There is nothing new about Jesse Daniel’s fourth full-length album, and it’s this prosaicness that makes it special. The Austin, Texas, by way of California’s Central Coast musician, uses the familiar tropes from classic country and makes a new food out of its leftovers. The combination of ingredients improves the flavor of the individual ingredients.
The singer-songwriter spells out his philosophy on “That’s My Kind of Country”, the second song on his latest album, Countin’ the Miles, where he highlights his love for playing music, fishing for trout, shooting guns, hard work, and common people over a rudimentary swing beat complete with fiddle and steel guitar accompaniment and a bouncing bass beat. There is nothing new here that hasn’t been celebrated and done a million times before. That’s the point. Daniels proves his dedication to country music’s heritage by recycling its components one more time.
All 11 songs on Countin’ the Miles sound as if they were the B-sides of old 45s on diner jukeboxes on the blue highways where men and women gathered on Saturday nights to drink and carouse. The music frequently moves fast—often too fast to dance to—creating hook-laden tension. Daniel’s may sing about keeping it all together, but he notes that he’s “Comin’ Apart at the Seams”, “Restless”, and ready to go “Steppin’ Out” because he’s a “Golden State Rambler”.
One can hear the echo of the Bakersfield sound on Jesse Daniel’s music, which was recorded at Arlyn Studios in Austin and also captures the big dance hall sounds of the Lone Star state. The late Gene Elders (from George Strait‘s Ace in the Hole Band) and fellow Texan Jason Roberts contribute fiddle licks to the proceedings. The mixing of styles adds to the disc’s mingling of classic country styles to create a more uniform presence, even on songs such as “Montana”, whose view of geography suggests that it doesn’t matter if one is living in the western mountains or Tennessee if one lets love slip away.
Despite the specific trappings of rural life mentioned in the material, Daniel’s country is mythical. He finds it in his memory and imagination. He yearns to live in the past and glides over the not-so-pleasant aspects of what once was, or at least what one thought once was.
Merle Haggard‘s son Ben joins Daniels on the song of social commentary, “Tomorrow’s Good Ol’ Days”, that resembles the Hag’s odes to “are the good times really over”. In plain language, the song wonders if “the good guys are the bad guys” and asks, “Are we hellbent on destruction?” without offering details. Instead, the song looks forward and wonders if “we can get back on the right track”. Despite the futuristic title, the track is nostalgic in its theme, lyrics, and melody. The duo know the good old days can be said about any place at any time.
Counting’ the Miles offers a pleasant reminder of what country music once was without sounding cliched. It’s more like eating comfort food without worrying about cholesterol or counting the calories. The record may not offer anything new, but it satisfies the consumer.