Since their first album in 2005, I have loved the Grascals. The combination of Jamie Johnson and Terry Eldredge vocals made up a major portion of my childhood, and this is why I was afraid to listen to their new album ‘And Then There’s This’. Eldredge remains as one of lead singers, but Jamie Johnson left the group and was replaced by the relatively unknown John Bryan. Along with this concern, this was their first album in over 2 years. Each time I have listened to the album, I have found something new to enjoy about it, but those highlights have been muted by the many errors that plague this album that I am going to discuss now.
The first track “I know better”, sung by Bryan, is a perfect example of what has made the Grascals relevant for a century. Just like the Osbornes, they are able to use tricky chord progressions and complex vocal arrangements to make a perfect mix of traditional and modern influences. The whole “big tent, small tent” does not apply to a band like the Grascals because of their ability to do this. But John Bryan’s great vocals on this catchy melody are diminished by Danny Robert’s constant sixteenth note mando fills. I have never been a fan of Roberts playing, and whenever I watched the Grascals I always questioned why people would be hollering while Roberts played the same notes in a loop like a rock guitar player, but this album exemplifies everything I dislike about him. There is not one song where you can’t hear his notey/ pentatonic style that doesn’t even fit on this first track or many more.
The second track, “Road of life” features a very tasteful intro of cross picking/ open stringed guitar while Eldredge mourns “what happens on the road of life, stays on the road of life, my friend.” What I noticed on this track, is that Robert’s mandolin chops are constantly moving up and down in volume for swimmingly no reason. Now I say that it is arbitrary, because I can hear the chops more during a guitar Break than I can during a three part vocal chorus. These production decisions linger throughout the album and make me question if they changed record labels or something of the sort.
The Third Track keeps the traditional modern mix in check as “Sweet Little Mountain Girl” keeps the classic 7-4-1 7-4-5 Osborne chorus progression that made them such a unique act when they came out. This is also one of the drivier songs on the album, which is the perfect platform to show off their stud banjo player, Kristin Scott-Benson. By kicking off and taking the break after the first chorus, she is able to get this song into gear. She also is responsible for some awesome fills during the chorus. I wish they would show case her more on this album.
At this point of the album, I was satisfied. I got two Osborne tracks and an Eldridge Ballad, but the next few tracks lose all momentum this album had. “True Hearts” is a run of the mill tune that hangs on the one too long and lacks any form of a hook on the chorus. The next track old friend of mine, has the potential to be one of the heavier songs on the album. With lyrics like, “Had fights with barstools dated sisters in highschool”, the lyrics depict a longtime friend relationship really well, but the song is sung by neither Eldredge or Bryan. Instead they have the bass player, Terry Smith deliver it. And while he doesn’t do a bad job, this is a song that needed to the touch and abilities of somebody like Eldredge. The next track warm wind, is when I actually became to focus on the frustrating fills of Danny Roberts. They don’t stop. And none of them relate to the song at all. And his break leaves a lot to be desired. And what makes it worse, is that Scott-Benson’s break and fills are so good, and I am loving her more and more while I listen to this. What this streak made me remember, was that this 4-7th track spot is usually when
Jamie Johnson and Terry Eldridge would find some goofy number to throw on the album. An example of this was “The only Daddy that will Walk the Line” like they did on their 2008 album “Keep on Walkin”. Grascals would also perform tunes like “White Lightin’ for their audiences. This group, based on this album doesn’t seem like it has the same chemistry and having the same amount of fun and the Jamie Johnson band.
After a string of weak songs, the album picks itself back up with a John Bryan Ballad. “If you want me to” is a song that I feel can only be better live. With lyrics like “take my heart on down the road” and “I’d rather stay around and love you”, it accomplishes the “honkeytonk ballad” feel. The twin fiddle turn-arounds are a nice touch for that too. Adam Haynes has a limited role in this album compared to the previously mentioned banjo and mandolin players, but he makes the most of his opportunities including this song.
“Delta Queen” is the most Osborneesque song on the album, which is definitely a compliment. The high harmonies, banjo, fiddle breaks are highlights on this tune. The next track “I like Trains” contains the classic 1-3-4 chord progression on the verse, but the bridge and the chorus each contain their own unique equally as good hooks and chord progressions that makes this the song I keep on going to back to. This song and the last track the “Highway of Sorrow” show how good of singer John Bryan is. When y’all listen to this album, I promise you will never hear a better vocal version of “Highway of Sorrow”. But that vocal ability does not replace what Jamie Johnson brought to the group. His easy going attitude and gutsy vocals made the band what they were, and this is a band in decline. Whether it be the faulty production choices or the lack of showmanship, The Grascals are not the perennial hardliners they have always been.
