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Rarely do you find an album with such an apt title. Joe Pat Hennen’s “Little Bit Easy†is just that. “A Little Bit Easy†was recorded at Third Coast Studio in Port Aransas, TX, a perfect setting for a songwriter who has actually been able to quit his day job.
In Joe Pat’s latest release you will find the steady and consistent acoustic guitar work of Barney Venables, the subtle harmonies of Susie Hennen, and the bare-bones lyrical workings of Joe Pat that work the same simplistic magic of the terse Ernest Hemingway.
The album was produced by Texas guitar legend John Inmon (The Lost Gonzo Band), who the late Stevie Ray Vaughan listed as an influence. Inmon’s electric lead guitar soars throughout the album, adding a perfect complement to Venables’ tooling on the acoustic and slide guitar.
Those who have followed Pat may say that it is a departure from his true form, but that is not the case. Pat has been playing a quite a few of these songs for a number of years in his live sets.
This album is definitely not your typical Joe Pat Hennen album. His previous two releases, “Brand New Day†and “There is a Riverâ€, portrayed Joe Pat as a cap rock-crooner and a master of the flat land boogie. But Joe Pat shows that not only does his musical talent stretch from “San Antonio†(which Gary P. Nunn made famous) to “Leaving Amarillo†(a terrible cover by Houston Marchman of a great Joe Pat song) but from “Soho to Tupeloâ€, a Knoppfler-esque trans-Atlantic journey that crowns his latest album.
Inmon said, “Hennen’s songwriting skills match those of Townes Van Zandt and Guy Clark and it’s just a matter of time before listeners and the music world discover the same.â€
It’s sad that I heard that this album for the first time in the middle of winter, because the soothing melodies and red dirt blues that Joe Pat pulls off in this album are best served with a cold beer and both feet in the water.
Nov. 10, Gruene Hall, TX - When I bought the tickets to see Cory Morrow at the world’s greatest music venue I had a certain idea of what the crowd would be comprised of. I pictured Tommy Hilfiger, creased blue jeans, polished boots, Texas A&M ball caps, and young sorority girls raising their arms in emphatic “Woo-Hoos”.
It was quite a bit different than I had imagined. There were quite a few Texas State students, but as with many shows at Gruene Hall, t-shirts long hair and faded jeans made up the majority of the crowd.
Maybe the frat boys have just gotten older.
Since Morrow released “The Man That I Have Been” in 1998, he has always been associated with the likes of Pat Green. After watching the show last Friday, I am prepared to elevate Cory Morrow past the status of a beer-bonging cow-tipping novelty to a bonafide Texas singer-songwriter.
The presence of New Braunfels own Walt Wilkins playing guitar with Cory certainly helped smash the image I had painted in my mind of Morrow. I was somewhat disappointed that Walt didn’t sing with Cory, but this was Cory’s night to shine.
This was certainly a very entertaining show with a good mix of rocking country and carefully crafted lyrics. “Why Don’t You Love Me Like you Used to” was a crowd favorite and showed the song writing maturity of a guy that has had some tough times. Nestled in between the raunchy “Big City Stripper” and jumpy “Texas Time Traveller”, Morrow displayed his respect for the great Texas songwriters that have come before with an inspiring version of the Billy Joe Shaver’s “I’m Gonna Live Forever”.
I wish I knew the name of the bass player, because he absolutely carried the band and mixed well with Cory Morrow’s impassioned delivery and excitement.
“Nashville Blues” pretty much encapsulates the contempt many of us have for everything that is evil with country music today. If any of you need a christening into the world of real country music, Cory Morrow is a good start.
He may not be the “Anti-Garth”, but he is certainly one of the minions fighting the good fight.
