(4 Stars out of 5)

Two out of two ain't bad for epic American social history project

The second volume of Jefferson Pepper's epic trilogy charting the history of America covers 1941-1989 and easily maintains the high standard of the first outing. It differs in focussing a little more on personal stories to illuminate major events and issues so a whole street of memorable characters pop out of the speakers. We meet an ugly duckling who longs to be a swan in 'The Ballad of Betty Wulfrum', a song which highlights America's obsession with appearance and packs a sting in the tail, the archetypal suburbanite in 'Good Morning Mrs. Stine' and 'Ben', a double amputee Vietnam vet suicide whose life is contrasted with that of the college boy and childhood friend narrator.

The overall tone is darker than previously as Pepper charts America's decline and more importantly, the decline in the lives and lifestyles of its inhabitants. If this all sounds a bit dark and depressing then it is to some extent but Pepper's exceptional lyrical talent draws the listener into his characters worlds and makes them care. He also uses the time-honored approach of contrasting dark words with light tunes (played by the likes of Fats Kaplin and Tim Lorsch) so 'Mrs Stine' has a swinging tap along tune, and the recent widow of 'Collection of Angels' has a classic country pedal steel laced weepie of a melody to tell her troubles to.

Bisogna ammetterlo: Mr. Bush Junior è riuscito a scuotere nel profondo la coscienza di molti americani, risvegliando un desiderio di partecipazione che da molti anni non si sentiva né vedeva.

Jefferson Pepper fa parte di quegli artisti che, proprio come Neil Young con il suo ‘Living With War’, ha sentito la necessità di raccontare e raccontarsi, di fermare i suoi pensieri in una collezione di canzoni che è cresciuta fin a divenire materiale sufficiente per ben tre CD; il primo è uscito a marzo, questo secondo è prossimo all’uscita e un terzo è già pronto per l’autunno.

‘Disposable Me, Disposable You’ sembra una post protest song con tanto di armonica dylaniana e testo pieno di slogan ed una voce da menestrello che rimanda non poco a Donovan. Passato e presente si fondono, provocando strani effetti collaterali; Si rimane infatti indecesi sul da farsi, se apprezzare l’impegno ed il fine culturale del progetto o attenersi al risultato musicale.

Secondo atto, secondo colore della trilogia- quasi di Picassiana memoria – in cui il musicista folkrock americano Jefferson Pepper dettaglia, con la chitarra e con la memoria della cronaca dalla parte degli sconfitti e dei perdenti, gli spezzoni di una certa storia americana, adoperando una visuale che coglie in flagrante fatti, aspetti e piccoli layouts delle contraddizioni di questa “terra di mezzo” dalle tante strisce e sempre meno stelle. E lo fa con lo spirito dell’uomo dreamer che racconta, che vede passare la storia davanti e la vuole per un attimo fermare, e nel bene o nel male cucirle addosso musica. Nel precedente album American Evolution 1 (The red album) il folk crooner della Pennsylvania intraprende il “viaggio” dal 1492 al 1940, ed ora con l’uscita del secondo American Evolution (The white album) il viaggio si snoda dal 1941 fino al 1989 e per ravvedute vicinanze, si accosta “ ai giorni nostri”; si suona e canta della melma della crisi economica, della disuguaglianza dei ceti, della guerra del Vietnam, passando nel centro della controrivoluzione culturale fin su ai bordi taglienti della crisi d’identità degli anni ruggenti del vuoto targato 80; e la conseguenza più lampante è il degrado, lo squallore, la svalutazione dell’essere umano, la droga. Jefferson Pepper è uno di quei cantautori che sotto la faccia da buon uomo medio americano, sotto l’innocua apparenza di cowboy armato d’armonica e dagli occhi ben aperti, nasconde la vera rabbia del “dietro steccato”, consapevole fino in fondo della terra ingiusta che lo ha visto nascere, la terra grassa d’america che rinsecca quella dei vicini del mondo, non prima di insabbiare - al suo interno – con le mani della menzogna, la sua vera faccia, i suoi istinti dietro l’apparenza di un perenne smargiasso it’s Ok!

It would be easy to sit here and type away armchair funnies about Jefferson Pepper. Some of his promo pictures are funny (T shirts which say SEE, HEAR and lots of monkeys) and at times his sentiment against governments seem simplistic, (although well needed in the complex politics of America) but after listening to American Evolution a couple of times I think it has more charms than harms. It is mainly country music, sounding partly like it should be sung in a Bar in the South, but On and On opens the albums somewhat sombrely, with an account of a warmongering father. It seems standard fare lyrically, but some lines pierce the National machismo behind War - "He left home in a uniform and came home in a bag, Momma gave him to the nation and they gave her back a flag" resonating well.

Most of the album is more upbeat with snides at consumer culture - 'Disposable Me, Disposable You' and the skewed wealth in America 'One percent'. Many songs first struck me as joke fodder, but they are charming at times and I can see why Jefferson has built a small fanbase. Some songs falter with stretched storytelling but there is enough catchy moments to keep you interested, especially been as his subject matter is very current. He mixes country well with bluegrass and although anti-war songs may seem old hat, I think his is a less populist view, rooted in good sentiment, for example his ails recall childhood friends who have enlisted in Iraq.

Jefferson Pepper's own assessment of his music as 'country music for people who hate country music' could not be more true with American Evolution Number 2, the Pennsylvanian singer/songwriter's second of three volumes investigating American history.

It comprises all the traditions of American folk music, from harmonicas to gorgeous guitar licks, and throws in upbeat rock riffs and sing-along poppy choruses for good measure.

The album opens up with the unmistakably Simon and Garfunkel-esque 'On And On'. Jilting guitar licks and vocals make you feel like Pepper is talking directly to you as he tells the sad story of George beginning work with his father in a slaughter house, before joining the Army in WWII.

The issue of war is continued in the beautiful 'Civilized Savior', which continues the storytelling feel until the very end of the song, when the tempo picks up as Pepper launches head on into the swinging '60s with the rock'n'roll inspired 'Real Good Time'.

The up-tempo 'Land That I Love' carries true patriotism, a blatant celebration of everything American. This is a classic rock song with a sing-along chorus and ripping guitar solo that typifies Pepper's brilliant songwriting ability.

The diverse nature of Pepper's songs is enhanced by 'The Ballad of Betty Wulfrum,' which tells of an ordinary 'pimply-faced' country girl bullied by her classmates making a success of her life by getting a "miraculous transformation" through plastic surgery.

One of the more bizarre elements of the album is 'One Percent,' a spoken track backed by a dance beat. It's in complete contrast to the feel of the album, but stands out as a protest song against the supposed American dream. The raw American rock feel of the album then kicks in with the brilliant 'The Crying Land' and 'Coming Down', as the album accelerates to a stunning conclusion with Pepper's historical review now focusing on the 1980s.

'Orphans of Endorphins' is possibly the stand out track on the album, a rocky exploration of youth culture featuring guitar solos which will have rockers across the country pulling out their air guitars. Pepper's lyrics are superbly descriptive and his diverse musical style makes the album thoroughly enjoyable and thought provoking throughout. This is a must for any true music fan's collection.