Moot Davis - Already Moved On

While there are only eleven tracks on this disc (and really, one could have expected a few more, considering), they're all good ones, polished as only producer/guitarist Pete Anderson can - a perfectionist in all things, obviously, this disc wasn't leaving the factory until they got it exactly the way Mr. Anderson wanted it... and by golly, it shows. Because while it's slick, and I've heard Anderson called "heavy-handed" when it comes to production, you just can't argue with, well, perfection. Even for a gritty, to-the-wall honky-tonker like Moot Davis. One of the really cool things about this disc is while it continues in that surefire traditional direction that characterized Moot's first disc, it's entirely, totally new. It's not a rehash of his first disc, it's not wildly shooting off in a new direction, it's the logical and, I'll say it, totally organic growth of a great musician on his way to becoming a true powerhouse performer. Moot wrote all the songs, many of them with collaborator Pete Anderson, with only one cover, the Johnny Paycheck classic "I'm the Only Hell (My Mama Ever Raised)" He plays (left-handed) rhythm guitar to compliment his staggeringly awesome lead guitarist (Anderson also plays mandola and some percussion), and is backed by a crack band, including Michael Murphy on piano and Don Reed on Fiddle.

There are pros and cons to being associated with Pete Anderson at this point in Moot Davis's career. Anderson is of course known for being Dwight Yoakam's longtime side man, and has a pretty decent solo career as a guitarist (and some vocals, on his first solo disc). The side effects are that Moot Davis hits the road, and the studio, with one of the greatest guitar players in the history of recorded music (okay, that may be my opinion, but I'll stand by it but on the flip side, every time I've seen him billed at a show, he shares the headliner spot with Pete - again, pros and cons. But as long as their partnership is a good one, I hope they continue to put out great music like this. The disc comes on strong with [b]"Toggle Switch,"[/b] a tight, guitar-driven honky-tonking stomper, and never lets up all the way through the single cover. Moot does well by the Paycheck hell-raising song, but I have to admit I've heard him sing better covers at some of his shows. I'm not sure if it's the best wrap-up for an otherwise great second disc, but on the whole, with Moot's pure high tenor tones, "Boo" Bernstein's crying pedal steel, and of course that astounding lead guitar, there's really nothing at all to complain about with this disc, especially with sharp tunes like [b]"The Man, The Myth,"[/b] the crisp accordian and driving licks of [b]"It Ain't Right,"[/b] and the steady toe-tapping honky-tonk tones of [b]"Foreclosures & Repossessions"[/b] (one of the best titles for a song I've ever heard). _z_countrymusic_z_);