Empire Builders

Mondo Gordo.com
When "Little" Steven Van Zandt toured Europe during the early-80s with his Disciples of Soul band, he saw the sad results of Reagan administration foreign policy. Speaking with the people he met in the towns that he played, Van Zandt became politicized, a philosophical transformation that resulted in a brace of overtly political albums. The culmination of Little Steven's left-leaning political evolution was the Sun City project, a direct artistic assault on South Afrikan apartheid.

Americana music pioneer Jason Ringenberg comes from quite a different background than the Jersey-born-and-bred Van Zandt. The son of an Illinois hog farmer, Ringenberg is more of an "aw shucks" populist than a tree-hugging leftist, and neither his previous solo work or his tenure as frontman for Jason & the Scorchers reveal little of his politics. While touring Europe and Australia in support of his All Over Creation solo disc, Jason found himself questioned and criticized over American policy and the actions of the current administration. It proved to be embarrassing and frustrating and it opened the artist's eyes to a radically different perspective than that shown by Fox News.

The result of Jason Ringenberg's politicization is Empire Builders, his third solo rock album and strongest effort to date. The songs written for Empire Builders try to make sense of America's place in a post-911 world and collectively evince a more critical view of the country. There is no flaming rhetoric or paint-by-numbers polemics on Empire Builders, nor is there any flag-waving jingoism. What you will find, however, is a cautious and considered artistic response to current events. The album opens with "American Question," Jason thoughtfully asking "can we export dignity, respecting those who disagree" over Jim Roll's taut recurring riff, the song a minimalist response to an American foreign policy of "bomb-em-and-Big-Mac-em."

Several other songs on Empire Builders also touch on 21st century manifest destiny. "New-Fashioned Imperialist," a jaunty satire of CEO stereotypes, is sung over the oompa riffing of Dave Jacques' tuba while "American Reprieve" is a continuation of the opening cut, delivered as the kind of jazzy tone poem that you might expect from an artist like Ed Hammel, not good old Jason. "Rebel Flag In Germany" laughingly criticizes the "Confederate" mindset that is so prevalent in the south, including his adopted home of Tennessee. Jason's embarrassment over seeing a rebel flag on a barn in Germany is equaled only by his shame at the fact that the flag – a symbol of racism and slavery no matter what the southern heritage Neanderthals claim – still flies on flagpoles and pick-up trucks across the south.

Ringenberg balances out his social commentary with humanistic tales such as "Tuskegee Pride," Jason's love of history resulting in the masterfully crafted story of a World War II African-American pilot. The song remembers the racism that these brave soldiers and their families endured even while fighting for freedom for their children and grandchildren. It is a reminder that we still have a long way to go with the issue of race in this country. "Half The Man" is a loving tribute to his father while a rocking remembrance of guitarist Link Wray pays homage to the criminally overlooked rocker (with a little help from Los Straitjackets axeman Eddie Angel). All the songs on Empire Builders are presented in the twangy folk/rock/country hybrid that has become Jason's signature sound. Former Webb Wilder sideman and longtime Jason foil George Bradfute lends his considerable six-string skills to most of the songs and Fats Kaplin fills out the sound with some tasty pedal steel guitar.

After twenty-something years on the old rock & roll highway, Jason continues to grow and mature as a performer and a songwriter. Ringenberg doesn't claim to have all the answers on Empire Builders, but he does ask some mighty damn good questions....

Rev. Keith A. Gordon