Tyler Childers and The Food Stamps (from the album Can I Take My Hounds to Heaven?

Tyler Childers and The Food Stamps (from the album Can I Take My Hounds to Heaven?

Tyler Childers and The Food Stamps (from the album Can I Take My Hounds to Heaven? available on Hickman Holler Records/RCA) (by Bryant Liggett)
Tyler Childers obviously isn’t afraid of a little work. He’s dropped a triple LP, backed by The Food Stamps, that contains three different versions of the same songs, each building off another as he moves from front-porch straightforward to studio serious, and finally something solely 21st Century sounds. Can I Take My Hounds to Heaven? first presents the ‘Hallelujah versions’, a single mic and Old School staging. The ‘Jubilee versions’ are beefier with added instrumentation, and the ‘Joyful Noise versions’ is something for the club and remix crowd, where Childers goes into breakbeat mode.
“Old Country Church” and the Can I Take My Dogs to Heaven? title track on both ‘Hallelujah version’ and ‘Joyful Noise version’ have a little Gospel and a lot of Country Funk.  “Way of the Triune God” on ‘Hallelujah version’ starts as an acapella Gospel number before a Rootsy beat kicks in, the ‘Jubilee version’ has horns that kick that Rootsy bounce to a Bourbon Street parade. “Jubilee” as a ‘Hallelujah version’ a dose of old-time, and it’s given a World Music vibe on ‘Jubilee version’.
When you get to ‘Joyful Noise versions’ you hear that Tyler Childers and The Food Stamps also make use of studio wizardry and electronic beats. This is a jaunt into Childers being playful, dropping contemporary Pop-culture samples amongst instrumental fills in remix mode. It’s fun. Descriptors like old and new school are dropped in music, often being used in the wrong places. Not here. Tyler Childers has proven he can strip things down for simplicity’s sake while also proving he can knock around a modern studio, finally picking his own work apart and putting it back together with the help of borrowed audio from all over; everything is used, and nothing is left on the editing room floor. Multiple records in one solid package. (by Bryant Liggett)
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