Nevada is not usually known as a place where Americana/folk music thrives.
But Reno-based musician Charlie Marks is setting out to change that. The DIY acoustic multi-instrumentalist and songwriter is hardly the Avett Brothers or Mumford & Sons.
On his latest album, Unbecoming, Marks utilizes mostly guitar and harmonica, drawing mostly from idols such as Bob Dylan among others.
The overall music production is a bit loose and imperfect, but that’s part of the beauty of his material.
A supporter of Marks’, simply known as John K, wrote: “[Marks’ music] feels like a distinctly Americana-inflected take on indie folk in the vein of genre stalwarts like The Tallest Man on Earth or Fionn Regan. A little rougher around the edges than those examples, but in a way that lends it additional authenticity rather than detracting from the experience
The recently-prolific artist has released two full LPs in 2021 – possibly another in the works?
Late last year, Marks dropped the terrific 14-track album, Honey Baby. On this recording, Marks ditches the guitar and harmonica and focuses solely on the banjo and vocals. Honey Baby, Marks crafts good ‘ole folk music heavily influenced by legends like Woody Guthrie and sounding a lot like the celebrated indie troubador The Tallest Man on Earth.
Honey Baby, is a welcomed arrival at a chaotic, even depressing, time. It has an ambiance about it that is much needed. We’ve listened to this album a few times now, and will again. It’s a reminder of the greatness of truly American music (which originally traces back to Scottish/Irish music) is an ode to, and a celebration of, down-home, roots-revival-loving Americana music.
The important distinction here is his mix of influences and traditions that are uniquely Americana – incorporating musical, stylistic and lyrical aspects of blues, folk, country, and gospel.
On track after track, Marks crafts terrific solo tracks, most notably with banjo and voice as the primary instruments – another common practice of roots-revival musicians. Right out of the gate, he leaves no doubt what river his boat will take you down.
The opening track, “Going Down That Road Feeling Bad,” is exactly what you’d expect from an Americana number – a little intro to the album.
After a few terrific tracks, like “Spike Driver Blues” and “Please See That My Grave is Kept Clean” and “He Was A Friend of Mine,” it becomes evident that Marks commands a trademark sound all of his own with impressive banjo-picking and his acceptably nasally vocals.
That’s a welcome, and pleasing, change of pace from all of the computerized/digitized and special effects music that tends to clog up the airways. We need artists like Marks to keep us grounded and to show musicians that sometimes all that you need is one, maybe two, string instruments, a unique voice, and a handful of well-written, original songs to make a mark.
There’s no shortage of fine, down-home Americana-driven tracks among the total of 14 songs. Others include, in the heart of the album, ”
Marks is also talented in the cover songs department. He delivers a haunting, banjo-picking version of “In The Pines,” easily one of the best creepy blues songs ever written (even though it is not exactly known who authored the song some 150 years ago). A cover of the traditional “Cumberland Gap” is also not run-of-the-mill.
It is comforting that Marks has the confidence in his art not to be afraid to be himself. For example, on the track, “Hills of Mexico,” Marks’ vocals strain a little too high in notes, and yet it doesn’t matter because it’s authentic and heartfelt. In fact, as we said, it’s comforting.
Marks was assisted in recording, and especially mixing and mastering, by producer Ryan Finch at Studio West in San Diego.
Therefore, it’s difficult to compare Marks’ music with bands like, say, The Avett Brothers or Mumford & Sons. That’s good though.
We have to say, that at least in our world, Charlie Marks has earned a spot among the ranks of artists like The Tallest Man on Earth, Justin Townes Earl (RIP), and others for this album release.
Marks belongs to a sub-genre of the Americana indie artist: stripped-down acoustic Americana performances with Marks’ nasally, imperfect, and yet perfectly-suited, vocals. None of his songs feature percussion or bass or even guitar anywhere on this entire album. It worked out nicely. So much so that we await his next release.
After listening to both of these albums, the comparison with The Tallest Man on Earth is so appropriate to describe Marks’ music to those who haven’t heard it yet. At the same time, it’s unfair because Marks is not copying anyone. He’s too talented and doing his own thing for that.