Discography
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Pricing: $10.00
Man, oh man, will the embarrassing farce that is contemporary country music ever end? Today’s batch of interchangeable hunks and bimbos that are being Xeroxed out of Nashville have as much to do with what makes country music special as The Starland Vocal Band did with channeling the rebellious spirit of Rock ‘n’ Roll. Sure, they’re good for making the masses want to run out and buy the brand of jeans, pressed shirts, phone cards, etc, etc, that are heartily endorsed by these humble, aw shucks, kinda good ol’ boys. But if I hear one more pretty boy with perfect teeth talk about the pain he had to endure in order to write his latest diabetes-inducing country-lite feel-good anthem, I swear I’m gonna start taking a tire-iron to some snow white 10-gallon hats (preferably while there are heads still under them). As a powerful antidote, we’d like to present you with Rex Hobart & the Misery Boys. Hailing from the Missouri side of Kansas City, Rex and the boys will remind one and all that true grit honky tonk is alive and well. Forever Always Ends, which was produced by Lou Whitney (Robbie Fulks, Skeletons, Syd Straw), magnificently conjures up the serious hoodoo that folks like Johnny Paycheck, George Jones, and Buck Owens were throwing down in their primes (you know, the mid-60’s). Rex and the Boys rely on a lot of the same weapons; bare bones, unadorned musical attack (wicked pedal steel, tasty electric guitar runs), and a lyrical sense that will reveal what true imposters all them current, Eagle-minded schmoes really are. They are the kind of lyrics that’ll help you smile as your heart’s being pulled from your chest. They are the kind of story songs that’ll have that guy at the end of bar smiling wistfully to himself saying "fuggin’ A, man, fuggin’ A." Oh yeah, if they need to, the Misery Boys can get the dance floor smokin’, too. "This is not a record for sunny days and newlyweds. Nope, this one you play alone in the apartment, surrounded by the cardboard boxes you left your house of love with. Perfect music for imperfect times." James Mann, Ink 19 "The most straight-forward slab of honky-tonk Bloodshot Records has served up yet: the only thing insurgent about it is its refusal to acknowledge anything Nashville's produced in the last four decades." Peter Margasak, Chicago Reader "[Rex Hobart] is completely comfortable with writing and arranging his amazingly direct material as though a hellhound (or Johnny Paycheck) was on his dime." AudioCafe |
