Preview Last Of The True by Ronnie Fauss.
Last Of The True by Ronnie Fauss
Last Of The True is the third full length album from Ronnie Fauss and it is his most complete. The first leant more distinctly towards country then swung to rock and roll. In Last Of The True, Fauss has created a record that draws on the previous two, his long-held sources of inspiration and by digging deep into his own record collection. The result is a broad sweep of country, rock and roll, folk and country rock that could have come from Laurel Canyon as much as Texas and Tennessee.
A regular and highly regarded performer in his native Texas, Fauss is less well-known further afield. If that is because his music is only part of his life, something he’s managed to fit in between family and career, this new album qualifies him for much wider recognition. However, those who have collaborated on this album would suggest Fauss is held in high regard by his fellow musicians.
Country is the opening theme as Fauss sets off at a brisk pace on ‘Big Leagues’ with some very fine fiddle playing. The Texas roots come to the fore in ‘There is An Irrigation Problem in Gilroy’, a lively polka instrumental. The giggle at the end suggests it was as fun to make as it is listening. 'Bright Lights Of LA’ starts with a soulful pedal steel that took me straight back to Gram Parsons himself.
There is plenty to choose from the album’s rockers; ‘Twenty Two Years' and 'New Madrid’ are powerful without overdoing it. ‘Big Umbrella’ has a swagger and new single ‘Saginam Paper Mill’ is pure driving music.
We shouldn’t forget the record’s quiet moments; ‘Being Alone’ and ‘I Think We’re Going to Be Okay’ each brings out a sensitivity to counterbalance the rockers. Of the covers, the final track, ‘Don’t Think Twice (It’s All Right)' is my pick. Fauss on piano lifts his rendition of this classic from mere “cover“ to original interpretation.
There is a lot on this album but it does all fit together well. Fauss plays guitars, organ, piano, pedal steel, fiddle, accordion and sings. He also produced the record. He had help from Jason Isbell’s guitarist, Sadler Vaden, and members of Justin Townes Earle’s, Rodney Crowell’s and Emmylou Harris’s bands, so good company indeed. But be in no doubt, this album belongs to Ronnie Fauss and I hope it brings him the wider acclaim he deserves.