No shows booked at the moment.
Intriguing, literate, roadtrip rock ‘n roll from an eccentric Southerner in a love/hate relationship with the darker parts of America and what we’ve become.
Finely conceived and fully realized…a sonic landscape…a bordertown of the mind…slash lines smart like Dylan…the core at the center is this Keith Morris character: every song, he defines himself, how he deals with his world, views it, beats it, and is beaten by it.
On his first release, Songs From Candyapolis, he wanted to confound the critics, and he did. This new CD, Love Wounds & Mars, is like a top-of-the-line classic album from the early 70’s, each song “belongs” as a part of the whole. …
“On ‘The Dirty Gospel,’ Keith Morris & the Crooked Numbers reach a Chambers Brothers level of soul and grit while presenting the most creative and impactful use of an 80’s-era Dylan sonic influence that I’ve ever heard. Lyrically, Morris isn’t pussyfooting around either. These are very strong songs.”
Sophomore releases after such strong debut releases can be tricky fickle beasts. But Keith Morris has managed to do it again . . . emerge from his basement with an album that keeps your head bobbing and your feet tapping, while at the same time keeps your mind puzzling over the characters and their stories. Love Wounds & Mars has assumed the highest place of honor in the pantheon of my music collection, residing in my car’s stereo now for weeks.
From the Southern Rock of “Nowhere Road” to the Tex-Mex simplicity of “Border Town” to the last dance of “Peaceful When You Sleep” to the semi-psych of “Like a Haze” to the Chris Cullhane-penned sleeper “Diamond Mask,” Keith Morris and crew hit on all sonic and emotional cylinders. Love Wounds & Mars is a personal statement from a very private individual. It only takes a few listens to understand that.
Keith Morris pours the grizzled wisdom of life’s journey into a project that tells a story from beginning to end. From the opening lyric, “I know it’s late…” of “Nowhere Road,” through the closing plea as it bleeds through the pedal steel of “Diamond Mask”: “I need to hear a railroad song, I need to hear…,” Morris crafts songs that inspire and cut through the din. Anyone that can pull off a lyric that includes “…from Carlos Castaneda to William Blake…” is my new hero.
[Morris’s first cd] Songs From Candyapolis recognized a dark side, but wanted to believe in the possibility of a different kind of world. This record stays more on the dark side. These songs rock, and I mean that metaphorically and actually.
“[The Dirty Gospel is] One of my top album picks of the year…. Morris is a monster of a songwriter…. Who else could put together an album so personal and yet so universal?”
The first impression of a sonically sturdy jam session — sometimes a bash, sometimes a collective bashing — is completely satisfying. But Love Wounds unfolds to reveal a woven gut of lonely characters, angry towns, toll roads leading to highways that stretch out. It’s an album you listen to by yourself, a soundtrack for making your big plans to break the fuck free.
“The Dirty Gospel” is a monster! THIS RECORD FUCKING RAWKS!”
No shows booked at the moment.
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