After releasing multiple EPs over the years and several months of anxiously waiting, The White Buffalo’s full-length, Once Upon A Time In The West, is finally available for mass consumption. Released today through Unison Music Group, and although it’s only the end of February, it's safe to say that this album is easily one of the best of the year. As we’ve said multiple times, the Buffalo’s distinct gravelly voice and his majestic storytelling through his lyrics has made him one of the artists to watch in 2012 and this album confirms it.

Comprised of 13 songs, several of which were on his previous EP, Lost And Found EP, the Buffalo takes you on a journey through the roots of American music. Themes like love, life, loss, addiction, rage and redemption are tackled in the lyrics, which give the record a strong sense of urgency and take you on journey that the Buffalo’s contemporaries can’t or won’t. An example of this is on the opening track, “Ballad of a Deadman.” Backed by a haunting slide and acoustic guitar and drums, these instruments give the Buffalo’s lyrics a sense of urgency and importance. On the surface, lyrics like “Our boys are dead. We've been mislead” seem like generic angst, but when heard on the album, the singer's vocals brings the words alive and it's easy to feel the raw emotion that he feels.

The title track is more upbeat musically, but don't let that fool you. Sounding more country-meets-America (think Bob Dylan of the past decade). But the self-deprecating sense of awareness doesn’t dissipate. With lyrics like “I’m a fuck up girl, but that’s how I live my life, I’m not sure how to treat you right” are subtly stated if you concentrate solely on the music. Up-tempo on this song doesn’t mean happy.

Other highlights include another up-tempo track, “The Pilot,” the quiet “Sleepy Little Town” and my favorite, the Springsteen-meets-Hank Williams sounding “BB Guns and Dirtbikes.” Closing my eyes, I could have sworn that this was a song that The Boss wrote, and then I’d open them and think I was hearing Williams. It’s distinctly Springsteen sounding to start, then moves towards country, encapsulating everything that makes a song so badass. The song is so vivid with it’s imagery that you feel like you’re traveling through the California that Tom Joad inhabited. Being able to connect with a song that takes you to a place that’s so fictional that it’s real while understating itself is the power of strong songwriting and why the Buffalo has the rare ability to convey this in lyrics.

Having known about The White Buffalo for some time, it amazes me how he hasn’t resonated with more people. With strong lyrics, intricate musicianship (shown on both fast and slow songs) and a voice that’s stronger than oak, this album should be a blueprint for the singer/songwriters who eschew the mainstream and demand that they listen to him. That’s what the Buffalo does here: he makes an album that’s too strong to ignore. It’s a shame they already remade True Grit because this would have been the perfect soundtrack. With songs already placed on Sons of Anarchy and Californication, expect to hear more from The White Buffalo sooner than later.

What can I say about the magnificent White Buffalo that I haven’t said before? Watching him in action for the first time last night was a sight to behold. His massive frame ambled up to the stage around 9:30 pm and with that deep baritone he bellowed to the crowd, Opening for rising star Gary Clark Jr., The Buffalo or Jake Smith did what he did best: played a kick ass show.

“Alright motherfuckers” Smith said and proceeded to rock the hell out of the Great American Music Hall in San Francisco. There was a diverse mix of people that I haven’t seen here, even in my time in this town within the confines of a city. There were a group of businessmen in suits standing directly in front of us that stood out, especially with women fondling the young one’s suit every time they walked by. There were also some obvious L.A. transplants with their V-Necks and attempts to hide their metrosexualness with bad humor and awkwardness. And, of course, there were the hipsters that seem to invade every show with their melancholy outlook on everything.

It was a treat to speak with White Buffalo or Mr. Buffalo if you will, before the show as he was so nice and affable. As his star rises you’d think some sort of arrogance would have emitted from that large frame of his, but there isn’t a touch of it. He played so aggressively that it was like a gospel revival in the woods. People were stomping along, smoking joints and as the smoke went up the sweat of acoustic punk rock came down.

Smith sang tunes from his forthcoming album Once Upon a Time in the West (out February 28) and from his earlier EPs. At one point, while banging on the guitar with such a furious rhythm he broke a string and without missing a beat he continued through the song before grabbing a new guitar for the next one.

Hitching to his wagon is something I gladly have done. He is a fantastic artist and the past, present and future of the country music scene. This is that sound they’ve been waiting for. That crossover sound that makes people in big cities say they like listening to country music. This isn’t Tim McGraw or Brad Paisley country. No, this is Merle Haggard, Johnny Cash country. This is get the fuck out of my way outlaw country. This is White Buffalo country and as the legend goes there are merely one per ten million so the sheer scarcity must explain the awe-inspiring greatness of it. With his long hair and larger than life stature to go with an extremely pleasant personality perhaps he is the Navajo legend incarnate destined to become that rare gem in a sea of averageness.

with Seth Pettersen

Friday, January 20th - Club Mercy at the Soho Music Club - Santa Barbara, CA - $13 - 9:30 - 21+

Centuries ago Native Americans told stories of the mysterious and elusive white buffalo. It was said to be sacred and on the rare occasion (1 in 10 million buffalo or bison are white) one was seen it was thought to be a sign from the gods. It was deemed untouchable and thought to be an ancestor come back to guide the tribe to its proper place in the favor of said gods. Today the white buffalo is thought to be merely an albino, a rare albatross in a sea of brown bison. That’s where Jake Smith comes in.

Jake Smith is a rising alt-country singer better known by his nom de plume The White Buffalo. It’s a fitting name, really, because of what he represents is a return to the traditional country roots that modern country has strayed from. He represents a chance to return to the glory days of yore when Johnny Cash, Merle Haggard and Willie Nelson ruled the roost. The baritone in his voice is like listening to a bass test on a stereo as it reverberates through every muscle in your body and rattles your senses.

What country music doesn’t get is that this is the past and future of the genre. The White Buffalo is what real music aficionados have been clamoring for. The en vogue pop-country aspects of what’s coming out of Nashville are as true to country as Nickelback is to rock, just ask the Black Keys. There is no wink wink, nod nod to the Christian right in his music or sanctimonious bullshit about how Amurica (spelled like it’s pronounced) is the greatest country and if you don’t like it you can go to hell.

Smith is real and authentic. The California native is cut more from the Bakersfield, Gram Parsons, Buck Owens-type of country than the Hank Williams style that emanates out of Appalachia or Nashville. He’s as rare as the real white buffalo and perhaps he too can lead us out of the doldrums of poor pop country shit into a day where artists that speak candidly and intelligently about their thoughts, feelings, hopes and dreams. He recently released out The Lost and Found EP of five songs in December as a preview of what’s to come on his 13-song Once Upon A Time In The West that will be released on February 28.

There will be some overlap of a couple songs, but they are so good that it doesn’t feel forced. If you’re a fan of the FX program Sons of Anarchy, there’s a good chance you’ve heard White Buffalo’s cover of “House of the Rising Sun.” You’ll also be surprised to learn that while country or alt-country is the backbone of his style there’s a folksiness even zydeco element at times. All of it works because that raw, scratchy salt of the earth element in his voice doesn’t belittle the emotion that comes from songs like “Wish it was True.”

He sings lyrics that speak to the very core of who we are as human beings, as people who struggle to get out the right words to say how we truly feel:

You see the name is more than just clever marketing. It is more than just merely a moniker to satisfy record execs who don’t want to throw an artist named Jake Smith to the proverbial wolves. This is the start of a musical revolution where we as listening public are able to discern the shit that courses through the veins of the unintelligible masses from the beauty that such perfect lyrics can lift us up and rise like the white buffalo of Native American lore.

 

Welcome to the first Weekend Playlist of 2011! Review some of the musical events from the week with these 10 fresh tracks...

“Dumb (Live at the WOW Hall)” - Medium Troy

Monica Christoffels began 2011 at the WOW Hall with Medium Troy.

Monica wrote, “The aptly-dubbed ‘Kings of the WOW Hall’ certainly lived up to their title - not only did they reign over the crowd with reggae-infused dub, but they took care of their loyal subjects as well. Jojo and Jesse [Ferreira] mingled with concertgoers while guitarist Corey Hatcher passed out bottled water inside the dancehall. Reeble Jar saxophonist James added extra flavor to MT's set, his sultry notes mixing with [Connor] Jay's mixing and Hatcher's groovy guitar riffs. Medium Troy's live performances almost put their recorded tracks to shame - the band's ability to freestyle and jam on the spot is unbeatable, and a talent cherished by fans.”

Read the rest of Monica’s review here.

“Strata Red” - ACIDIC

On Sunday, Daniel Kohn featured this indie LA band.

Daniel wrote, “[ACIDIC] sounds like cagey veterans who have been making music for years rather than relative newcomers. Their recent release, Getting Lucky, is one of the better albums to come out in 2010. Featuring a nice blend of alt-rock and indie-pop, ACIDIC had several radio hits including ‘Maybe,’ ‘Move On’ and ‘Strata Red.’ Gossard’s vocals are very distinguishable and between Thompson’s slick licks and the foundation layered by Dubrawski’s bass and Whitaker’s unmistakable drumming, the band has a lot going for it sonically and with some more experience, you can anticipate their songwriting to mature and potentially take the band to the next level.”

Read the rest of Daniel’s post here.

With a new EP out last month (Prepare For Black & Blue) and a voice reminiscent at times of a younger Eddie Vedder, The White Buffalo is primed and ready to take the country rock world by storm. He is a storyteller by trade and his voice can scale from quiet love songs to brooding country despair. The man behind the guitar, and that Buffalo guitar strap, dished to BestNewBands.com on some of his current favorite tracks.

Merle Haggard-"Mama Tried" and Kenny Rogers-"Ruby"

Been listening to classic country on satellite radio. Revisiting a lot of country western from the 60s and 70s when it actually had substance.

The White Buffalo, aka Jake Smith, represents an authentic homage to the times of hard touring, hard drinking artists who truly lived what they sang about. Currently on tour with reggae artist, Mishka, The White Buffalo is supporting the upcoming release of his latest EP, Prepare For The Black & Blue, which marks his first release with a label. Recently, Bestnewbands.com caught up with Smith from the road to talk about his tour, what it’s like to work with a label and the themes of the EP.

DK: Where am I catching you today?

JS: Santa Cruz just did a show in San Francisco last night.

DK: How’s the tour going so far?

JS: It’s going good. There have been some good shows and some mediocre shows.