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Hometown: London, UK
Website: www.facebook.com
Sounds Like: Elvis Costello, Nick Lowe, Tom Petty and the Heartbreakers, Graham Parker, Steve Earle
Genre: Rock
Bob Collum hails from Tulsa Oklahoma but is long settled in deepest Essex; an unrepentant and incurable anglophile who’s released a series of acclaimed albums while regularly gigging with his ever-evolving Welfare Mothers.
Pay Pack & Carry arrives with the anticipated meld of tradition and innovation. Based on a long-established fusion of power pop and country music it shows once again his mastery of both, overlaid with many other fascinations, and featuring a couple of significant guest collaborators in Martin Belmont (Ducks Deluxe, The Rumour) and Peter Holsapple (REM, The DBs) who just happen to be musical giants.
Recorded over the course of a year Bob’s preference has been never to spend more than two consecutive days in the studio: “It keeps it more fun; doing just a couple of days at a time you avoid getting bogged down”. As previously he uses former Vibrator Pat Collier’s studio, allowing Pat to take much of the producer’s role.
The core players are long-serving drummer Paul Quarry, bassist Matthew Hall, and recent recruit Mags Layton on violin. Mags came with new perspectives, initiating the Bernard Hermann vibe to ‘Blue Sky Rain’, radically altering the song and squeezing out all guitar bar Martin’s arpeggios and fills.
She’s also allowed Bob to rein back on the more traditional country elements. The title track proves a fine example of how they can infuse his compositions without being blatant. He’ll reference particular Byrds and Monkees songs as “not trying too hard to sound like country songs. Taking the elements but doing it organically rather than dramatically”.
There are readings of both Mike Heron’s ‘Log Cabin Home In The Sky’ and Michael Nesmith’s ‘Different Drum’, as Bob strongly believes doing covers prevents a performer seeming too self-absorbed. Peter Holsapple provides harmonies on both: “I knew it was right up his alley. Peter can do the vocal asides – the ‘yeahs’ and ‘woos’ I wish I could.”
Avoiding self-absorption is typical of the man. Getting Bob Collum to stay on the subject of his music can be some task, though he does concede: “I like the new album”. Then he’ll be making light of his abilities, and start talking about The Beatles again. It may speak to his grounding, self-awareness, and sense of standing on the shoulders of giants, but underplay it as he might Pay Pack & Carry provides yet more evidence of his singular talent.
“If you want an album that contains excellent vocals, very good songs, great arrangements and playing and also covers many of the bases within the edgier side of country you will be hard pushed to find a finer album than this quite addictive recording.”
American Roots Music
“What you get here is engaging small scale, intimate country-ish powerpop ..”
The Independant
“Like Elvis Costello, Collum is able to frame scenes and tell stories with vivid and compelling effect.
9/10”
Americana UK
“A brand of Americana viewed through an exile‘s perspective.
7/10”
Uncut
“an album of hook laden country tinged roots music .. .. like all great songwriters such as Nick Lowe, Elvis Costello etc, Collum catches you , you see things through his eyes and that's a wonderful talent to have.”
Fatea
“Having reviewed Bob’s latest album Little Rock at the start of the year and thoroughly enjoying it on many repeat plays, listening to the songs live proved to be the icing on the cake.”
Three Chords And The Truth
"My Little Hurricane" is 2:13 of Popicana bliss, while "She Hates Me" is quality straight-up country, "Devil in the Details" adds some power pop to the recipe, and "Knockdown Dragout" recalls Nick Lowe's "Raging Eyes". Yet another outstanding entry in the Year of the EP.
Absolute PowerPop
“A turn of phrase to rank with Nick Lowe's, and an instinct for hook and melody mean you're thinking of the Byrd's with a country edge to boot. The Boy Most Likely Too... is a testimony to the enduring power of finely crafted songs played well . It deserves a wide hearing and appreciation.”
Bucketful Of Brains
“'Set The Stupid Free' is more a case of locking several like-minded country-inclined practitioners into a confined space and simply sitting back to enjoy while they do what they do best. The Welfare Mothers have it down pat. Impressive stuff indeed."”
Whisperin' & Hollerin'
“Whilst ‘Set The Stupid Free’ may be firmly rooted in alt country in terms of sound, it manages to incorporate a solid pop sensibility, with pop melodies and hooks that’ll have you humming the chorus to each song before the record is halfway through”
Subba Cultcha
“The execution is tight, the lyrics wry and razor-sharp, and the palette broad"”
Morning Star
“The words and instrumentation are well-done, and there’s such genuine feeling behind it, Collum never comes off as hokey. Lamenting and sweet, he gently presses his subjects into releasing truth juices in every track."”
Alibi
“Hook-heavy, steel guitar-driven, rootsy power pop.”
Time Out
"The kind of lyrical twists that endear so many while playing it straight."*** 3 stars
Q
"Heavy on hooks and steel guitar." *** 3 stars
Uncut
“Anyone who wants to hear what Top 40 sounds like in a perfect world should pick up The Boy Most Likely Too... and turn it up!”
Being There
“On The Boy Most Likely Too..., Bob Collum masterfully combines melodicism and rootsy twang.The result is as honest and refreshing a record as has come down the dusty two laned highway this year. With TBMLT, Collum has crafted roots pop perfection”
Amplifier
