People’s most interesting aspects often arise from their contradictions, the parts of us that would seem dissonant but in truth create the fantastic harmony of our personas. This is certainly the case with Dylan Earl. At first glance, he is the spitting image of your classic ramblin’ man – ripping doobies outside the truckstop, singing his sad songs in a different dive every night, riding off into every sunset and pissing in the wind. However, if you look a little closer, listen a little deeper, you might uncover more delicate and thoughtful selves – the philosopher, the poet, and the gooey-hearted dreamer. This duality is highlighted in the lore of “I Saw The Arkansas,” the tale of a homesick road dog howling for the rolling hills of his natural habitat, yet dazzled by the siren call of the American touring circuit’s beautiful chaos.
Originally from Lake Charles, Louisiana but “naturalized by the Natural State” as a teenager, Dylan Earl (or “Dearl” as he’s come to be known) has been active in the Arkansas underground country scene for over a decade, first as a founding member of the alt-country band Swampbird and then as a solo performer and songwriter. Alongside his friends and contemporaries Willi Carlisle and Nick Shoulders, Dylan has been heavily involved in carving out space for socially conscious Country Music in the Mid-south region and beyond.
On “I Saw the Arkansas,” Dearl guides us through the many wacky stories, close encounters with the law, dizzying romances, and endless highways from this chapter of his life. Juxtaposed, but perhaps not entirely in opposition, he describes the calm yet wild beauty of the Natural State and the inspiration and contemplation he draws from his home. Longtime fans of Dylan’s work will recognize the trademark blend of honky tonk, southern rock, and traditional country which has defined his sound for years: rowdy rambling tunes like “Buddy” and up-beat two-steps like “Fever,” full of energy and swagger. On this latest recorded effort, Dearl blazes new sonic trails, like the laid-back, psychedelic romp of “White Painted Trees” and the meditative and somber title track, a dreamy waltz which paints a picture of the spirits of the narrator, the Arkansas Traveller, and beloved Southern poet Frank Stanford, watching their bodies float by from atop a levee on the Arkansas river. Across the record’s nine tracks, Earl’s baritone vocal stylings are, in moments, reminiscent of iconic country forebears Randy Travis, Waylon Jennings and Conway Twitty. He uses it to tell his story earnestly, and not without laughing at himself a little bit along the way. It’s timeless in its unique combination of elements, forging “I Saw The Arkansas” into a tender, rambunctious, and ultimately classic listening experience.
The album artwork features pictures taken by Little Rock photographer Matt White, as well as an illustrated text designed by San Antonio comic artist and illustrator Shelby Criswell (“The Bones of Cody”, “Queer as All Get Out”). Dylan sits in his ‘93 electric blue Ford Ranger, sunshine and a half smile across his face, the face of a man who saw the Arkansas a hundred ways and lived to tell the tale.
