Tag Archives: Old Town Crier

Old Town Crier knows that to be political is to be human

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It is hard to write a genuine modern political song that isn’t misunderstood or written off as juvenile.

There are specific styles of music whose history is fundamentally tied to pure political expression (punk and folk) – hearing anything that isn’t political in those genres runs the same risk of being misunderstood or not taken seriously. I think this is a reason why the Ramones were so important (getting way off-track).

There is something very honest about Old Town Crier’s latest release (July 1), You, and the way he approaches the political subject matter of his lyrics. He reminds us that to be political is to be human and vice versa. 

There’s an interesting juxtaposition between the music and the lyrics that not only creates an unexpected message but an accessible one.

The opening title track, ‘You’, takes us down a nostalgic route through the annals of British music as influenced by American 60’s Motown music. The connotation of this style harkens back to days of lazy, rainy Sunday afternoons, writing love letters and daydreaming, listening to the Turtles or The Kinks, all the while feeling like the future is wide open. 

Editors note: The cover of the latest album that for some reason is in the style of an old school British punk band, perhaps to fool the non-believers

But the lyrics don’t speak of those idyllic landscapes of post-war Britain, where the dream of America remains untarnished. Quite the opposite is true. By listening to the album “You,” we are dealt with a conflicting message of warm emotion vs. cold politics, progressivism vs. musical modernism – optimism vs. pessimism. 

The dream of America is very much tarnished. Lough’s tone of voice is not angry, condescending or paranoid, however, it is compassionate. This compassion is felt in the music, which is what makes his political stance more “accessible.” 

Old Town Crier is also about taking direct political action: all proceeds of the album ($2,700) went to three Progressives who ran in the US midterm elections – Christine Olivo (FL-26), Angelica Duenas (CA-29), and Derek Marshall (CA-23).

Editor’s 2nd note: believe it or not this is not actually a picture of the band Old Town Crier. It’s what comes up when you google “Old Town Crier You Massachusetts”. Goddamn but people were miserable before the invention of colored photographs. Anyway as editor I’m not allowed/supposed to put in any of my own content, and if Scott finds out he will definitely fire me, but I’ve gotta entertain myself somehow right? Editing is not the most fun work you can do without getting paid for it. Take this Scott!

The second track, “Thin Blue Line,” with all of its new-wave synth flare of Springsteen-meets-Costello is bold in its imagery, but Lough doesn’t seek to insult the listener’s intelligence by casting blame on one side or another. 

Instead, he paints a very realistic picture that the “thin blue line” separates us from one another, causing more fear through division. “There’s a thin blue line, between hate and fear/the thin blue line’s never been so clear.” 

Track three, “Coal River Mountain,” takes us back to Old Town Crier’s first release, with their origins of bluegrass coming back but to a backdrop of their vintage dirty guitar-blues rock outfit.

Editor’s last note since I’m definitely getting fired after this: I’m pretty sure this is a picture of the Old Town Crier band but it’s not official or anything so don’t quote me.

“Radio On” is the weakest song on the album, but probably still contains enough anthemic energy to at least get the crowd to sway back and forth a few times.

In my review of Old Town Crier’s first release, I’m Longing for you Honey in Middleboro, Mass, I had speculated that Old Town Crier was merely a “side project” for singer-songwriter Jim Lough. With his latest release, Lough’s songwriting has evolved and has revealed that he is a musician with a vision. 

You was mixed and mastered by Dave Westner, while Howie Klein was the executive producer. You can find Old Town Crier’s latest release here: https://oldtowncrier.bandcamp.com/album/you

-Drew Wardle

Old Town Crier’s ‘I’m Longing for you Honey in Middleboro, Mass’

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Old Town Crier is only one man, namely Jim Lough, but he did a good job making it sound like a collective cacophony, delicately sewn together with madness, abandon, and raw feeling. Released on March 13th of last year, I’m Longing for You in Middleboro, Mass, is a brilliant collection of heartfelt, sorrowful, searing, raunchy rock ‘n’ roll songs. Upon my first listen, I could tell that this was an opportunity of sorts for songwriter Jim Lough to do something different than he normally does.

Lough is also a member of the Mass bluegrass band, Riley Coyote, so I was correct in thinking this was a passion project of his, and I could tell because if I’m Longing for You’ is anything, it’s honest. When you have a few years of experience in a collaborative project under your belt, you learn the heavy but fruitful lessons of collaboration and compromise. The choices that are made in a collaborative group might not always be the ones you would have made along, but the upside to this is that you learn how to coexist creatively with other musicians, and most importantly, it teaches you humility and to swallow your pride.

Another beautiful reward derived from collaboration is that you get to find out what you want from music made solely through your creative instinct. Perhaps this is why I get the feeling that although I have not listened to Riley Coyote, I prefer Old Town Crier. It’s because I would choose rock ‘n’ roll over bluegrass any day of the week.

There are certainly hints of bluegrass in his newest solo album; all the songs from it originate from the genre, that much is clear; his voice bears the markings of a bluegrass-accented twang. But with songs like track three, ‘I Might Get Lost’, the drums, which kicks it off, are reminiscent of the Phil Spector school of songwriting and then subsequently detours down a short alleyway of John Mellencamp and Springsteen folkiness. The quality of the recording is Lo-fi and the tone of his distorted guitar is on the brink of ripping at the seams.

Track one, ‘Don’t Go’, reminds me of Blonde on Blonde-era Dylan in the timbre of his voice and the joviality of a carefree attitude and no holds barred in a slight decline in mental fortitude. When dealing with pure rock ‘n’ roll, you definitely want to toy with the edge of insanity a little bit.

Track 2, ‘Easy’ is a nice enough song, although it is my least favorite track on the record. While a sweet lullaby-like melody works well on a mandolin, it sounds too predictable to me and a bit of an underachievement. The song picks up a little more when we hit the bridge leading into the chorus – this part caught my ear – good hook.

‘Into the Dark’ – Now we’re into the murky waters of the twilight hours of the EP. This is usually my favorite part and it certainly is on this collection. ‘Into the Dark’ is an exceptional song. While I typically enjoy more sombre songs in general, this track has more depth and I get the sense I could keep revisiting it and keep getting a little something new from it.

The final track on the EP – ‘Moonlight Road’ – is a nice bookend and represents all the best elements of his songwriting on this album. Lough has an interesting ability to take desperation and dress it up in a nice poetic turn of phrase. The other thing I really like about the EP in general is that all the songs are relatively short.

To say the least, I would definitely keep a lookout for anything else Old Town Crier may release in the future. Good shit.

-Drew Wardle