Tony Martinez – Everywhere West
Tony Martinez’s 13-track LP covers a lot of ground, serving as a tribute to his father and an ode to gratitude, as Martinez has overcome near-blindness, heartache, opioid addiction and near-death experiences on his epic musical quest.
Released on Slumerican, Everywhere West salutes the mythology of the West and the archetypal outlaw country sound that Willie Nelson and Waylon Jennings defined. But by no means does that description define Everywhere West. Nothing is off-limits here. Everything Tony brings to the table is truly original, from the vocal inflections to the arrangements to the lyrics. He mixes folk, rock, blues and R & B with traditional country and western, taking the listener from the lonesome desert all the way to Broadway.
From the get-go, the hard-drivin, shit-kickin’ “Ain’t Nothin’ Gonna Slow Me Down” makes Tony’s admiration for Waylon clear, and he represents the outlaw well, modernizing Waylon in a way that remains authentic – which is no easy task. It helps that Tony can compliment the song with his remarkable guitar playing (he plays acoustic and electric on the album).
Everywhere West also includes a killer band that features Tony’s longtime friend Alex Lyon (who plays with Whitey Morgan and Drayton Farley) on bass, Peter Keys (who plays with Lynyrd Skynyrd) on keyboards and Cowboy Eddie Long (who has worked with Jamey Johnson, Hank Williams, Jr. and The Allman Brothers, to name a few) on steel guitar. Other prolific musicians on the album include Louis “Flip” Winfield on drums, Stacey Mitchhart on slide guitar and James Pennebake on pedal steel, among others. The album was recorded at three different studios in Nashville: East Iris, Darkhorse and Blackbird.
There are many standout tracks on Everywhere West. “Someone Else” does a great job of modernizing the ballad, giving the formula more of a rock influence. The verses are in the spirit of mellow Metallica, and the chorus has more of an 80s vibe, crossed with a sound reminiscent of Chris Stapleton. Tony’s range here is mind-blowing – and it’s only track two, so he’s just getting started.
“Crazy” might be the song on the album that gets stuck in your head the most. It has an irresistibly catchy chorus, and a delightful bass line by Lyon, who shines on this song. Like the rest of Tony’s tunes, “Crazy” is honest. It’s about a time in his life that was a bit tumultuous, but at least he can look back and laugh about it now – and use it as fuel.
“When I was first hangin’ out with the gal that inspired this song, my buddy Travis Mann jokingly told her to just rip my heart out so I can write a new song because he was sick of all the old ones. Little did I know then it would come to pass and be my first single on my debut album,” Tony said when the video released.
“Crazy” is tremendously well-crafted, a testament to Everywhere West co-producers Tony and his friend Yelawolf, a well-known Nashville rapper who makes a guest appearance on this track. The two met at a Nashville bar gig and their bond led Tony to Slumerican.
“White Label Lies” is a refreshing reintroduction to the classic country sound. It might be a ballad, but it’s upbeat. Tony brings it home when he starts talking through a verse, reminiscent of late Elvis without the overproduction. Like several other tracks on the album, “White Label Lies” is theatrical Country and Western music. The Marty Robbins influence is evident, as is Tony’s love for folk music. The guitar work reminds me a bit of Jim Croce’s “Operator,” and Long’s melodic pedal steel work over it makes for perhaps the most beautiful moment on the album.
“I’ve Lost More (Than What I’ve Got Today)” is unapologetically Waylon. I don’t know how the hell he does it, but on this track Tony sounds like both Willie and Waylon. And it’s a fun song: joyful outlaw blues.
“Believe I’ll be leavin’” has a bit of a Sawyer Brown feel, maybe even some Little Texas. It’s old-school and fun, one to put on the jukebox for a pick-me-up. Perhaps my favorite track on the album is “Back to the Wall.” The track starts off with strings and a verse melody reminiscent of the slower tunes on Led Zeppelin’s Physical Graffiti. Tony takes a Waylon-style vocal approach to the tune and gives it R & B treatment, complete with soul singers (the exceptional McCrary Sisters). People should pay attention to what Tony’s doing here. It could be the future of outlaw country. I believe he’s onto something.
I haven’t even mentioned “Try,” yet, a heartbreaking country ballad that cuts to the core. It’s sung with so much conviction, and with such a lonesome croon that it’s impossible not to feel the sadness. The song will get you every time. And if you feel like crying, “Try” the video:
Everywhere West is a tribute to Tony’s father, Rick Martinez, a musician who has worked a 9-5 job and played music seven nights a week, organizing the Chuck Wagon Cowboy Supper Show, where he has performed original music and covers of Western standards. Rick is a gifted songwriter, and almost had a song cut by Waylon. That song happens to be the title track. “Everywhere West” has a Marty Robbins feel (and an “El Paso” production) that would make it for a spot in a Western film or TV show. Tony goes all out, making his dad’s tune a mythic Western anthem complete with horns and lonesome whistles. It’s hard to imagine it being any better in Waylon’s hands.
You’d think that title track would be a nice way to end the album, but Tony’s got another trick up his sleeve. He’s not just any country artist – he runs the gamut of genres, getting funky and bluesy, infusing a little Motown for the closing number. “I Won’t Say No To You” gets more R & B than any other track on the album and makes you wonder just what to expect from Tony next. We’ll just have to wait…and catch him live in the meantime.
Everywhere West comes out Aug. 16 wherever you stream your music.
Highlights: “Ain’t Nothin’ Gonna Slow Me Down,” “Someone Else,” “Try,” “Back to the Wall,” “Alabaster Rose”
