TIM EDWARDS: The Sanctuary Sessions

Local songwriter and singer Tim Edwards has carved out a nice little reputation as a member of Farm Truck, a rootsy country combo whose music resides somewhere between Buck Owens, Pure Prairie League, and the Beat Farmers. That same sort of vibe permeates Edwards’ new solo release: more rocking than most country, and waaaaay more country than even most country rock. The biggest difference between the band and his solo outing is that The Sanctuary Sessions is a bit less rocking than a Farm Truck set, a bit more steeped in acoustic country traditions.

Edwards’ voice lends much of the twang that underpins this lovely collection of an even dozen songs. He’s possessed of a mid-tenor range, and on most of the tracks he delivers the vocals with a distinct nasal overtone that gives it a certain Appalachian feel. But many of the arrangements are closer to the classic Bakersfield Sound than anything else—the combination is a sound that can’t be pinned down as anything other than purely American.

There are no songwriting credits on the CD jacket, but if any are covers, your loyal correspondent didn’t recognize them as such.

The opening track, “Forever,” is anchored by Edwards’ acoustic guitar and upbeat vocals. It’s a gorgeous love song, enriched by the harmony vocals of Cathryn Beeks.

The album really finds its gear on the second track, though. “Bakersfield Mud” has a melody with a hook a mile wide, Edwards guitar is positively jaunty, and bassist Dave Michaels adds rich harmony vocals.

The lyrics, too, are fun and clever:

She’s got Bakersfield dust on her windshield
And Bakersfield mud on her tires
She’s just passing through on her way to a destination
Guess where she’s going to?

Steel guitar adds yet another homage to the Bakersfield Sound, and Edwards’ solo on acoustic guitar is a gem.

“Randy, Vigilante” opens like a ’70s country rocker—before the lyrics unfold of a story about a coward acting tough in the shadows.

Two drinking songs—“Bloody Mary Blues” and “Fireball and Tears”—trod try and true themes, but do so with great skill and nice melodies to boot.

The album closes with the hardest rocker here, “Lipstick.” Jangly electric guitar and a driving drum beat propel this ever forward, while Edwards sings about life with a strong woman.

Beeks lends her harmony vocals to two more tracks, and Chloe Lou Liddell does as well on another couple. Michaels plays drums as well as bass (at least on the tracks with drums) and meshes seamlessly with Edwards’ vocals and guitar.

The overall result is a strong outing with hummable melodies, tales of memorable characters, and virtuosic playing.