|3.||He Put It In The Soul Of Everyone||3:54|
|5.||Through The Screen Door||4:30|
|6.||The Big Ocean||3:21|
|9.||House On The Hill||5:02|
Joey Kneiser - All Night Bedroom Revival
Stepping temporarily away from the full-throttle thunder of his Tennessee rock ensemble Glossary, front man Joey Kneiser’s new solo album, The All-Night Bedroom Revival (Last Chance Records) treats its listener to a subtle, stripped-down taste of genuine songcraft from a writer at the peak of his skills. The All-Night Bedroom Revival is exactly what its title claims it to be—a soulful effort full of the fervor and spiritual fire Glossary fans have come to expect from Kneiser’s writing. This bedroom worship service, however, has the feel of a personal revival for a private audience, and the listener comes to it like a child catching a privileged glimpse of something intimate and exciting as they peer transfixed through a tear in the revival tent-wall.
This brief aside from Glossary’s rock energy allows Kneiser to dive fully into other styles of writing, and unsurprisingly, his songwriting holds up in any context. “Big Ocean” proves Kneiser as good as country songwriter as anyone up the road in Nashville: “Mama had a heart like the ocean, biggest thing I ever seen./ She could love all day like her heart was made of gasoline…Daddy was as mean as a wild dog, sharp as the edge of a blade./ He could con a flood into thinkin’ that it needed rain.” The record possesses an organic comfort that flows seamlessly from start to finish, showcasing Kneiser’s encyclopedic knowledge of the finer points of country, folk, blues, and rock.
As with his previous Glossary efforts, Kneiser treads familiar ground in The All-Night Bedroom Revival, but he does so in new ways, finding inventive turns of phrase and unexpected chord progressions to guide his listener along the well-trodden roads of small town stagnation and the frustrations it brings: “This town smells like paper mills and broken wills. / I gave up my habits, except for the ones that kill” (Paper Mills). While demonstrating Kneiser’s keen eye for social criticism, the record does far more than demean all things small-town-Southern. Kneiser repeatedly touts the simplistic pleasures of such worlds, reminding that contentment amid the superficial and the chaotic abounds in things like “the sound of…feet dancing across the worn-out wood” (“Adelina”) and “… [Falling] asleep with a speaker by my head” (“He Put it in the Soul of Everyone”). After all, there must be a reason Kneiser has lived and worked in Mufreesboro, Tennessee for so long. Sharply aware of its shortcomings but quick to praise its beauties, Kneiser is a songwriter firmly rooted in his own sense of place. Like Faulkner, he saw in his own “little postage stamp of native soil” something worth writing about, and in The All-Night Bedroom Revival, Kneiser reveals another adept glimpse into that something.