band’s music in general would be an incredibly inspired, technically proficient but spirited jam, filled with the kind of camaraderie and unadulterated energy that comes from those who are simply born to be musicians.
We feel this on the bluesy opener ‘Bedroom Floor’, a track which instigates such an infectious groove we can almost imagine the band moving slowly and deliberately to it live on stage, while the similarly-themed ‘Honkytonkin’’ introduces a swampy bounce inflected with 1960s-style R&B. At their core The Statesboro Revue are a rock ‘n’ roll band, but there’s so much more to them than that term suggests. On closing track ‘Last Rambler’, for example, we are treated to a moment of Celtic brilliance, the antiquated melody sounding perfectly suited to the accompanying harmonies, accordion and banjo. Elsewhere, ‘Go Down Slow’ injects some effortless country soul into proceedings, complete with a melancholic lyric that does well to balance the slew of good-timin’ tracks.
‘Every Town’, meanwhile, is an undeniable foot-tapper that builds 1950s rockabilly into its make-up, just as ‘Tallahassee’ draws from 12 bar blues for a classic driving song, and ‘Like The Sound’ gives us an irresistible swampy rhythm with a sing-a-long chorus. On this record the band take us on a journey throughout the South, liberally peppering the soundtrack with country, folk, blues, rock, R&B, soul, and Americana, tying it together with some earth and grit for good measure.
But most of all this album is made for the crowd, and no listen of it is without imagining a stage, good friends, good beer and a great night. The Statesboro Revue do things old school, but do so in a way that seems fresh and lively, particularly in how they refuse to be pigeon-holed. It is often said that the more influences you hold the more unique you will be, and this is certainly the case for this band, who don’t lose any of their friendly appeal or musical magic by pushing the envelope. In fact, those things are actually enhanced by doing so.
From the whine of the pedal steel on ‘Count On Me’, to the twang of the banjo on ‘Undone’ and the punch of the drums on ‘Roll On Mama’, The Statesboro Revue have made a great record with little fuss. Just great music from all corners of the States, wrapped up with great musicianship and a whole lotta soul.
Originally posted here.
