Honky Tonk Masquerade

Might as well just be one big song about whatever the fuck a honky tonk is

Honky Tonk is the worst combination of words known to man

Score: 70 Album art: 50 Dirty dirty fingernails Why does this guy want to hear his nails clacking on piano? It's very strange. Anyway, the first song is really fantastic. After hearing it I asked myself, is this really going to be an amazing country album?? Sadly the answer is no, but it is definitely good! I listened to the 2022 remaster and I don't know how much of this is the remaster but this thing is produced and mixed immaculately. Sure the mixing is flat but it's by no means bad. It's corny and cheesy but I was never groaning or upset with what I was hearing. Compared to modern country music that alone is an insane compliment. Also I could be wrong but I don't think there was a single mention of a truck so props for that. My personal enjoyment of this album is around a 3 as I'm not a huge country fan, but it's clear to me this is a cut above the rest so I'm giving it a 4

Late 70's country...you can hear the 80's on the horizon. Nasty slide and electric tones throughout. Some corny bits here and there but some bangers too. At its best when the West Texas vibes come through.

All those times I said I liked "anything but country and rap", turns out I was lying.

Hello friend, I’m not going to hide the fact that I’m closed minded about country music. I don’t really like it and it is probably 100% a cultural thing. I’m from New Jersey and even if the part of the state I live in is considered rural, with lots of farmland and open space, country music might as well come from another planet to me. No one in my family listens to country, none of my friends growing up listened to country…I have no nostalgic affection towards it whatsoever. It just doesn’t resonate with me on any level. Frankly, I think country music is corny as fuck and I’m not really sorry about it. …and maybe that makes me a bad person, the kind of “Yankee” or “Northern Elitist” that Southerners bitch about…I don’t care. I’m in my 40’s and at this point, if country music hasn’t grabbed me, I don’t think it ever will and I’m not going try and force something if I find it off-putting. Now, with that said… There were moments on this record that I appreciated. The instrumentation is a little more technologically diverse and the production more experimental than I would typically expect from a country record. There were even a few songs with a lot of unexpected twists and turns that felt kind of “prog-ish”. So, I didn’t hate this record from a technical standpoint. In fact, I think it was pretty good for what it is. The problem is that musically, this does nothing for me. Country music is steeped in tradition and it’s not a tradition that I’m interested in. It was good enough to listen to all the way through (doesn’t hurt that it’s only 35 minutes long) and there were things I could appreciate about it, but the chances of it ever getting a replay are close to nil.

Joe be looking pretty fly on the cover and Cornbread Moon is a great song title. A mix of honky tonk, and classic Texas country, it can be a little corny, but I think it's easy to listen to. Great voice, with nice clear production. If you are not a country fan, I don't think you'd hate this but it probably won't change your mind about it. It is definitely way better than whatever the hell they're making now. Some of the slower songs sound samey but Boxcars is an absolute standout.

Crisp, killer country. A strong, nearly suite-like set of songs. In the modern tradition, there's some knowing humor to the songs but also moments of real pathos. Editors are right: this man should be much better known.

Ok this was cool - a little bit country, a little bit rock n roll ha ha! I'll never listen to it again but it's an easy 4/5.

So this thing was just added to the list for some reason, no? Slip past the censors or something? I'm glad someone threw it a life preserver, because this baby slaps and slaps hard. It walks a fine line of suggesting what country rock would become, all the while remaining both timeless and of it's time. Ely's vocals at times remind me of everyone from Poco, Randy Meisner (himself a founding member of both Poco and the Eagles), Jeff Freaking Lynne, Townes Van Zandt, and Gram Parsons. And you can also hear how future country greats like George Strait and Dwight Yoakam were influenced by this. Anyone who suggests this album to be in the running for consideration as one of the greatest country music albums ever will get no argument from yours truly. No wonder The Clash loved this dude. I thought this was my first exposure to Joe Ely, but it turns out I've been listening to him for years: Ely provided backing vocals on "Should I Stay Or Should I Go" with the aforementioned Clash.

I've never heard of Joe Ely before, but this was a decently fun album to listen to. It definitely oozes the feeling of Texas country from that time period, with sounds of rock and rockabilly mixed in. "Cornbread Moon," "Fingernails," and the title track are the standout songs here, but everything else feels a bit like filler. It's not bad filler, but it definitely pales in comparison to the rest of the album in my opinion. Even though I wasn't blown away by this, I'd still give Joe Ely another listen.

What happened here? Put this on early today, noted “plod plod plod country, v well”, put it back on this afternoon and then spent the next few hours sort of lightly mesmerised by it. Easy listening in a lovely sense of the term, this honey just glugged down by the old radars.

I’ve reached the 900th album here :) Much like the 600th and 700th, it’s a country album. But wait- this ain’t no run of the mill country! “Cornbread Moon” gets a 4/4 breakdown (in contrast to the swing) not unlike punk rock, & “Boxcars” gets a hard rock guitar solo. It’s a crossover that is more in tune with the musical trends of the late 70s, and less with the outlaw/country rock of the 60s. However, many of the other tracks are pretty traditionalist; still glad we get that variety that’s missing from a few country records on this list Rounding up to a 4 today

Honky Tonk Country Rock + a Moog synthesizer... Does that work? Hell yeah it does and this album is a great example as to why and how. It's a passionate Country record that seems to push the genre onto new paths while still holding true to what it is: an American genre that depicts the simple life of an American in different ways. Yes, it does sometimes slip into different things like it does here with the whole Outlaw Country imagery but it still seems rather "simple" (in a good way) than let's say the philosphical aspects of some 90's Death Metal groups. It is simply beautiful and easy to devour while still having enough to offer that a full album doesn't feel shabby or boring. The opening track 'Cornbread Moon' starts things with an energetic, lush and dense Progressive Country song that is topped with a pretty good vocal delivery from Joe. The added accordion is really fun and just adds to that overall "Country vibe". It's a really fun song, that's all I can say. It does maybe try a bit too much with the way it builds tension but still, this is a great song. 'Because of the Wind' gets a bit slower and lets the synth shine a bit more while still having the typical Country instrumentation. It overall just feels more like a typical slow Country song that has some weird added bits. This type of Country music can be really effective but also easily fu**ed up which happens here. It's not bad but the way it plays out doesn't really sound all that great and the songwriting and vocal delivery seems a bit "eh." It's not a good song and I'd even go as far as to say that it's "below average". His best received song 'Boxcars' is neither as up beat as the first nor as slow as the second. But it definitely has a certain darkness to it that is amplified with the mix of some incredibly well put together accordion and synth. The false end that returns into a mix of synth and guitar solo is just a cherry on top. This song is a perfect example of Progressive Outlaw Country and I'm all for it: This is a perfect song. On 'Jericho (Your Walls Must Come Tumbling Down)' Joe Ely returns to a more groovy and faster Country song that shines with the great songwriting he put here. It's just structures so well throughout. Additionally, the lyrics and the chorus are both catchy and feel special on their own. At the end of verses, before he goes into the chorus, he does something that reminds me of another artist but I can't really pin down who... Maybe Donovan? I'm not sure but this song here is surely a great one. 'Tonight I Think I'm Gonna Go Downtown' closes the first half of the album and returns to a more laid back sound but this time he does it much better. It's still not perfect or anything but it's fun, it's short and I think that it's decent. Nothing that seems disruptive but also not much great stuff. The title track 'Honky Tonk Masquerade' follows with another slow approach but not only his vocals but the entire song just feels much more emotional than on songs before and even though it isn't as great as 'Boxcars', it's still a great Country track that only messes a bit up after the bridge. 'I'll Be Your Fool' is a bit obnoxious especially because it's not as special as most other Country songs in that field of sound. The songwriting is basic, the instrumentation is boring, neither chorus/hook or lyrics have anything of value and the vocals sometimes do anything but sound good. It's a bad song, sadly. Luckily, 'Fingernails' returns with some more interesting songwriting. Yes, it's silly but also really fun. The piano works so well with the Rock & Roll style and it's just really, really playful all the way through. This feels a lot like Jerry Lee Lewis but more Country of course. It's a great song. On 'West Texas Waltz' he turns a bit to Tex Mex together with the Outlaw Country style and while it isn't bad, I am really uninterested by it. There are some moments I like but also some I really don't so it equals out to average, maybe slightly below. It's just way too long. The closing track 'Honky Tonkin'' starts off by sounding like it's about to turn into a Stones track but it of course doesn't turn Blues Rock, no it turns Honky Tonk (who would've guessed.) It's okay. There are some fun parts but even the chorus is pretty annoying and obnoxious. It's also mixed not all that good. It just turns out pretty below average with a tendency to bad but not quite. favourites: Boxcars, Honky Tonk Masquerade, Jericho (Your Walls Must Come Tumbling Down) least favourites: I'll Be Your Fool, Honky Tonkin', Because of the Wind, West Texas Waltz Rating: strong 6 https://rateyourmusic.com/~Emil_ph for more ratings, reviews and takes

No. 208/1001 Cornbread Moon 3/5 Because of the Wild 4/5 Boxcars 3/5 Jericho 3/5 Tonight I Think 4/5 Honky Tonk Masquerade 3/5 I'll Be Your Fool 3/5 Fingernails 2/5 West Texas Waltz 3/5 Honky Tonkin' 3/5 Average: 3,1 Good country album.

Great album - easy to listen to, strong lyrics (especially Boxcars). I feel like this is what I wish Bob Dylan sounded like.

Another hometown hero of mine, this will probably be an acquired taste that most of y'all will not have acquired yet. Twangy vocals over country/tejano/rock 'n roll, lyrics filled with rants about the South Plains and other things that make sense to west Texans. Lighthearted, honest, and probably misunderstood by most.

man I've never listened to a Joe Ely song before but this was such a good experience. he straddles that line between country and blues and rock and introduces some interesting ideas. from bluegrassy sounds in Because of the Wind and West Texas Waltz, or more country rock/blues of Honky Tonkin' or Cornbread Moon, or the ballad stuff like I Thinl I'm Gonna Go Downtown. also he sure says Honky Tonk a lot!

I'd line dance to this.

More than any other, this album explains why The Clash hired Joe Ely to open for their London Calling tour. What a show that musta been! This album is about 10 years ahead of its time with its sounds and rhythms and genres. Ely and the other Flatlanders alumni like Butch Hancock and Jimmie Dale Gilmore deserve more recognition. I will complain that this version of their classic Tonight I Think I'm Going To Go Downtown is not nearly as good as when Jimmie Dale Gilmore sings it. Still, glad to see this album on the list.

Not bad for a country album - some really nice instrumentation and the lyrics were fairly interesting/clever.

I had heard the name but wasn’t familiar with his work but I ended up really liking parts of this album. A few songs were a lot of fun and I can definitely see the appeal.

bit basic, innit?

Won't listen again. Competent but uninteresting 2.2

What in the west Texas hell is this

As far as country goes it's not bad. Not my style and probably won't get any future plays but wasn't terrible.

There’s something deeply cursed about the sound of this album. Perhaps it’s the accordion or keyboard and the way it clashes with the guitar. The vocals sound like any and all other country music I’ve heard before, but the backing music is an assault on the earholes. On some of the tracks, every element feels like it’s fighting against the rest of the composition and the end result is not only less than the sum of it’s parts, but also less than any individual part; I would genuinely rather listen to just a drum kit than hear Cornbread Moon again.

Fuck this.

Honky Tonk Masquerade is a kinder term than “Stale, Vacuous Redneck Drag” so I understand picking that as the title.

On the cover he has his capo on his guitar strap. So cool. I will definitely copy that.

Jericho makes this album.

In terms of country music, this album is quite enjoyable. It's a fun and pleasant listen.

1978 country rock

**Joe Ely's *Honky Tonk Masquerade* (1978)** stands as a landmark album in the Americana and Texas country-rock canon, blending raw storytelling, genre-defying instrumentation, and a road-tested band’s chemistry. Released as Ely’s second solo effort, the album solidified his reputation as a songwriter and performer who could bridge honky-tonk tradition with rock ’n’ roll energy. Below, we dissect its lyrical depth, musical innovation, production choices, thematic cohesion, and enduring influence, while weighing its strengths and limitations. --- ### **Lyrics: Storytelling with Grit and Grace** Ely’s lyrics on *Honky Tonk Masquerade* paint vivid portraits of Texas life, wanderlust, and heartache, often drawing from his own experiences hoboing across the Southwest. The album features five Ely originals, including the title track’s wry commentary on barroom facades (“Everybody’s got a secret, hid behind their painted eyes”) and the rollicking piano-driven “Fingernails,” a ode to manual labor and restlessness[1][3]. However, the record’s lyrical backbone is fortified by contributions from Ely’s Flatlanders bandmates: - **Butch Hancock**’s “She Never Spoke Spanish to Me” and “If You Were a Bluebird” blend poetic melancholy with Southwestern imagery, the latter becoming a live staple for Ely[1][3]. - **Jimmie Dale Gilmore**’s “Dallas” injects existential reflection, its narrator lamenting urban alienation[1][3]. - A cover of Hank Williams’ “Honky Tonkin’” ties the album to country’s roots while updating its swagger for the 1970s[3][8]. The lyrics avoid cliché, balancing wit (“Suckin’ a Big Bottle of Gin”) with vulnerability (“I Had My Hopes Up High”). Ely’s delivery—a “stinging, road-hued voice” (per *Dallas Morning News*)—elevates every line with lived-in authenticity[3][4]. --- ### **Music: A Genre-Blurring Tapestry** The album’s sound is a Texas-sized melting pot: - **Country-rock foundations**: Pedal steel virtuoso **Lloyd Maines** and guitarist **Jesse Taylor** trade fiery licks on “Boxcars” and the Cajun-tinged “Mardi Gras Waltz,” while **Ponty Bone**’s accordion adds Tejano flair to “She Never Spoke Spanish to Me”[1][3][8]. - **Rock energy**: Tracks like “Fingernails” and “Honky Tonk Masquerade” channel Jerry Lee Lewis-esque piano boogie and Stonesy grit, foreshadowing Ely’s later collaborations with The Clash[1][4]. - **Balladry**: “If You Were a Bluebird” and “Dallas” showcase the band’s dynamic range, with sparse arrangements highlighting Ely’s vocal nuance[3][8]. The interplay between Maines’ pedal steel and Taylor’s guitar is particularly electrifying, creating a “muscular” yet melodic backbone that critics liken to the best of 1970s country-rock[3][8]. --- ### **Production: Raw and Road-Tested** Produced by Chip Young in Nashville, the album’s production prioritizes live energy over polish. Ely insisted on recording with his touring band, resulting in tracks like “Honky Tonk Masquerade” and “Boxcars” being cut in single takes[1][3]. This decision captures the group’s telepathic tightness, honed through relentless touring. However, the mix occasionally buries nuances—for example, Bone’s accordion on “She Never Spoke Spanish to Me” feels understated compared to later live renditions[3]. Still, the raw production suits the material, emphasizing the band’s combustible chemistry. --- ### **Themes: Texas, Transience, and Truth** *Honky Tonk Masquerade* orbits three core themes: 1. **The Texas mythos**: From Panhandle landscapes (“I Had My Hopes Up High”) to Dallas’ neon glare, the album is steeped in regional identity[3][4]. 2. **Restlessness vs. roots**: Ely’s narrators oscillate between craving freedom (“Fingernails”) and longing for connection (“If You Were a Bluebird”)[1][8]. 3. **Authenticity**: The title track and “Dallas” dissect societal masks, a theme echoing Ely’s own rejection of Nashville’s “9-to-5” music scene[3][4]. These themes resonate beyond Texas, tapping into universal tensions between belonging and rebellion. --- ### **Influence: Bridging Punk and Americana** Though not a commercial smash, *Honky Tonk Masquerade* became a cult classic, influencing: - **The Americana movement**: Ely’s blend of country, rock, and Tejano prefigured the genre’s 1990s rise. Artists like Steve Earle and Lucinda Williams cite him as a touchstone[3][4]. - **Punk cross-pollination**: The Clash, who toured with Ely in 1979, admired his “rebel country” spirit. This relationship expanded Ely’s audience and cemented his status as a bridge between disparate scenes[1][4]. - **Texas music legacy**: The album’s success bolstered Austin’s reputation as a live music capital, contrasting Nashville’s studio-centric model[3][4]. --- ### **Pros and Cons** **Strengths**: - **Songwriting diversity**: Ely’s originals and Hancock/Gilmore cuts create a rich lyrical tapestry[1][3]. - **Band chemistry**: Maines, Taylor, and Bone deliver career-defining performances[3][8]. - **Genre fusion**: The album’s seamless blend of country, rock, and Tejano remains innovative[3][4]. - **Critical legacy**: Named among *Rolling Stone*’s “50 Essential Albums of the 70s” and included in *1001 Albums You Must Hear Before You Die*[3][8]. **Weaknesses**: - **Niche appeal**: The Texas-centric themes and raw production may alienate listeners seeking polished, mainstream country[3]. - **Uneven pacing**: The back half lags slightly compared to the front’s relentless energy[8]. - **Commercial obscurity**: Despite acclaim, the album’s sales were modest, limiting its immediate impact[1][3]. --- ### **Conclusion** *Honky Tonk Masquerade* is a triumph of authenticity and musical ambition. Ely’s sharp songwriting, the band’s electrifying performances, and the album’s thematic depth solidify its status as a cornerstone of Americana. While its regional focus and unvarnished production may narrow its appeal, these elements also grant it timeless resonance. For fans of genre-defying storytelling and roadhouse energy, this remains Joe Ely’s indispensable masterpiece.

Yes

Great country sound!

I'm just a simple country boy. Love this album very much

Diggin it Good dance songs 5 stars

Loved this, had never heard it before, but will definitely listen again and check out more by Ely.

Who knew Honky Tonk could be so good.

country goodness

Favourite songs: Fingernails, West Texas Waltz, Cornbread Moon, Boxcars, Honky Tonkin', Jericho (Your Walls Must Come Tumbling Down), Because of the Wind, Honky Tonk Masquerade Least favourite songs: I'll Be Your Fool 5/5

Joe's vocals are great-very much enjoyed this album. Nothing like today's generic, bro country, this is the real deal if you're looking for some country music to enjoy.

Didn’t think I would enjoy this but it’s awesome!

Good

Very good. I’ll need to explore some more of his work

Really catches the heart of Texas country. A great listen with clever lyrics and good dance songs.

Really loving this album. This is an outlandish statement but I'm going to make it anyway: this album is to country as Kind of Blue is to jazz - as in, it's a genre defining, exemplary and well executed example (I'll stop the analogy there). Apparently this was too outside for country radio at the time, but clearly its DNA has found its way into country music that's followed it. Baffling that he opened for The Clash, and suffered abuse from their audience - but perhaps is illustrative of how this music didn't initially find its way with a mass audience (i.e. not country enough for country, not rock enough for rock). The band is tight, the songwriting solid, and his voice strikes me as an authoritative storytelling voice that is commanding and believable.

I would generally say I hate country, but listening to something like this makes me appreciate that what I hate is modern arena country, because this rules. I loved the rockabilly cuts the most, but even the slower and twangier tracks were enjoyable.

Brilliant vernacular folk music

Loved it! Old school country with a gentle rock edge - with catchy tunes and engaging lyrics.

Great, great record.

Good ol’ country– very forward-thinking production too

I'd give this a 3.5, but I'll round up to 4, because I do think it is a very well-done version of what it is trying to do. This from Wikipedia is a great encapsulation of what I feel: The Los Angeles Times wrote that "Ely's pure, unadorned vocals and wry, gently philosophical songs revive the Hank Williams-Lefty Frizzell honky-tonk tradition in country music without showing any traces of nostalgia or self-consciousness. I could see myself putting this on again. Not going to be a huge favorite, but it's easy to listen to and, especially for 1978, pretty surprising, as I would have believed it was released in 82, 88, or maybe even early 90's.

very fun! good bbq music. didnt listen to the whole album but i absolutely will.

I really like this, even though I'm not usually a fan of modern country. It still has the sort of twang and instrumentals that you'd expect out of country, but it doesn't have that fucking annoying Dixon Dallas Blake Shelton voice that every country artist nowadays has a copy paste version of. It's got some serious character to it.

Not typically my jam, but this is full-on good-natured West Texas sound. I know this recording is decades old... but it feels like a breath of fresh air compared to modern Country/Western. This has humor and humility while still focusing on having a good time. This is a low-key gem I didn't expect.

I like it— good country. Great instrumentation and really fitting lyrics. Meet a fine lady banker and sure I oughta thank her—- the credit she gave me really set me out Like how do I describe how good this is?

Pretty good.

Pretty nice easy vibes here. Never really heard of Joe but it was pretty good and better than a lot of other country I have heard.

The Best country album i heard yet. Interesting timings and progressions. A short at Sweet listen.

What seems like actual country, and not stadium country. If his fingernails are anything to go buy, Joe Ely is not writing about tractors and farms while on a private jet or wearing boots that cost 3 grand. I don't like much country, but this was pretty enjoyable. 4/5

A honky tonk good time Nice voice. Good guitar. Some cool sounds - liked the zydeco esque parts on some songs. Very much enjoyed this record

Quite safe, but good. 4 stars

Hadn't heard much Joe Ely before this, but it's really cool. I don't think I've heard too many country songs with both an accordion and a Moog synth on them, "Boxcars" and the title track are probably my favorites, but it's a super solid album. 4 stars.

Very nice

A large section of country seems to be on display here, from waltz to boogie, with some accordion, string, and organ to keep things interesting. A few typical (read: boring) tunes, but I’ll still round up.

I kinda liked this, despite my typical disdain of country. Still hate the word honky tonk

This album was a lot of fun. I'm not a country boy but I can respect the classics and I can tap my feet to a great beat.

Tolles Country Album im Honky Tonky Stil. Saubere Sounds treffen auf ein raue Stimme und stimmige kurzweilige Musik. Topsongs sind „Boxcars“ und „Honky Tonk Masquerade. Gerne mal wieder auf‘s Country.

West Texas Country Rock Punk. Sounds like a sweet name for a fusion restaurant whose food doesn't hold up to the name. But in this case it's country music and Joe puts it together well. And is it a coincidence that Boxcars, which became one of his signature songs, is a train theme? I don't think so.

This must be where 90s country gets its influence from. I liked it. 3.5 stars.

first listen the Moog and accordion really threw me off i like it

This is allowable country for me. Still not a favorite album (or genre), but a solid listen.

3.5. Nostan neloseen koska en yleensä countrysta pidä

Pretty good and chilled country album

Cornbread Moon is a banger

Perhaps this benefitted from me being somewhat preoccupied as played, but the songwriting is solid, humorous at times, nice steel guitar throughout... other than my disinclination to connect to country music, I couldn't find reason not to award this with a strong star rating. I'm still a lot more rock 'n roll than I am country, but I can dig a West Texas Waltz now and again.

boy, i haven't listened to this in ages. held up great. lyrically, it's rather slight, but it's great fun. i first heard Ely when he was in The Flatlanders (who somehow aren't on this list, but Tonight I'm Gonna Go Downtown is their tune and their version is slightly better, thanks to their musical saw). anyway, glad i got to revisit this.

I didn't know Joe Ely at all but this is great.

Yee-haw

New to me and some excellent stuff. Will listen to this again and his later stuff.

Honky tonk indeed. This was fun

yeah that was honkey tonk alright really enjoyed i can't even lie

Had me interested 30 seconds in, a whole lot of fun, this is why I’ll never say I’ll hate a genre, 5 years ago I would’ve said I hated country, I hadn’t found stuff like this yet.

I think I listened to this while busy and didn't remember it at all. Relistened and liked it quite a bit. Country isn't really my thing but thus has a lot of variety and is fun. 3.5/5

B-

Great country fun album

Honk that tonk Joe!

Alright Joe- getter done.

I didn’t realize this was from the 70s at first, I thought it was contemporary with a throwback sound to seem more classic. Great production, great variety with some of the tracks. Added ‘Boxcars’ to the list but liked ‘Cornbread Moon’ as well. 3.5/5

I was expecting a pretty standard country album, which would have been totally fine but what we get here is a very innovative country album especially for 70’s standards. The implementation of the accordion and synth really add a whole other level to this record. Starts with a banger with Cornbread Moon and they let you know the dude on slide means business right away. Joe Ely leads a great band with full confidence in his vocals on this honky tonk jam. Boxcars is the standout for me as it puts the whole outfits strengths on full display, this song held the most depth and I’ll be returning to this many times moving forward. Just a solid country album, this was great. 4 stars

Really good once you're past the first couple of songs. For me in any case.

He's got a good twang that I find pleasant and enjoyable. 4.5

solid, meat and potatoes 70's country -- the best vintage for the genre, if you ask me. can the tropes get a bit grating if you're not a fan of the whole country thing? sure, but if you are it's just a very nice, well performed slice of, well, honky tonk. music for the night after a shit day at work. also, they use the moog pretty good on this thing. makes me wonder if more country is out there using wires and knobs.

Found this one fun.

Pretty good country sound. Reminded me of George strait

I’d never heard of Joe Ely or his second album “Honky Tonk Masquerade” until today. It turns out Ely has spent much of his career on the fringes of country music, railing against the polished Nashville scene, rejecting the Bakersfield sound, and living his life as a champion of Texas progressive country (I could have sworn that was an oxymoron). Later, he became great buddies with Joe Strummer and contributed backing vocals on the Clash’s “Should I Stay Or Should I Go”. A country-rebel indeed. That in no way means he’s a self-serious type, though: I feel “Honky Tonk Masquerade” is notable for its verve and levity. There’s a good sense of humour running through the album: the conceit of lead single “Fingernails” is a daft but memorable one, with its central line “I keep my fingernails long so they click when I play the piano”. Ely may not have been up to scratch in the hygiene department, but he knew how to have a laugh. The lyrics to “West Texas Waltz” raise a chuckle too, as does the gibbering hook of “I’ll Be Your Fool”. It’s hard to resist. But where “Honky-Tonk Masquerade” shines even more is in its musicianship. The instrumentation here is a lot of fun, with some absolutely top-notch performances. Lloyd Maines- something of a mainstay in the country scene- is brilliant on lap-steel throughout, delivering a particularly gorgeous solo in “Because of the Wind”, and a stunningly disciplined one in “West Texas Waltz”. A little more edge is provided with searing fuzz guitars in “Boxcars” (there are three different electric guitarists here, so no idea who supplied them). And opener “Cornbread Moon” is bonkers: switching from a straight intro to swung verse, and then back again, tossing in dexterous guitar and ACCORDION solos, structuring its whole verse around the idea of a… well, a cornbread moon. Inspired. At times it feels a little fluffy- there isn’t much lyrical depth here, and often a nagging feeling of country-by-numbers. But the rowdy, raucous outro of final track “Honky Tonkin’” sealed the deal for me: this is a darn good time, and solid country music.

When did country get so bad??

Good stuff.