Oliver Wood Goes ‘Always Smilin” Into the Future Past

Maybe the most telling thing about the new Oliver Wood record is that it has not one but two backup musicians (Jano Rix and Nicholas Falk) listed on the liner notes as playing the chicken coop. It’s unclear if they harmonize, trade licks, play on separate songs—or even if they are playing the same hen pen. However, one can feel their presence in the album’s vibe. One might not know someone was playing a chicken coop without looking at the credits, but one isn’t surprised by the fact even after a cursory listen to the album. This is rural roots music for those on the rural route.

Wood wrote (or co-wrote) most of the material. Plus, he plays lead guitar and sings. He’s accompanied by a variety of other instrumentalists on pump organ, melodica, banjo, Wurlitzer, mandolin, tuba, piano, etc. The musical lines seem to blend and chafe with each other and leak out of the speakers. The listener can never be sure what it is one hears. In addition, almost all the players contribute vocals, frequently harmonizing with Wood and each other in odd ways as if they are searching for that mythical lost chord. Close your eyes, and one can imagine a local band who practice at the gazebo in the small-town park as children play and adults converse nearby.

Wood knows about how places like that have changed. On “Soul of This Town”, Wood laments the passing of distinctive old haunts that have been turned into featureless burgs without character. The song’s odd array of sounds and rhythms (i.e., martial drumming one minute, maracas shaking the next) captures the idiosyncratic aspects of the old cities. The modern improvements are soulless in comparison. Wood’s wry lyrics mournfully describe what has happened, but it is his voice that makes the loss of the old places so compelling. He’s got a loud, slow way of letting the language out with a slight drawl. He accents the vowels on words like “diiii-ner”, “a-waaaay”, and “eeee-nough” which add emotional weight to his anti-gentrification theme.

The 11 songs (and one bonus track) convey heavy messages with a light touch. Wood preaches “Kindness” as his religion. He knows “if thoughts could kill” nobody would be here and there is a “Fine Line” between love and lust. Wood’s use of old-fashioned musical styles suggests the glory of the past over the modern-day. He leavens his sadness at the changes which have happened with a tinge of humor. Things may have been better back then, but our hearts can bear the load of living today. Besides, there is an unspoken assumption that with effort, we can return to where we came from. He covers two classic gospel songs, “Climbing High Mountains (Tryin’ to Get Home)” and “The Battle Is Over (But the War Goes On)” on this theme.

Oliver Wood plans to get back with his sibling Chris (and drummer Jano Rix) as the Wood Brothers and have tour plans for the spring and summer. This album was inspired in part by the COVID-19 pandemic and was recorded according to safety protocols. The good news is that this allowed Oliver to stretch out here on his own. Wood Brothers fans will find this will do more than sustain them until the next release.