Independent Artist Debuts on Billboard’s Country Charts at #16 — Not To Shabby…
It’s funny how different people/reviewers hear different things, influences, sounds when they listen to a new Young Independent artist. I’m guilty of it. But, I’m not going to criticize Jamie Kent because I hear nothing like the “major” artists many others writers speak of. Instead, I hear a similar style to one artist and yet, Jamie is smart enough, wise enough, and talented enough to rise above the comparison and shape his own style. And that is riveting.
The artist, or should I say, the path, Jamie resembles to a degree is not Bruce Springsteen (the subject matter is not the same), Tom Petty (not at all). One listen to the opening, title track “All American Mutt,” and it’s clear that Kent is “the son” of the likes of John Haitt.
Oh yeah…right down to the tone in his voice and the lyrical approach. But, as I said, Kent has a style, a gritty, yet poignant urgency in his presentation that is quite original, durable and most of all creative. There are moments of Peter Himmelman (“Only You Can Walk Away,” “I Feel Young Today”) in his subject matter. Himmelman, being Bob Dylan’s son-in-law and who has recorded countless brilliant albums through the years is a definite source of the style Kent emulates. Kent even has the same “look” as Himmelman – and here as well, Peter could be his “uncle,” in the music business. The comparison is a compliment because not many are in this category.
The other singer-songwriter that has some similar musical traits is the brilliant Joe Henry (“Trampoline”) who has many, many albums with tight, compelling subjects in his songs. No, Jamie Kent belongs in this genre, with these men, with this durable tightly wound song writing style. And it’s good.
On this collection, “All American Mutt,” — which debuted on Billboard’s Country Charts at #16 — there are ten fascinating songs with some guest Young Independent artists who are equally impressive.
Yet, you can hear that Jamie doesn’t need a whole lot of help. He has a talent for balladry and somber, indulging stories. “Look Up,” is a slow, reflective tune with some gentle harmonica runs, and this is what is beautiful: no showboating. It’s all confident, sure-footed and the vocals, while not being as gritty as say, a Jon Dee Graham, Tom Waits or Buddy Miller – is in that approachable grit of someone who may have just lived through some of these songs.
Veteran rocker Huey Lewis adds some harmonica to “Sheila,” and this is an urgent mid-tempo rocker with a nice retro feel with modern dynamics. Easy to dance to it does hark back to the major hit days of Huey Lewis himself. There is some low note brass that keeps the bottom solid, Marco Giovino lays down some nice standard drums.
“She loves tequila more than she loves me…” is one line but, Jamie is loaded with many colorful lines. The backup vocalists just paint liberally all over the song with deftly balanced shouts of “Sheila…Sheila…” Just like the old days.
The album is rich with pleasant tunes that are easy on the ear and could easily become little gems that will remind you of another time and place in your own life. “Safe,” is one of these songs that flirts with the memory. Kent whistles at one point and you would think it would be corny. No — it’s not corny at all. It’s airy, friendly and just rolls along beautifully. His hesitation in pronouncing the word “safe…” in the lyric is the ingenious hook. It works wonderfully because, for me, I waited for him to say it. Singer-songwriter Ellis Paul sings back-up on this.
Another old-fashioned rocker is “Last Call,” with a great Dan Holmes drum beat laid down hard and snappy. Killian Karlsson provides the lead guitar, and the cowbell is Bonnie St. Martin which is always a welcome little sound. Kent is mining an old fashion rock style and it’s invigorating. On this track his vocals are similar to Greg Copeland (who’s first album “Revenge Will Come” was produced by Jackson Browne) also performs songs in a similar vein if not more political. At times, Kent also borders on a vocal style of Robert Ellis Orrall (“Tell Me If It Hurts”) who went from new wave music to country very successfully and is still a respected country singer-songwriter today.
“Home Again,” features assertive harmonica by Sweepy Walker and though the song is just an average, evenly paced ballad it has all the elements and pleasantries of a first-class Americana tune. It has some banjo courtesy of Matt Menefee, good back-up vocals and a down homey feel. Not all songs have to knock you out to be good. This is one of those songs that will be rewarding with multiple listens. Other than that, I can’t say why I like this one, I just do. Maybe it’s the arrangement, the way they performed it.
“Be Your Man,” sounds like a song I would pitch to Arlo Guthrie – it has a great feel to it, a banjo, an upright piano type bang, a Beach Boy doo-wop that is brief and finger snapping. How can you slight a song that feels that good in 2017? And just when we thought that would be the only humor on this album, track 9 opens (but, the sequence numbers are wrong starting here because “Red Rover” is actually track #10).
Nevertheless, this a nice little Dixieland brass segue into track ten. Some nice sleepy slide guitar, fiddle, swishes of brushes on the snare, and a beautiful vocal touch by Michaela Anne – who is a New Yorker living in Nashville, TN now and has some albums of her own.
A banjo barn burner comes on “Diamond” which is a real highlight. It’s dynamic. Everything comes together and this is Jamie Kent personified. This is what he is. The musicians, the instruments, the arrangement all has gravity. It’s a pleasure to listen to this kind of musical interchange with a vocal filled with zeal and little bells ringing far off in the back drop. Even the non-singing part is dramatic and goes straight into the heart.
The singing on “Embrace the Disaster,” between Jamie Kent and Alyssa Bonagura is stunning. At first, I thought it was Emmylou Harris. That’s how good Alyssa is. And I may add, she has her own albums available as well — and she has produced artists such as Jo Dee Messina.
So – while this is a little song, it’s powerful. Excellently sung, wonderful lyrics and the defining song of the album.
It’s going to be why Jamie Kent should continue to write, sing and perform. This man has something to say and he has the emotional heft in his vocal showcase. This is what makes listening to songs rewarding. It’s not always about a good beat, being able to dance to it. Some songs need to be listened to. This is one. An absolutely perfect way to conclude a strong effort and a flawless collection of new music. “Sometimes we spin out of control…sometimes we see only what’s wrong…” We see only what’s wrong. Damn – isn’t that good? I think so.
The album is just a half hour long and it’s worth the time. Jamie Kent did not write all the songs — many of the people involved were the writers and they are too numerous to mention here. But — there’s not a dud among them. With the likes of Huey Lewis endorsing this music Jamie should have clear sailing into many ears. The album was produced by Dave Brainard who also played some guitar, percussion and programming. The CD art was created by Glenn Sweitzer at Fresh Design.
Website: http://jamiekent.com/
FaceBook: https://www.facebook.com/jamiekentmusic/
SoundCloud: https://soundcloud.com/collectivemusicllc
Disclaimer: The opinions expressed in this review / commentary are those of the author and do not necessarily reflect the official position of No Depression. All photography is owned by the respective photographers and is their copyrighted image; credited where photographer’s name was known & being used here solely as reference and will be removed on request. YouTube images are standard YouTube license.
John Apice / No Depression / Written – December 2016