Honky Tonk is a wholly engaging Americana album from Seattle-based veteran collective Marley’s Ghost. Guided by producer Larry Campbell, the record honors the musical heritage of heartland barrooms through rootsy, contemporary interpretations of country, Western swing, and folk standards. Blending twin fiddles, pedal steel, and multi-part harmonies, the group draws from decades of shared performance to deliver a spirited celebration of traditional roots music.
“As far as Honky Tonk is concerned, we all made our living at one point in honkytonks,” says band member Dan Wheetman. “So that’s when we decided to do an album totally focused on that particular style.”
Opening track “Invitation To The Blues” (made famous by Ray Price) enamors in its heartfelt vocal emotions and no-frills instrumentation, venturing across twangy guitar warmth, playful piano bouncing, and steady rhythms. “Don’t know how I can stand this anymore,” the timeless-sounding vocals let out. “Lonely are the days since I’ve lost you. Received your invitation to the blues.” Shifts between a mellow guitar solo, absorbing piano lines, and twangy Americana-forward guitars immerse, as do the doses of fiddle; the track is an excellent indication of the band’s overall arsenal, achieving a satiating sound with rootsy rock and folk heart.
The rest of the album doesn’t let up in its high-quality productions. The ensuing “Honky Tonk Song” — originally recorded by Webb Pierce — shows as such right away. Stylishly true to its name, its expressive piano and guitar tones counteract with “try to forget her, but don’t know what to do” laments, continuing thematically from the opener in its accounts of moving-on and heartbreak. “Honky tonk, all night along,” multi-layered vocals enthuse, cherishing the celebratory power of music and festivity, especially in the wake of personal tumult. A take on George Jones’ “Burn Another Honky Tonk Down” delights as well, strutting a “cutting the timber” working-class lyrical prowess as accordion and starry-eyed guitars meld with melodically memorable allure. The accordion, fiddle, and day-in-the-life lyrical depictions make for another resonating success.
The band also consumes with a cover of Hank Williams Jr.’s classic country ballad “Slowly.” “Slowly I’m falling, more in love with you,” layered vocal emotion lets out, smitten in admitting “I can’t hide my feelings” as tender guitar tones lead into vibrant fiddle work. This evenly paced, hypnotic number shows enjoyably in its adoring sense and consistent instrumentation, while the ensuing “Rockin’ Chair Money” — originally from the senior Hank Williams — showcases a lovely mixture of vibrant fiddle and swaying, dreamy guitars. The band shows a clear capacity to dazzle across both enthused Americana rock and starry-eyed balladry, the latter especially apparent in the heart-tugging twang of Merle Haggard’s “If I’d Left It Up To You,” which Marley’s Ghost succeeds immensely with.
Elsewhere, an enjoyably pulsing piano presence and sporadic, impactful guitar work impress on a cover of Johnny Paycheck’s “Motel Time Again.” Its classic lyrical perspectives of loneliness and on-the-road exhaustion are set within a catchy blend of instrumentation. Next comes the band’s interpretation of “Waltz of the Angels,” first recorded by Wynn Stewart. Its musings on a “writer of love songs, way up in the sky” and overall humbling self-analysis moves with lovable smoothness, alongside Red Foley’s “Birmingham Bounce” making for a very strong one-two punch to close out this excellent album from Marley’s Ghost.
