The new CD released by Doobie “Doghouse” Wilson, aka Alan Lane, a UA chemical engineering professor, turns out to be a good mix of songs that, while they sometimes veer into corny territory, create a feel-good mood.
In actuality, I did a review for Wilson’s last CD, “One More Time,” back in August 2008, and was very surprised by how much I actually enjoyed what I was listening to. Wilson’s new album, “Too Wet for Comfort,” was no exception.
Ideally, what Wilson wants to do with his music is simply have fun. Yes, some of these songs have the potential to have their own spots on “Schoolhouse Rock” (“Savin’ Room for Dessert”), but what makes the songs that much better is how he performs foot-stomping music to simple subjects, like having to get up for work in the morning after a long night’s gig (“PhD’Licious Theme).
Where else can you hear a country/funk fusion song? Outside of “Cheatin’ On Your Man,” probably nowhere.
(That’s your cue, musicians).
However, the acoustic numbers are where Wilson shines the most, emphasizing that all you need is a guitar and microphone to make music. After all, didn’t Bruce Springsteen record a little gem called “Nebraska” in the basement of his house with a mic, a guitar, a harmonica and an 8-track?
Tracks like “She’ll Fly Away,” a song about a father watching his daughter grow up, stick out for its simple, yet articulate, guitar work and singing.
Listen to “Hallelujah,” which established Leonard Cohen as a songwriter’s songwriter and transformed Jeff Buckley’s career from a struggling New York musician to one of music’s tragic “what could have been” stories, and you’ll see there’s a lot that Wilson has to offer.
And like many musicians worth their salt (or at least think they’re worth their salt), Wilson pays homage to feel-good music of yesteryear. If it hadn’t been for the name embedded in my memory, I would have thought some of the songs were done by the likes of J.J. Cale or anyone else Eric Clapton has covered.
In that same vein, there’s a lot with “Too Wet for Comfort” that could easily translate to J.J. Cale’s 2007 collaboration with Clapton, “The Road to Escondido,” my current aural obsession.
Is this the best record I’ve ever heard? No. Could I find anything else better than this? Far from it. Is it one of the better recordings I’ve listened to in a while? Maybe.
After listening to “Too Wet for Comfort,” I came up with two conclusions — you don’t need a lot of fancy equipment to make something memorable, and, above all else, you don’t have to take yourself too seriously for your music to be appreciated.
For that, Mr. Doghouse, I thank you.
Rating= 3 out of 4 stars
Bottom Line: “Too Wet for Comfort,” although cheaply done and not concerned with anything too serious, is a fine example of Wilson’s best work — a foot-stomping good time.
Professor’s music makes things funny, bluesy
By Drew Taylor
Administrative Affairs Editor
The new CD released by Doobie “Doghouse” Wilson, aka Alan Lane, a UA chemical engineering professor, turns out to be a good mix of songs that, while they sometimes veer into corny territory, create a feel-good mood.
In actuality, I did a review for Wilson’s last CD, “One More Time,” back in August 2008, and was very surprised by how much I actually enjoyed what I was listening to. Wilson’s new album, “Too Wet for Comfort,” was no exception.
Ideally, what Wilson wants to do with his music is simply have fun. Yes, some of these songs have the potential to have their own spots on “Schoolhouse Rock” (“Savin’ Room for Dessert”), but what makes the songs that much better is how he performs foot-stomping music to simple subjects, like having to get up for work in the morning after a long night’s gig (“PhD’Licious Theme).
Where else can you hear a country/funk fusion song? Outside of “Cheatin’ On Your Man,” probably nowhere.
(That’s your cue, musicians).
However, the acoustic numbers are where Wilson shines the most, emphasizing that all you need is a guitar and microphone to make music. After all, didn’t Bruce Springsteen record a little gem called “Nebraska” in the basement of his house with a mic, a guitar, a harmonica and an 8-track?
Tracks like “She’ll Fly Away,” a song about a father watching his daughter grow up, stick out for its simple, yet articulate, guitar work and singing.
Listen to “Hallelujah,” which established Leonard Cohen as a songwriter’s songwriter and transformed Jeff Buckley’s career from a struggling New York musician to one of music’s tragic “what could have been” stories, and you’ll see there’s a lot that Wilson has to offer.
And like many musicians worth their salt (or at least think they’re worth their salt), Wilson pays homage to feel-good music of yesteryear. If it hadn’t been for the name embedded in my memory, I would have thought some of the songs were done by the likes of J.J. Cale or anyone else Eric Clapton has covered.
In that same vein, there’s a lot with “Too Wet for Comfort” that could easily translate to J.J. Cale’s 2007 collaboration with Clapton, “The Road to Escondido,” my current aural obsession.
Is this the best record I’ve ever heard? No. Could I find anything else better than this? Far from it. Is it one of the better recordings I’ve listened to in a while? Maybe.
After listening to “Too Wet for Comfort,” I came up with two conclusions — you don’t need a lot of fancy equipment to make something memorable, and, above all else, you don’t have to take yourself too seriously for your music to be appreciated.
For that, Mr. Doghouse, I thank you.
Rating= 3 out of 4 stars
“Too Wet for Comfort,” although cheaply done and not concerned with anything too serious, is a fine example of Wilson’s best work — a foot-stomping good time.
