JOMO and The Possum Posse doing what they like (and maybe making some money) with LOCAL MOTIVE
Jomo Edwards’ lyrics “skate the line between the sardonic and arcane” according to JOMO and The Possum Posse. I think Edwards’ lyrics are actually a little more perspicaciously jocund with only a pinch of the sardonic. I’m sorry, am I starting off with too many big words? How about…JOMO and The Possum Posse are funny and witty as hell lyrically and just as solid musically. Yeah, judging from Edwards’ sense of humor, based upon his song lyrics, he’d relish in the descriptions of his work listed above, and engage in a rollicking self-effacing laugh over them at the same time. Plus, “funny as hell and just as witty lyrically” is just above the 5th grade reading level of many of this year’s political participants so it’s more readily accessible…sorry, I didn’t mean to get all sardonic myself there.
Laugh, often out loud, is what you’ll do when you listen through Local Motive, the latest full length album from the Austin-based (and irony-loving) Americana rockers, regardless of your reading level. It’s easy to get swept up in Edwards lyrics and overlook the incredible musicianship this band possesses though. With song titles like “Farts Ain’t Funny” (a song about undying love) and “Extra Pay” (about expecting a child) it’s easy, at first, to think that JOMO and The Possum Posse are direct descendents of Ray Stevens and his comedy routine repertoire of songs. You’d be mistaken to do so. “Do What You Like” is a smart elaboration upon the age old question that while you might really, really love playing guitar in a band with your friends or writing about music every chance you get, you are probably never going to make money doing it. It’s not all doom and gloom though, as Edwards sings, “Hey!/You can do both!” and although “it’s hard to do them at the same time” he never says it’s impossible. The song’s funky, lopsidedly silly whah-whah guitar lines reinforce this idea. Yeah, it’s hard as hell to do something you love for a living, but thinking it’s impossible is a little too defeatist for these “sardonic” youths.
“Girl From Acadiana” pokes some brilliant fun at the language barriers that often times (and often shouldn’t) bar us from understanding, and loving each other (physically or otherwise). Edwards trips through some lyrical tongue twisters with the ease of the most talentedly loquacious orator, all over a rollicking Dixieland drum boosted N’awlins guitar trip. “Sweetheart of South Houston,” with its Stones-like opening blossoms into its Stones-like blues twang is a standout where the band really comes together and the music and lyrics dance with each other in a way that isn’t as smooth as it is on many of the album’s other tracks. It’s the band’s best recorded moment. “Hell and High Water” is another track where the band really comes together well and finds the perfect mix of smart lyrics and smart music.
A smart mix of witty lyrics and smart music might just be the best descriptor for the band. With the talent these guys exude, they really just might be making the big money through doing what they love any day now.