A
review written for the Folk and Acoustic Music Exchange by Frank Gutch
Jr. (frank.gutch.jr@gmail.com)
Lee's Company may just do what Waylon and Company failed to do back in 1978
when the original White Mansions hit the street in
a hail of hype: break out. The 1978 package, put together by A&M, was
one hell of a package, full sized pamphlet packed with everything you needed
to know about the story and recording, but for one reason or another, sales
fell short of expectations. That does not mean that it did not sell, rather
that it did not evidently sell well enough because shortly after the pre-release
and month of release blitz, it fell off of the label's radar and, outside
of a small but loyal following, off the map altogether. Maybe the world was
just not ready for a concept album, at least not one of the country-ish variety,
or maybe the world was not ready to embrace the Confederacy in all its glory.
Whatever the reason, the album was never given its proper due, in my estimation,
so it is good to see Lee's Company take up the standard.
And, no, this is no tribute album. Read Jimmy Lee's full bio and you'll
see that at the time of the A&M release or thereabouts, he was touring
and playing everything White Mansions and might have
had a great run if an unethical manager had not absconded with all proceeds
lining his pockets. Played Nashville, in fact, and did quite well, actually,
and when you hear this recording, you will know why.
Blessed with voice somewhere between Gary Cooper and Waylon Jennings, Lee
was born to this music like moth to flame, as they say. Unlike the staged
1978 concept, Lee sings all leads (except for the officer on "Bring Up
the 12-Pounders") and one might think it would not work, but it does.
Lee sings with a kind of disaffected conviction which bleeds into each song—you
soon forget which part he sings because it really doesn't matter, it's the
story that counts. And it doesn't hurt at all that the band nails not only
the songs but the sound. It is an amazingly full sound this small ensemble
creates, from bass to acoustic and electric guitars—and there are points at
which Clare Juliet makes the accordion mellotron-like, I swear.
The story is one of the South, for those who know nothing of this Civil War
inspired Paul Kennerley work. Of a struggle historically important enough
to keep Confederate flag makers in business for a century and a half and misunderstood
enough to make certain rednecks earn their general description, which cannot
be printed here. It is of a tragedy beyond comprehension which, to this day,
most Americans try desperately to comprehend, even if for just a year or so
in high school history class. It is of blood and pain and lives destroyed
if not lost. Kennerley caught a bit of that, but more he caught the glory
and passion of a war long past. Leave it to a musician.
Lee's Company recorded White Mansions in toto and
live at The Blue Coconut in West Sussex, England. It was a good night. It
was a very, very good night in fact. Everything clicked, beginning to end,
and it is here in all its, need I say, glory. Never mind that Jimmy Lee sang
all parts and never mind that Bernie Leadon and Eric Clapton and Steve Cash
and John Dillon of the Ozark Mountain Daredevils were not there putting in
their chops and that Waylon and Jessi were not there. Story To Tell,
the opening track, put that to rest that night because you knew that everything
which followed was going to be good. Maybe great. Some would certainly say
so.
So allow me to quell any negative comparisons to the original. This is live
and the band nailed it. You'll agree if you give it a chance. And for those
who have never heard the original, disregard this entire review. Just buy
a copy and enjoy it. It's worth the money.
(dnpyles@acousticmusic.com)Copyright 2008,
Peterborough Folk Music Society.
This review may be reprinted with prior permission and attribution.