Chuck Westmoreland Imbues Elements of Petty & Isbell on Gritty ‘Long Winter Rodeo’ (ALBUM REVIEW)

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Chuck Westmoreland’s homespun sentiment and tenacious trappings make for a durable combination, one that imbues elements of Tom Petty’s enduring anthems and Jason Isbell’s unceasing insurgency. Little wonder then that Long Winter Rodeo is the kind of album that creates an indelible impression, one that ought to establish him for his grit and conviction.

The dynamic is evenly divided between boisterous bouts of revelry and weary, well-worn fits of moodiness and melancholy. Yet throughout, Westmoreland remains resilient; over the course of the album’s ten songs, he finds his voice in the guise of a tattered heartland hero, singing songs that inspire allegiance to the basic precepts of decency, devotion and staying true to one’s tenets while confronting life’s struggles. “Cryin Shame,” “Mama Be Eternal” and “Prisoners” echo Westmoreland’s obvious resolve, but there’s no mistaking both the poignancy and purpose borne through his steadfast melodies and overarched delivery.

Still, for all his rousing exhortation, Westmoreland can come across as intimidating at times. The cover photo of him grasping a microphone and standing in the center of a lonely road offers ample evidence of his solitary stance. His voice, veering between a mumble and a yelp, often sounds as if it belongs to one who’s gone off the grid and remains determined never to return. Driven yet defiant, the title track brings echoes of early Bob Dylan when he was railing against those that stood in the doorway and blocked up the hall. Westmoreland’s wail is affecting in other ways as well; the stoic stance that finds him standing his ground on “A Hole in My Grave” or “The Dirt Has Lied” ensures that for all the dire circumstance he may encounter along the way, he remains determined to find his way forward.

Ultimately, Long Winter Rodeo emerges as an emphatic statement of sorts, one that ought to be well received in this disquieting era when dissent is viewed as evil and ignominious. Westmoreland’s is a stance worthy of admiration, and here, quite clearly, it results in an album suitable for all seasons.

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