Here's a curious debut from a group tipped as ones to watch. It's easy to see why A Thousand Horses are expected to go on to big things, as they've a great knack for both swaggering southern rock 'n' roll and slick contemporary country, but regardless of the geographical kinship, and calibre of these songs, those two styles don't sit well together. Bouncing back and forth between them gives the band an identity crisis.
In spite of their early success - mainly through the popular single Smoke and its accompanying video - it's difficult to grasp what they're trying to achieve. One minute you're witnessing the heirs to Lynyrd Skynyrd’s crown with First Time, a rollicking bit of cool buoyed by soaring backing vocals, and Travellin' Man, an incendiary southern boogie that recalls early Black Crowes.
The next, it's like we’ve suddenly changed radio stations. Smoke, Tennessee Whiskey, Hell On My Heart and (This Ain't No) Drunk Dial are super-polished ballads with earnest emoting tailor made for the contemporary country airwaves. Think Tim McGraw and Florida Georgia Line and you'll get the gist.
The best way to freshen up any genre is to bring in other elements and both styles are, individually, very enjoyable. The problem is that their principles are contradictory.
Rock ‘n' roll is the music of rebellion. It's for disenfranchised souls who go against the grain and flick their middle finger at the man. In stark contrast, the modern country scene is safe, conformist and idealistic.
Only five of these 13 cuts truly let rip, and every one is immediately followed by a nice pop-country ballad. It hampers the momentum and undermines the band's rock credentials. Bands should mix up their songs, but look at how Skynyrd and their successors in Blackberry Smoke and Black Stone Cherry do it.
They have a strong and consistent musical vision. Their slower songs feel tied to that and boast a sincerity of expression that doesn't pander to radio airplay. And their notable country influences are Johnny Cash and Willie Nelson, mavericks who share outlaw DNA with rock ‘n' rollers.
In fairness, they do pull it off on a couple of songs. Heaven Is Close is a rousing road anthem that channels latter day Skynyrd and Sunday Morning is a gospel-influenced piece that again recalls the Black Crowes, which is unsurprising as it was co-written with Rich Robinson.
A Thousand Horses have so much ability, but need to decide what kind of band they are and what they stand for. The contemporary country scene is dangerously close to saturation point and its leanings towards pop music have erased a lot of authenticity. This band could end up as just another face in that very large crowd, but they have the potential to be kings in the less packed field of southern rock.
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