Hello Reader,
Welcome back. How are you today?
Today we’re going to delve into the backstory of the singer-songwriter and guitarist that goes by the name River Shook. They were born into a fundamentalist Christian household that limited music listening to only classical and praise and worship music. Luckily Shook’s music exploration started with piano at age nine and guitar in their high school aged years. In 2010 in North Carolina, roughly a decade after Shook learned the guitar, the band, Sarah Shook and the Devil was formed. The band released an EP, Seven in 2012 before disbanding after the release. In 2013, a new band was formed called Sarah Shook and the Dirty Hands with one of the Devil bandmates among the new group. Less than a year later, Sarah Shook and the Disarmers would be formed.
It’s often difficult to place bands within a genre or subgenre(s) as a groups sound changes over time from album to album and genres themselves alter as well. I’ll avoid the over analyzation some music historians, critics and music fans get into. For reference to those unfamiliar and to set up the rest of the review, Sarah Shook and the Disarmers have been often described over the course of their existence as outlaw country, country punk, alt-country and americana. I’ll let you listen and decide for yourself if you like. Maybe you’ll find multiple subgenres.
Sarah Shook and the Disarmers first album, Sidelong (2015) was self-released and garnered some buzz within the scene but even more positive reviews upon its re-release in 2017 upon the Bloodshot Records label. The next album, Years (2018) saw the band garnering more critical praise and tour dates. And the bands next album Nightroamer (2022) found Shook in sobriety, liberated from the stranglehold of former vices. Later in 2022, Shook’s indie rock side project Mightmare, released its debut album, Cruel Liars.
And today, Friday March 29th via Abeyance Records and Thirty Tigers Records for your listening pleasure, Sarah Shook and the Disarmers are releasing their new album, entitled, Revelations. Talking about the album and process, Shook says, “A lot of artists are in this industry for fame, recognition, and money but those things don’t mean anything to me. All of my writing is autobiographical, and I write everything based on my observations and experiences. But there was something about Revelations that felt more personal to me.”
Giving credit where it’s due, Revelations album credits:
- River Shook: plays rhythm & electric Guitar, sang vocals, was the songwriter and producer
- Blake Tallent: plays electric guitar and acoustic guitar
- Jack Foster: plays drums, and percussion
- Andrew Lambie: plays Bass
- Nick Larimore: plays pedal steel
- Engineered by Ian Schreier at Fidelitorium Recordings | Blake Tallent, Assistant Engineer
- All songs mixed by Ian Schreier at Kaleidoscope Mixing and Mastering
- Mastered by Brent Lambert at the Kitchen, Carrboro, NC
And now some hype for your ears!
The human experience with a catchy beat, “Revelations”:
(All credits and rights to Sarah Shook & the Disarmers)
Shook says that the song, “Motherfucker” is an “anthem for anyone who’s ever had to deal with that special someone who constantly creates drama out of thin air, drives you up the wall, and is generally a no-good, lyin’, thievin’ motherfucker.” Without further ado, the cathartic and relatable “Motherfucker”:
(All credits and rights to Sarah Shook & the Disarmers)
A song about Shook’s experience as a service worker, “Backsliders”:
(All credits and rights to Sarah Shook & the Disarmers)
Overall Revelations sees the evolving in Shook’s songwriting and composition. Shook stated, “Songwriting is it for me. It’s the only real healthy coping mechanism I’ve ever had. It’s lifesaving. I don’t care about any superficial things when I’m making a record.” And the fruits of their labor shine throughout the album. During the first listen through, I found it to be a solid album to my ears upon that improved in quality with repeated listens. Sometimes a listener loves abstract lyrics full of allegories, and other times one likes straightforward lyrics. Shook’s lyrics are heart on their sleeve honest, in your face, in the best ways. Tremendous songwriting once again, that they’ve become known for. Some of the themes can be simplified here as Shook’s relationship with themselves and with others capturing a large combo platter of human emotions. Shook’s vocals are clear and decisive. The choruses and refrains are often the song titles. Try to forget song names now! The composition choices within songs are fantastic as each song is different and its own sound. Kudos. There was an awesome attempt and execution of assembling talented musicians together. The band sounds tight, they play together so well. The sonic quality of the album is excellent as well.
The titular song and first song on the album, “Revelations” kicks off the album Shook on guitar with lyrics that are about mental health within capitalism. The struggle one goes through to afford the care we need. The melody is contrastingly pleasant and upbeat at times with propulsive drums from Foster, some flourishes of pedal steel and an outstanding guitar solo about two thirds of the way into the song. A great balance between instrumentation and Shook’s voice.
“You Don’t Get to Tell Me” opens with a brief siren effect before Shook jumps in with unshakable lyrics that establish where the line is sung in resolute nature. The chorus is a refrain that reiterates the titular phrase. Striking drums and rocking guitars carry the mood. All pair beautifully.
The third song on Revelations, is “Motherfucker.” The melody is more country twang, and thus to me, it would great in a partnered social dance setting perhaps where country music is played. Not limited to square of folk dance, per se. Dare you to start that trend. Further exploring the melody, the pedal steel from Larimore, continuous drums from Foster, and the guitar solo just past the halfway point of the song are fantastic. The lyrics and Shook’s vocal delivery both are adamant in the best ways. I hope the song was as cathartic to write and sing as it comes off to the listeners ears.
In “Dogbane” the lyrics contemplate the end of days while painting an attractive natural landscape paired with a melody that is rollicking with guitars, pedal steel, drums. Which creates another disparity on this album that isn’t negatively contrasting to the listener. The song ends with a suggestion ‘to rest your head on a pretty bed of dogbane.’ The third consecutive example of a well-chosen title by Shook, as in this case, dogbane is an extraordinarily toxic perennial plant.
“Nightengale” has the longest musical instrumentation to start any song on the album. The pacing of the melody plays like a back and forth between the vocals and instruments. The twang is the common variable that moves the melody. Several emotions that all humans share are conveyed within the lyrics from pride to lust and envy to longing. Perserverance through it all alas the songbird named the Nightengale.
“Backsliders” The melody picks up in pace compared to Nightengale. Love the twang from Larimore on pedal steel. The drums stand out as well and pair exquisitely with the guitar and even more so with the pedal steel. The lyrics tell of Shook’s time in the service industry as a bartender, experiencing a workplace romance then the person is no longer in your life.
A rock formation in Tennessee and Shook’s memories of a particular trip there are highlighted in the lyrics of “Stone Door.” Pedal steel solos? Yes, please. They were perfect. Excellent guitars and drums again.
An abusive relationship and physically escaping it are told within the lyrics of “Jane Doe.” That tale is combined with drums, guitars and pedal steel to create a welcoming atmosphere for Shook’s vocals. I love the use of a placeholder name like Jane Doe, that adds to this unfortunately relatable experience for many. A true fuck you of a song to an abuser.
The melody on “Give You All My Love” starts out of the gate with propulsive drumbeat. Followed by Shooks vocals looking back a relationship, seemingly grateful but also wistful. The pedal steel adds to the wistful moments, enhancing them as does the titular chorus.
A gay cowboy song? You had me at Orville Peck. (An awesome musical artist, check him out after this review, if you’re unfamiliar). At the bare minimum, we’re allies here. Within the closing song on the album, “Criminal” the story of queer (how Shook refers to herself) love is explored with yearning, and pining. The drums put you in a country genre melody dream while also inching the beat forward, and Tallent’s guitar leads shimmer.
Revelations gets 4.5 out of 5 Scum Drops from me. It is an excellent album. Right now, it fits in the middle of the 4.5 range (84th-95th percentile), and we’ll see where it ends up at years end. There’s a lot to like. The songwriting, vocals, and musical instrumentation are exceptional. Shook runs the listener through the gauntlet of emotion from start to finish on this album. The mix and audio quality are first rate. Add Revelations to your collection on any format, I’d recommend at least adding it on vinyl.
Revelations Track listing (song length)
- Revelations (3:01)
- You Don’t Get to Tell Me (2:54)
- Motherfucker (3:09)
- Dogbane (3:45)
- Nightengale (5:12)
- Backsliders (3:45)
- Stone Door (3:20)
- Jane Doe (4:28)
- Give You All My Love (4:06)
- Criminal (3:39)
Total runtime: 37:19
I’ll always advocate that you take the time to listen to every album in its entirety. This process is usually an hour or less from start to finish. Along the way, you’ll discover your own favorite songs without the influence or bias of others. After a few listens on my own, the songs that are highlighted in green font above are my favorite songs on this album.
A link to their kickass, comprehensive site is here. If you can’t find what you’re looking for there, I don’t know what to tell you.
Thank you for reading and supporting good music.
Until next time,
Alex
Scummy Water Tower Productions co-founder, reviewer, business manager, and editor. Thank you for visiting this site: scummywatertower.com, and YouTube for Water Tower Sessions!
Contact me: alex@scummywatertower.com
