Jerry Williams Jr., better known as Swamp Dogg, returns with “Blackgrass: From West Virginia to 125th St.,” a bold new entry in his diverse discography. Departing from his early 1950s blues and the quirky Auto-Tuned soul of 2022’s “I Need a Job…So I Can Buy More Auto-Tune,” Swamp Dogg now explores bluegrass, backed by a stellar lineup including banjoist Noam Pikelny, multi-instrumentalist Sierra Hull, and Dobro virtuoso Jerry Douglas. True to form, he balances humor and heartfelt emotion throughout the album.
The title “Blackgrass” is both clever and significant, addressing bluegrass’s often overlooked African American roots. Historically tied to African American Southern and Appalachian music, the genre owes much to Black musicians and instruments like the banjo, originally created by enslaved Africans. Swamp Dogg reclaims and revitalizes this legacy with his unique energy.
Opening with “Mess Under That Dress,” Swamp Dogg’s cheeky ode to a woman’s allure, his strong yet weathered voice is complemented by intricate picking and harmonies. “Curtains On The Window” is a poignant ballad of lost love, filled with surreal, vivid lyrics. Margo Price delivers a standout vocal on “To The Other Woman,” a track about infidelity and betrayal, while “Song To Sing” combines country and gospel influences to decry war and discrimination, offering a sharp critique of contemporary America.
The album shifts tone with the breezy yet biting duet “Count The Days” featuring Jenny Lewis, encapsulating a playful lovers’ quarrel. Other highlights include the spirited “Rise Up” with Vernon Reid and the haunting closer “Murder Ballad,” showcasing Swamp Dogg’s mastery of traditional American music. Through “Blackgrass,” he not only honors bluegrass’s origins but also underscores its enduring vitality. – Jason Felton