Austin Sound

If Bob Dylan and Mason Jennings had a baby, it’d be a boy, and he’d be named Chris Brecht. Brecht brings alt-folk-country to Austin with scruffiness, Woody Guthrie and beat poet lyrical undertones that make you feel like you are sitting shotgun with Kerouac at the wheel. The Great Ride, Brecht’s first full-length studio album release on Dead Leaf Records, hit the airwaves earlier this year and combines a nasal folkiness with guitar strums and lines of unfeigned poetry while sliding in harmonica, fiddle, Hammond B3 organ, and background harmony. The album has a freedom and restlessness with a folksy, bluesy, rock backbone.

Although Austin has its share of artists revamping “Blonde on Blonde,” Brecht brings something else to the table. He straddles a line gracefully, keeping a foot in the 1960s and another firmly planted in the present - in both appearance and sound - using vintage elements authentically. His record reeks of cigarettes, road trips, frosty bottled beer, watching the world from the porch and foot tapping. To put it simply and in Austinite terms, Chris Brecht does alt-country like Kerbey Lane does breakfast: Damn well.

“A Song About Lightbulbs” takes from a little of Dylan’s lyrical genius and mixes it with some Willie Nelson twang - the last few minutes are reminiscent of organ work from Dylan’s “Bootleg Series” - where the Band kicks in and tosses around a bit of heavy organ work. “Every time I Think of Her” is mournful and haunting and lyrically strong, creating a story with vivid images. “Better Grab My Coat” is beautifully simplistic with only Brecht’s voice and a lone, acoustic guitar. “Belle Streets Midnight” channels the ghost of Stevie Ray Vaughn guitar mid-track that makes you want to put on your boots and dance around the house.

The Great Ride began when Brecht moved to Austin from Colorado in 2005 bringing along his guitar and a love of a hand-me-down style of folk music. In July 2006, he and Brad Rice cut “The Night 99 Sessions,” a two track release that branded Brecht best by being formatted like an old 45. This former release garnered Brecht attention, airwaves and a residency at The Hole in the Wall. His success in Austin has been well deserved as he takes traditional songwriting to a level that not only pays tribute to those who influenced him most, but also incorporates a new authentic sound all his own.

Brecht does The Great Ride with help from Brad Rice on electric guitar, Matt Mollica on organ, backup vocals, piano, Ricky Ray Jackson on pedal steel, Bobby Daniel on bass, Stephen Bres on drums, Eleanor Whitmore on fiddle and backup vocals and contributions from Gordy Quist, Nina Singh and Falcon Valdez. Brecht mans the acoustic guitar, harmonica and lead vocals.

Websites:
www.chrisbrecht.com
Myspace