By: Cody Sikes
Mike Glick
Alternative Facts & Other White Lies by Mike Glick with Generations is a politically charged folk album based on the struggles and lives of musical ancestors.
Mike is based in New York and combines stylistic elements of many other cultures into his music, making for a diverse experience. He’s joined by his son Aleksi (guitar) and vocalist, Lindsey Wilson, on this album that will get your feet moving, your voice singing out and your brain thinkin’.
The album opens with, “Fellow Travelers.” The song features a catchy melody and solos from the banjo and harmonica. The lyrics pay homage to the artists Mike grew up listening to and their desire to help build a better world. The vocal harmony in the bridge makes it hard to not sing along.
As the song rolls into a close, a jaunty finger-picked guitar line accelerates to bring us into the next track, “Pastures of Plenty.” This cover of the classic Woody Guthrie tune adds an extra flare with the electric guitar that offers up the atmospherics of an old-time Western movie. The electric guitar takes a solo combining elements of country/folk and jazz, all soaked in an incredible tone. The lyricism describes the importance of the working class, which sends a completely relevant message about some of the disenfranchised in our troubled, modern society.
Tracks three through five (“Come By Here,” “Alternative Facts,” and “If You’re Not Outraged (You Are Not Listening)”), all share a similar sentiment in lyrics: America is governed by a selfish and inhumane would-be dictator. That triple threat is followed up with, “Come By Here,” a softer, more flowing tune complemented by a melodic flute line. The vocals in this tune are shared between Mike and Lindsey Wilson, adding some tasteful timbral diversity for the lyrics.
“Alternative Facts” sounds as if it was meant to be a sing-along, which may be intentional so as to get the message stuck in the listener’s head. Though superficially, the song sounds very cheerful and upbeat, the lyrics carry a much more serious undertone.
Next is, “If You’re Not Outraged (You Are Not Listening),” that reaches for a different vibe with a faster tempo and a minor key. This song feels more dramatic than the two preceding songs. The catch phrase of the song certainly makes it memorable and meaningful. I think this song does especially well in its societal call-out. Aleksi Glick’s electric guitar licks elegantly complement the driving vocal harmonics of Mike and Lindsey.
To take a break from the governmental criticisms, the trio performs a cover of the well-known classic, “Let’s Get Together,” by Chet Powers (Dino Valenti). In the midst of all the anger and upheaval in the world today, music like this is much needed.
As an anthem encouraging the spread of love, Mike and Lindsey arranged this song in a way that retains all of the charm that made it famous, yet combines it with their own aesthetic. One could imagine listening to this while walking through a meadow with plenty of flowers and sunshine. It’s the kind of song that makes you want to pull on a pair of well worn bell bottoms.
The next track, “15 An Hour,” portrays the struggle of minimum wage workers in the United States. This bluesy track is notable for its heavy use of harmonica and catchy melody; a true song of, and for the people. To continue this focus on blue collar workers, the ninth track is called “A Workers Song.”
Previously heard on Glick’s album, City Dreams, the song has been rewritten and updated. Though the song was written in the ’70s, it is no less relevant today, preaching about the nation’s poor building the systems which allow the rich to get richer. With its bright sound, driving banjo, and bouncing harmonica solo, this song portrays hardship in a way that is equally motivational. This song quickly became my favorite from the album.
In “Let’s Build A Wall Around Jesus,” Glick exhibits his satirical sense of humor. Based on his frustration with U.S. border conditions and greedy televangelists, this song feels like another sing-along. I feel that this song could benefit from an expanded instrumentation, as guitar and vocals are the only parts present. That issue is subsequently amended in “The Dream,” with the immediate entry of a cello. During the instrumental intro, the cello is a feature which quickly disappears into a legato bass line. This track’s richness is appreciated and should be maximized. The vocals are strong and driving.
Tracks 11 and 12, “The Preacher and The Slave” and “Joe Hill’s Last Will,” respectively, are courtesy of Joe Hill himself. Glick gives “The Preacher and The Slave,” a staccato guitar line to contrast the lyrics meant to parody a popular Christian hymn. What makes this one stand out is its use of a bass drum, making it the only track on the album with percussion. “Joe Hill’s Last Will” was written on the night of Hill’s execution, and Glick’s musical accompaniment is as peaceful and serene as any near death ballad could be. 
The last tune on the album, “We Shall Be Free,” is an excellent closure to the album. The song talks about the hope that remains, regardless of how dark the times may seem which is another message incredibly relevant to the current events we face. The flowing melody, uplifting piano, and electric guitar solo make this tune a potentially exciting jam track. Elements of gospel also aid in its hopeful attitude.
Overall, Alternative Facts & Other White Lies is great for anyone feeling frustrated with problematic systemic issues in the United States we experience today. And Glick pushed the envelope with the packaging of his album offering a comprehensive booklet with his take on the songs, lots of cool photos, as well as song lyrics and (Who does this?), guitar tabs so we can grab our guitars and learn his songs! And, a nice surprise that we rarely, if ever see, Mike gifts us with information about some of the album’s many contributors in an “About some of the artists…” section. It’s a degree of kindness and respect, pretty much unknown these days.
Overall, it’s great to see that protest music is still alive and kicking in the heartland. The niche genre may not be everyone’s cup of tea, but the messages are certainly worth hearing, regardless of musical taste. For anyone wanting to begin exploring the folk genre, Mike Glick with Generations’s Alternative Facts & Other White Lies is a fine place to get a foothold for a long journey into the world of traditional roots music.
