This Train

Item: Mimes of the Old West
Author: Roger Appelinski

Mimes of the Old West

(1998)

Reviewed by Roger Appelinski

Discogs YouTube

Label Organic RecordsThe LighthouseUnsorted 1998

blues rock modern rock rockabilly surf rock

Mark Heard, The 77's, Vigilantes of Love, This Train. What's the common thread? They each have earned the respect of their fellow musicians and music critics, and they have developed a small but loyal fan base; however, they never received "mass" appeal for their art. These are the types of artists for listeners that like to go beyond the latest pop hook phrases. This Train is no doubt the most pop-leaning of these artists, which may just take them into a broader audience. After all, being one of the (if not the) favorite bands of the late Rich Mullins, they certainly deserve a listen.

To prepare: think fun, think rockabilly, and plan for the unexpected.

This Train is led by Mark Robertson (bass, songwriter, lead vocalist), who is joined by Jordan Richter on guitar and drummer Cobra Joe. It won't take long to figure out that these three guys don't take themselves very seriously. The opener, "Hanger 84," might tip you off, since it is an instrumental track that mixes in spoken clips that were probably taken from news footage recorded surrounding the Roswell (supposed U.F.O. appearance) incident. But, if that doesn't clue you in, "We're Getting Nowhere (Fast)" will certainly prove this point:

Sure we ain't as cute as Toby Mike or Kevin; But if the last shall be the first, we'll be the biggest stars in heaven. But for now we have to open for the opening band, Move into the guest room, hope our parents understand... We don't care if we get rich or famous in this band, So far the whole world is playin' right into our hand. We don't look to MTV like it's the Holy Grail; We've only begun to fail...

We're getting nowhere...fast, we're never gonna last. We're gonna go for the bronze and fly our banners at half mast. No time like the present to start living in the past. We're getting nowhere...fast.

Most of their humor relies on a bit of light self-deprecation with tongue firmly planted in cheek.

However, they get a little more zany on the title track, pulling off something that I might expect Hokus Pick to try. This is my favorite song, hands down. Its heavy blues bass line and pure rockabilly feel remind me of the (ahem, less than spiritual) "Knocked Up" by Dan Baird. This is a completely unabashed "fun for the sake of fun" song.

They'd throw imaginary ropes around imaginary cattle; No one was amused. They'd get themselves all trapped in side invisible boxes; At best they seemed confused. Yeah but you've got to respect them, sure they were weird, These were the true pioneers No one had it harder, these boys passed the test. No one got beat up more often than the mimes of the old west.

Well people these days they feel so sorry for themselves; Think they got it hard. Try walking through Dodge City in the 1800's Dressed in a unitard.

They are able to get serious, however. About half the tracks are songs that should make you think a bit. Two highlights on that side are "A Million Years," which was co-written with Mitch McVicker and Rich Mullins (who also provided background vocals), and "Who's Stopping You," which features a duet with Ashley Cleveland. The former sounds a lot like you might expect in a ballad from The Lost Dogs, with an acoustic vibe. It's very poetic, stating that everything pales in comparison to love:

And if I'm still around a million years from now, If I'd been around a million years ago, Everything I'd learned or forgotten, imagined or come to know Would disappear into the moment I found that love would not give out, Even if I'm still around another million years from now.

"I've Got Half A Mind" is a catchy rocker talking about continually wanting to confront situations, but never acting. They add a rocking rendition of "I Saw The Light" and mix in a pair of other instrumental tracks for fun. The closer, "Goodbye," is a memorable acoustic track. It is told as one looking to the end of his life, in an almost poetic manner, without getting sappy. It keeps an upbeat take, as it closes with:

That mansion on the hill it may be ready for me now, But don't give me the keys until it's time. You know me I'd probably just lose them anyhow; Could you just let me in when I arrive? I don't have that much faith, yet I believe One day love will blind my eyes until I finally see. As the choir invisible comes into view, I'll see with my eyes what my heart already knew. And just as a joke I'll sing "It had to be you" And I won't care if nobody laughs, no.

Classifying these guys is tricky at best. They mostly pack a rockabilly flavor, yet they cover everything from there into the contemporary radio feel of "A Million Years." This is something quite unique. I'd recommend this project for anyone that would appreciate a balanced combination of fun-loving with heavy thinking. It should earn extra points for fans of the aforementioned Dan Baird, The Georgia Satellites, and The Lost Dogs.

I had a hard time getting this out of my CD player when I first got it. Mimes Of The Old West is catchy, diverse, and (for me) totally enjoyable. The album doesn't quite compare to seeing these guys play live, but it's the next best thing.