JUST A SEASON
2013 – Northern
Electric
This is one of those excellent albums that whilst not stylistically ground breaking, does contain ten very good, well conceived songs, most of which have a nice deep rootsy feel. Some of them get close to the boundary of what is usually termed ‘mainstream country,’ but don’t run away with the idea that you are going to hear bland over produced Nashville fodder. The songs that are not immersed in a deep rootsiness are also not weighed down by attempts at becoming commercial country music, simply having a lightness of touch that could go down well on ‘country’ radio.
Scott Smith is the man behind this album which, other than on the credits, doesn’t actually bear his name. He is a much sought after and talented sidesman who is a Canadian native and as is often the case, the album echoes his background with a lovely wide open spacey feel. Not only is he a talented multi instrumentalist but he is also the possessor of a warm, expressive vocal style that at times is slightly reminiscent of a young Elton John. (but not too often!) He seems to have a natural ‘high lonesome’ quality to those vocals that is able, with seeming effortlessness, to express a variety of emotions.
We’re all creations of our influences and some of Scott Smiths are difficult to discern, certainly no bad thing, although there are certainly elements of the Band and the wide open spaces of Canada from whence he comes. Some of those influences probably come from the mainstream, in which he has worked with a variety of people as a sidesman, but there is enough of an edge to most of these very well written songs to suspect that the heavier roots side could eventually emerge fully formed.
Of the ten songs, two of which are instrumentals, six were written solely by Scott, and the other four co writes with various others. Scott produced the album in conjunction with John Raham and the recording was done at the Afterlife Studios, Vancouver. I just got the feeling on several songs that they might have worked a little better with less instrumentation but none of it is actually overwhelming, it’s just that there sometimes seems to be a little too much ‘colour,’ not that I suspect that will get in the way of anyones listening pleasure. A number of musicians were used on the sessions, with some being unfamiliar to me, although the always excellent Steve Dawson played steel and electric guitar on a couple of tracks and the equally talented Kendel Carson added violin to one song. The quality of the musicianship is faultless and generally the songs are well arranged and allowed some breathing space with just the one or two minor exceptions where less instrumentation could very well have equated to more!
The album opens with a real belter! That is Rick Danko’s In Heavan, with it’s obvious ‘Band’ influences on this ‘tribute’ song that name checks Rick Danko. It has the spacey relaxed feel that the Band often generated on a terrific song with an excellent organ and guitar sound and an evocative vocal backed by atmospheric harmonies. Hey Eddie is another excellent song that despite it’s sad lost love theme has a nice easy going unforced atmosphere that let’s the listener know the talent is there to tell a perfectly formed and balanced story song. It could well appeal to ‘mainstream’ country fans as well as those who, like me, usually like a little edginess in their music! Trouble In Her Eyes is an excellent mid tempo country rocker that works really well with Hammond, fiddle and steel to the fore and with chiming guitar pulling everything together in support of Kendal Carsons beautiful fiddling and Steve Dawson on steel. January Bound has a very good folksy country feel on a song that has a nice open spacey feel with uplifting harmony vocals, piano and violin. The heavy drum sound didn’t quite seem to fit with the song thematically but it is still a very good song though. Final mention is for Everywhere I Go, another strong song, this one including a nice dobro, steel guitar and organ sounds on a tale that powerfully evokes the wide open Canadian spaces and a seemingly strong Band influence, albeit without the heaviness of the Band.
Scott has everything going for him with his excellent vocals, instrumental prowess and production and songwriting abilities. This is a high quality debut solo recording that provides tantalizing promise for a future that should allow him to continue recording albums of his own take on folksy country roots music. Very good album that given reasonable promotion should sell well thanks to it’s all round appeal.
http://justaseason.ca/
This is one of those excellent albums that whilst not stylistically ground breaking, does contain ten very good, well conceived songs, most of which have a nice deep rootsy feel. Some of them get close to the boundary of what is usually termed ‘mainstream country,’ but don’t run away with the idea that you are going to hear bland over produced Nashville fodder. The songs that are not immersed in a deep rootsiness are also not weighed down by attempts at becoming commercial country music, simply having a lightness of touch that could go down well on ‘country’ radio.
Scott Smith is the man behind this album which, other than on the credits, doesn’t actually bear his name. He is a much sought after and talented sidesman who is a Canadian native and as is often the case, the album echoes his background with a lovely wide open spacey feel. Not only is he a talented multi instrumentalist but he is also the possessor of a warm, expressive vocal style that at times is slightly reminiscent of a young Elton John. (but not too often!) He seems to have a natural ‘high lonesome’ quality to those vocals that is able, with seeming effortlessness, to express a variety of emotions.
We’re all creations of our influences and some of Scott Smiths are difficult to discern, certainly no bad thing, although there are certainly elements of the Band and the wide open spaces of Canada from whence he comes. Some of those influences probably come from the mainstream, in which he has worked with a variety of people as a sidesman, but there is enough of an edge to most of these very well written songs to suspect that the heavier roots side could eventually emerge fully formed.
Of the ten songs, two of which are instrumentals, six were written solely by Scott, and the other four co writes with various others. Scott produced the album in conjunction with John Raham and the recording was done at the Afterlife Studios, Vancouver. I just got the feeling on several songs that they might have worked a little better with less instrumentation but none of it is actually overwhelming, it’s just that there sometimes seems to be a little too much ‘colour,’ not that I suspect that will get in the way of anyones listening pleasure. A number of musicians were used on the sessions, with some being unfamiliar to me, although the always excellent Steve Dawson played steel and electric guitar on a couple of tracks and the equally talented Kendel Carson added violin to one song. The quality of the musicianship is faultless and generally the songs are well arranged and allowed some breathing space with just the one or two minor exceptions where less instrumentation could very well have equated to more!
The album opens with a real belter! That is Rick Danko’s In Heavan, with it’s obvious ‘Band’ influences on this ‘tribute’ song that name checks Rick Danko. It has the spacey relaxed feel that the Band often generated on a terrific song with an excellent organ and guitar sound and an evocative vocal backed by atmospheric harmonies. Hey Eddie is another excellent song that despite it’s sad lost love theme has a nice easy going unforced atmosphere that let’s the listener know the talent is there to tell a perfectly formed and balanced story song. It could well appeal to ‘mainstream’ country fans as well as those who, like me, usually like a little edginess in their music! Trouble In Her Eyes is an excellent mid tempo country rocker that works really well with Hammond, fiddle and steel to the fore and with chiming guitar pulling everything together in support of Kendal Carsons beautiful fiddling and Steve Dawson on steel. January Bound has a very good folksy country feel on a song that has a nice open spacey feel with uplifting harmony vocals, piano and violin. The heavy drum sound didn’t quite seem to fit with the song thematically but it is still a very good song though. Final mention is for Everywhere I Go, another strong song, this one including a nice dobro, steel guitar and organ sounds on a tale that powerfully evokes the wide open Canadian spaces and a seemingly strong Band influence, albeit without the heaviness of the Band.
Scott has everything going for him with his excellent vocals, instrumental prowess and production and songwriting abilities. This is a high quality debut solo recording that provides tantalizing promise for a future that should allow him to continue recording albums of his own take on folksy country roots music. Very good album that given reasonable promotion should sell well thanks to it’s all round appeal.
http://justaseason.ca/