Album review: Vince Gill’s Okie is a pleasant surprise
I cannot say I have ever been a fan of Vince Gill. He was one of those acts that rose to popularity at a time when I witnessed the demise, and some say the outright murder of commercial country music. I did not know much about him at the time, let’s say early 1990s, except I thought his voice was too high. He looked more like a civil engineer who’d be more at home behind a drafting desk than on stage with a guitar. Such are the mistakes of narrow-minded youth.
I received a text from my good friend, musical soul mate, and partner in crime, who told me to listen to new Vince Gill record “Okie”. I was about to embark on a ten-hour car ride, so I downloaded it to the old iPhone like I’d just cracked the technology that morning and listened. What I heard from the record that dropped back in late August of this year truly impressed me.
I guess I first noticed Gill, like many others, when he came out with “Go Rest High on That Mountain,” (1994) but then it was played for everyone famous in the industry who passed away over the next ten years. If over exposure is a real problem, I felt this illustrated it. I glossed over his other works and dismissed him for another decade. On the other hand, Gill did win a Grammy for Best Country Song for that release.
Then Gill popped up on one of those shows where they trot out a few singers of yesterday, some still retaining their voice and talent, others just a shadow of who they once were. All reliving the old days and songs. In the middle of the show was a slightly aging Gill. But the host spoke of his musical pedigree. Gill spoke about the commercial poison of mainstream music, and how he too had been shut out. He demonstrated his talents on guitar, banjo, bass, mandolin, resonator guitar (commonly called a dobro) and fiddle. I began giving the boy from Oklahoma another chance, until he dropped off my radar again.
Then came my obsession with Rodney Crowell. To find out Gill was once in the Cherry Bombs, Crowell’s band and co-wrote some fine songs, including “It’s Hard To Kiss The Lips (That Chew Your Ass Out All Day Long)”, I thought I better pay closer attention. I started listening, and while my taste still to do not embrace his earlier commercially successful work, I found enjoyment in his early bluegrass music. I also found that as country music began to abandon Gill, he returned to his roots. He seemed to find peace within himself and his music and started to play and record what he wanted. Now that the pressure was off for making hits, he was free to make music he loved rather than music he thought commercial audiences would embrace.
Gills voice has aged very well, like smooth whiskey spending decades locked away, my more mature brain heard what others perhaps had enjoyed all along. But it’s more than a few grey hairs in his tenor voice, but rather the power of his recordings.
According to Gill, Merle Haggard told him to “just tell the truth”. Boy howdy did he ever! Gill wrote a song about sexual abuse, drawing in part from his own experience removing himself from a lecherous teacher. This song alone is brave, and tender, and incredibly hard to write about, yet it’s an easy listen and truly feels honest. He sings and writes about his bride (Amy Grant) and a deep spiritual love that isn’t in your face or evangelical like many modern songs with religious themes. He discusses teen pregnancy, racial equality, and dives deep into love. He manages to do it all absent judgment or betrayal of falsehoods. He tells quality stories. I listened to the record three times during my long drive.
Gill included two very special songs, “A World Without Haggard”, laments the aging singers passing and the musical and inspiration void he left behind. The singer targets lessons he learned not only from the man but also from the music. Gill is demonstrates what a class act he is as he eulogizes “The Hag” in fine style.
The other song is pure genius. I dare not discuss it, I shall not cut it open and show it to anyone. Its brilliance and superb simplicity deserves to speak to you itself. This has to be about the best tribute song ever written, and any fan of Guy Clark is a friend of mine. Gill plain out did himself with “Nothin Like A Guy Clark Song”.
This record is tight and well recorded without being over produced or under mixed. Even if you think you’re not a fan of Vince Gill, give it a play anyway. Put aside any bias you may have about any musical boxes the world has helped build around you, and venture out of the self-imposed realms and try it on, walk around in it and see how it feels. I think you’ll be glad you did.
Vince Gill is on tour now supporting “Okie”. He is also singing with The Eagles, as he was hired to help fill in for the late Glen Frey. He has to date recorded twenty albums, sold more than twenty-six million records, charting over 50 “Top 40” hits. It looks like the best is yet to come. He is quoted in 2012 as saying “For the first time in 30 years, I don’t have a record deal. Don’t know that I want one.” I believe his best days may still be ahead of him.
