Old Mad Joy is the major label debut of The Gourds. The Gourds are the national band of Austin. Their junkyard sound crisscrosses the roots-music spectrum with a whacked-out, independent spirit. For their 10th studio album, Old Mad Joy, the fivesome recorded in Woodstock, N.Y., relinquishing production duties to Larry Campbell, an associate of Bob Dylan and Levon Helm. What you get is vintage Gourds with a coat of polish. “It has the best of both worlds in that we are playing with a familiar passion to our live shows, but still all the parts are clear, present and well-placed within the arrangements,” said Kevin Russell, the band’s guitarist and co-singer-songwriter. “I don’t know that we have ever gotten it this perfect.” Review by Peter Chianca of Wicked Local North of Boston: I’ve always considered the label “alt country” to mean modern country music that’s, well… good. (No offense to Toby Keith and all those other country artists who aren’t “alt.”)That said, I’m not sure if it’s fair to label The Gourds anything-country, despite their Texas roots — on Old Mad Joy (Vanguard Records), there’s just as much New Orleans stomp, roots rock and southern boogie to their sound as there is country twang. And here’s the important part: The styles merge perfectly, and they do one just as well as the next. They’re the whole package. On wild shouters like “Drop The Charges,” the band even manages a convincingly down-home punky vibe — it’s like John Mellencamp meets The Clash. Throw in some Stones shuffle on songs like the guitar-driven “Drop What I’m Doing” and bluesy Fabulous Thunderbirds-style rumble on “Peppermint City,” and you’ve got a perfect amalgam of influences for an album more compelling, raucous and just downright fun than almost anything you’ll find on the radio — country or otherwise. Whatever you want to call their style, Kevin “Shinyribs” Russell and Jimmy Smith and company have been honing it since 1996 through a relentless tour schedule and 10 studio albums, none of which you’re likely to have heard. Old Mad Joy deserves to be the first one that you do. Review on Blurt: It seems somewhat surprising, but even at this point in their trajectory, with so many fine albums behind them, the Gourds remain relatively unknown. A sturdy roots rock combo, they have a lot of elements in their favor – a steady sense of song craft, an able instrumental arsenal and, perhaps most importantly, a willingness to persevere despite any real lack of appreciation. Old Mad Joy, an album which finds them switching labels yet again, brings encouragement that the lack of awareness may be tempered somewhat, given its resolute performances, and what will hopefully become a real record company commitment.If there’s any problem at all, it would seem to be that the Gourds have failed to establish an identity all their own. After all, this is a band that once raised eyebrows by covering both “Ziggy Stardust” and Snoop Dogg on the same EP. This isn’t necessary a bad thing – indeed, as always, their ability to deliver a relentless rocker or wring out tears from a heartfelt ballad is beyond reproach. Still, with echoes of the Stones (“Drop What I’m Doing”), solo Keith Richards (“Melchert”), and the Band/Levon Helm (“Peppermint City”) ringing through these songs, it’s still hard to get a grasp on a genuine Gourds identity. The album’s best ballads — “Marginalized,” “Eyes of a Child” and “Two Sparrows” – bring better focus, defining to a great extent a world-weary approach borne from a hard-bitten stance and soulful recompense. Ultimately, Old Mad Joy may not signal the breakthrough that this outfit deserves, but by rekindling the savvy sound techniques that have taken them this far, hopefully the rest of the world will catch up soon enough. Review by Wilfred Langmaid of Canada East: The Gourds’ major-label debut Old Mad Joyis career fruition for these veteran Austin, Texas alternative country rockers.Guitarist Kevin Russell and bassist Jimmy Smith split compositions and lead vocals down the middle. This hallmark of two distinctive and capable frontmen and singers has always given The Gourds a rich double-pronged attack. Claude Bernard (keys), Keith Langford (drums), and multi-instrumentalist Max Johnston complete a tight quintet of men who play well and who have played together for years. Released Tuesday, The Gourds’ 11th album in 14 years is a perfect union of talent at a pivotal career stage and the perfect producer and setting for that time. Old Mad Joy was cut in Levon Helm’s Woodstock, New York studio. The producer was Larry Campbell, who appears tonight in Fredericton as a key foil in Helm’s Harvest Jazz and Blues Festival headline show. This will be Campbell’s first time in Fredericton since 1997 when he appeared as a member of Bob Dylan’s band. Campbell also adds his own steel or electric guitar on eight of the dozen tracks on Old Mad Joy. Russell’s material has more of a country tinge and a southern spice. His lyrics are rich, often surreal, and always crisply drawn. What his vocals occasionally miss in reach is always exceeded in feel. There are rollicking moments like the roots with accordion and mandolin Band-like gospel of the album opener “I Want It So Bad” and the driving rocker “Peppermint City”. The harmony-rich “Two Sparrows” is a two-step with a beat, while “Ink And Grief” is a personal anthem of a singer/songwriter bearing pop-pier hooks than Russell’s norm. Smith offers the rocker counterpoint. His songs often address love sought, last or lamented. The surreal moments are there too, albeit less than with Russell. Vocally, he is also more conventional overall. The garage rock of Drop The Charges comes complete with a Suzi Quatro reference. “Drop What I’m Doing” has Stones blood running through its veins, while the 4/4 surrealism of “Melchert” conjures up a Tom Petty cover of “Chest Fever”. “Marginalized” is Smith’s existential search of the album; its twisted lyrics are married to a melody and style that fit. Johnston has been part of The Gourds since 1999 after cutting his teeth with Uncle Tupelo and Wilco. He lays down tasty mandolin, violin, and acoustic guitar as appropriate for Russell and Smith’s pieces. He also tends to offer his own song or two per album, and this time it is the rollicking mid-tempo piece “Haunted”. The most country-cored track of the album as it moves into its own southern rock groove is also a song where Campbell’s steel is critical. The album closes with respective closing statements by Russell and Smith. “Eyes Of A Child” is Russell’s personal anthem par excellence, while “Your Benefit” shows that Smith is, above all else, a card-carrying member of the Dylan/Band folk rock continuum. The same can really be said for this growing band, now posed for wider attention and acclaim with this major label gem. Track listing 01. “I Want It So Bad” (Kevin Russell) – 3:41 02. “Drop The Charges” (Jimmy Smith) – 3:35 03. “Two Sparrows” (Kevin Russell) – 6:01 04. “Drop What I’m Doing” (Jimmy Smith) – 4:19 05. “Haunted” (Max Johnston) – 3:50 06. “Melchert” (Jimmy Smith) – 2:55 07. “Ink and Grief” (Kevin Russell) – 5:15 08. “Peppermint City” (Kevin Russell) – 4:08 09. “Marginalized” (Jimmy Smith) – 5:30 10. “You Must Not Know” (Jimmy Smith) – 3:04 11. “Eyes Of A Child” (Kevin Russell) – 4:12 12. “Your Benefit” (Jimmy Smith) – 4:15 Released: September 13, 2011 Recorded: March 21 through April 1, 2011 at Levon Helm Studios in Woodstock, NY Genre: country rock Length: 50:45 Label: Vanguard Producer: Larry Campbell Personnel * Kevin Russell – guitar, mandolin, vocals * Jimmy Smith – bass, vocals * Keith Langford – drums, vocals * Claude Bernard – piano, organ, guitar, accordion, vocals * Max Johnston – violin, guitar, mandolin, vocals * Larry Campbell – guitar, percussion, lap steel