Mining the deep, deep roots of Americana, bluegrass, and "old time" music
The renewed interest in and popularity of American folk music has been mostly a blessing and ever so slightly a curse. The blessing has been that a new generation is being exposed to the rich and vibrant culture of genuinely American roots (and us older generation types who loved the music anyway now have far more to choose from.)
The curse is that every trend-sensitive college band that comes down the pike throws in a banjo or mandolin and poof! “Now we’re Americana!” That can be tedious, but it will pass soon enough when the “next thing” comes along (I hope it’s Theremins) and in the meantime the proliferation of genuine string bands, “old time” music, blue grass, et al is a treasure that shouldn’t be lost again.
Cincinnati-based band The Tillers are a prime example of the real deal, a group of musicians utterly committed to their genre, earning their pedigree the honest way by actually living it.
With five albums, extensive touring at home and abroad, and accolades to their credit, they are no late-comers to the scene and that is perfectly evident in their latest (and arguably most powerful to date) release, The Tillers, scheduled for release in multiple formats on March 23rd.
None of this is to say that they were born with “old time” instruments in their hands. To the contrary, singer/songwriter/guitarist Sean Geil has said, “At our core we are still a traditionally rooted string band, but I’d say our punk rock roots are more visible on this album.”
Punk rock roots. It’s not an association you’d ordinarily make with folk music, but perhaps you should. What is folk, after all, but the music of the common people? And what was punk if not the common people’s response to the bloated, over-produced narcissism of the album-oriented material prevalent in the late sixties and seventies?
Sonically they couldn’t be more different, but the heart and soul of both traditions is more akin than not and while Joey Ramone and Pete Seeger may seem like an odd couple, the motivations behind “Bonzo Goes to Bitburg” and “What Did You Learn in School Today?” sure seem like one and the same.
There are ten tracks on the album, nine originals and one cover and while all are beautifully written and performed, it’s the cover that has left me thoroughly gob-smacked. The Tillers do a frenetic rendition of Woody Guthrie’s’ “All You Fascists Are Bound to Lose.” It is a bold selection, all the bolder for the addition of a few extra verses that make a timely tune even more relevant in 2018.
The original track, “Revolution Row” is another shining example of the band’s ability to combine gorgeous music with serious commentary while maintaining a light enough touch to prevent any hint of “preachiness” or self-righteousness. As a result, you have a song that may be enjoyed superficially as “a pretty tune” or, if you’re the sort who likes a little more meat to your music, you may listen more carefully and find some genuine lyrical depth.
“Migrant’s Lament” is another particularly standout tune, purely traditional in composition and execution but perhaps a bit more poignant than it appears at first. Whatever social overtones some of the songs have, the album is by no means heavy-handed and contains more than a few tracks that are there simply for the joy of the music. “The Old General Store is Burning Down” and “Riverboat Dishwashing Song” are two excellent examples of this.
The band has deftly maintained a balance between serious and silly, with the unifying element being superb musicianship and well-crafted lyrics. Beginning to end, it’s a gorgeous collection with broad appeal and it can be yours on March 23rd on vinyl, CD or digital download. For more information, please see the-tillers.com.