Brian Keane
I Ain't Even Lonely
Mix-O-Rama Records
By Danté Dominick
 There is not one
hint --- not even the tiniest --- that this is the debut recording
of a twentysomething "newcomer." This is polished work,
and not the slick, over-produced, computerized pop sorta polish.
This is polished as in shining at the peak of possible luster.
It might be of use to preface the following review with the
fact that it takes an awful lot for a singer/songwriter to grab
my attention. I can strum all the chords, pick all the fills
and make passable rhymes to the tried and true topics myself,
and so can four billion other folks with a guitar. Therefore
I am astounded when a record such as this floors me with its
remarkable achievements.
The music is well-rounded, versatile and handled with great
care. The songwriting is a testament that good songwriting truly
is an art, a difficult one at that. Keane is a heartfelt, knowing
and playful wordsmith. His vocals aren't distinguishable by anything
astonishing; his voice isn't nasally, raspy, especially robust....it's
just right on. Keane never over-extends himself; he reaches deep
when he's got it in him and rides it smooth when that's what's
right.
I'm guessing some of this record's shine is owed to producer
(and drummer) Eldridge Goins. Keane is new blood in Austin, but
those familiar with the area's scene notice some lofty locals
pitching in on the record (Carolyn Wonderland, Guy Forsyth, Papa
Mali, Stephen Doster, Patrice Pike just to get started). And
again....for a guy's first time fronting in the studio, I
Ain't Even Lonely plays impossibly good from beginning to
end.
The title cut leads the record and quickly establishes that
this guy can write an earnest song. Keane meets, basically, the
ultimate criterion: he takes an emotion we all know and expresses
it convincingly better than we can, now matter how many times
we've tried in our lifetimes; enamored and poetic, but ultimately
very clear.
"Go So Wrong" follows. Keane tinkles a barroom piano
and Colin Brooks coaxes the dobro to take a drink. The rhythm
is right on cue:
Last night them emotions got high
And baby we both said some things we didn't mean
And if I could take them all back, honey
You know I would
I wish I'd have never said those awful things
If the country-blues rhythm section didn't give it away, these
lyrics did: we know where this familiar tale is going, right?
Wrong:
Things like I want you, I need you
I got to, got to have you
I can't go through life alone
I like you, I love you
I think the world of you
Baby, how'd I go so wrong?
Keane's twist is not only fun because the "awful things"
he said are not what we expected, but also because they are oh
so true. There's nothing that keeps a flame's interest hotter
than a little curiosity and mystery. Remove that and, at least
in this case, the fire's out and a good thing's gone.
This isn't the only time Keane plays on our expectations.
He seems to get a kick out of setting up seemingly obvious rhymes,
but don't jump ahead of him to the apparent finishing couplet.
Because if there's a parallel to life in Keane's writing, it
is to expect the unexpected. In other words, he might not finish
the rhyme.
"It's Been a Long Day" is certainly a highlight.
Keane uses a handful of phrases from Townes van Zandt's "Flying
Shoes," and gives van Zandt equal writing credit as well
as a "dedicated to":
It's been a long day
And I'm wishing it was over
I've seen better days, ain't it true.
Nothing of great note happens to the singer: no terrible break-up,
loss, catastrophe or calamity. Most days, after all, come and
go without cataclysmic events in our personal lives. But we've
all experienced prolonged sighs at the close of a day that simply
put, didn't fulfill us. The only cure seems to be a whole new
day to start afresh and it can't come soon enough. "It's
Been a Long Day" is that sigh in beautiful song and verse.
>Among my personal favorites is "Piece of Me." Admit
it, we've all been extremely ticked at some screwy piece of small
cellophane packaging that we can't get open no matter how easy
it should be and how hard we try, finally attacking it like a
wild dog on a wounded bunny. Keane turns this scenario into love:
Now we live in Texas
Where the winter lasts from five to seven days
So we rush to use the fireplace
Before the sun comes up to heat the morning haze
She finds the matches
But the wrapping won't come free
She says, "baby, open this for me"
Take me teeth baby,
It's just another piece of me
This highlight reel could continue for quite some time. To
read about all the things I like on the record would take longer
than it would to listen and decide for yourself (47 minutes).
Being a debut on a local indie label, originally only one pressing
was ordered, but that sold out just about instantly. Word-of-mouth
travels fast when there's something worth talking about. So Keane
and company finished a second pressing and hope to find similar
results. Do yourself a favor and give Brian Keane a listen to;
you're bound to come up with your own favorite moments.
www.keanetunes.com
Contact Dante Dominick at dominick-at-rockzilla.net
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