The Coal Men
Nowhere's Too Far
© 2004 Vaskaleedez Records (635759152924)
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"The Coal Men have risen from the ranks of Nashville up-and-comers to a spot as one of Music City's strongest, nerviest rock acts." ~ Peter Cooper - The Tennessean
tracks
- 1 Northwest Kid
- 2 King of Letting Go
- 3 Gave It Back
- 4 Highway Side
- 5 Want Me Too
- 6 Nowhere's Too Far
- 7 Jamestown
- 8 Endless Road
- 9 Lonely
- 10 Agree
- 11 Kansas City Misery
- 12 Into the Dark
- 13 Can't Thank You Enough
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The music scene in Nashville embodies far more than the radio-friendly country music that makes it famous. Like other cities known for live music, such as Austin or Athens, Nashville boasts several bands that consistently draw a solid, loyal audience. The Coal Men may be the most dependable of the bunch, and their debut album Nowhere's Too Far joins the parade of new independent releases from the city's true talents, such as Allison Moorer, Old Crow Medicine Show and Mindy Smith.
Comprised of childhood neighbors Dave Coleman and Jason "Hitch" Hitchcock, as well as kindred spirit Dave Ray, The Coal Men have built an impressive following in the five years they've been gigging in Nashville. Coleman blossomed early as a songwriter, signing a publishing deal at age 20 with the legendary Acuff-Rose Music. Still, he wanted to be in a band... and more than just the high school cover bands he and Hitch had back in their hometown of Jamestown, Tenn. In the early days, three other musicians shared their vision, including Ray, a Washington, D.C., native.
The group tightened up after slimming down from a quintet, to a quartet, to finally a trio. They had all gained studio-recording experience in Nashville, and worked as sidemen with other artists and bands. But after recording a five-song EP in 2001, they agreed that it was time to make a full-length album, comprised entirely of Coleman's roots-oriented material.
Asked about the rewards of creating his own music, Coleman gives a few: "Building something from the ground up, turning a few words into a song, playing it live, and then recording it. A song is like a firework. You light it and see how far it goes."
Nowhere's Too Far arrived in early 2004 on the band's own label... Vaskaleedez Records, its origin from the film Office Space. Yes, they have day jobs, but they all insist they'd rather work in a cubicle than hit the road making marginal music for somebody else.
Good thing, too, because Nowhere's Too Far certainly stretches - but does not break - the boundaries of what listeners might expect from a Nashville band. Coleman possesses the distinct twang of a native Tennessean, but his baritone never distracts from his honest, insightful lyrics. He wisely avoids the easy love song, in order to concentrate on a jacket returned to him at the end of a relationship, or a devoted mother who can barely survive on social security. He also captures the restlessness in his small hometown, exemplified by a carnival in the parking lot of the local grocery store - "and we all go, 'cause that's all we got," he sings.
The arrangements are simple and clean, thanks in part to producer Bob Delevante. Yet they bubble with energy to keep things moving. Through it all, Hitchcock and Ray lend a sense of urgency to the melodies with a uniquely solid rhythm section, although you have to actually go to a show to catch their laid-back, oddball sense of humor. They all insist that having a good time is the key to their longevity. (Indeed, five years is an eternity in the world of bands.)
Along with the contributions of Delevante, the album includes guests artists Duane Jarvis, Richard Ferraira, and Carter Wood. Joy Lynn White, another undeniable Nashville talent, offers harmonies on two of the strongest tracks, "Endless Road" and "Agree." Taken as a whole, the collaborations provide a glimpse of the city's lesser-known, but equally talented, music community.
As for the Nashville club scene, Coleman says, "It's playing at faded black, hiden downtown, east side, south side rock clubs... More or less the same as any other town. The only difference is, the audience is likely a bunch of musicians who are working on their own thing. That kind of crowd tests you. So it pays to practice, AVOID writing half-ass songs, and make sure what you've got is something honest and real. When you get the feedback, you know you're onto something good."
~Craig Shelburne - Staff Writer CMT.com
reviews
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A great alt country release
author: PhilA fabulous release full of good songs. I fully recommend this disc to anyone who loves rootsy country rock. Also a firm favorite here. I overlooked this record in my end of year list in 2004, it should have been up there in my top 10.
Infectious alt-country roots-rock, improves with every spin
author: Jeff SmithImpressive indie disc is chock full of dense, poignant lyrics and catchy, soulful tunes. Tastefully mixed, rootsy blend of rock, country, and mystery ingredients, reminiscent of Drive-Bye Truckers (without the Cracker vocals), "Harvest"-era Neil Young, Lucinda Williams without the booziness, even early Eagles. Grows on you with each playing. The heartfelt, poetic cuts range from the rocking, radio-friendly "King of Letting Go" to melancholy ballads that tug at the heart. A sneaky, infectious record that has become a favorite in this house.