- The Corner
- Survivor Blues
- Bad Man [MP3]
- Darken My Door
- There There Little Heartbreaker
- The Snow Man
- Yesterday (circa Summer 80 Somthin')
- Karen's Song
- The Freefall
- Hold Me Down
- Survivor Blues (The After Hours)
"It is rare to have this really one on one relationship with an artist. Nick Drake comes to mind a bit. There is that personal intimacy of say, Bright Eyes, but for adults, or grownups, cynics and hometown philosophers." --WCPT-FM
"Whether the protagonist or antagonist in his own set of narratives, Branan coaxes listeners firmly to his side with his whiskey-smooth croon and a transparency that is somehow bold and vulnerable all at once. Mutt is an assembly of rhyming invectives, lamentations, and near-sermons that ask for recognition without demanding pity."--Interview
"MUTT is every bit as beguiling, sweet and strange as its predecessors. Branan might be hard to pin down, but the chase is a whole lot of fun." --Nashville Scene
"Tom Waits and John Prine are other obvious vocal touchstones, but don’t think Branan is just another hairy face rehashing the songwriting greats of yesteryear; his songwriting is up there with the best of the new breed of today…Mutt is undoubtedly the best Branan release to date, a shiny new jewel in the Bloodshot crown that will no doubt clutter the upper reaches of many a Best Of 2012 list." --PopMatters
"On Mutt, the country, soul, gospel and classic rock he's absorbed through his travels filters down to just its barest and strongest elements. Then it's all tempered by the mellow charring of Branan's voice, which is so smoky that even at full power it retains a whispering quality." --CMT
"Few songwriters sum up the contradictions of beery romance—of bad men drinking in barrooms, of heartbreakers darkening your door—with quite as much grit, wit and compassion as Branan, who can turn a phrase on a dime." – Paste Magazine
"Lyrically it’s amazing. The guy is a weapons-grade story teller… His wit, sarcasm and introspection are on full display on his latest long player. After only a few listens I can foresee this album being in heavy rotation all summer." – Hear Ya
"With MUTT, Cory Branan should go from being one of the best kept secrets around, to a “where have you been all of my life?” delicious musical find." – Cool Album of the Day
"A natural troubadour, Branan channels his inner John Prine on this near-perfect gathering of tunes that he delivers with a healthy dose of his native twang." – The Daily News
Cory Branan MUTT
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Cory Branan is a natural-born storyteller. As with any of his musical and literary pedestal sitters, from John Prine and Leonard Cohen to Raymond Carver and Márquez, his seemingly conversational, painstakingly crafted anecdotes benefit from a hard-eyed stare at hydra-headed experience.
MUTT also bears the marks of his “American gumbo” heritage: a winding path from nascent guitar shredder in the small, state-line town of Southaven, Mississippi, to fledgling troubadour in Memphis’ lauded underground music scene, and now a Nashville-based itinerant road warrior thrilling Thunderdomes as varied as Warp’s Country Throwdown and Chuck Ragan’s Revival Tour. While his music tips its hat to road-map influences from Motown to Mellencamp, the Delta bluesmen to folk pickers of ‘60s Greenwich Village, the united result is a singular sound spurred on by years spent on tour honing something rare that is altogether its own.
Although each of the 13 songs stands on their own muddy feet, MUTT is a work that gains full appeal from the sum of its eclectic parts. It is a self-dubbed “choose your own adventure record” that opens with the narrator standing on the eternal corner as the songs proceed to circle the old haunts while attempting to map some way out of the roundabout. Bookending the record, two strikingly different takes on “Survivor Blues” highlight the dilemma between time and possibility, with only a qualified affirmation of redemption. The first version boasts one of the album’s signature sounds – a rustic, raucous take on pop-informed punk that might be the result if Paul Westerberg and the boys were jamming along to E Street Band demo tapes in a Tennessee living room.
But the real beauty here is in Branan’s narrative vocal delivery, especially during casual (and yet deeply revealing) asides to an anonymous suitor that could be from the pages of a Southern gothic classic, “Yellow duffel in the seat back yonder/ Bunch of pretty junk I bought her/ Yours if you want/ Either to you or the flames/ To me it’s the same.” The songs between “Survivor Blues”’s two parts look forward and back to each other, creating a two-sided mirror of meaning that is both expansive and internal. The honeyed strings and warm, insistent starlight of “Darken My Door” teases out the tenderness and comfort of sex in a way that’s bruisingly shaken by the stark, pedal-steel swelling scene of “Freefall,” when Branan’s golden, twangy coo wryly cracks, “I was fucked up as my haircut/ She was wasting good perfume.”
Like each song within it, the perspective Branan brings to MUTT isn’t tidily summarized as either sentimental or harsh. In perhaps the album’s most thematic track, “Lily” brings beauty to resignation while proposing how to make peace with the heap of worldly contradictions: “I guess the best trick is to see the magic once you’ve seen the wires.” The truth is, Branan knows nothing is ever as simple as it seems and MUTT shows the depth, wit, intelligence, dismay, and hilarity that make up the complex pedigree of every life well lived and every story worth telling.
Self-produced and recorded primarily in San Francisco at Closer Studios, the album boasts notable contributors like Ralph Carney (Tom Waits’ horn player), Luther Dickinson (North Mississippi Allstars) and Jon Snodgrass (Drag The River). Additional guests include phenomenal rising talents like Amanda Shires, Danny Malone and John Elliott.