historian

I remember the first time I tried to cook a brisket. It didn't turn out at all as I'd planned. I was at my parents house in VA using their electric smoker (that thing is a topic for another debate some other time, trust me). It came out way on the dry side and didn't get as much smoke as I'd hoped. I'm pretty sure that trying to cook it at the same time I cooked ribs was the problem - I was simply doing too much at the same time.

The second time around I was at home on my BGE. I'd already learned a number of lessons about my equipment (you can never have too much charcoal or gutter humor), so I thought I'd do at least better than that first failed attempt. It was delicious. I learned even more, and now after a few more tries I feel fairly confident that I could cook brisket on my BGE anytime. The next one will be soon, I promise.

The same thing goes for recordings. I know what you're thinking already - what about the sophomore slump? Follow me for a second, though, and allow me to explain why I think I might stop using that term.

There are a lot of great debut records, this we all know. Some of those are major label releases and come fully loaded with the slick sound of professionals behind the controls. Others have that raw, unrefined talent that oozes into lo-fi recordings (or even just recordings that friends made). Of the latter, the best example I can think of is The Creek Drank the Cradle, the debut record from Iron & Wine. That was recorded solo on a home 4-track. 

Lucy Dacus' first album, No Burden, falls into that "great music but not ready for prime time production" for me. The songs are great, but you can tell they were done independently with little cash and yet they still sound great. Which... perfectly sets her up for the sophomore slump, right? You know, like the one that The Lone Bellow had (sorry, they're my recent favorite example - them or The Lumineers). In this case, you'd be wrong.

It's true that her follow up, Historian, is out now and is on Matador Records. It's also true that even on first listen you can tell that Matador fronted some scratch to get this album made. This is where I feel like the sophomore slump is a misnomer - we should call it the "have too much record company money to spend" slump, because I think most of those records are just victims of wandering minds lured by money. Dacus does not fall victim to anything.

She's still got one of my favorite alto voices around. She's still telling some of the best stories, from working opposing shifts to avoid a soon-to-be ex on "Night Shift" to the loss of family on "Pillar of Truth" and "Historians." It's true, this record incorporates string arrangements (sparingly, mind you), horn sections, effects - and yet it's still a really good rock record. I will admit, it takes some attention to really hear it since none of the tracks are what I'd consider to be hook-laden radio hits, but that's exactly why this record shines so much.

I do think this will end up on some end of year top 10's. I don't think it will hit the top, but I think this is one of those records that I'll keep revisiting all year long as a touchstone.

Recommended tracks: "Night Shift," "Pillar of Truth," "Historians," "Nonbeliever," "Yours & Mine"