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Dallas native and newly-touring troubadour Ronnie Fauss has been garnering a good bit of rightful acclaim thanks to his New West-imprint Normaltown Records debut; I am the Man You Know I’m Not. On the strength of a handful of self-released EPs over the past four years, the raspy-voiced Fauss has honed his writing to the sharp point it displays today. At times, Fauss’s stories recall Rhett Miller or Joe Pug, and at others, he clearly draws from the legends of his home-state such as Kris Kristofferson, or even Todd Snider. - American Songwriter
Dallas native and newly-touring troubadour Ronnie Fauss has been garnering a good bit of rightful acclaim thanks to his New West-imprint Normaltown Records debut; I am the Man You Know I’m Not. On the strength of a handful of self-released EPs over the past four years, the raspy-voiced Fauss has honed his writing to the sharp point it displays today. At times, Fauss’s stories recall Rhett Miller or Joe Pug, and at others, he clearly draws from the legends of his home-state such as Kris Kristofferson, or even Todd Snider. - American Songwriter
The alt-country sound thrives in the hands of Dallas-based singer-songwriter Ronnie Fauss. Fauss’ debut full-length CD, I Am the Man You Know I’m Not, not only relishes the hallmarks of the style, but it also brims in clean yet rugged musicianship. Recorded in Nashville and Texas, with Fauss and Sigurdur Birkis at the helm, I Am the Man You Know I’m Not is the culmination of three years worth of songwriting for the 39-year-old Fauss. The Lawton, Oklahoma native, who grew up in Houston and moved to Dallas 15 years ago, previously released three EPs – 2009’s New Songs for the Old Frontier and I Can’t Make You Happy, plus 2010’s Mulligan. I talked with Fauss by phone about the disc, his artistic influences and Texas as a nurturing environment for roots music. - Dallas Morning News
The alt-country sound thrives in the hands of Dallas-based singer-songwriter Ronnie Fauss. Fauss’ debut full-length CD, I Am the Man You Know I’m Not, not only relishes the hallmarks of the style, but it also brims in clean yet rugged musicianship. Recorded in Nashville and Texas, with Fauss and Sigurdur Birkis at the helm, I Am the Man You Know I’m Not is the culmination of three years worth of songwriting for the 39-year-old Fauss. The Lawton, Oklahoma native, who grew up in Houston and moved to Dallas 15 years ago, previously released three EPs – 2009’s New Songs for the Old Frontier and I Can’t Make You Happy, plus 2010’s Mulligan. I talked with Fauss by phone about the disc, his artistic influences and Texas as a nurturing environment for roots music. - Dallas Morning News
Ronnie Fauss' I Am The Man You Know I'm Not (10/09/12) follows a string of impressive EPs with his first long player on Normaltown Records. If you're an alt-country fan that longs for one of the glory periods of alt-country/country rock there's plenty here to please you.
Flavoring his hook-filled twangy tunes with fiddle and pedal steel and the clever turn of phrase Fauss has compiled eleven memorable tracks and created one of my favorite discs of 2012. As a long time fan my only (totally unfair) complaint is I was already familiar with four of the tracks from a previous release. That won't be a problem for most listeners who check out Fauss' major label debut (NewWest/Normaltown) and hear this talented Texan for the first time. From the cover of Gram Parsons' "Sin City" to his original road-tune adventure "I Don't See You" (which recalls Jackson Browne's "Take It Easy" with a dose of Ronnie's humor and a bit more rock) Ronnie hits the mark.
His honest raspy voice reminds me of Tweedy during his Uncle Tupelo days and Lily Hiatt's sweet backing vocals hint at the magic Caitlin Cary added to Whiskeytown's recordings. I'm not the only one who digs Ronnie and his music. His disc is currently #10 on the Roots Country Report and he is nominated for the Dallas Observer Music Awards as both "best solo" and "best folk" artist! Highly recommended. - No Depression
Ronnie Fauss' I Am The Man You Know I'm Not (10/09/12) follows a string of impressive EPs with his first long player on Normaltown Records. If you're an alt-country fan that longs for one of the glory periods of alt-country/country rock there's plenty here to please you.
Flavoring his hook-filled twangy tunes with fiddle and pedal steel and the clever turn of phrase Fauss has compiled eleven memorable tracks and created one of my favorite discs of 2012. As a long time fan my only (totally unfair) complaint is I was already familiar with four of the tracks from a previous release. That won't be a problem for most listeners who check out Fauss' major label debut (NewWest/Normaltown) and hear this talented Texan for the first time. From the cover of Gram Parsons' "Sin City" to his original road-tune adventure "I Don't See You" (which recalls Jackson Browne's "Take It Easy" with a dose of Ronnie's humor and a bit more rock) Ronnie hits the mark.
His honest raspy voice reminds me of Tweedy during his Uncle Tupelo days and Lily Hiatt's sweet backing vocals hint at the magic Caitlin Cary added to Whiskeytown's recordings. I'm not the only one who digs Ronnie and his music. His disc is currently #10 on the Roots Country Report and he is nominated for the Dallas Observer Music Awards as both "best solo" and "best folk" artist! Highly recommended. - No Depression
Talented Dallas singer-songwriter Ronnie Fauss released "New Songs for the Old Frontier: Vol. I” on FTG Records earlier this year. The six tracks, produced by Brent Best (of Slobberbone and more recently the Drams), are alt country keepers from the Uncle Tupelo/Son Volt/Wilco branch of the tree. The opening track, “The Saddest Love That’s Ever Been Made”, has some of the saddest pedal steel guitar you’re going to hear this year and the moving closer “With Love”, about the heartbreaking loss of his father at a young age, could have been subtitled the “Saddest Song That’s Ever Been Sung”. The second track, "The Night Before The War", describes the impact of misguided war on a couple's relationship. It isn't all sadness on "New Songs": "The Last", "Pistols In The Air" and "Hold On To Me" lighten the mood but they certainly aren't throwaways. Ronnie's raggedy raspy voice works perfectly with these honest story songs. I know I'm looking forward to “Vol II”. - Hickory Wind
Talented Dallas singer-songwriter Ronnie Fauss released "New Songs for the Old Frontier: Vol. I” on FTG Records earlier this year. The six tracks, produced by Brent Best (of Slobberbone and more recently the Drams), are alt country keepers from the Uncle Tupelo/Son Volt/Wilco branch of the tree. The opening track, “The Saddest Love That’s Ever Been Made”, has some of the saddest pedal steel guitar you’re going to hear this year and the moving closer “With Love”, about the heartbreaking loss of his father at a young age, could have been subtitled the “Saddest Song That’s Ever Been Sung”. The second track, "The Night Before The War", describes the impact of misguided war on a couple's relationship. It isn't all sadness on "New Songs": "The Last", "Pistols In The Air" and "Hold On To Me" lighten the mood but they certainly aren't throwaways. Ronnie's raggedy raspy voice works perfectly with these honest story songs. I know I'm looking forward to “Vol II”. - Hickory Wind
was forwarded the website addy of Ronnie Fauss, and upon listening to the first song of the EP (New Songs for the Old Frontier - Vol 1), that you can hear on the site, I was hooked. This is classic singer-songwriter gold, from here in Dallas. Bits of folk and country pepper the tracks that feature Fauss’s raspy vocal. Produced by the surprisingly prolific Denton producer, Brent Best of Slobberbone/Drams fame, we are treated to songs that seem to show the producer simply staying out of the way and letting the songs and the playing of many of North Texas’ better players have the right amount of room they needed to lay it down. Best’s buds from The Drams, Joe Butcher and Chad Stockslager contributed pedal steel and piano work, repsectively.
Fauss’ lyrics cover love-making in many forms and frames of mind. In the mournful opener, “The Saddest Love That’s Ever Been Made”, Fauss sings of just that. As he asks his would be lover to “take off that black dress/lay down on that matress“, it is easy to see that this couple isnt the same couple (or at least is at a very different stage of their courtship) from another track, “The Last”. In the EP’s third song, Fauss declares, “I was your first, oh baby/let me be your last” right before he begs, “let’s make the happiest love that’s ever been made“.
Last year, around this same time, I was delighted to listen to another EP from a gifted folk singer-songwriter, Joe Pug. On the strength of his Nation of Heat EP, Pug has gone on to become a critical darling and will be featured on the stages of Bonnaroo and even Lollapalooza this year. While New Songs isnt the abstract, artful disc that Pug’s is, Fauss shows an equal amount of promise and flair for simply telling a story that would likely be sterile and mundane in another’s hands. - Twangville
was forwarded the website addy of Ronnie Fauss, and upon listening to the first song of the EP (New Songs for the Old Frontier - Vol 1), that you can hear on the site, I was hooked. This is classic singer-songwriter gold, from here in Dallas. Bits of folk and country pepper the tracks that feature Fauss’s raspy vocal. Produced by the surprisingly prolific Denton producer, Brent Best of Slobberbone/Drams fame, we are treated to songs that seem to show the producer simply staying out of the way and letting the songs and the playing of many of North Texas’ better players have the right amount of room they needed to lay it down. Best’s buds from The Drams, Joe Butcher and Chad Stockslager contributed pedal steel and piano work, repsectively.
Fauss’ lyrics cover love-making in many forms and frames of mind. In the mournful opener, “The Saddest Love That’s Ever Been Made”, Fauss sings of just that. As he asks his would be lover to “take off that black dress/lay down on that matress“, it is easy to see that this couple isnt the same couple (or at least is at a very different stage of their courtship) from another track, “The Last”. In the EP’s third song, Fauss declares, “I was your first, oh baby/let me be your last” right before he begs, “let’s make the happiest love that’s ever been made“.
Last year, around this same time, I was delighted to listen to another EP from a gifted folk singer-songwriter, Joe Pug. On the strength of his Nation of Heat EP, Pug has gone on to become a critical darling and will be featured on the stages of Bonnaroo and even Lollapalooza this year. While New Songs isnt the abstract, artful disc that Pug’s is, Fauss shows an equal amount of promise and flair for simply telling a story that would likely be sterile and mundane in another’s hands. - Twangville
Discography
Debut full-length album "I Am The Man You Know I'm Not" was released by New West Records subsidiary Normaltown in October 2012.
Photos
Bio
Ronnie Fauss grew up in the brutal Texas heat where 95 degrees often constitutes a nice night, and where a man may seek relief through the nearest watering hole or under the chords of a freshly-tuned guitar. Possessing a unique voice in the alt-country vein seamlessly stretching towards moments of Americana and folk, Fauss is both optimist and realist, chasing his dream girl down a long dirt road and lamenting the struggles of his friends and neighbors, which serve as a microcosm for the country at large.
The Dallas-based singer-songwriter announced his arrival on the scene with a string of EPs from 2009-10 (New Songs for the Old Frontier, I Can’t Make You Happy, Mulligan) that provided rough sketches of an artist stomping around in space until solid ground appeared beneath his feet. On I Am The Man You Know I’m Not, a gifted bare bones storyteller has emerged, singing in warm, personal tones accentuated by flourishes of fiddle, organ, steel and electric guitar.
Baring the influence of John Prine and Steve Earle, Fauss’ songs excel with a remarkable economy of words and poignant, catchy hooks. The sparse, pastoral cover of Gram Parsons’ “Sin City,” a duet with Lilly Hiatt, is tempered by the uptempo, Neil Young-channeling “The Night Before the War.” Whether wandering around broken-hearted (“I Don’t See You”) or at relative peace (“Pistols in the Air”), Fauss eschews the whisky-guzzling country bad boy façade in favor of the genuine article.
Recorded at BnG Studio in Nashville alongside Sigurdur Birkis, drummer for Will Hoge, I Am The Man You Know I’m Not is an 11-song testament to how far the alt-country sound has traveled from the classic Wilco and Uncle Tupelo records of the 90s. Fauss’ narratives explore present tense perils and the requisite hope for tomorrow, all while acknowledging that things could fall apart at any moment.
But as the heartfelt mantra of standout track “This Year” suggests, we should all believe that “This year will be better.”
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