Josh T. Pearson
The Straight Hits!

Josh T. Pearson is one of those people whose every endeavor is hailed as a masterpiece. More or less the same type, staying within the landscape of up-and-coming Made In USA musicians, as other artists that could be approximately tied to the same genre (each with their own more or less distinctive characteristics): from J. Tillman aka Father John Misty to Justin Vernon, from Jonathan Wilson to Matthew E. White... Unlike all of them, however, it must be said that the Texan singer-songwriter and musician is certainly more versatile and intelligently paces his appearances and record releases, so much so that "The Straight Hits!" (Mute), released last April 13, is practically only his third LP after "Last Of The Country Gentlemen" from 2011 and the previous "The Texas - Jerusalem Crossroads" released in 2001 when Josh was still part of the Lift To Experience with Josh Browning and Andy Young, which at the time was considered a kind of cult group in the American scene.

Precisely the reunion of Lift To Experience (with the consequent reissue of the album complete with the usual unreleased material) may have been the trigger that sparked in Josh (who somehow always kept himself active over the years) the desire to return to the studio and record an entire LP of new material (apart from the cover of the plaintive country "Damn Straight" by Jonathan Terrell). Everything took place in just three days following a sort of predefined scheme in the composition of the songs, which in the end should sound more "pop" compared to his previous releases. The result, which may appeal more or less to his long-time listeners, is certainly focused. "The Straight Hits!" is a record of catchy alt-country pieces like "Straight At Me," "Give It To Me Straight," or country western ballads like "Straight Laced Come Undone," "The Dire Straits Of Love," "Whiskey Straight Love," "Straight Down Again," and the sophisticated and evocative (albeit somewhat out of place) pop song "A Love Song (Set Me Straight)."

Son of a religious preacher and historically presenting himself as a messianic figure, here Pearson appears completely renewed: even the album cover, which immortalizes him dressed in white Texas-style against a pastel pink background with sunglasses and completely shaven, gives us a breath of fresh air compared to that "iconic" image with a long beard and Pentecostal hat. Clearly, a certain vintage orientation remains, the inevitable devotion to Bob Dylan, which here is renewed with the freshness of John Lennon's most captivating rock and roll: the album is certainly not a masterpiece, but it is listenable and in any case, I commend it because it's much better to have a pop music album than a lot of dreary stuff without content.