Run, Run

Description

Pegtop – Run, Run (Dirt Road Records ‎1998)

Run, Run is the third studio album by the American alternative rock band Pegtop, released on Dirt Road Records in 1998.

Recipe for a fun, fresh, faith-inspiring album:

Mix 3 parts aggressive acoustic, 2 parts Alternative, 1 half-part Folk and a dash of 80’s New Wave.
Add a sprinkling of good ol’ American Bluegrass for flavoring.
Blend throughly with 2 parts great lyrics and 3 part harmonies.
Simmer in the Spirit and let it rise in your heart.
Add volume to taste.
Enjoy.

Pegtop played the New Band Showcase at Cornerstone 1998, a small step up for the band after playing on the lawn near the volleyball nets in 1997 and 1996, but a giant leap up and opportunity for those previously unfamiliar with their unique style. Still virtual unknowns, there is a disappointing lack of information about the band on the Internet. Rumors abound, however, about using a battery for power and playing Minneapolis street corners as some kind of music-ministry to both homeless people and bystanders. Their web site indicates they’ve played a number of venues from coffee houses to various festivals and events (including the 1996 Billy Graham Crusade). Given their impressive talent one would assume they have a sizeable following from the greater Minneapolis area. It would be no small wonder they are a feast to the ears and heart.

The band name stems from a mispronunciation of lead vocalist/guitar player’s name, David Peightal. He is quite an accomplished and even award-winning guitar player, fluent in common folk strumming, Alarm-style in-your-face guitar assaults, and occasionally even Michael Hedge’s signature brand of fret picking. In addition to his guitar, vocal, and principal songwriter duties, Peightal also plays the twangy jaw harp and a number of harmonicas with great competence and style. Some argue that his voice is an acquired taste, while others are immediately drawn to it. He sounds a bit like Nick Kershaw of «Wouldn’t It Be Good» fame back in the 80’s. Regardless, his singing ability is completely appropriate for their eclectic style of music. The other two players are also accomplished musicians.R. Matt Patrick lays down some thick bass work, as well as contributing all the mandolin, piano, Wurlitzer, and accordion parts. The drummer, Terry Steinmeyer, played a tackle box instead of a snare in concert, and can be found adopting Dumpster drums, shakers, vibro slaps, and a Pringles can to extraordinary rhythmic effect on the album. The uncommon instruments, and the members’ ability to play so many of them, merely underscores the fact that this is no ordinary band.

Playing on park lawns and pavement has certainly paid off for this band with their tight neo-folk focus. If you are an aficionado of new-folk music like Tracy Chapman or David Wilcox, you should certainly check these guys out. They also offer a bit of that “No Depression” roots-country vibe as well, making them recommendable to fans of Uncle Tupelo’s offspring, Whiskeytown, Vigilantes of Love, Sixteen Horsepower, The Horseflies, Lyle Lovett, and other successful blenders of folk, rock and country (Bill Mallonee recently remarked on the current emergence of roots American music, and Pegtop provides yet another pure example.). Not to mention a sizeable nod or two to story-telling singer-songwriters like Bob Dylan, Woody Guthrie, John Mellencamp, Harry Chapin, Cat Stevens, Bruce Springsteen, Neil Young, Van Morrison, and even Mike Scott. Additionally, it seems clear from some of the arrangements and overall feel of the album, that the band is or was fond of or affected by 80’s new wave. Despite the more raw acoustic focus of the album, Run, Run also offers a form of pop sensibility reminiscent of more 80’s-sounding bands like Talking Heads, Big Country, Aha, Flock of Seagulls, Bare Naked Ladies, and a host of one-hit wonders like Icicle Works. If that strikes you as being quite a curious, diverse, and even many-sided batch of musical influences, you’re not alone. The overall musical effect, however, is so delightfully catchy, you’ll be singing along by your second listen.

Of course, an album’s merit is not determined merely by a band’s accomplished playing or in their ability to successfully distill assorted influences into a unique sound, but rather in the quality of the individual songs’ mix of music and lyrics. Pegtop’s blend of poetic, insightful, witty, and even instructional lyrical bits with supremely catchy, solid musical chops is nearly peerless. A feast for those ready to be weaned from the famine of empty CCM fodder. For example, «Hit the Highway» is a compelling contemporary account mirroring the Parable of the Good Samaritan. «Nick» is a touching ballad lamenting the loss of a boy who died of Sudden Infant Death Syndrome. «Run, Run» is both a dramatic retelling of the account in Acts when Philip met the Ethiopian and a call for us to fulfill the great commission. Pegtop has a penchant for powerfully pointing every historically-steeped song back at us, their modern-day audience. Another example is «White Lies» which rails against the injustice of broken promises to the Native Americans and raises serious implications for our current morally bankrupt U.S. foreign policy. There are even more highlights, including but notwithstanding, «Jerusalem», a funny yet poignant take on Jesus’s subversive table turning; «Be Still», an earnest call to worship; and «Everything I Own» which is just plain too good and effective to spoil with a pithy analysis here. The result is a mix of both spiritually and socially-conscious lyrics wrapped in an effective musical dressing that is both hearty and wholesome. (Even my kids like it, especially «Big Cat», which appears to be an affectionate ode to Aslan, the big lion of C.S. Lewis’s “Chronicles of Narnia.”) The combination of the wit, the powerful portrayal and the message will leave you both as happy as a clam, or as a clam at a clambake when a song causes your heart to catch in your throat. Their emotional resonance is quite effective. You’ll laugh, cry, yell, clap, and sing-along.

Run, Run also marks their third album since their 1995 debut, Just Us. Even given the strength of their first album’s material, this new one shows great growth in every conceivable way, creatively, lyrically and musically. Their other two albums, Great Release and a Christmas collection called The Gift, were both released in 1997 (This reviewer has heard neither of them, but plans to remedy that situation at the earliest possible opportunity.).

Cynics will point to the overtly Christian content and slightly sentimental nature of some of these songs as obvious weaknesses, but Pegtop manages to avoid being sappy, insincere, or blasé. They also do an equally commendable job avoiding a heavy-handed appearance with their forceful encouragements and forthright stance on moral and spiritual issues. Frankly, more Christians should be creating albums of this compelling and creative caliber. Run, Run earns my highest recommendation. It’s good eatin’. Serve yourself this full meal deal, or better yet: get a double dose and share some with a neighbor. [Steven Stuart Baldwin with help from Scott A. Smith, The Phantom Tollbooth, 8/15/98]

CD tracklist:

01. Help On The Highway – 4:24
02. S.O.S. – 3:39
03. A Weak Ago – 4:09
04. Jo – 4:22
05. Everything I Own – 4:10
06. Be Still – 4:07
07. Run, Run – 3:29
08. Words – 2:38
09. White Lies – 3:38
10. Twister – 3:32
11. Nick – 3:54
12. Jerusalem – 3:53
13. Angry – 4:33
14. Big Cat – 8:12

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