I like The everybodyfields, I really do, but if I’m honest I have to admit that I’ve struggled a bit. They come from Tennessee and they play a very pretty brand of country music, with echoes of the “grievous angel” tradition of Gram Parsons and Emmylou Harris or, more recently, of Gillian Welch and David Rawlings. Actually the male lead singer, a demented looking feller with bushy side-whiskers named Sam Quinn, has a voice that sometimes resembles Rawlings’ quite strikingly. At other times, alas, his voice sounds more like Lindsey Buckingham’s, and if there’s one thing I will not tolerate it’s people walking around sounding like Lindsey fucking Buckingham. Don’t get me wrong. I respect the Right Honorable Mr. Buckingham and I have no doubt he was a tiger in his youth, but when I hear his voice today — after so many years of exposure on MOR “Classic Rock” radio – I can’t help but think of erectile dysfunction. If this is a weakness peculiar to myself, then feel free to take it with a grain of salt.

At any rate, The everybodyfields have several important things going for them. They are signed to the superb Ramseur Records for one thing, making them labelmates of The Avett Brothers and the brilliant newcomer Samantha Crain. They also play beautifully, and Sam Quinn and female singer/guitarist Jill Andrews sometimes concoct truly spine-tingling vocal harmonies.  Jill Andrews in particular has a top notch voice that reminds me of Sally Ellyson’s from Hem.  She does most of the singing on “Lonely Anywhere,” which I’ve posted below and for which I have nothing but praise. “Tuesday” is primarily a Sam Quinn vehicle and it has some really excellent moments as well, especially when the fiddle and pedal steel hit the fan at about the 1:30 point.

What has troubled me a bit about this music is its very prettiness. I’ve largely gotten over it, but at first I really couldn’t detect much of an “edge” to their sound that differentiated it in my mind from the hosts of other competent, but not necessarily stirring, musicians out there.  For example, when I listen to Gillian Welch I immediately discern a tension and spontaneity that I don’t hear to the same extent in The everybodyfields’ studio output.  It’s sometimes almost too lovely, if you get my drift, or too clean.  Actually, they’ve posted a few live tracks on their myspace, and to my ear these tunes have a greater immediacy than most of the songs on “Nothing Is Okay,” so perhaps it’s just a matter of the band being more of a live experience.  Matthew and Mrs. Toad will be able to judge this better than I because The everybodyfields are scheduled to perform at pickathon in Portland at the beginning of August, and I understand that our friendly neighborhood amphibian will be in attendance. If he can hear any music over the sound of his own booze-fueled retching (Portland is known not just for its music, but also for its numerous excellent local brews) I’ll be interested to get his thoughts.

Anyhow, you can judge for yourselves.

The everybodyfields – Lonely Anywhere
The everybodyfields – Tuesday

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