Problems don’t always get solved. Sometimes they get replaced by more pressing issues and become a part of the edifice.@3 days ago with 3 notes
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The second serving of Country Funk (via Light In The Attic) doesn’t pick up where the last one left off so much as dig a little deeper into the made-up genre. Co-producer Zach Cowie first started collecting these gems as a DJ and hip-hop enthusiast, entranced by the bridge between funky, closely-recorded drum breaks and old-fashioned picking.
This time around, Country Funk puts some focus on the weirder detours made by some of country’s biggest stars: Townes Van Zandt’s bizarre, Morricone-esque psych wallop “Hunger Child Blues”; Dolly Parton getting down on “Getting Happy”; Kenny Rogers’ (yes, that Kenny Rogers) lascivious “Tulsa Turnaround”; Willie’s progressive country call-to-arms “Shotgun Willie.” Doug Dillard and former Byrd Gene Clark even bring a stunning soulfulness to the Beatles’ “Don’t Let Me Down” that does the rare feat of reshading the original.
The lesser-known artists don’t fare as well on Vol. II, but that’s a minor quibble considering the overall good-times vibe. Across the country, a diverse group of artists both old and new were remixing various strains of American music, all in relative isolation from one another. Taking a macro view, this seems like a fruitful byproduct of the era’s cultural permissiveness—longhairs and rednecks, black and white finding a new way forward.
Speaking with Cowie for KUTX in Austin, he mentioned how he merely wanted to create a party record, something to put on and be enjoyed by a group of friends with a few beers. More than that, Vol. II is a wonderful historical oddity that proves the used bins aren’t quite used up yet. And if you want a party? Willis Alan Ramsey’s 1972 masterpiece "Northeast Texas Women" brings the roof down at the very end.