(Vinyl Love is a series of posts that quite simply lists, describes, and displays the pieces in my growing vinyl collection. You can bet that each record was given a spin during the drafting of each corresponding post.)
Artist: Orville Peck Album Title: Pony Year released: 2019 Details: limited edition Urban Outfitters exclusive of 2000 copies on ‘orange red’ vinyl, poster
The skinny: We’re only just a few months removed from 2019 and yet, it feels so long ago. Thus, now feels like as good as time as any to revisit my favourite albums of last year and so that’s what I am going to do. Starting with my number five album, I am going to count them down again over the next bunch of weeks in this ‘Vinyl love’ space. I purchased this Urban Outfitters exclusive red-orange vinyl pressing of Orville Peck’s debut album, “Pony”, in December, but it had taken me the most of the year to gradually fall in love with it. Really, though, it was inevitable. As I said back in December: “A Lone Ranger mask with a long fringe, the ever present cowboy hats, and clothing that ranges from garish and sparkly to rough-hewn but slightly fey. He sings songs about cowboys with a voice Roy Orbison would be proud of, the whistles and plodding bass lines only slightly covering up that he is actually subverting the traditional idea of the cowboy.”
(I got the idea for this series while sifting through the ‘piles’ of digital photos on my laptop. It occurred to me to share some of these great pics from some of my favourite concert sets from time to time. Until I get around to the next one, I invite you to peruse my ever-growing list of concerts page.)
Orville Peck and his band at CityFolk, 2019
Artist: Orville Peck When: September 12th, 2019 Where: City stage, CityFolk, Lansdowne Park, Ottawa Context: Just a few days ago, I posted about how Orville Peck’s debut album, “Pony”, made the number five spot on my best albums of the year list. As I mentioned there, I wasn’t that high on it at first listen. However, with repeat spins, it quickly climbed the ranks and by the time September rolled around, I was solidly hooked. Peck’s inclusion on the CityFolk lineup was the main reason I considered going at all this year. I had originally planned on going away on vacation in September but when that fell through, I took another look and bought a ticket for opening night. Orville Peck started off the festival proceedings and I’m sure the half the crowd that didn’t know what it was in for, was baffled for at least a few songs. He was backed by Toronto post-punk outfit Frigs, trading in their usual threads for cowboy hats and vintage, western garb. The set was phenomenal, engaging, and hooting and hollering fun, all the way through. Point of reference song: “Big sky”
Orville Peck, man of mysteryBria Salmena on the keysKyle Connolly on bassKris Bowering on drumsBria Salmena on guitarKyle Connolly and Duncan Hay JenningsOrville Peck leading the jam
I didn’t want to like Orville Peck when I first listened to him, especially when I learned that the cover art to his debut album, “Pony”, wasn’t just that, but an actual portrait photo. And to be honest, I didn’t think that much of it at first listen, quirky, yes, but also kitschy. With each successive listen, though, I delved deeper into the lyrics and the aesthetic that Peck is creating and yeah, it grew on me. Then, I saw him perform with his band at CityFolk back in the fall and the deal was sealed.
Orville Peck is a stage name. He wears a mask – all the time. He has worked to keep his real identity a secret but given our collective curious nature, we have tried to out him. The little information he has released in interviews, that he has toured quite a bit with punk bands, and that he is from the west coast of Canada, has music writers feeling sure that they have identified him. Peck has never confirmed, nor denied, and I won’t give the suspected name here.
I’d say that it should be the music that’s important but Peck has created an image here, a brand of sorts. A Lone Ranger mask with a long fringe, the ever present cowboy hats, and clothing that ranges from garish and sparkly to rough-hewn but slightly fey. He sings songs about cowboys with a voice Roy Orbison would be proud of, the whistles and plodding bass lines only slightly covering up that he is actually subverting the traditional idea of the cowboy. I remember seeing an exchange on social media between Peck and some critical troll sneering that he wasn’t country, perhaps pointing to the invasion of indie and dream pop sounds on the rodeo. And Peck merely scoffed about the troll being head of the “country police”.
All that to say, “Pony” is quite the debut that has turned a lot of heads, not just for the enigma, but also the obvious talent. Have a listen to my three picks for you below and see what you think.
“Dead of night”: The opening track sets the mood and tone from the beginning. “Dead of night” starts with a lonely guitar intro and finishes with a jaunty banjo outro, calling to mind singing cowboy balladry, full moons, cactus and tumbleweed, coyotes and yodelling, the bonfire at night while the trusty steed is tied a ways away. A lonely remembering of a travelling companion that might’ve been more than just friends, a worried outlaw. “The sun goes down, another dreamless night. You’re right by my side, you wake me up, you say it’s time to ride in the dead of night.” Forlorn and haunting.
“Turn to hate”: A song about being on the outside of things, an outlaw, a migrant cowboy, a musician constantly tour, wearing a mask or otherwise. “Walking out towards the gate. You’ll all be stars, now just you wait, done enough to take the bait. Don’t let my sorrow turn to hate.” It builds from a quiet, almost whispery intro to something of a barn burner, guitars a-flashing, boots a-jumping, and Peck’s by now well-worn vocals warmed up and on a tear. He’s trying not to let the isolation get to him but it’s hard. He just wants it all to be okay. And damned if it doesn’t feel great.
“Big sky”: It all starts with that big and vaunted guitar again, Peck singing gently against it with the pluck of banjo and the shake of a rattlesnake. He is out on the desert plain, alone on his horse, nothing but the wind, the echo, and the huge expanse all around him. There’s something menacing about all the quiet, as if his backing band is made up of ghosts, the ghosts of relationships past. “Fell in love with a rider, dirt king, black crown.” He sings all of this with passion and hurt and a bit of his angsty punk showing. Indeed, it doesn’t quite feel like he’s crying in his beer, does it?
Check back next Tuesday for album #4. In the meantime, here are the previous albums in this list:
My (life in) music lists 