Recently, I reviewed Colter Wall’s self-titled debut album, and if you haven’t heard that record, you’re honestly depriving yourself for no good reason. It’s right up there with the best of 2017 so far; it got a 9/10 here, but only just, due to one song, “You Look to Yours,” which admittedly has gotten only slightly better and less boring since my initial thoughts…but I digress.
Many outlets had a common criticism, in varying degrees of intensity, of the production. Produced by Dave Cobb, this record was minimalist to say the least–in fact, Cobb did virtually nothing, letting Colter and his guitar speak for themselves on a good portion of the album. This was quite a contrast from Wall’s debut EP which featured more interesting instrumentation and sometimes lively fiddles. I wrote that I thought that might have worked in some places on this record, and that Dave Cobb was to blame. I was careful to add that I personally thought that on this particular album, Dave Cobb did a fantastic job, getting out of the way of Colter–but I added that Colter will have to expand his sound going forward, and I agreed that the concerns of production are valid, if perhaps a little early.
But now? After listening to this several more times, and as this record becomes one of my personal favorites of 2017, as well as one of the best from a critical standpoint, I have to take back those comments. I think the production here was fantastic, as I already said, and I do think Colter’s next album can’t be more of the same without running the risk of it feeling a little stale, a la Stapleton. However, Stapleton is an easy comparison because they used the same producer; the bigger problem with Stapleton wasn’t Dave Cobb’s production as much as a general lack of passion from Chris Stapleton himself, which stands out even more on a minimalist Dave Cobb project where there’s not much going on to distract you. Now, I do have a problem with some of the production on Stapleton’s album, but my point is that it made it easy at first for me to draw comparisons with Colter Wall and seek out problems with the minimalistic approach, especially one that differed so much from Colter’s previous output.
But that’s just it; Stapleton’s two albums sound exactly the same, whereas Colter’s album and EP sound nothing alike, so I believe this means that any concern we have about him sliding into a rut with production is completely unwarranted until his next project. That concern should have no bearing on this album, and when I listen to this album, I can find no flaw in the production. Colter Wall and his guitar are enough, and that is all the more reflective of his talent and of the strength of these songs. I’m actually glad Dave Cobb got out of the way of this and let Colter and his stories shine. I can still understand people who wanted more production wise, but it is no longer my criticism–and as for expanding his sound going forward, we’ve already seen two very different sounds from Colter Wall, so I’m no longer sure we have to worry about this either. Now seriously, go listen to this album, it’s still incredible.