Solid solo debut from well-established Americana outlaw.
A native of Louisiana but currently residing in San Diego, Ron Houston has made a name for himself in those parts, firstly with the outlaw country band The Sickstring Outlaws and, subsequently, with Ron Houston and The Berry Pickers. Trading on that background, Houston has now gone solo for the first time and the album title, R.O.A.M. (Real Outlaw Americana Music), hints of a musical approach that builds on, rather than deviates a whole lot from, his earlier guises.
Houston has had a battle with addiction, and it was 2020 when, finally sober and with a period of soul-searching and reflection behind him, that Houston started to lay the foundation for R.O.A.M. Houston has used that period to write very personal songs that explore anger, sadness, empathy, happiness and, finally, redemption. Houston’ grizzled vocals add weight and gravitas to the songs. A deep baritone that, even when employed to deliver up-tempo and noisy country rock, never fails to hint at a life well lived and with story to tell.
‘Drinkin’ Got The Best Of Me’ gets straight to the heart of Houston’s self-awareness as he looks back at his worst of times, “Jim Beam woke me in the morning, And old Jack always had lots to say.” As the man himself says, the song contains one of his favourite lines “My family always got the worst of me, because drinking always got the best of me.” It is the truth of the line that is so affecting for the artist.
Before the impression is given that the album is solely an inward and reflective paean to addiction and its aftermath, it needs to be said that Houston’s range is far wider than that. Issues of homelessness are addressed in ‘People Looking The Other Way’ as he asks us all to consider standing up and taking a stand rather than, as the song title suggests, walking on by. The song has an urgent, catchy riff and is an album highpoint, both musically and lyrically.
As much as Houston can turn the volume up when needed such as in closing track ‘Gun Sale At The Church’, which is as big a country rock, barroom belter as you can get, the album does contain a degree of sparse instrumentation and subtlety at times. The banjo of Shawn Rohlf and the backing vocals of Sandi King and Cathryn Beeks give the gorgeous ‘Lines On My Face’ a lovely warmth and depth and demonstrates perfectly how Houston’s rasp works just as well when the pace drops off.
The final word should go to Houston. On the raucous bluegrass ‘Raise A Lotta Hell’ the artist doesn’t hold back. “I’ve always been a straight shooter, Gonna give it to you straight, I’ll take Waylon over pop country any fucking day.” Hear, hear Ron!
