Jonny Fritz
Dad Country

An adorable chatterbox with a formidable melodic talent, who adds a caustic irony worthy of the Mael brothers to the best of country. Just these few words are enough to effectively describe Jonathan Russell Fritz, a bearded and disheveled songwriter, the national pride of the state of Montana. I completely made up this last part, it would be interesting to see what the natives of the land of shimmering mountains think, if I were one of them, I would definitely think so; the fact is that he is the only artist from that area I know, and he is truly outstanding. After a couple of albums with a small independent label, someone important noticed the potential of this emerging artist; "Dad Country," released in 2013, was published by ATO Records, a label founded by Dave Matthews, and recorded in Los Angeles, in a studio owned by Jackson Browne. A huge thank you from me to these gentlemen for giving visibility to such an artist.

Musically, "Dad Country" is a traditional album, without special effects and unnecessary mumbo-jumbos: country, honky-tonk, bluegrass, some western and gospel reminiscences, guitars that strum rustic and charming riffs, quirky piano lines peeking here and there, omnipresent fiddles with that characteristic touch and charm that only they can provide. And then a beautiful vocal tone, clear, expressive, often giving an impression of nonchalance, almost indolence: the voice of someone who has a bit for everyone but never takes himself too seriously. And the songs, oh, the songs... tell me, how can you not love an album that starts like this, with "Goodbye Summer" (the video is also remarkable despite its low budget), and then "Holy Water", a colossal mockery of the religious clichés typical of the genre, with an intro of fiddle that's absolutely an instant classic, the impeccable old-western feel of "Trash Day" and "Fever Dreams", the latter with Irish-folk influences; a slow waltz rhythm, melancholic, evocative, like "All We Do Is Complain". And "Instrumental", which is exactly what the title suggests: an album where lyrics and attitude are of fundamental importance ends like this, with a brief and incisive ride for guitar-bass-fiddle: almost to emphasize a "roots" discourse, claiming one's origins, one's musical territory, and making it one's own, without distorting it in the least.

There are also short episodes, lasting less than two minutes, and the spirit of "Dad Country" lies here as well, in colorful sketches like "Wrong Crowd", with an honky-tonk piano with almost vaudeville connotations, something "picturesque" hiding an innate propensity for sarcasm, "Suck In Your Gut", a hummed tune, almost restrained, probably the most blatant episode of the innate lightness and nonchalance that characterizes Jonny Fritz, and finally "Have You Ever Wanted To Die?", bucolic, sweetly melodramatic, always with that ironic touch that makes everything even more beautiful. The lyrics are a great added value; some, like "Wrong Crowd," "Have You Ever Wanted To Die?," "Trash Day," and "Holy Water" are more or less veiled critiques of the "square" mentality of rural American areas, but even yuppies, marketing experts, and assorted posh individuals get their well-deserved dose of mockery, just think of "Suck In Your Gut" and especially "Social Climbers", another great pillar of the album, with an amusing almost gospel-like choir progression that gives a brilliant sense of apparent solemnity.

A fantastic record, friggin' awesome I would dare say, with impeccable flow: laudably short, it flows with absolute ease, without any empty moments; "Dad Country" is a big burst of life and color, Jonny Fritz a true and authentic outlaw, in his own way, and if Danny The Kid tells you so, well, you can be sure of it. Long live Jonny Fritz, long live country, long live Montana, long live the entire North-west and... well... Merry Christmas to everyone?