Foster and Lloyd
Reuniting bands can be an iffy proposition; either they work (The Jayhawks), they don't (Stone Temple Pilots, Poison) or they don't really count (Guns ‘N Roses, Smashing Pumpkins). In the case of late 1980s rockabilly/alt-country wonders Foster and Lloyd, it has definitely worked out. The duo's latest release It's Already Tomorrow, their first since 1990's Version of the Truth is a wonderful return to the sounds that keep me even marginally interested in country during my punk rock teenage years.
The joy Radney Foster and Bill Lloyd feel about being back together is all over It's Already Tomorrow. Fans of hits like "Crazy over You," "Sure Thing," "What Do You Want from Me This Time" will be knocked out by the tunes that make up this revival. There's Roger Miller like humor ("That's What She Said"), surrealist discussions on a master artist painting, of all things, a mandolin ("Picasso's Mandolin"), a straight up rocker ("Don't Throw It Away") classic Foster and Lloyd ("You Can't Make Love Make Sense") and a heart touching lament on what could be taken as a father giving away his daughter to a new life ("When I Finally Let You Go"). While the funny numbers are good on It's Already Tomorrow, the real power of the pair's writing prowess comes from the ballads like "When I Finally Let You Go" and "If It Hadn't Been For You"; it's clear that, though both Foster and Lloyd had success in their solo careers, the real spark for their songwriting comes from one another.
When I listen to "new country" like Brad Paisley and Keith Urban, I hear the heavy influence of Foster and Lloyd looming in their guitars, melodies and whip smart lyrics. But, there has been something lacking; something that didn't make it seem genuine, like a voice unheard looming between the lines and fretwork. Now, those voices are no longer just memories. Foster and Lloyd are back and hopefully It's Already Tomorrow isn't that last we hear of them.