Coming across on the opening track like a combination of My Morning Jacket and Crosby Still Nash and Young and occasionally veering into grungier, almost Mudhoney or Nirvana-esque territory, Rolling Boxcar International kick their fourth album Buffalo into gear right from the outset. It’s rootsy, retro-inspired rock ‘n’ roll that’s catchy like Credence Clearwater Revival’s finest moments but with a palpable modernity that reminds us of Black Rainbow Collective’s theCrates.
The second track, Waltz #2, channels Jack White’s folkier moments and sounds like it would have been at home on his debut solo record, 2012’s Blunderbuss. The interplay between the (mostly) acoustic instruments (including a harmonica) is inspired and creates a sense of atmosphere and intimacy, so much so that it feels like you’re in the room with them whilst they’re tracking the song. Hats off to the producer. Rolling Boxcar International are from Youngstown, Ohio, a place they say is known for its grittiness. You’d never know based on the slickness of this track. It’s expertly realised and musicianship of the highest order.
The third track – lead single Twenty-five – features a honeyed female vocal courtesy of guest performer Kimberly Mallin. The instrumentation on this track is complemented by the addition of some luscious strings as well as a piano and what sounds like a banjo. The acoustic motif is continued, and these additional components lend the track an almost bluegrass feel. Towards the end of the song, what sounds like a lap steel is brought sharply into focus, and the track transcends to alt-country plains not often reached.
Track four is Hey Jack Hey, a jaunty roots rock number that sounds like it was plucked from the mid-70s. With some great lyrical moments (“We’re going nowhere at top speed” is a particular fave), the track instantly burrows its way into your subconscious. You will be humming this tomorrow. Especially if you happen to run into anyone called Jack. He’ll be alright with it, though; after all, “we’ve gotta practice patience”.
Your Tomorrow has a distinct Whiskeytown/Ryan Adams or Neil Young vibe with a twist. With a mellow, laid-back, almost horizontal feel, it almost feels like it should originate from Hawaii. It feels like it could soundtrack a luau if it was put on by a bunch of grizzled rock and rollers. Perhaps after they’ve retired? Maybe they’ve bought their own island, and now they just play music for fun because it’s in their veins, and they can’t help it? Tiki torches, a spit-roast hog and ladies in grass skirts, with this song being played in the background.
Native Soil follows and sounds a bit like it could’ve been lifted from Bob Dylan’s classic Daniel Lanois-produced Oh Mercy album. It’s full of ambience and character in the verses before getting decidedly jauntier in the chorus. The song seeps with personality and passion, and then the league guitar comes in towards the end, elevating it exponentially. The banjo makes a return, but it doesn’t colour the song in a way that makes it feel like a bluegrass song, which is quite an uncommon occurrence.
Leon The Light starts, and it’s immediately reminiscent of groups from the golden age of classic rock bands (i.e., the 1970s). There’s a touch of Wings, The Band, Fleetwood Mac and even Thin Lizzy here, but also more than a whiff of modern acts like Damien Jurado and Wilco. The lead guitar soars and is extremely hummable. Which we love (for that’s how you know it’s good). Almost reminiscent of a more subdued version of Robert Fripp’s guitar on “Heroes”. Epic stuff.
On “People Make It Work,” the band takes a hard left as they introduce electronic percussion. This recalls the work of boundary-pushing seminal acts like The Beta Band and Beck. Despite the addition of this rather surprising component, it still sounds remarkably similar to Rolling Boxcar International. It works nicely in the grand scheme of the music on this record. This leads us nicely into the last track, Mountaintop, which is the polar opposite of the previous one. It’s as traditional a song as we’ve encountered so far. It feels like a country-rock jig that would’ve slotted in nicely alongside songs like Train Underwater and Another Travellin’ Song on the Bright Eyes modern classic I’m Wide Awake, It’s Morning (indeed there’s more than a touch of the Mike Mogises about the guitarwork here, and we’re here for it).
And that concludes the album. One of the most interesting aspects of Rolling Boxcar International is that the band is comprised entirely of multi-instrumentalists. Between them, they are influenced by an enormous array of styles. From metal to traditional singer-songwriters, these influences (and the vast expanse of talent between the members) clearly bleed through into their own songs and have resulted in an album that won’t be quickly forgotten.
Written by Kinda Grizzly
