It's hard to imagine a honky-tonker who's more of a bedrock traditionalist than Austin's Wayne "the Train" Hancock. He seems oblivious to any musical progression since the early 1950s, continuing to resist even the use of ... more »drums as a new-fangled corruption of country music. Still, a slapped bass is all the percussion that this throwback Texan needs, as his entire band functions as a fiercely swinging rhythm instrument. On his first release for Bloodshot, highlights range from a couple of originals that sound like long-lost Hank Williams classics ("Sands of Time," "Route 23") to revived chestnuts including Jimmie Rodgers's "California Blues," Fats Waller's "Viper," and the hipster's perennial "Cow Cow Boogie." While additionally applying his rough-hewn vocal twang to the Hawaiian-guitar lilt of "Happy Birthday Julie" and the retro crooning of "Every Time" and "We Three," Rip Van Wayne remains true to an era that ended before rock & roll began. --Don McLeese« less
It's hard to imagine a honky-tonker who's more of a bedrock traditionalist than Austin's Wayne "the Train" Hancock. He seems oblivious to any musical progression since the early 1950s, continuing to resist even the use of drums as a new-fangled corruption of country music. Still, a slapped bass is all the percussion that this throwback Texan needs, as his entire band functions as a fiercely swinging rhythm instrument. On his first release for Bloodshot, highlights range from a couple of originals that sound like long-lost Hank Williams classics ("Sands of Time," "Route 23") to revived chestnuts including Jimmie Rodgers's "California Blues," Fats Waller's "Viper," and the hipster's perennial "Cow Cow Boogie." While additionally applying his rough-hewn vocal twang to the Hawaiian-guitar lilt of "Happy Birthday Julie" and the retro crooning of "Every Time" and "We Three," Rip Van Wayne remains true to an era that ended before rock & roll began. --Don McLeese
CD Reviews
A worthy addition to the Hancock canon.
L. Barden | Oakland, CA United States | 09/27/2001
(5 out of 5 stars)
"Wayne the Train continues his association with renowned producer/steel player Lloyd Maines, and the music world is the better for it. Wayne swings, jumps, rocks (yes!), yodels, and croons, and makes it sound effortless. Like his other records, this one was recorded live in the studio, and one can appreciate not only the energy this brings but also the pure musicianship of Hancock and his band. There isn't a weak track on this record. An added treat is the final track, "Railroad Blues," a seemingly last-minute addition-an acoustic duet of Hancock and Maines. Wayne's voice is rougher than usual, perhaps because this was recorded at the end of a long (by Hancock standards) studio session. A perfect way to close a damn-near perfect set of swinging Texas music."
The old Train is back!
Jerome Clark | 09/23/2001
(5 out of 5 stars)
"This is Hancock's best work since his debut, Thunderstorms and Neon Signs, and has that album's sound and feel. He has gone back to a pared-down band -- thankfully dumping the drums, which he introduced on the last two CDs. Compared to Thunderstorms, those two albums were a bit of a disapointment. Don't get me wrong, there are some real gems on both albums, but they are not as consistently solid as Thunderstorms. With A-Town Blues, the old Train is back and better then ever."
Nothin' like it
Rick Johnson | Ratcliff, AR USA | 09/28/2001
(5 out of 5 stars)
"Wayne Hancock is a genius. The music is so catchy, interesting, inventive that my words certainly don't do it justice. If you haven't heard Mr. Hancock before do yourself a favor and listen to A-Town Blues. If you've already had the pleasure, then this new effort will please you."
Plain and straight, circa 1951
Jerome Clark | Canby, Minnesota | 11/18/2001
(4 out of 5 stars)
"A CD focused largely on a musician's life on the road doesn't strike me as a particularly inspired idea. Wayne Hancock, however, manages to pull it off, through a combination of sheer likability, capable songwriting, and a few songs on other subjects. The last category includes "Sands of Time," which sounds not just like a tune Hank Williams could have written but like one he's actually singing. It's surely one of the most dead-on, scary Hank imitations of all time. With an approach that derives both strength and weakness from its affinity to Hank, Hancock's is a musical sensibility stuck in 1951, when people still talked about "hot rods" (as in "Miller, Jack & Mad Dog," a commentary on the hazards of drunk driving circa, I take it, five decades ago). I'm not complaining, mind you. Hancock is comfortable and convincing, and if you like your honkytonk and Western swing plain and straight -- and I certainly do -- here it is."
Track Listings (14) - Disc #1