Swaying between pleasure and despair, Elric throws himself into his pathological passion for the casino. Meeting Suzie could have saved him, but the young woman also sinks into gambling hell. The couple then start getting involved in the fearsome world of professional cheaters…
The place to begin discussing “The Devil’s In The Detail” is, oddly perhaps, right at the end. Because the last minute and nine seconds of this is a hidden song called “Ode To Idiots” in which Ryan Hamilton takes internet trolls to task on the snottiest country punk this side of Jason and the Scorchers. He ends it with the gleeful line: “I know you live with your mum and I’ll be seeing her again…” and in so doing shows why he just might be the best writer of pop rock songs with incredible hooks that we have right now. He showed this on “Hell Of A Day” his solo record from a couple of years ago, and now in his new band with The Traitors, he underlines it, dots the I’s crosses the T’s and delivers something approaching a classic.
Dee Mullins kicked around Texan independent labels such as Pappy Daily's D Records before Shelby Singleton signed him to his Nashville independent SSS – later Plantation Records – in 1967, having Mullins sing the answer song "The Continuing Story of Harper Valley P.T.A." to the label's first big hit from Jeannie C. Riley. "The Continuing Story" provides the title for this 2009 compilation from Omni Records, a compilation that rounds up a generous 27 tracks that stretch all the way from 1959 to 1978, but focus on those hippie-era oddities from SSS and Plantation, pushing all 16 of those cuts toward the front. If any country music could be called psychedelic, this is it: Singleton surrounded Mullins with vocal effects, sitars, and fuzz guitars, creating genuinely odd music ranging from the eerie and unsettling ("I Am the Grass") to the absurd ("Beers").
It's difficult to write about Emmylou Harris without lapsing into a long train of superlatives – she really does have one of the most beautiful voices of her generation, and her taste in material and skill in using her instrument is nearly faultless. However, as good as Harris is and as consistently strong as her body of work has been, one could make a convincing argument that she's been frequently underrated through much of her career – more than just a lovely woman with a pure, clear voice and a fine ear, she's championed a number of gifted songwriters before they went on to have distinguished careers of their own (from Rodney Crowell to Gillian Welch), matured into a first-rate tunesmith herself, collaborated with a remarkable array of artists, and has never been afraid to take her talents into unexpected directions, from purist bluegrass to the experimental atmospherics of her work with Daniel Lanois.