Bob Woodruff - The Year We Tried To Kill The Pain
ROOTSY 079
I first stumbled across the music of Bob Woodruff just over 20 years ago. His debut album, DREAMS & SATURDAY NIGHTS was released on the short-lived Asylum-Nashville label in 1994, but despite critical acclaim, America’s mainstream country radio turned a blind ear to Woodruff’s hard-scrabble country music. In the ensuing years the New York born singer-songwriter has continued to make music on his own terms, irrespective of current trends and styles. This latest one was recorded in Sweden and is a pure delight from start to finish. If, like me, you love a rough-and-tumble honky-tonk sound blended with ace songwriting you’ll know what I’m talking about. Throughout the album Bob displays his deft control of melody and tone, well practised over many years of prolific songwriting.
A striking blend of country, blues, roots and r&b, the album features a dozen vivid musical character studies, skilfully rendered in cinematic detail, all bar one written or co-written by Woodruff. There’s a mix of reworked old songs and new creations. The title song was originally recorded for that debut album and was the B-side of his classic Hard Liquor, Cold Women, Warm Beer single that sunk without trace. Like so much of the material on this album, this song has terrifically ‘real’ lyrics and gets right under your skin. Another oldie is Bayou Girl, his second Asylum single if memory serves me well. Steel guitar and throbbing electric lead provides an apt counter balance, adding a hint of twang and drawn out expanse to the urgency put forth in the sensual lyrics. A nod back to his fondness for soul, especially Motown, comes to the fore with his reworking of the Supremes’ Stop In The Name Of Love. Spiced with steel guitar, his husky hurts-so-good baritone gives the song a whole new meaning.
The infectious guitars and down home message of I’m The Train, the hard luck theme and wah wah/slide mashup of I’m Losing You and the hopeful redemption of If I Was Your Man are sure to keep listeners delightfully engaged: a piercing song-cycle of struggle and heart. Bob Woodruff just keeps churning out his vintage blend of heartfelt country with a fine sense of the tradition. He possesses a voice that’s edgy and passionate and a songwriting sensibility that is laced with hope and optimism but tinged with realism. Two decades later, an artist in full creative command, he’s delivered an inspired work of purity and depth in THE YEAR WE TRIED TO KILL THE PAIN.
I first stumbled across the music of Bob Woodruff just over 20 years ago. His debut album, DREAMS & SATURDAY NIGHTS was released on the short-lived Asylum-Nashville label in 1994, but despite critical acclaim, America’s mainstream country radio turned a blind ear to Woodruff’s hard-scrabble country music. In the ensuing years the New York born singer-songwriter has continued to make music on his own terms, irrespective of current trends and styles. This latest one was recorded in Sweden and is a pure delight from start to finish. If, like me, you love a rough-and-tumble honky-tonk sound blended with ace songwriting you’ll know what I’m talking about. Throughout the album Bob displays his deft control of melody and tone, well practised over many years of prolific songwriting.A striking blend of country, blues, roots and r&b, the album features a dozen vivid musical character studies, skilfully rendered in cinematic detail, all bar one written or co-written by Woodruff. There’s a mix of reworked old songs and new creations. The title song was originally recorded for that debut album and was the B-side of his classic Hard Liquor, Cold Women, Warm Beer single that sunk without trace. Like so much of the material on this album, this song has terrifically ‘real’ lyrics and gets right under your skin. Another oldie is Bayou Girl, his second Asylum single if memory serves me well. Steel guitar and throbbing electric lead provides an apt counter balance, adding a hint of twang and drawn out expanse to the urgency put forth in the sensual lyrics. A nod back to his fondness for soul, especially Motown, comes to the fore with his reworking of the Supremes’ Stop In The Name Of Love. Spiced with steel guitar, his husky hurts-so-good baritone gives the song a whole new meaning.
The infectious guitars and down home message of I’m The Train, the hard luck theme and wah wah/slide mashup of I’m Losing You and the hopeful redemption of If I Was Your Man are sure to keep listeners delightfully engaged: a piercing song-cycle of struggle and heart. Bob Woodruff just keeps churning out his vintage blend of heartfelt country with a fine sense of the tradition. He possesses a voice that’s edgy and passionate and a songwriting sensibility that is laced with hope and optimism but tinged with realism. Two decades later, an artist in full creative command, he’s delivered an inspired work of purity and depth in THE YEAR WE TRIED TO KILL THE PAIN.