After thirty seconds of J.B. Beverley's Dark Bar and a Jukebox, you know what you're in for. This is unashamed, foot-tapping, guitar-plucking honky tonk at its finest.
It's not fair to say that "Shoulda Thought About It" - the aforementioned opening track - reflects the whole album, but it gets you in the mood; Beverley and his band have a few stories to tell you. Mostly they involve drinking liquor, leaving your woman, or getting revenge; time honoured traditions in this genre, but nonetheless topics that today's politically correct types shy away from. I get the impression that J.B. doesn't really give a good Goddamn about all that; there's a refreshing lack of political finger waving or lecturing.
Dark Bar knows where its roots lie, and Beverley knows exactly what he wants to say. Backed by the talented Wayward Drifters, with some particularly impressive banjo and fiddle playing, the album manages to pay tribute to the greats without sounding tired or unoriginal. It's most obvious on the title track — Johnny Cash, Hank Williams, George Jones, Merle Haggard and others are all name checked in one form or another, and Beverley makes no bones about his dislike for the current state of the country music scene. It's only the second track, but it's as clear a statement of intent as he could make.
"Memories of You" is the album's first tale of loss, but it's a tale we'll revisit before we're done. It doesn't stay long — two minutes later Beverley tries his hand at revenge. "Before They Get Those Cuffs On Me" is an entertaining track with a great punchline, but I can't help but think that his vocals don't quite hit the parts that Cash or Kristofferson have before him; they're the obvious inspirations for this one. It's still good fun though.
"Lonesome, Loaded, and Cold" sees the first introduction of "Dixie Coon", a man who sounds suspiciously like Hank Williams III - a coincidence I'm sure, but Hank and J.B. did tour together, hmm - and his is a voice you'll either love or hate. Initially I couldn't bear to listen, but I'll admit that Coon is growing on me - fungus-like. "Chase Down Those Blues" brings back the pace, the foot-tapping, and the drinking. We're heartbroken again, our woman has left us, and only more liquor will see us right. It's a complete contrast to the former tales of loneliness, and despite the protagonist's similarity, you get the impression this guy's not so bothered about things.
Roaming, traveling, moving on - more classic country music staples, and more of Dark Bar's recurring themes. "Highway Blue" is perfect for Beverley's voice: he gets to growl most of the lines, but has the perfect range and tone to pull off the howling chorus. It's one of the album's high points. "Ghost of Old D.C." and "Raining in Philly" are my picks for the other two: the former is brilliantly played, written and sung; dripping with atmosphere yet catchy as hell, with some of the previously mentioned killer fiddle playing from
Donnie Herron. The latter is the finest showcase for Beverley's voice on the album. It's a softly sung ballad about loneliness, performed with surgical precision, and it gets to me every time I hear it.
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