Keith Morris & The Crooked Numbers
The Dirty Gospel
The Dirty Gospel, according to Keith Morris and his band The Crooked Numbers, combines achingly honest songwriting with grit and swagger to create music that gets at the heart of how it feels to be alive. Hailing from Charlottesville (VA), the band’s third release embodies the voice of an outsider pushed to the edge by personal experience amidst a world that seems intent on collapse. A feeling of alienation runs through the music, as does a palpable psychological urgency, and an innate yearning–a search for deliverance, for redemption amidst decay.
The story behind The Dirty Gospel is a deeply personal one. “Most of the songs came out of my brother’s suicide a couple of years ago,” explains Morris. “When something like that happens, all bets are off. For about a year, I was pretty much incommunicado. During that time, I poured the emotions of it all into songwriting. It was a form of therapy. During this time, some songs just came to me. “Psychopaths & Sycophants” came to me out of a dream–the main riff and the first verse and chorus. Same thing with “Dopesick Blues,” which came to me while driving one day. It was like the whole song just fell in my lap. I think the most interesting story about the channeling of songs on this album is “Pale Moon,” which came like a lightning bolt the night I found out my brother had killed himself. It was like I could feel his presence in the room with me, and it said ‘pick up the guitar.’ I did, and immediately what came to me was the riff for “Pale Moon.” It didn’t feel like I wrote it; it felt like it was given to me.”
Morris’s first two albums, Songs From Candyapolis and Love Wounds & Mars, gained great praise from press and fans alike. CVillian.com proclaimed, “there’s enough lyrical inventiveness and good humor to warrant multiple listens….” Charlottesville Daily Progress agreed, “I was engaged at first listen.” Of The Dirty Gospel, No Depression says, “Morris is a monster of a songwriter…. Who else could put together an album so personal and yet so universal?”
The Crooked Numbers, stellar players from the Charlottesville music scene, round out The Dirty Gospel. The band alternately wail, whisper, slam, float and sting throughout the ten tracks. Subtle nuance in one song turns to catharsis in another, and the band handles the varying moods seamlessly. “The whole band deserves credit,” writes No Depression. “But the choir makes the album–four voices dipped in sugar and honey in just the right proportions.”
For more information on Keith Morris visit http://keith-morris.com or contact
Liz Campanile firstname.lastname@example.org or 908. 301. 1946