Believe

Believe

4.0 1
by The Legendary Shack Shakers
     
 
As the opening track, "Agony Wagon," shuffles out of the starting blocks like some sort of hillbilly klezmer chestnut, complete with violin and clarinet, you can't help but wonder if the Legendary Shack Shakers have done a 180 for their second album, 2004's Believe. Further research confirms this isn't quite the case, but Believe does find this band of

Overview

As the opening track, "Agony Wagon," shuffles out of the starting blocks like some sort of hillbilly klezmer chestnut, complete with violin and clarinet, you can't help but wonder if the Legendary Shack Shakers have done a 180 for their second album, 2004's Believe. Further research confirms this isn't quite the case, but Believe does find this band of hot-wired Nashville maniacs adding a few more flavors to their usual gumbo of country, blues, rockabilly, and punk. Fiddles and horns add seasoning to a few tracks, the group musters up a shade more technical finesse than they did on their blasting debut, Cockadoodledon't, and the graceful waltz-time "The Pony to Bet On" suggests this band might actually have some subtlety lurking deep down inside of them. But for the most part Believe shows the Shack Shakers's instincts remain mercifully unchanged -- they're here to kick ass and get wild, and man oh man, are they good at it. The blues-shot swagger of "All My Life to Kill," the ominous thunder of "Where's the Devil When You Need Him?," and the swampy hipshake of "Piss and Vinegar" all capture this band in high-impact mode, and if anything they're stronger and more swingin' than on their debut. Believe is a high-octane shot of energy and attitude that confirms the promise of the Legendary Shack Shakers' debut, and proves this is one revved-up live band who know how to make their sweat and shakin' signify on tape -- these guys are the best thing to happen to Dixie-fried dementia since Southern Culture on the Skids.

Product Details

Release Date:
10/05/2004
Label:
Yep Roc Records
UPC:
0634457207929
catalogNumber:
2079
Rank:
94427

Related Subjects

Tracks

Album Credits

Performance Credits

Legendary Shack Shakers   Primary Artist
Bruce Baxter   Accordion
Jim Hoke   Clarinet,Saxophone,Baritone Saxophone,Tenor Saxophone
Mark Robertson   Guitar,Bass Guitar,Double Bass
Nick Kane   Guitar,Electric Guitar,Guitar (Resonator)
Fats Kaplin   Banjo,Fiddle,Accordion,Squeezebox
Jordan Richter   Guitar,Bells
Paulie   Percussion,Tuba,Drums,Choir, Chorus,Bells,Snare Drums
Colonel J.D. Wilkes   Guitar,Harmonica,Piano,Accordion,Harp,Pipe,Vocals,Voices,Human Whistle,Wurlitzer,Toy Piano,French Harp,Mouth Organ,Animal Sounds
Donnie Herron   Fiddle
David Lee   Acoustic Guitar,Electric Guitar,Rhythm Guitar
Meanie   Barking
Rabid Dog   Barking
Jessica Rose   Tambourine,Choir, Chorus
David Lee   Acoustic Guitar,Electric Guitar

Technical Credits

Willie Dixon   Composer
Mark Robertson   Audio Production
Sonny Boy Williamson [II]   Composer
Jordan Richter   Engineer
Paulie   Contributor
Colonel J.D. Wilkes   Composer,Sound Effects,Producer,Audio Production,Cover Painting,Sampling Engineer
Steve Mebbe   Engineer
Mark Robertson   Producer,Engineer

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Believe 4 out of 5 based on 0 ratings. 1 reviews.
Guest More than 1 year ago
Nashville's Legendary Shack Shakers are a punk blues rockabilly trio that rock like Rev. Horton Heat run into Southern Culture on the Skids at a roadhouse somewhere on a dark road in the South. Songwriter and vocalist Col. J.D. Wilkes wails through the distortion of his vintage bullet-shaped microphone like (to quote their publicity) "a punk song and dance man" - an apt description of his high-octance performances - both live and on record. ¶ The disc opens with the adrenal klezmer of "Agony Wagon," that's sure to inspire a polka frenzy as the fiddle, clarinet and twangy electric guitar battle for supremacy. From there the disc rocks a bit more straight-forwardly, with the Marilyn Manson-esque march beat of "Where's the Devil… When You Need Him?" giving way to the gutter blues of "Piss and Vinegar." There's psychobilly to be had, but tunes like "County of Graves" carry a Southern gothic edge in their fiddle that lend a flavor apart from The Cramps and their ilk. ¶ The vintage mic is the perfect instrument for the CB-styled "Cussin' in Tongues," and Wilke's harp blows blue for a blistering cover of Sonny Boy Williamson and Willie Dixon's "Help Me." Vocal distortions add a creepy edge throughout the disc, but besides the waltz-time "The Pony to Bet On" and the klezmer coda, "Misery Train," the band never cools down enough for the vocals to seem out of place. This is one relentless record.