Think of Basildon's musical prowess and aside from the global colossus that is Depeche Mode, there's, er, not a lot that springs to mind really. Certainly nothing in the whiskey-soaked roots-rock vein anyway.
Yet, judging by the contents of BOB COLLUM & THE WELFARE MOTHERS' third album 'Set The Stupid Free', there's been a resistence movement gaining momentum in the wilds of darkest Essex after all. Even if their bespectacled frontman actually originates from Tulsa rather than Tulse Hill.
And, despite 'Set The Stupid Free"s rather flippant, self-effacing title, there's little goofy, jokey or throwaway about this rather fine collection of consistent, tune-happy roots-rockers played with skill and aplomb by a tight, compact trio of Collum (guitars, vocals), Dan Wilkinson (bass) and drummer Paul Quarry. Colour is lent in a few places by suitably well-respected UK roots alumni BJ Cole (pedal steel) and Julian Wilson (organ - Grand Drive), but mostly '...Stupid' is lively, harmony-laced stuff that's sure to go down a storm live.
If you need proof, proceed immediately to the opening slew of tunes. The title track leads off and is mid-paced and chiming with spangly guitars, Quarry's toms rolling lugubriously and Cole's liquid steel seeping beutifully into the cracks. This and the ensuing 'Virginia Mystery - where Wilson plays the Benmont Tench organ role to perfection - make no bones of The Welfare Mothers' inherent pop sensibility and make like Nick Lowe fronting The Bottle Rockets. Not a bad prognosis by anyone's exacting standards.
Elsewhere, the potent spectre of mid-period Creedence hovers over the proceedings like cypresses over a swamp, not least on tunes like 'Disco Jesus' (which would almost be off 'Green River') and the woozy stroll of 'Mean River', even if the latter's middle-8 is pure Free. Still, who's complaining, especially when they get even deeper down and dirty on the Trad. Arr 'Well Runs Dry' where Collum's vocal is shadowed by a slitherin', fork-tongued slide guitar and the band play it laid back, nonchalent and dead-on.
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Songs like these - and the edgy, premonition-heavy 'Cemetery Blues' - prove that The Welfare Mothers can brood with the best of them, but they can also switch to downhome and acoustic pretty damn seamlessly as the country canter of 'Damaged One' and the mandolin-assisted 'Nevermore' demonstrate with some potency. To ram the point home, they save a series of fine, country-folk tinged set pieces in reserve for the finale. A jaunty take of Peter Case's 'A Little Wind' ("it was rainin' alligators/ black snakes fell from the trees") is very much in keeping with the record's bayou-infested sound, while the full-on Buck Owens-style cruise of 'Brought Up Wrong' ("brought up wrong on the bad side of a one-horse town") and the contrite, country-boy confessional of 'Katie, I Agree' conspire to bring down the curtain on this beautifully-executed album with authenticity to spare.
'Set The Stupid Free', then, is more a case of locking several like-minded country-inclined practitioners into a confined space and simply sitting back to enjoy while they do what they do best. Believe me, playing nonchalently and making it sound urgent's no mean feat, but The Welfare Mothers have it down pat. Impressive stuff indeed.
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