Reckless Kelly Albums (7)
What The Critics Say
Steve Earle got slagged off in the country music press for his hard rocking, latter-day MCA offerings Copperhead Road and The Hard Way. He's been vindicated in numerous ways over the years; last but not least is the way contemporary country music has moved toward embracing the big guitars and drum sounds of 1970s heartland rock in the 21st century. Reckless Kelly, from Earle's home state of Texas, seemed to get the rougher rock & roll aspect of Earle's brand of country from the word go. Beginning with Millican in 1998, RK have blazed a trail and created a trademark brand of road-screaming country-rock music that's big on loud guitars, clean popping drums, and tremendously hooky songs. Released in 2008, Bulletproof is Reckless Kelly's standout and apparently the set that puts their name on the wider map. Despite some of its left-leaning lyrics in a highly charged political climate, the band will not be denied its video being screened by GAC and the album entering at number two on Billboard's Heatseekers chart, number 22 on its Country chart, and number 117 on its Top 200 chart. The world of RK -- the band is fronted by guitarist and chief songwriter Willy Braun with brother Cody singing harmony and playing mandolin, fiddle, and harmonica; David Abeyta on lead guitar and lap steel; bassist Jimmy McFeely; and Jay Nazz on drums -- revolves around endless roads inside an America where everything begins to look more desperately the same ("How Was California?" and "God Forsaken Town"). People end up endlessly disappointed and frustrated when encountering the paradox of who their nation says they are and what the nation is in and of itself ("American Blood"). In the midst of all the collective ennui and dislocation is a belief in and desire for love and community that is honest, passionate, and sometimes overreaching -- even if the protagonist has no idea how to define it, he knows it when he sees, or rather, feels it. Check "A Guy Like Me," "Love in Her Eyes," "You Don't Have to Stay Forever," and the truly devastating title track that closes the album. Add to this that Braun's songs are full of ragged, jagged, edgy hooks and dirty-sounding guitars that match the rough-and-tumble gravel in his voice, and what you have is the record that elder statesmen like John Mellencamp and Earle, who inspired this music, would love to make, but have weathered too many storms and acquired too much discerning wisdom of age to pull it off now. In fact, the only act that comes close to realizing this depth of feeling and sometimes dangerous honesty is Arizona's Roger Clyne & the Peacemakers. This set speaks to a generation that loves to have good times but feels like those times may be, to paraphrase Merle Haggard, really over for good. Bulletproof doesn't have to reach for the brass ring, because it's been tarnished; instead, it reaches for whatever is there -- the open highway, the closest thing to companionship and community it can find -- and with a keen skeptic's eye toward promises that have proven empty. All killer, no filler, Bulletproof is Reckless Kelly's masterpiece thus far. And thus far, Nash Vegas hasn't been able to deny these Austin upstarts, because the music transcends its censorious boundaries. Let's hope that continues. ~ Thom Jurek, All Music Guide
'Reckless Kelly Was Here'
Release Date 8/8/2006
Tracks 33
Label Sugar Hill
See Album Tracklist and Review
What The Critics Say
After four celebrated albums and one acoustic live album, Austin, TX's (via Portland, OR) Reckless Kelly let the hammer down and offer a smoking double-live document that comes with a bonus DVD, offering fans a look at the excitement that occurred at Marcia Ball's La Zona Rosa in March of 2006. The show tracks material from their recorded output from 1998's Millican through to the mighty loud and proud Wicked Twisted Road and some choice covers ("Castanets" by Alejandro Escovedo, Richard Thompson's "1952 Vincent Black Lightning," and "Revolution" by the Beatles). This is one of those double discs that captures literally everything: the crowd noise is there everywhere -- even the crowd singing along, which can be a bit off-putting -- but it's really a small complaint because every utterance, every single flaw and hiccup is there, right out front. The mix is simply incredible. Throughout recorded music history, it's seldom that the crackling live energy of a band sweating out a set gets captured on tape. The Who's Live at Leeds is one of those, as well as Humble Pie's Performance: Rockin' the Fillmore, the Allman Brothers' Fillmore East (which was heavily edited), Janis Joplin's Cheap Thrills, James Brown's Live at the Apollo volumes; this recording is one like these, even if Reckless Kelly is not up to the caliber of those artists. These yobs may have been deeply influenced by the likes of Joe Ely and Steve Earle, but neither of them has issued a live recording with the caliber of this one. (That's right, Joe Ely's Live Shots, as fine as it is, can't touch this.) Reckless Kelly Was Here is simply a portrait of a band at their raw and woolly best, showcasing great songs (by brothers Willy and Cody Braun) in front of a rowdy Texas crowd that is swilling beer and whiskey, and digging deep into the rollicking, freewheeling vibe the group is laying out with electric guitars, a big fat bassline, a walloping drum kit, and mandolins and fiddles. To go one step further, if you haven't scoped Reckless Kelly, this is a fantastic opportunity (how often can you say that a band's live album is the best first purchase?). Pick this one up and let it rip. You'll be seeking out their studio records in a jiffy. This is the finest offering from an utterly soulful and raucous country-rock band. They have songs, chops, and plenty of piss and vinegar to make you stomp around the crib shaking your fist in the air and attempting to do a drunken two-step. ~ Thom Jurek, All Music Guide
'Wicked Twisted Road'
Release Date 1/1/2005
Tracks 13
Label Sugar Hill
See Album Tracklist and Review
What The Critics Say
One might argue that Reckless Kelly is good at a lot of the same things other alternative country bands excel in. They've got the same nice rootsy mix of acoustic-electric instruments, and a scruffy sounding singer to deliver world-weary lyrics. But there's a difference on Wicked Twisted Road, and that's in how the band -- guitarist David Abeyta, fiddler Cody Braun, singer Willy Braun, bassist Jimmy McFeeley, and percussionist Jay Nazz -- puts it all together. From the get-go, the band shows its ability to deliver songs like the title track and "Dogtown" in the most natural, unaffected manner. The latter unwinds at a nice, lazy pace perfectly suited for Willy's vocal and harmonica solo. In other words, Reckless Kelly never gives one the impression that it's striking an alternative country pose consisting of one part talent and two parts attitude. The band also knows how to stretch itself stylistically. "Seven Nights in Eire" offers a surprising mix of Celtic and country and blending fiddles and steel guitar, while "Sixgun" offers brash, country-rock. If Wicked Twisted Road is a tale of life and love on the road, then Reckless Kelly has told it well. Fans will appreciate the solid effort, while everyone else -- who's never quite gotten around to checking out the band -- will find it a nice introduction. ~ Ronnie D. Lankford, Jr., All Music Guide
'Under the Table and Above the Sun'
Release Date 5/13/2003
Tracks 12
Label Sugar Hill
See Album Tracklist and Review
What The Critics Say
Call it whatever you want -- country-rock, alt-country, roots rock, whatever -- what Reckless Kelly makes is great, hooky pop music. It's got all the jangly guitars, two-step rhythms, and artificial diphthongs ("I saw the same old streets for far too lahwong") necessary to reassure country-music fans who might nervously suspect that they're enjoying rock & roll, but it makes no real concessions to the genre; when they want to rock out, they do ("Let's Just Fall," "I Saw It Coming"), and when they want to deliver a full-on Texas barroom weeper, complete with a vaguely Mexican acoustic guitar break and strategic smatterings of lap steel, well, they do that too. The brother team of Willy and Cody Braun manage to touch all of the standard, by-the-numbers lyrical themes without seeming to be saying the same things as everyone else. They're asking for mercy and to be set free, and they're broke down, and they're trying to make it to the borderline, and they're frustrated by the inaccessibility of the woman who wasn't around when the sun went down. But when they sing "Nobody's Girl" or "Set Me Free," those tired sentiments actually sound vital and fresh. It's also worth noting that the album includes two songs about skiing and one about the Beatles. Interestingly, there's no one song that really jumps out at you. Instead, the whole thing pulls you along happily, with a feeling very much like that of riding through rugged, beautiful countryside in a nice car. Highly recommended. ~ Rick Anderson, All Music Guide
'Acoustic: Live at Stubb's'
Release Date 6/6/2000
Tracks 13
Label Valley
See Album Tracklist and Review
What The Critics Say
Reckless Kelly Live at Stubb's is the kind of live album that captures the band in its element, kicking back and rocking out on acoustic instruments, interacting with a lively and appreciative crowd, and generally having a hell of a time. The original songs by lead singer and rhythm guitarist Willy Braun are mostly unremarkable country fare, with their twangy tales of hard times, lost love, and excess partying. But they are performed here with such skill and such infectious showmanship that it is be hard not to be drawn into the fun. The band's set list draws from several high-profile country musicians, including an extended jam on Billy Joe Shaver's "Hottest Thing in Town" and a catchy take on Steve Earle's "My Baby Worships Me." But the real highlight of this record may be Braun' countrified covers of big name rock stars: Led Zeppelin's "Whole Lotta Love," AC/DC's "Shook Me All Night Long," Steve Poltz's "The Ballad of Tommy and Maria," and, best of all, a wickedly punchy rendition of Bob Dylan's "Subterranean Homesick Blues." Throughout, the unplugged band is in rare form, with Casey Pollock's crisp acoustic guitar solos and Cody Braun's intricate blue grassy mandolin and dynamic fiddle playing providing a raucous backdrop for Braun's drawling baritone. The quality of the recording is also superb, capturing accurately the feel of an intimate pub concert with a boozed-up crowd enjoying the time of their lives. ~ Evan Cater, All Music Guide
What The Critics Say
Millican is a solid if unspectacular alt-country record -- Reckless Kelly doesn't add anything new to the genre, but their affection for the torch-and-twang sound appears genuine, and their songwriting bears the mark of real craftsmanship. ~ Jason Ankeny, All Music Guide
