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Weatherhole
OUT OF STOCK

Tracklist
Reviews

Duck Baker (Dirty Linen)

How many singer/songwriters have been making records since the 60s that combine quirky, original guitar work, highly effective vocals, and an immediately recognizable writing style? That Michael Hurley has done this while remaining a marginal figure underlines the fact that even folkies are suspicious of real non-conformity. Hurley is certainly a law unto himself. You will never hear him adopt the self-righteous tone of the folksinger pointing out the evils of society, or the self-pity of the modern love songster, for example. Not that he doesn't write love songs, and I suppose "National Weed Growers Association" could be said to contain social commentary, though that's hardly the point. The one quality that is always present, whether the subject is love, pot, the blues, or humorous nonsense, is whimsy. Hurley's penchant for making even sad songs whimsical is as interesting as his ability to make sympathetic characters out of werewolves. The present collection features recordings made in Virginia, Ohio, and New York City, with a revolving cast of supporting musicians. One familiar name is bassist Dave Reisch, who has aided and abetted The Holy Modal Rounders (as well as Hurley) for years. All involved do a good job of fitting in with this slightly off-center music, which moves from blues to country to folk flavorings, to things that can't be described but must be experienced, like the mouth-trumpet choir on "The Rue of Ruby Whores." Hurley is actually a better singer than he was on his early records, and more consistent as a writer. His own inimitable artwork and appropriately tortured notes from writer Nick Tosches grace this new release, which will be sought eagerly by Hurley's fanatic following.

Steve Cooper (All Music Guide)

Not as potent as Long Journey, Blue Navigator, or Snockgrass, Weatherhole is more on a par with Watertower, and the two Racoon Records albums, Armchair Boogie and Hi Fi Snock Uptown. In other words, Michael Hurley is even more laid-back than usual; though, with Hurley, "laid-back" can be an asset. The main culprit here is mixing Hurley's vocals a layer or two back in the mix. In fact, the dobro, alternately provided by either Kevin Maul or David Mansfield, seems to be hogging the lead vocal mic. The Hurley dynamic requires his lazy, loopy-yet-effective vocals to be squarely up front. It is no accident that the most successful songs on Weatherhole -- "The Beggars Terms," "Vanessa," "Mr. Man in the Moon," and "Don't Call Me Sam" -- feature Hurley's vocals clearly atop the instrumental mix. These four tunes, along with "The Rue of Ruby Whores," "Extra Love," "Wildegeeses," and "Your Old Gearbox," comprise eight worthy additions to the Hurley canon. "Vanessa," to single out one, with its "holy modal," fiddle-and-banjo backing, is essential. The other four originals on Weatherhole are so-so Doc Snock fare, as is the take of the traditional "Rider's Lament." Particularly so-so is the overly cute toker anthem, "Nat'l Weed Growers Association." Still, eight out of 13 is not a bad ratio. What's that, math fans? Sixty percent? One is inclined to accept the percentage because no one else is even remotely capable of providing a Hurley fix other than Hurley himself. Hurley's vivid, primitive artwork for the cover and insert booklet of Weatherhole, featuring usual suspects Wood Bill, Kornbred, Jocko, and Boone, is among his best.