A deeper dive on the engineering, master, and production team on this album reveals equally fealty to christian rock and pop-country, which to my mind goes a long way to explaining why this album sounds like Hootie and the Blowfish. Same sentence but shorter: I guess that's just what drums sounded like back then.
When Steve gets to be fully Steve, as he seems to on "CCKMP," or when he's fucking around with Bonnie Price Billy, he makes lived-in music that is as moving and encompassing as any of the working-class short fictions that country has ever produced. All the more meaningful since this forlorn outlaw was actually an outlaw. So begrudge not the reformer who wants to go straight, but recognize there is usually more energy in the fall than the return. Such is the rotten promise of rock and roll, and you can ask Steve if you don't believe me.
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