I’m writing this at the height of a UK summer. What that means for any readers outside of Britain is that we’ve had a week of hot weather, a couple of thunderstorms and my dad has got panicky about it being too dry for his plants.
It also means that certain songs are viewed through a different prism. Like, if you’re going to listen to The Beach Boys, today’s the day, they don’t work in drizzle.
So it is with this particular record from Ags Connolly. He’s British. He’s award-winning, no less, but let’s be totally honest about this, the fella couldn’t sound more American if he was in some small town sipping bourbon in the corner honky-tonk, while an apple pie was cooling on a windowsill waiting for him to get home.
That’s always been the case, but on “Siempre,” that’s underlined in a luminous marker.
Which is wonderful for two reasons. Firstly, this is effectively a homage to the sounds of the Texas border. And second, because that’s exactly the type of country that I used to hear when my gran played it and the sort I’ve loved since I got a compilation album called “Elvis Country” about 30 years ago.
Which brings us back to the point about the weather because wherever this goes, it sounds so gloriously relaxed, welcoming, and universal.
Indeed, the laid-back vibe of “In Love At All” is as warm as the June summer. It carries a Tex-Mex flavor, reminiscent of artists like Dean Owens or Calexico.
“Change My Mind” is a toe-tapping track that could have anyone moving to the rhythm. It embodies the old-school sound reminiscent of classic country music.
“Tell Me What You Were Gonna Tell Me” captures the essence of the past with its nostalgic appeal and the fiddle work on “Overwhelmed” is simply sensational, with a balladry that blames women for its woes.
“Trust My Heart” takes on an acoustic tone, providing a gentle and heartfelt experience.
The accordion on “Señora (Whatever Comes First)” conjures images of a town fair on the Mexican border, adding to the rich cultural tapestry. While reminiscing on “Half Forgotten Tunes,” one might assume that Ags Connolly included the Wes McGee cover simply as a homage to the singer-songwriter. However, it goes beyond that. McGee advised Connolly that the bajo quinto was necessary to sound authentic with this style of music, so Ags learned to play the traditional Cajun instrument.
“Turns Out” is a simple love song, but with the haunting line “never came through again,” it delves into the depths of unrequited love.
And so it should be because love, in some form, should be at the heart of a country song. And this? Well, this is a labor of just that.
Ags Connolly is clearly gifted at this, but more importantly, he is steeped in the sound, steeped in the music.
Years ago, Shooter Jennings wrote a song called “Outlaw You” and he reckoned that “country ain’t about where you’re from; it’s about where you’re at.”
It matters not where Ags Connolly is from; his heart is in these Tejano-spiced songs. And “Siempre,” when translated, proves that it will “always” be.
Rating: 9/10
