Dallas Burrow – The Way The West Was Won
There’s a unique coolness to the start of this album. Dallas Burrows’ intrinsic vocals with guest vocalist Ray Wylie Hubbard suggest a deep Waylon Jennings-type tone on “Read ‘Em and Weep.” The song is then liberally distilled with pristine acoustic guitars, fiddle sawing, & if this is what the LP offers, it’s going to be a treat.
There are many influences in Dallas’ (vocals/acoustic guitar) songs, but what makes it work is that the mix is like colors to create a new color. Black & white make gray, blue & yellow create green. Dallas has this magical hue in many of his tunes. His Texas country leanings aren’t heavily entrenched either – Dallas sings with a steady, authoritative tone. No countrypolitan juice but lots of tradition filtered through Mr. Burrows’ perceptions. “Disappearing Ink” is more of a narrative with banjo & compelling storytelling. Somewhat in a John Prine/John Hartford mélange. I like it.
There are 13 disciplined departures grooved into The Way The West Was Won (Drops Sept 26/Forty Below/46:41), traditionally shined-up like “Justice In the West.” It has lyrical clichés of the Old West used well. The album was produced by Lloyd Maines (dobro/bass/acoustic, electric, steel & nylon string guitars/banjo/bass/flute/percussion/bgv) & recorded in Texas.
From the Old West to the more Spanish-flavored “Black Rock Desert Blues,” the accordion & acoustic guitar backstroke through the deep upbeat melody — Townes van Zandt would’ve liked this. Despite the themes being basically the same with its old western maneuvers, Dallas keeps every song finely rendered & with an old west-Tin Pan Alley quality. Evident on “Streets of Dodge,” with its dusty, sandy, hot & well-delivered short story.
With “Tornado,” the narrative is laid down with an effective, deep-voiced William Topley purity (“Delta Rain”). It’s more imaginative & the song retains Spanish-horn support & an acoustic guitar foundation. This is actually vintage but rendered with contemporary muscle. There are plenty of mainstream radio-friendly songs on this album – “When the Cowboy Rides” will be hard to shake out of your ears.
Lots of John Prine craft comes with “The High Low,” & it’s dynamic. This is the ultimate sign of respect to a late artist. I only wish I could’ve heard Dallas sing this with Prine, or Cab Calloway, since there’s some of that Calloway “hi-de-ho” spread throughout. This song will put smiles on faces & yes, if you can sing-along, let it rip.
Highlights – “Read ‘Em and Weep,” “Disappearing Ink,” “Black Rock Desert Blues,” “Tornado,” “Indian Song,” “When the Cowboy Rides,” “The High Low,” & “Cowboy’s Prayer.”
Musicians – Kelly Willis & Jim Lauderdale (vocals/harmony/bgv), Katie Shore (fiddle/bgv), Brian Beken (fiddle/mandolin), Pat Manske (drums/percussion/bgv), Terry Hendrix (harmonica), & Bukka Allen (accordion).
Cover image courtesy Joshua Black Wilkins. A folded lyric insert is included. CD @ Amazon & Apple + https://www.dallasburrow.com/ & https://fortybelowrecords.com/store-bU6aL/p/twtwww
