| Johnny Cash once wrote: “Country music used to represent horses, railroads, land, Judgment Day, family, hard times, whiskey, courtship, marriage, adultery, separatism, murder, war, prison, rambling, damnation, home, salvation, death, pride, humor, piety, rebellion, patriotism, larceny, determination, tragedy, rowdiness, heartbreak, love, mother and God.” In this regard, country music of Cash’s era, and that of his contemporaries—folks like Willie Nelson, John Prine, Waylon Jennings, and Kris Kristofferson—is a brand of music tough to pigeonhole. Now, in a time when much contemporary mainstream music has gone the way of superficiality and homogeny, Andy’s music stands in stark contrast. In great appreciation for the legends he admires, his songs are eclectic and honest. In true pioneer fashion, he merges the merits of rock ‘n’ roll with traditional Americana. We’re talking about 100% USDA choice cowboy rock. South of the Mexican border, the people of the land sing songs, corridos: stories set to the melodies of bare voice, and the silky percussion of a gut-string guitar. These are the songs of wandering troubadours—making their way through crowded border-town streets such as Nogales and Tijuana. Just north of the border, the songs of the land, the country, are only different in their texture. Andy’s songs find the literal common ground between those of us north and south of the border—the land itself. “Compañero Blanco,” the title track of Andy’s 2002 debut solo album, is the true-to-life tale of friendship found between two men in spite of language barriers, and a line imposed by governments. Songs such as “If These Walls Could Talk,” and “Welcome to the West” contain stories and ponderings on the history, direction and fate of the Southwest, from the loving perspective of a man born-and-raised in its very core. Other songs, in the vein of “(Next Time) A Diamond Won’t Cut It,” and “Losing Gets Easier” tell of heartbreak and emotional growth, in a way that every person can relate to—while still transcending cliché. Having spent a good number of years horseshoeing, Andy writes about what he knows. His brand of cowboy poetry evokes both folklore and philosophy in “Somewhere Between God and Country”—a song which will debut on his sophomore solo album, of the same title, soon to be released. This song pays tribute to a friend and mentor, fellow tradesman—Red Martin—a cowboy with healing hands. Of this, Andy says, “There’s a line in this song that the spirit that’s found in the Mustang Mountains has brought me closer to God than a pulpit. It doesn’t have to be you and a horse, or you and a guitar, or anything else. There’s a harmony between the earth and the sky and yourself.” Andy’s concern for the content of his art is equaled by his concern for form. Because of this, he has been privileged to have the aid of some of Southern Arizona’s finest musicians. Solo acoustic guitarist Greg Morton lends a hand in accompaniment on Compañero Blanco, as do Tim O’Connor (fiddle), Jay Trapp (bass), P.H. Naffah (drums) and Tom Tucker (electric guitar). He is further assisted by cameos from Roger Clyne, Kelli Weymouth and Steve Larson. Andy has toured heavily in support of Compañero Blanco, and following the success of that release, came 2003’s EP The Man I am Today. The new album, Somewhere Between God and Country, is currently in the very final stages of production, and promises more of what Andy does best. Many of the original songs which are now only heard at live shows will be given the full studio album treatment. - Mark Febbo |
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site credits © Andy Hersey 2008
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