Robbie Fulks came out of the Chicago scene to undertake a bold
alt-country career. While steeped in country tradition, his songs are mainly
about his own tortured love/hate relationship with country music itself.
Country Love Songs (Bloodshot, 1996) is not exactly what the title says:
She Took A Lot Of Pills, Papa Was A Steel-Headed Man,
We'll Burn Together are quirky satires about country freaks.
Fulks populates his universe of characters that he hardly sympathize with.
He seems to enjoy depicting their downfall and has a knack for carrying out
their total annihilation.
Pure venom spilled out of South Mouth (Bloodshot, 1997), whose strongest
(I Push RIght OVer, Goodbye Good-Looking, Dirty Mouthed Flo)
were obscured by the harrowing Nashville homage Fuck This Town.
Let's Kill Saturday Night (Geffen, 1998) boasted a rock production
that worked well on
Let's Kill Saturday Night, Little King and
She Must Think I Like Poetry, but suddenly slumped in the
gentle pop-soul of Take Me To The Paradise.
Fulks returns to his mission with the stomping rhythm and blues
Pretty Little Poison and You Shouldn't Have and the
polemic honkytonking wit of God Isn't Real and
Can't Win For Losing You.
The Very Best (Bloodshot, 2000), a collection of new tunes despite
the title, continues the experiment, running the gamut from
breakneck bluegrass (Hamilton County Breakdown) to blues-rock
(Roots Rock Weirdos) and to soul-jazz (Love Ain't Nothing),
although the artist is still more comfortable with usual fare like
Parallel Bars and I Just Want To Meet The Man.
Fulks' artistic progression continued on
Couples In Trouble (Boondoogie, 2001), whose songs mix sonic experiments
with a bold excursion into the realms of power-pop and country-pop.
The double-CD Revenge (Yep Roc, 2007), one electric disc and one acoustic
disc, documents eclectic live performances.
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