Reviewed:
- Risin' Outlaw (1999)
- Lovesick, Broke & Driftin' (2002)
- Straight to Hell (2006)
- Rebel Within (2010)
- Ghost to a Ghost/Gutter Town (2011)
- Attention Deficit Domination (2011)
- 3 Bar Ranch Cattle Callin' (2011)
- Brothers of the 4x4 (2013)
- A Fiendish Threat (2013)
RISIN' OUTLAW 1999 (Curb)
- Standouts: 'I Don't Know', 'If the Shoe Fits', '87 Southbound', 'Lonesome for You', 'Devil's Daughter', 'Cocaine Blues'
It's only been recently (i.e. beginning of 2019) that I've started getting into country. Well, some country. I can't say I enjoy the really mainstream-sounding stuff like Kenny Chesney, Tim McGraw, Toby Keith (bleh), but some of it just clicked, like Hank Williams III - the grandson of country icon Hank Williams and son of Hank Williams Jr. To be honest, I had been aware of Hank 3 for years. His name had popped up here and there in the metal community, which probably sounds odd at first. Truth is, Hank has been active in the metal and punk scenes for years. Outside of his country works that he's best known for, he's been a member of Phil Anselmo's bands Superjoint Ritual and Arson Anthem, has his own 'hellbilly' metal band Assjack and has released metal albums under his own name. I hadn't actually listened to any of his albums until this year however, country or not. I found a used copy of Risin' Outlaw, his 1999 debut for £2.99 and decided to give it a shot.
Fortunately I enjoyed this disc from start to finish. I'm not sure if it's just because my musical tastes have matured considerably over the years or what, but I've given this one plenty of play time and like all the songs despite being a purely neotraditional country record. The record is full of solid musicianship, great vocals and some excellent tracks. The ballads 'Lonesome for You' and 'On My Own' are superb with some great hooks and I particularly like the guitar playing on songs like 'Devil's Daughter', '87 Southbound' and 'What Did Love Ever Do to You'. Hank's vocals are very traditionalist when compared to the sort of country you'd hear on mainstream radio. Yodeling is something he likes to do every now and then. I've heard many covers of 'Cocaine Blues' from all kinds of artists from Johnny Cash to Keith Richards, but Hank's rendition here is probably my favourite. All in all, I don't think there are any duff numbers here to speak of.
What I will say however, is that having heard more of Hank's later albums prior to this one, Risin' Outlaw does feel like something of an oddball. It's very 'clean' sounding, and the lyrical content is much more old-school country and much less edgy and rebellious than what was to come. The songs lack in things like fiddles and banjos too, so I guess he was working in a more simple singer-songwriter approach during these early days. These aren't complaints because as I said, I don't think there are any 'bad' tunes here to speak of. It's just a just a different approach to his typical, signature sound. 'Course, I didn't know this the first few times I heard the album. I also didn't know that Hank himself hates this debut and considers the follow-up, Lovesick, Broke & Driftin' to be his true debut despite this thing getting strong reviews and respectable sales. Risin' Outlaw may be different, but 'hating' it seems like overkill.
Adam's rating: 8/10
LOVESICK, BROKE & DRIFTIN' 2002 (Curb)
- Standouts: '7 Months, 39 Days', 'Lovesick, Broke & Driftin', 'Cecil Brown', 'Whiskey, Weed & Women', 'Trashville', 'Atlantic City'
As I said in the last review, Hank himself considers this to be his real debut despite Risin' Outlaw being a solid record. I will admit though, that on this album he begins to develop more of his own stamp on his music; the whole album is straight-up outlaw country - a more traditional sound that he's since stuck with. The production isn't as clean, the songs have gotten kinda 'dirtier', or dustier (I'm not quite sure what I mean either...), and musically it's comparable to anything that he would release later - excluding any of the metal and punk stuff of course. The use of other instruments outside the guitar, such as fiddles has increased. It's only really the lyrical content that hasn't evolved much. Part of Hank 3's whole image is his use of edgier, rawer lyrics than other country artists, and while a lot of the tracks here are still about gettin' drunk or high, there's not really any profanity to speak of. I don't even think this is necessarily a bad thing - musically this album is excellent anyway, it's just that he still wasn't quite there yet with his gimmick. Like I said though, the songs are great from start to finish, especially '7 Months, 39 Days', 'Whiskey, Weed & Women', '5 Shots of Whiskey' and 'Cecil Brown'. 'Trashville' is cool too, but is much more country rock than anything else. All of the tracks on here are relatively short aside from album closer and Bruce Springsteen cover 'Atlantic City', which clocks at 8 and a half minutes long. Well, it's actually more like 4 minutes because once the song ends a bunch of dialog begins and goes into a very traditional-sounding number more akin to something his grandfather would've performed. In conclusion then, this disc is an improvement on already great debut and a step in the right direction for Hank.
Adam's rating: 8.3/10
STRAIGHT TO HELL 2006 (Bruc Records)
- Standouts: Everything.
I think it's universally accepted that this is Hank's best album. Even Anthony Fantano included it in a YouTube video of the best modern contemporary country records - not that this album sounds modern musically of course. It's traditional outlaw country, much like Lovesick, Broke & Driftin', only Hank has finally mastered his trademark imagery and lyrical style - i.e. that rebel, country-punk attitude; 'hellbilly' is what the man describes his music as, and he's right. In fact, Straight to Hell is apparently the first ever country album to have a 'Parental Advisory' sticker on it's cover. Although the musical differences are minor (more banjo this time though), the songs have just gotten even better full stop.
'Country Heroes' actually blew me away as far as country ballads go. Sure, the lyrics are pretty much just a tribute to all the greats - Johnny Cash, David Allan Coe, Merle Haggard and O.G. Hank Williams of course - but there's so much genuine passion and emotion in this song that I think it's the best number on the record. The banjo-driven 'Pills I Took' is another highlight. Of course, 90% of these songs are about booze and drugs once again (even the chorus in 'Country Heroes' features the line "I'm getting wasted with all my country heroes") - 'Thrown Out of the Bar', 'Smoke & Wine', 'My Drinkin' Problem'...yeah...and the opening title song. All these songs are excellent by the way. 'Low Down' has some really nice melodies and chorus and is probably one of the more accessible tracks on here. 'Dick in Dixie' is pretty funny too; as Hank says, he's puttin' the 'dick' in 'Dixie' and the 'cunt' in 'country'! 'Thrown Out of the Bar' has an almost rockabilly twang to it.
Interestingly this record is actually a double album. I didn't know this until it arrived in the post. The second disc, aside from the powerful 'Louisiana Stripes' - which really reminds of old Johnny Cash, features a 42 minute track which is actually a medley. I know this is probably a highlight for a lot of people, but I kind of treat it as a bonus track because it's approach is very different than the rest of the album and had it not been included, I still would've considered Straight to Hell to be Hank 3's finest work anyway. This medley is kind of atmospheric and trippy in a way. The songs sound more subdued and consist of a few covers of Hank Williams' (Senior) 'I Could Never Be Ashamed of You', Wayne Hancock's 'Take My Pain' and Cheech & Chong's 'Up in Smoke'. In between the songs are sound effects of voice messages, creeks, bong hits, passing trains etc., and it gives this side of the album a weird and unsettling vibe. The songs are essentially really stripped-down and slow. I like them, but they couldn't have sat among the songs on disc one and flowed well with them.
So yeah, this is easily the best country album I've ever heard (not that I've heard many of course). I usually turn it off after 'Louisiana Stripes', but even the 42 minute 'hidden track' is superb if I'm in the right mood, and you have to hear it at least once. I've given the album tons of play since I bought it and it's made me a fan of Hank Williams III.
Adam's rating: 9.4/10
REBEL WITHIN 2010 (Sony Music)
- Standouts: Everything, more or less.
More of the same rebel hellbilly country, although there's no weird hidden tracks this time. The title song, 'Rebel Within' is absolutely phenomenal and may be my favourite Hank 3 tune full-stop. He adds these backing, growling metal vocals during the chorus and it works really, really well. I think this song sums up the man's music perfectly. 'Gone But Not Forgotten' is probably his other greatest and most powerful ballad along with 'Country Heroes' from Straight to Hell. 'Drinkin' Ain't Hard to Do' sort of sounds like it could have fit on the debut CD, but this isn't a bad thing. I will admit that I still think the predecessor is the better record, but I don't really have anything bad to say about Rebel Within. If you liked either of the previous 2 albums, you'll love this.
Adam's rating: 9/10
GHOST TO A GHOST/GUTTER TOWN 2011 (Hank 3 Records)
- Standouts: Everything on Ghost to a Ghost, and as for Gutter Town...well...
Ghost to a Ghost/Gutter Town is Hank's seventh offering and also a double album. the first half of the album is obviously Ghost to a Ghost, the second is Gutter Town. Both are very different and contrast one another, but Ghost to a Ghost is Hank doing his usual thing and doing a damn fine job too. It's another hellbilly country album, this time with the odd guest performance on a few tracks here and there (this also applies to Gutter Town). The guests include Les Claypool of Primus and Tom Waits, but their presence is subtle. They aren't obviously used in a way to promote or boost the album's sales. Nowhere on the outside packaging are they mentioned. Anyhow, disc 1 is prime Hank 3. 'Gutter Town' and 'Don't You Wanna' are catchy as hell, 'Cunt of a Bitch' is rebellious, 'Ridin' the Wave' kicks up the tempo while 'The Devil's Movin' In' brings it down again and is another outstanding ballad. 'Trooper's Hollar' is pretty weird seeing as it features Hank's dog Trooper on vocals (!), in that he remixed them to go along with the music. I like it though. 'Outlaw Convention' is old-school outlaw country and the title song is dramatic and has Tom Waits providing some withered backup vocals, which only add to the impact of the song positively. So, every song on here is superb and at least on par with Rebel Within. Things get a bit weirder on the second disc however...
I've tried listening to Gutter Town several times and in all honesty, I can't really get into it. Outlaw hellbilly country this is not. If Hank ain't playing his brand of country, then he's usually playing metal, but this isn't metal either. Or punk. It's a strange mix of folk, Cajun music (had never heard of this style until I listened to this record), ambient music...maybe even some mariachi influences too. Yeah, it's fucking weird, even by Hank's standards. In between the songs are some occasionally haunting ambient intervals, in similar fashion to the second half of Straight to Hell. To be honest, none of the songs on this disc really grabbed me except maybe 'I'll Be Gone' which is almost country. That's not to say this disc is bad, it's just unusual by Hank's standards and because I'd never really listened to, well, anything like this before, it just didn't click with me. Maybe it will someday.
Ghost to a Ghost is fantastic and easily among his best. Gutter Town is...well, it's different. Despite it being an oddball in Hank's discography, it doesn't actually sound like an experimental project because it is still played extremely well. It's just not something I could get into. That said, the first disc is still a full-length rebel country album and it's totally worth picking up this package for that fact alone. Even if I'm not a fan of the second half, I still respect Hank a lot for his work here - the man's not afraid to try different things.
Adam's rating: 9/10
ATTENTION DEFICIT DOMINATION 2011 (Hank 3 Records)
- Standouts: 'In the Camouflage', 'I Feel Sacrificed', 'Make A Fall', 'Livin' Beyond Doom'
For this release, Hank puts country aside and drifts back to his metal altar ego to create a sludgy, old-school doom/stoner record and the result is Attention Deficit Domination. For me Hank's vocals are what make the record stand out among other bands in the same genre - he goes for this bizarre, distorted twang to his vocal delivery while still retaining that country tinge. Somehow it really suits the music and is probably the most memorable thing about the album for me.
The actual instrumental side of the album is good overall, but not great. The riffs are slow, detuned and murky and sound like Crowbar, Alice In Chains and Black Sabbath thrown in a blender, which is a good thing of course. However, none of the riffs here really stand out aside from a few here and there on 'In the Camouflage', 'I Feel Sacrificed' and 'Make A Fall'. It's hard to really pick any standouts as the album follows the same direction for the entire duration of it's run-time. 'Make A Fall' features a simple, stompingly heavy mid-section and 'Livin' Beyond Doom' was memorable too, but mostly the album requires multiple listens to take in each song individually. I suppose this is me complaining, but it sort of isn't either. At no point did ever get tired of this CD, or want to turn it off despite not having any outstanding songs. It's completely listenable and harmless stoner/doom metal, basically. It isn't groundbreaking, nor is it terrible. A lot of people think Hank should just stick to country music, but I disagree - at least a third, if not more of his recording discography consists of some form of metal or punk direction, so knows what he's doing. Plus, he plays all the instruments and produces this thing so you have to give him some credit. I will admit, he is better at playing country music than he is anything else, but when your granddad is a country figurehead and your old man had a good run with it too, then its in your blood, frankly. Attention Deficit Domination is a solid release.
Adam's rating: 7.2/10
3 BAR RANCH CATTLE CALLIN' 2011 (Hank 3 Records)
- Standouts: Uh...
Hank released 3 albums in a year. Technically 4 if you consider Ghost to a Ghost and Gutter Town to be individual records. That's something rarely seen by anyone these days. The bad news is that 3 Bar Ranch Cattle Callin' feels more like an experiment than an actual album, and not in a good way either. At least Hank created a new genre with this disc; he calls it 'cattle core'. Basically it's metal with pre-recorded cattle auctioneers for vocals...uh, yeah. There's nothing out there to compare this to, not even anything else he's recorded himself. Essentially the cattle auction vocals consist of something like this:
"Let's see what we have, do I see a ten? Ten auhwefoiuahfuiohaiupefhaiuoewjhfeswrghwreturiortie5ailjhefiuajhdeefpiuahefiu twenty one! shunefaiouhefiuahwefiuhaweiufhawieufhipuahqerotyuiipujadfpia twenty five! sfedioahisdefuihaipufehapuihezfpiuahwcvbxdfbsrtefuihaefpiuhaiuwefhpiu now that's a bull!"
...and aside from the occasional distorted metal growls from Hank, the auctioneers never end. True, it is amusing to listen to for a while. I don't know if the album was meant to be intentionally funny, but is funny hearing those auction guys talk at 1000mph on top of thrash, grindcore and tremolo-picked black metal-style riffs, but it gets old pretty quickly. Fuck me, I can't sit through 71 MINUTES of this! Like I said before, this CD feels like either an experiment or a some sort of trolling stunt. Luckily I had researched this album before I bought it so I wasn't expecting a country record or an actual serious attempt at metal like Attention Deficit Domination. Obviously that meant it wasn't exactly a shock to me when I first gave it a play.
As you can probably tell, this thing is a novelty at the end of the day. I suppose if your a fan of Hank or just weird avant-garde music in general then you should pick it up, but for anyone else I wouldn't recommend it.
Adam's rating: 3.5/10
BROTHERS OF THE 4X4 2013 (Hank 3 Records)
- Standouts: 'Nearly Gone', 'Brothers of the 4x4', 'Farthest Away', 'The Outdoor Plan', 'Deep Scars', 'Overdrive', 'Loners 4 Life', 'Toothpickin''
Seeing as I actually enjoyed Risin' Outlaw more than I thought I would - the first country album I ever bought I'd like to add - I decided to check out another of Hank's albums. Whatever the reason, I ended up with this one next. First of all I'd just like to say that this is a long album at 89 minutes, and I don't know if it really qualifies as an intentional double album or not. Sure, it comes on 2 CD's, but the first has 12 songs while the second only 4 normal length numbers. Sometimes I like to moan when albums last more than an hour, but I didn't this time. Not too sure why, maybe it's because outlaw country isn't a genre I actively follow? In any case, Brothers of the 4x4 is a quality slab of traditional outlaw country, and certainly not the kind you'd hear on the radio. On my first few listens, I didn't enjoy this as much as Risin' Outlaw, but over the months it grew on me to the point where I prefer it. There's much more going on throughout the songs - more instrumentation. Hank plays all the electric and acoustic guitars, bass and drums while other musicians were hired to play the banjos, steel guitars, fiddles etc. In comparison to that debut record, this album isn't as straightforward thanks to the heavy use of different instruments.
One thing I like about Hank's take on country music is his attitude to the lyrics. I mean, a lot of typical country themes are present here, but he delivers them with a punk-like attitude thanks to his background of playing in punk and metal bands. Songs like 'Deep Scars' reinforce this, and the distorted vocals on 'Toothpickin'' are definitely one of his signatures too. Some of these tracks have good foot-tapping vibes too; 'Held Up', 'The Outdoor Plan' and the title song are particularly memorable. But there's a good balance between faster, more upbeat tracks and more mellow/chill songs like 'Loners 4 Life' and 'Ain't Broken Down'.
I'm finding it hard to find any really issues here. As I said earlier, the album's long, and I guess it can be hard to sit through in one go, but it kept me interested from start to finish. The playing on the album is top-notch and despite not being a mainstream record, it can still be catchy at times to, like that vocal melody on 'The Outdoor Plan'. Again, I'm not really a country fan, but there's something about Hank 3's music that I really enjoy.
Note: if the way this review was written seems odd compared to the rest on this page, it's because I reviewed this before everything else bar Risin' Outlaw, which I rewrote.
Adam's rating: 8.2/10
A FIENDISH THREAT 2013 (Hank 3 Records)
- Standouts: 'Can I Rip U', 'Broke Jaw', 'Breakin' Free', 'Facedown'
Hank 3 was a recording machine a few years ago. He dropped A Fiendish Threat the same year as Brothers of the 4x4, and in 2011 he released Ghost to a Ghost/Gutter Town, Attention Deficit Domination AND 3 Bar Ranch Cattle Callin'. Unfortunately since 2013, we've seen nothing new from him. Apparently his home and recording studio flooded sometime after and he's had to relocate and build a new studio. Aside from a couple of Twitter updates, not much is known about when or if he will be back anytime soon. There's been zero tours too, but his website, merchandise and Facebook are all active so here's hoping he'll return soon. Anyway, A Fiendish Threat is an attempt at creating a mostly old-school punk record, which, given his background, his something the man is more than qualified to do. Interestingly, pretty much all of the guitar riffs here are played acoustically; of course, most of them are fast and hard power chord affairs, and I think it actually works well for the record. It gives the whole album a slight country-tinge that reminds you that this Hank 3 and not the Ramones or Misfits. He even adds stand-up basses and fiddles from time to time. That's actually a pretty good description - it's kinda like what the Ramones would sound like if they pulled the plug on their instruments and had Hank on the mic adding muffled, almost distorted vocals. Even though you can tell that it's him singing, he does sound like a 'proper' punk vocalist here and doesn't employ any yodeling or techniques that are commonplace on his country albums.
My main complaint with this album is that even though it flows pretty well, I still think most of the tracks here could be cut a little shorter. Many are over 4 minutes; some clock over 5 minutes and it just seems unnecessary given the simplicity of the old-school punk sound as a whole. Also, while I do think this is a very solid record for the most part, I still rarely play this one. Still, it's surprising how raw and kick-ass an acoustic punk project can still be. And with Hank's country touches spread throughout A Fiendish Threat, I have no problem recommending it to fans.
Adam's rating: 7.6/10
