2008

Rootstime
CD review, January 2008

„The Things That Count“ reacquaints us with Markus Rill. Over the last ten years the man with the sandpaper voice has proven himself to be a very convincing songwriter and has released a slew of albums way better than his competitors’. For the impatient fans: The album is business as usual. In other words: Run to the record store!

Rill is often described as „Europe’s premier Americana artist“ or an „artist’s artist“ thanks to the astonishing high number and high caliber of artists he counts among his supporters. Taking his productivity (eight albums since 1997) and the quality of his work into account, it seems entirely incomprehensible that Rill has not yet achieved a higher level of popularity that would assure him sold-out concerts halls. “The Things That Count” may not change this because it’s not an album that relies on gimmickry. Instead it’s an album made skillfully and thoughtfully and thus it’s obligatory listening for any aspiring songwriter.

Because of a family matter trusted producer George Bradfute dropped out on short notice and left Markus with little time to hire a replacement which he found in Richard McLaurin (of Farmer Not So John). No need to worry, though, the results speak for themselves. McLaurin – who was unknown to me so far – succeeded in creating a musical framework that leaves a lot of space for Rill’s songs & lyrics.

The album sounds a lot more experimental, atmospheric and electrified than it acoustic predecessor “The Price Of Sin”. The sound of “The Things That Count” is a little richer than Rill’s previous outings – yet far from cluttered. Instead of the typical acoustic sound we know from Rill’s previous albums this time around we hear tasty and restrained accompaniment from Dave Jacques (upright bass), Bryan Owings (drums), Joe McMahan (guitar), Jen Gunderman (piano, organ, accordion) and producer McLaurin who contributed guitar, mandolin, pedal and lap steel. And Mack Starks, Dave Coleman, and Claire Small provide backing vocals.

The album’s opener “Straighter Road” is already a winner with its fine combination of acoustic and electric guitars, subtle harmonies and a slowly unfolding melody. “Unlike You” shines with thoughtful melancholy – this track was previewed on the live album. This is also true of “Sarah Stein”, a haunting ballad about a ballerina from Vienna who escaped the Nazis to live in the US. Both songs are presented here in more orchestrated versions than on the live record.

There’s more quiet moments on the brilliant title track, “I’ll Wait For You”, and “Just Like It Never Did Exist” which can easily be added to the rather extensive list of beautiful, fragile ballads the man has written – they offer consistently sober, frequently poetic, high-quality lyrics about real-life topics – “The Things that Count” as it were. The rock’n’roll co-efficient is significantly higher on songs like “Scene Of The Crime”, “Faith Is Hard”, “Gotta Keep My Hands Off”, or “Dimestore Paperback Memory” which features some beautiful organ playing from Jen Gunderman (Last Train Home).

Rill is a dignified songwriter reminding connoisseurs of song that the craft is certainly alive and kicking. In his lyrics Rill appears at times to be a hopeless romantic but he can also be a harsh critic of our times. “The Things That Count” combines profound lyrics about realities of life with a more textured sound – certainly an album that will last and satisfy Rill’s faithful fans. The album offers everything you can ask for from a singer-songwriter record. A beautiful album that moves the listener and makes him think. And that’s indeed high praise for Markus Rill.