Frog Holler - Adams Hotel Road

(Record Cellar, 1999)

Reviewed by SoDak

http://www.frogholler.com/

In 1999, I remember seeing Frog Holler’s Adams Hotel Road listed as a new release on the weekly Miles of Music (a now defunct music distribution group) email update. I thought the band name was odd, and the cover was strange, given that it is simply a goat sticking its head between two wires in a fence. The fine staff at Miles of Music had positive things to say about this band, so this peaked me interest. A couple months later, I attended a CD sale organized by the local community radio station. Each disc was only two dollars. For a music junkie like me this is a very dangerous situation, but one that I relish. Of course, I went fuckin’ wild, deciding to give all sorts of records a try—anything that seemed remotely interesting or promising to me. I love picking up a disc, not really knowing much about the band, only to discover that the artist becomes one of my favorites. As I am sure you expect, as I was flipping through CDs, I came across the Frog Holler disc. Into my box of goodies it went, along with dozens of others.

Frog Holler’s second release, Adams Hotel Road, was the prize of my booty that day. I was obsessed with it for months, and continue to treasure this record. I was hooked from the very first notes of the opening song, “Least Most Wanted.” The acoustic guitar leads off, with the fiddle softly working its way into the mix, as the banjo creeps in the background. Then Darren Schlappich’s voice grabs my attention: “Desperation’s grip is very strong. Road is now here and twice as long. Always been awake and followed signs. The way’s the wrong direction, anywhere, every time.” This song, like all of their work, has a great mix, as all the instruments in this six-piece band are audible. Everything is separate and clear.  “Always been me, cast out, it’s too weird, too proud.” Breaks in the song give the fiddle room to carry the tune. Then the driving guitar chords direct the band back for the finish, as the least most wanted declares, “How would you know how I feel? In the dim light of the new day, will you treat me the same way?”

I filled my mixed CDs with songs from Frog Holler, hoping to turn on friends to this band. I called Miles of Music and ordered their awesome first record, Couldn’t Get Along (recently remastered and reissued). Not only can this band play sad songs that are not boring, but they can throw down and play rockin’ rowdy songs. On “You’re Leavin’ Soon,” the drum and bass kick it into high gear. The electric guitar and lap-steel guitar trade off throughout the song, emphasizing notes, while the fiddle drifts in and out. This song makes me want to get up and two-step around the house.

I have always wanted to see this Pennsylvania band play, but they do not tour widely. I constantly check their website hoping that one of these days they will have a show in a state close to where I live, as I will jump in the car to see them play the first chance I get. But it looks like I will have to figure out some way and some time to travel to their state.

“Two Things” is an outstanding song. It starts off: “Right now, it’s two things I love. Both of them leaving, leaving me slow. And I wish they would stay. I’m doin’ right letting them go.” A mandolin follows just above the guitar. The individual in the song struggles, trying to hold on, knowing that certain actions have already been determined. Time is passing, but the memories remain. He misses the one that has left, but questions what it all meant and who the other person has become. And damn, Darren can stretch out the words, “And I,” in a fascinating way: “And I wish you well. Never decided just what to feel. And I miss you still. Just realized what I had feared—being left here.” A great guitar break creates a tingling feeling, capturing the sentiment of the song, which mixes tender quiet moments with loud parts that call out to the night. It is one hell of a great song.

The song “Overtime” is worth mentioning, given that focuses on the working day and exploitation. “In the factory, every morning, they’re tellin’ us lies. Work hard and share the glory, everyone overtime.” The song chugs along, as if we are experiencing the daily drone working on the line. “Everyday the same old story, working hard to survive, then the call comes from the foreman, everyone overtime.” The chorus calls to mind Karl Marx’s labor theory of value: “You got to build ten dollars worth to make a dime.” But it does not end with this statement, it calls for praxis and solidarity: “So if you stand up now to fight, so will I. Cause you work everyday of your life until you die.” The song goes on to note that after working forty years the body is worn out. There is no retirement or time to enjoy life in the latter years under these exploitive conditions. The guitar wails, mourning the loss of limbs and lives.

Following this call for unions is the song “Anytime Soon.” The banjo and fiddle make this song move. There is a darkness here, as a figure sits in the bar, drinking, contemplating days of disappointment and desperation. A tension swirls around the banjo and the emotion within the lyrics. I nod my head, feeling the desire to slam dance around the room, as the banjo bounces along.

The second to last song, “Drive,” would have made a great closing track. In many ways, it completes the journey started with the first song. Here the acoustic guitar is first heard. You can hear the fingers moving between the chords on the fret board. The fiddle, as is often the case, emerges, drifting above the guitar. This is one of my favorite songs about a car and driving. Darren describes finding an old rusted car with torn seats. Once he gets the car started, down the road and into the night he goes, taking in the world under the stars. “Set me free. Enabling me to drive. Out of the grace of the moon go I. Drive, under the watch of Orion. And I may cross the line. I leave nothing behind.” His love for the car, road, the land, and freedom grows every day. But the joy is also filled with sorrow, as one day he hits a possum. Nonetheless, he decides to get back out there on the road in order to take in the world, traveling down boundless highways. He asks us to join him on this trip, this experience. “Drive, by the grace of the moon go I. Drive, under the watch of Orion. And if I should die, I leave nothing behind. Just drive…by the grace of the moon go I.”

Frog Holler has released six wonderful records. I eagerly await each and every one. For anyone interested in top-notch Americana music, check out Adams Hotel Road. Also Couldn’t Get Along (1998) and Haywire (2006) are excellent starting points.