Gothic Theatre
Keller Williams
Keller Williams has always had the unexplainable need to make listeners grin, smile, and Laugh. With his sixth CD release, Keller perfectly exhibits his playful spirit without diminishing his musical genius and technical expertise. Offering fifteen dynamic songs, Laugh is a truly inspired album by one of today’s most gifted and understated musicians.
Titled in the one-word tradition of each of his recordings, Laugh seamlessly displays the catchy hooks and unpeggable variety so characteristic of Keller’s music. For Laugh, these diverse elements are broadened and blended into a more integrated and accessible form. While still whimsical as ever, Keller has mastered a profound sense of delicacy and timing: skills that greatly contribute a depth and momentum not found on his previous recordings.
Keller, who first began performing in his hometown of Fredericksburg, Virginia at the early age of 16, remembers yearning for a guitar as soon as he could say the word. Three decades later, critics place the virtually self-taught musician “…in the lineage of dazzling, yet quirky guitarists that includes John Fahey, Leo Kottke, and…the late Michael Hedges.” (Chicago Tribune). Dazzling indeed. Everything that Keller picks up comes alive. Perhaps his many years touring as a solo act have allowed him to shamelessly indulge his rhythmic instinct. Very few solo musicians have mastered such a multi-dimensional sound and captivating live show as Keller: critics have dubbed him a one-man-band. His awe-inspiring performance attracts sold-out crowds across the country. Keller admits that he plays as much for himself as for his audience. “Keeping myself happy is the first priority. That’s just the way it is.” Such “self-entertainment” has led to the use of many non-traditional instruments, including his exploration of live loop technology and his signature mouth flugel.
While Keller is armed with an arsenal of various instruments on stage, he counts on his eight (yes, eight) guitars for the bulk of his musical expression. Keller fondly lists off their names: “There’s the Blonde, the Brunette, the Platinum, Bari, the Bari Twelve, the Big White Electric, the Mexican Fender bass and the Zilla (an 8 string bass/guitar in one).” He plays each with passion and virtuosity, never having to sacrifice his finger wizardry when adding his sweet tenor vocals to the mix.
Keller admits that his lyrics are unusual: usually lighthearted, inventive and conjuring images of a twisted reality. “It baffles me where my lyrics come from. I suppose it’s a blend of my imagination and life experience,” Keller explains. “Everything needs an opposite. I totally understand why some artists’ music expresses anger and pain; there’s a lot of it in our world. In fact, if those musicians weren’t communicating that part of existence, I would feel less empowered to do what I do, which is promote the positive side.” Certainly, not everything in our world can be so blithe, but who better than Keller to so cleverly celebrate diversions?
Laugh is a mischievously brilliant piece of work. Featuring bassist Tye North (formerly of Leftover Salmon), drummer Dave Watts (The Motet) and a variety of outstanding guest musicians, Keller and friends explore odd timings and quick changes with incredible precision. Keller’s use of words as sounds, rather than as meaning, is eloquently embodied in Gallivanting. Songs like Alligator Alley and One Hit Wonder exemplify Keller’s knack for catchy melodies, and Bob Rules offers a look into Keller’s unusual sources of inspiration. Keller performs each of these songs with similar effect during his live solo performances. As one critic reviewed “…[Keller] uses his own ingenuity and technical savvy…creating a variety of virtual instruments to devastatingly tuneful effect with his mouth, and occasionally setting up a tape loop of himself playing and/or singing [which are recorded live in front of his audience] and then accompanying himself.” Still, Keller does not underestimate the contributions of his band mates on this current project, especially in capturing spontaneous musical interactions. In fact, some of Keller’s favorite parts of the album come directly from his collaborations with Tye and Dave. Such unprompted instrumentals as God is My Palm Pilot and Freeker Reprise best display the creative spark ignited by the trio’s dialogue, especially the songs’ electronic house tendencies. Perhaps they also offer a glimpse into the next genre Keller will introduce and wield into his highly original sound.
But for now, Keller offers up a hearty Laugh, brimming with all those qualities that make Keller a standout amongst today’s musicians. “I didn’t know what the album title would be until the end of the recording session,” Keller explains. “When we were cleaning the tracks, there was a hell of a lot of laughing to erase. We were having so much fun. We left in a few good chuckles.” Chances are, listeners will be chuckling too.
