In the past I have called a number of bands my favourite – Jesus & Mary Chain, My Bloody Valentine, Pixies – but right now I am giving that small accolade to an American folk/country/rock duo based in Charleston, South Carolina called Shovels and Rope. They are literally the only act I have traveled to see in the last two years – a hometown show in Charleston no less – and it was amazing. Despite the very drunk, very loud couple sat in front of my wife and myself who couldn’t stop woo-ing and proclaiming their love the band at full volume. For a 2-piece, Shovels and Rope make quite the racket. A glorious racket. They are a married couple – Michael Trent and Carrie Ann Hearst – and they have released several brilliant albums in their career thus far. The first song of theirs I ever heard was ‘Gasoline’ which completely blew me away. I immediately sent the link to everyone I knew and started working my way through their back catalog. Michael and Carrie are out on their land, dogs frollicking around, playing what sounds like it could be a take on a revolutionary war song. The musicianship and Carrie’s voice captivated me instantly.
Working through their first couple of albums – their eponymous debut and the follow up ‘O’ Be Joyful’ – I discovered that they had many strings to their bow. The Bonnie and Clyde like ballad ‘Boxcar’ with it’s heart-string tugging chorus, the melancholia of ‘Birmingham,’ the filthy, bar fight raucousness of ‘Hollowpoint Blues’ – yeah, these guys were fucking awesome.
They’ve released a few more equally great albums since, including a couple of covers albums called ‘Broken Jukebox.’ This is a review of ‘Broken Jukebox 2’ as it’s still pretty new. They have some impressive guest artists appear on each track.
First up is ‘Cleanup Hitter’ by Bill Carlson, featuring Brandi Carlile. It’s a beautiful, soulful start to the album, Trent’s ridiculous drumming chops pinning the song down while Carlile, Hearst and a choir of backing vocals soar to the skies.
‘Joey’ by Concrete Blonde is next with Nicole Atkins guesting. It’s a full-on 60’s vibe with added fuzzy guitar sounds, Atkins unleashes everything, Trent joins in and it’s glorious. Big Phil Spectre feel at the end, you can practically see the the three beautiful backing singers in their poodle skirts swishing away.
‘Do You Love Me Now’ by The Breeders with Rhett Miller on vocals, along with Hearst. Personally my top Breeders song, I know most people pick ‘Cannonball.’ Very faithful to the original only more twangy and chicken-fried. The male vocals add the song a new twist and Hearst sounds awesome singing alongside Miller. Duelling hearts in Charleston.
Willie fucking Nelson’s ‘Blue Eyes Crying in the Rain’ follows – John Moreland sings on this one. Trent lays down a funeral procession drum track, boom, boom, boom, this combined with Moreland’s deep vocals and a church-like organ make this version far more solemn than Nelson’s original which sounds like a man lamenting by the campfire. And again with the choir of backing vocals (pretty sure it’s Hearst.) Brilliant. It’s like they took the original blueprint and coloured in the borders.
From a country legend to avant-rock pioneers – ‘Untitled 1’ by Sigur Ros with Matthew Logan Vasquez on vocals. It’s a weird choice but it works magically – they bring some real soul to it that was (probably deliberately) missing from the original, which sounded very alien, and again I have to mention the drumming. The way Trent can influence a song with his kit work is extraordinary.
‘The Air That I Breathe’ by the Hollies on deck, with guest vocalist Indianola, a very talented young man. S&R take it all back to their banging tins and bashing mandolins out on the farmland roots with this one, the mix of old time instrumentation and cool, suave vocals make this another winner. Nice take on a classic.
Another legend next with Leonard Cohen’s ‘I’m Your Man’ with John Fullbright on the mic. Brave choice, the original is an absolute monster. Fullbright does an admirable job replicating the whisky cured, I’ll stab you if you look at me wrong vocals of Cohen, and even adds some nuance to the song. It’s especially impressive on the parts where he goes high and lets loose. The guitar work in this one is outstanding. I think Leonard would highly approve.
Holy shit it’s The Clash – ‘Death or Glory’ – Hayes Carll on vocals. Not a great Clash song in my opinion. This version is way, way better. We have Hearst back with her drunk Dolly Parton voice (that’s a compliment, she is a force of nature) and she slides in alongside Carll perfectly. Yeah, this leaves Strummer and co. in the shade, that is how you cover!
OK, here we go. ‘Epic’ by Faith No More with the incredible Lera Lynn singing. She has a voice that sounds like Monica Belluci is pouring honey over your face. The track is slowed down, sexified – reminds me of a band from way back when called Elysian Fields – absolutely disgusting, in the best way. If I was a teenager again and making sex music tapes this would be on them. And then Hearst comes in with backing in the chorus. Wow. Staggeringly great!
Last one! ‘You Never Can Tell’ by Mr. Chuck Berry (no guests on this one.) The original had a calypso feel to it, S&R rough it up. It’s a last-album-track romp, throwing whatever is left at the wall.
Anyway – please explore this band – and the many guests – you will not be disappointed. Shovels and Rope are one of the most exciting musical acts going today and it would be a crying shame if you missed out on their genius. Bless your heart!
