Walking Through Clay
Sugar Hill Records
5 stars (out of 5)
By Donald Teplyske
When the writing bug hit me in 2000, it was because of roots music. I was listening to wonderful stuff—Lucinda Williams, Kieran Kane, Fred Eaglesmith, Kelly Willis, and the Del McCoury Band, to mention a few names—that few people I knew were listening to, and I felt compelled to share with others the incredible surge of enthusiasm I experienced whenever I heard music that moved me.
I thought, if only others could hear what I hear, they would be transformed as I have been. Walking Through Clay, the fourth album Powell has released—and first in a decade, since the heartfelt, traditionally sounding Time Again—feels and sounds a lot like a summation of what was bouncing around in my wee brain some 14 years ago—if only everyone could hear this, they would get it.
Dirk Powell made his musical bones a long time ago. He has been playing banjo, fiddle, accordion, and near anything else he sets his hands to most of his life, and professionally for almost as long. I don’t have a memory of the first time I became aware of Powell, but I know it was before I heard his amazing collaboration with Tim O’Brien and John Herrmann, Songs From the Mountain. That recording was the first time I really listened to how powerfully he could interpret ‘ancient tones,’ building an eerie bridge from the past.
I’m predisposed toward appreciation when Powell is associated with an album. He has played on or produced some of my favourite albums of the past two decades, from Balfa Toujours’ Deux Voyages and Ginny Hawker’s Letters From My Father, to Darrell Scott’s Theatre of the Unheard and Wayne Scott’s equally brilliant This Weary Way, and more Tim O’Brien albums than can comfortably be listed. Some of the albums are almost unknown (Polecat Creek’s excellent Leaving Eden), while others made numerous ‘best of’ lists in their year of release (such as Laura Cortese’s Into the Dark of last year). Like O’Brien, Powell surrounds himself with quality, and in turn makes any project he is associated with that much more appealing.
An album as intricately woven with the soul of Americana music as this one is can only be held together by an artist with a strong and clear vision, and the ability to experience the collective sound prior to their creation. Powell is just such an artist, a master instrumentalist, collaborator, and arranger.
Walking Through Clay is joyful, even when it occasionally veers toward the dark as it does within “Golden Chain.” It is an album that has to be heard in its entirety to be understood, as to listen to any single particular track is to be afforded only a small measure of the overall production and risk missing the magnitude of its impact. Mindful of the limitations of genre and astute to the enchantment of musical alchemy, Powell blends the electric with the acoustic, allowing the Appalachian sounds that were his birthright to sidle up to the bayou blues that are his choice.
Rarely does an album overwhelm me as Walking Through Clay has. Infrequently while listening to music, a shiver will be caused to run through me, and I’ll find myself forced to clap, just a single, full-bodied release that allows my body to self-regulate itself and bleed-off overstimulation. That sensation found me multiple times this month while listening to Walking Through Clay, and always during one of the album’s highlights, “Some Sweet Day.”
As a wonderful Cajun band does—permitting folks to grab a mouthful before heading back into the melee of a rough-hewn dance floor—Powell allows almost all of these songs an extended instrumental introduction. These melodic explorations establish a context, defining a setting that is palatable before lyrics provide detail and prior to the songs exploding with driving passion.
Walking Through Clay boldly opens with a pair of powerful blues-based songs, the first of which—“Rollin’ Through This Town”—I was convinced featured Blackie & the Rodeo Kings until the liner notes arrived later. It is powerful and melodic, setting the album on a course simultaneously fueled by ingenuity and tradition.
The title track rocks even harder, is rich and deep with its genesis in Powell’s family’s Civil War experiences. Powell spits out deeply-felt, historical images in a near-punk litany, bringing to mind Jason & the Scorchers. This is the exception as Powell has a subtle yet strong voice, not classically individual, but also free of contrivance.
Whether singing, or by playing nearly a dozen instruments—five-string banjo, fiddle, woodtop fretless banjo, guitars—acoustic and electric—and mandolin among them—Powell is the star. By placing his voice and his words at the fore of this collection rather than relying on traditional songs and interpreting the creations of others, Powell has stepped up to be the performer at the front of the stage rather than occupying the position as the sideman and collaborator he long has. It is a brave and, for this set, necessary choice, and he accomplishes the task with great success.
Comparisons to The Band go far beyond Levon Helm’s contributions to “Abide With Me,” which also features Amy Helm. Powell isn’t afraid to employ propulsive beats, while ensuring the breezy influences of New Orleans, zydeco, and Cajun traditions be maintained. In a very different but no less soulful manner, the Bobby Charles’ influenced “That Ain’t Right” explores another side of Louisiana music. “As I Went Out A’Walkin’” is populated by ghosts from the hills crossing centuries to play fiery stringband music.
Aoife O’Donovan, quietly establishing herself as the go-to harmony foil of modern Americana, sounds gorgeous on “Goodbye Girls,” while Martha Scanlan’s “Sweet Goes the Whistle”—one of only three songs not written by Powell—is seamlessly absorbed into this marvelous blend.
I don’t pretend to know much about Kentucky, where Powell’s family originates, or Louisiana, which Powell has chosen to call home, but when he sings “I’m never going to leave Louisiana” in David Egan’s “Spoonbread,” I believe him and experience a connection to his aching, dark, joyous and life-affirming world.
Walking Through Clay—dedicated to the departed Helm and Powell’s great-great- grandmother—connects historical and musical traditions into a wonderfully refreshing and surprisingly contemporary roots rock album that is destined to be one of the year’s finest.