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Gray trades in Texan alt-country, driven by urgent guitars and wailing harmonica, albeit with intermittent variations. Album opener, the chugging The Other Man lays down the Southern-fired country boogie, a mood echoed elsewhere on The Creek Don’t Rise and the blues-tinged, slide-guitar groove When The Devil Comes Home.
By contrast, there are folkier touches to be found on Golden Road which has a similar feel to You Ain’t Going Nowhere, the rippling acoustic fingerpicked Josephine Clark which brings together echoes of both Simon & Garfunkel and ’60s L.A. folk rockers Hearts & Flowers and, reminding me slightly of ISB, Life’s Pounding Adventure. He’s more musically experimental on the five-minute-plus shape-shifting nu-folk of Sundown (Come See Me) with its midsection cello, the strings-swathed title cut has a desert night feel while things close with It Might Get Loud, a dose of foot tapping, hand clapping fingerpicked jugband blues that John Sebastian would love.