Josh T. Pearson early album review 21 January 2011
Citizen Dick: Josh T. Pearson - Last of the Country Gentlemen
(by Kevin)
(by Kevin)
Our other writer Brian and I were discussing the essential purpose of art and whether or not it diminishes in value once it's up for sale. Brian's ideal artisitic mode involves a bunch of musicians creating, recording, and editing a tune and then immediately lighting it on fire as to avoid any sort of lessining of value due to audience interaction. In other words, art is for the creator moreso than the audience. I can dig this vibe, although we'd be left with a whole lot less music to enjoy if this was the primary method.
It makes perfect sense, however, and ideally the connection between audience and artist doesn't always NEED to be pleasant. It doesn't always need to follow a definite and logical pattern, and nowhere in the rulebooks does it say that an artist is required to develop some sort of pipeline of communication with his/her audience. It's a super intriguing thought, actually. If the audience is inherently the dangerous variable in the artistic communication, then perhaps the best kind of art is where the audience listens from afar, and sort of vicariously hovers over the artist and witnesses the blood, sweat, and tears of the act of creation, and does so without commentary or evaluation. This is probably where the devaluation comes in. When audiences evaluate, something becomes less valid, less important. Although I'd never admit it in person to my pal, Brian, I agree with him more than I let on. Perhaps the best kind of art is the kind that the audience has no business even attempting to understand or evaluate. That's also what strangley draws me into the upcoming (in USA 3/29) Josh T. Pearson album, Last of the Country Gentlemen.
There are only seven songs on the album, an intensely personal and introspective album. This is Pearson (formerly known for his work with critically acclaimed Texas act, Lift to Experience) heading back into the recording studio solo for the first time since the band disbanded. Pearson's work with Lift to Experience is well known, and perhaps the last vestiges of that former time bubble up to the top quite a bit in this record, but to speak generally, this album needs no formal referencing to his back catalog, nor to his hefty collaboration work since the band's breakup. Pearson strips down the personality so omnipresent on The Texas-Jerusalem Crossroads and introspectively creates something gorgeous. Truth be told, the beauty is that this album doesn't need an audience, nor is Pearson asking for any sort of evaluation, and that's precisely what allows me to hover over this record without any sort of judgment with regards to musicianship or song development. Four of the tracks are over 10 minutes long and ramble deeply into the emotional ups and downs of a broken, rebuilt, broken, and rebuilt again human being. There are pounds of guts poured into every missed note and hushed strum of the album. Pearson moves into the artistic zone often throughout the meandering tracks, leaving any inkling of his listeners far, far behind, and discerning tastes are left to reap the benefits of his toil. The value here lies not in complexity or pop-star hooks. I'm not sure I can even categorize this into a specific alt-country or even straight-laced country genre. What is powerful is this indie-rock journeyman looking inside and battling his own demons.
The album hits the shelves March 29th, which is quite awhile down the road, but this won't be the last time the blogosphere makes a mention of this album. I could regurgitate a press release and mention all of the musicians that are lining up to rally behind this thing, but that sort of defeats the general purpose of Pearson's art in the first place. I don't think he cares, which makes me care even more. Mark it on your calender and be sure to experience this insanely unique and artistically personal and relevant collection of seven tunes. The folks at Mute were nice enough to allow us to post the MP3 piano version of "Country Dumb" below, which Pearson is offering up as a free download at his website for signing up. Additionally, enjoy the videos for the aforementioned track and "Woman When I've Raised Hell", both of which are among the seven tracks on the album. I think once you see Pearson and wrap your brain around the video and track, this review will make perfect, and pleasant sense.
Sign up on Pearson's website by clicking HERE to receive updates as the album nears, and he's also giving away this MP3 there, as well.
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