Unbroken!–Live

Like most folks, I s’ppose, I listen to albums (yes, I still call them "albums") over and over again, learning every note of the songs (if not every line of the lyrics).

Every so often, tho, I start hankering for a new album to inject into my mental, musical universe.

Unfortunately, I’m kinder picky. Not everything tickles my fancy. Even in genres I know and love, I don’t like a lot of what I hear. I imagine that’s the same for everybody.

But every so often I encounter a "breakout" album–something that, after hearing it a few times (or even just once) I totally get into.

On my recent trip to Kentucky, I encountered such a breakout album, titled Unbroken!–Live by the Nitty Gritty Dirt Band.

I’ve been a fan of the Dirt Band for some time, but I’d never heard the side of them that’s presented on this album before. Up to now, I’ve been listening to their own studio albums (like Symphonion Dream) or their multi-way collaborations (like the different volumes of Will the Circle Be Unbroken), but I’d never heard a recording of one of their live shows.

Unbroken!–Live gave me that chance. The album is a 2-CD recording of a performance they gave at Doc Severinsen’s Showplace in OKC way back in 1984 (despite the fact the album was only released in 2003).

WHAT A TREAT!

The Dirt Band’s stage presence is amazing. These guys Know What They’re Doing. There is a huge amount of technical skill that they put into the performance, a wonderful selection of tunes, a great deal of showmanship, and a surprising amount of humor (a.k.a., "humour" for our friends over The Pond).

Now, any time a buncha technically-proficient guys get together with electric guitars, banjos, fiddles, and harmonicas to deliver hard-drivin’, toe-tappin’, foot-stompin’ upbeat music, I’m all up for that, but this performance was something really special.

The genre selection includes classics from Rock, Surf Music, Rockabilly, Bluegrass, Country, and Cajun, as well as intriguing, little-known tunes that you probably haven’t encountered before.

I was impressed by the way the band handled the introductions to some of these. To introduce certain songs they’d play an altered version of the melody that wasn’t immediately recognizable until, in a moment of recognition, it suddenly clicked into place what they were playing.

This was done particularly effectively in the build up to the Cajun classic "Diggy Diggy Lo," in which an unrecognizable version is played while the artists gave a patter introduction to the song, explaining that it is the song of two bayou lovers who fell in love for life. You have no idea what they’re building to until the speaker announces that these two lovers are known by "two mystical names." As soon as he identifies the first mystical name as "Diggy Diggy La" you immediately know what the song is going to be (assuming that you know "Diggy Diggy Lo"), the crowd cheers, and they kick right into it.

This kind of slow-reveal ain’t the only expression of showmanship that the band displays. As noted, there’s a lot of humor. This includes both comments they make to the audience and even some of the songs themselves. For example, they have a filk of "Help Me Make It Through The Night" re-written as "Help Me Make It Through The Yard" (the story of a guy crawling home after an all-night bender).

The guys in the band are clearly having fun on stage, and their personalities are much more in evidence than on a studio album. You get a much clearer sense of bandmembers as individuals as they make comments to each other during the songs and call each other by name as they throw different solos to each other ("Look out, Johnny! Play the fiddle!"), mix up who sings what verses ("Talk to me, Jimmy!"), make notes on what they’re about to sing ("I like this part!"), and report problems ("I don’t know how to get out of this!"–though they manage to do so flawlessly anyway).

The band is joined on stage by a couple of guest stars from a group called Doc’s Outlaws (connected to the place they were playing), and one of the guests (Rusty Allen) displays particular showmanship, using his role as lead singer on a couple of songs (notably the Bluegrass standard "Way Downtown") to set-up solos ("Toot that harp!"), ask for more ("Take two, they’re small!"), and speak of the amazing technical prowess we’ve just heard as if it were the product of a child prodigy ("Only thirty-five years old!").

The album also features a number of medleys (I wish they’d put CD track breaks between songs on these!) that are very successful. One starts with crowd-pleasing Rock classic "Runaway," moves to an awesome version of Rockabilly classic "Rave On," then into Rock standard "The Weight" ("Pulled into Nazareth…"), and finally into the band’s signature song, Country classic "Will the Circle Be Unbroken?"–a pro-faith song about wanting your whole family to go to
heaven. This time the song is delivered with a more upbeat tone than
I’ve heard them do it before, though it’s more raw and has less polish
than on a studio album.

Of course, on any live concert recording, there are imperfections. The mics aren’t positioned in the best way to catch crowd reaction (so you can’t really hear it when the audience is invited to sing along–an engaging asset to showmanship in a live performance but hard to pull off on an album). There are also a couple of mild bad words in one song ("Bowlegs") and another word in a second song ("The Battle of New Orleans") that counts as bad if you live in England, but in the digital era, you can easily make sure that your iPod never plays these songs for you if you don’t want.

There are also songs that contribute positive moral content, such as "Dance, Little Jean," which is a strong statement of the value of marriage, despite the difficulties it involves.

A special tune is the song "The House on Pooh Corner"–a celebration of childhood portrayed through the lens of Winnie the Pooh.

Another pro-morality song is "Face on the Cutting-Room Floor," which is about a talented young actress who goes to Hollywood to make it big. But when she discovers the moral price that must be paid for such success, it’s

Goodbye, Hol-ly-wood!
She’s leaving tonight, on a 2:30 ‘Hound–
sunrise on Sunset, she won’t be around.

(I like that part!)

All in all, it was a real treat to discover this album. Listening to it makes we wish three things: (1) I wish I could play like these guys! (2) I wish I could have seen them in concert night (or any night), and (3) I WANT the Song-Longer!

GET THE ALBUM!