Traditional Jersey Country-Rockabilly Band Performs With Home Grown Grit

This 41-minute collection of songs is an unfiltered homegrown effort — a good example of the fine work that is often turned out by good musicians who are not trying to be the next Allman Brothers Band but only wish to satisfy their local followers. The criticism and praise I will offer are an attempt to help them improve since it’s hard earned money that produces such an effort and not a bankroll from a record company.

This is the typical collection of songs and performance that is more out of love for the music, with courage and conviction, than actual purity and presence. This is not an arena or musical hall showcase it’s more saloon and it’s the rough edges that at times — can be charming. 

There are many record companies, producers, and studios that can make a mediocre band sound like masters of their craft. Then, when they have to perform live the record doesn’t stand up. The studio musicians are gone, the orchestra evaporated and they are left on stage to face the music. Fortunately, this band isn’t trying to create something they can’t reproduce live. And, these guys didn’t call in dozens of veteran studio players to gussy up their material. They at least try to be who they are.  

The opening track of New Jersey’s Fire on the Wire’s first effort (they formed in June 2016 & recorded this album in April 2018) is “Part Time.” A good saloon tune, but the band tries hard to sound authentic and after all, they are not from Austin, Nashville, Atlanta or Appalachia. So, they are making a concerted effort to create a New Jersey “alive and kicking” country strain. In certain spots, they succeed and in some spots, they need some polish.

Their affection for this type of showcase is genuine. Lead singer Arnold Connelly – who wrote all the songs — tries hard to replicate that country-rock energy but needs to relax and not project so much, Connelly should allow the microphone to capture the tone of the voice properly. He’s at times, a little too exuberant. A little better microphone technique would solve this. Many hard rock singers love to “eat” the microphone (Arnold may not be doing this but it sounds like it). Lips dead on to the metal of a mike is not the way to convey a good voice and Arnold is not singing hard rock and needs to remember that. 

A professional like Elvis Presley is a great example of excellent mike technique. Ella Fitzgerald, Frank Sinatra as well – keep the mike at least three inches from their mouth. This allows for a variety of tones by just how close you hold the mike and that should be adjusted depending on what the vocal is supposed to convey. On this first track, Arnold’s vocal overwhelms the fine acoustic guitar Tom Kopsco — but this may not be entirely his fault though.

Arnold’s vocal is mixed too hot and needs to smooth out his vocal approach, it’s too aggressive – there should be no hard r’s in a lyric – every note needs to be held on vowels. Most of the instrumentation is buried in the mix and that’s a production issue.

Sometimes, maybe not here, a producer is assigned to an artist or band and though the producer has the skills and equipment — it doesn’t mean they are the best fit or understands the music that should be laid down. Bob Dylan had this issue on more than one occasion, and many others as well. So it’s not something that is always just a matter of carelessness. My criticism isn’t so much on the performance (except for what I suggested vocally) but, this band’s effort is compromised by the production. No doubt and I will cite my reasons after having listened more than once to this album.

It has too much echo and it’s hollow with little to no presence. You can hear lead vocalist Arnold as he tries hard to stir up listeners with power but in the studio, you can’t think you’re on stage and need to rise above the din of a saloon. Those studio needles must have been in the red. And it’s my suspicion that no one offered guidance. 

On the second attempt Arnold is in better voice but still, the words cut too hard. The producer should have caught this. An example: a typical word like “yesterday” should never be sung as “yester…” but as “yesta…” Frankie Valli was guilty of this for his entire career and singing coaches grimaced each time they heard “Grease.” Yeah, it was a hit — but, it’s still a horrendous vocal. Imagine if Paul McCartney had sung his classic “Yesterday,” with a hard “r” instead of the way he actually did sing it. Singing should not be hard on the listener’s ears. You’re not talking – you’re singing. I am old school, the producer is responsible for everything that gets on that master. 

So, in Arnold’s lovely ballad “I Should Have Known,” – it has good lyrics and wonderful instrumentation but presence is sorely lacking. Again, the effort is there by the musicians — if you can hear them. The combination of the vocals recorded too hot and the bass being mixed into oblivion is sad. This little tuneful track has lots of energy and the instrumental break is quite inspired and it plays out with a good feeling. But, the vocals are forced in places where they shouldn’t be. They seem to try to imitate what they think they should sound like when it should be sung normal but with some passion.

There are times I’m not certain if Arnold understands the words he sings (and many are his own compositions and they are credible) — he just over emotes and that should have been controlled. The band should have tracked his vocals separately from the instrumentation so they could go back and re-record the words (vocals) when the mood for Arnold was better. Professionals do this. They even lower the lights in the studio to capture a mood. Maybe they did…if so, remix at no expense to the band. 

More on target: “No One Like You,” which is catchy and commercial – and that means it has clichés, soaked in clichés. What this needs is a more creative lyricist with a pair of scissors and definitely an arranger. The song itself has meat on its bones. I look at the musicians listed on their CD and I don’t hear the performances I should hear. It’s there, but it’s just clouded. The acoustic guitar and lead guitar (Charles Wilson) sound dedicated but I can’t hear or distinguish their work. The drums are fine by Mark Banovich, steady and crisp. But the vocals again are mixed too hot. Too up front. It features a nice rousing sing-along, call and response style, but the production issues continue.

The male backup vocals shout and overwhelm – they should be subdued, balanced and not at the same level as the lead singer. A listen to The Statler Brothers’ old 60’s hit “Flowers on the Wall,” or an early 50’s Elvis track with The Jordanaires, (a primitive era for recording) or even better — The Goose Creek Symphony — which Fire on the Wire could sound like someday with more practice: Example on YouTube: Medley: Saturday Night at the Grange/ Lil’ Liza Jane/ Everybody Wants to Boogie/ Plans of the Lord” could correct this and Fire on the Wire would  slowly gain some added heat because…this is how Fire on the Wire should and could sound. I’m confident. 

Track 4 — “I’m Still Hurtin’ Over You,” is old time in style but they need to lose the hollowness on the voice. Production. This song has meat on its bones as well generous doses of sincerity in Arnold’s voice and this is his finest moment.

Nice touch of guitar and the drums with its incessant cymbal tapping has circuitry. This is a pleasant song – more of this style would find these boys their signature sound. Some of the vocals need reconsidering in the inflection department because certain lyrics that are emphasized by Mr. Connelly are the wrong words. Were the lyrics keyed before he sang them? I doubt it.

I will admit that there’s genuine obvious enthusiasm by the band. “Long Ago,” is too soon for another shout-out song but this one is indeed well played. Just needs to be positioned elsewhere on the album. Placement is important on an album. Producer’s job. And get rid of the bar room vocal and add a co-female lead singer on this for color. The lead vocalist, lack of training perhaps, still sings in the same key on almost every song and it’s as if he has the range to carry the songs off but is a little uncertain how to adequately apply it. At times, Arnold sounds too hillbilly and tends to remove some of the shine off his song. Maybe if he was playing a fiddle as he sang it would resonate but it doesn’t work here.

The musicians on this track continue to play good and the bass by Johnny Cook is more evident finally. But the song needs to fade more evenly at the conclusion and not end abruptly – it’s another production issue or producer’s miscalculation. The song itself is a nice rousing tune.

Up next is the pleasant “I Miss You,” and while Arnold turns in a better vocal tone here he still needs lessons in intonation and phrasing. The possibilities are there.

However, the song itself is basically the same beat as previous tunes. There isn’t enough diversification in the showcase. The guitar sounds good but it’s under the surface and a little tinny. I know I heard the acoustic guitar recorded earlier with a fuller sound. The arrangement is the first issue here – the production second. The acoustic guitar should never be recorded in tandem with the electric guitars. It should be on its own channel and its performance raised a little louder if he is being drowned out by all the electronics. I’m not certain if this was done but sometimes I strain to hear the acoustic guitar and the miscellaneous other stringed instruments. The band could get it together with a far stricter producer – a country music producer. And don’t tell me it doesn’t matter, it does.

They do need a secondary lead vocalist because Arnold doesn’t have that strong personality voice – there is no Jim Reeves baritone, Elvis dynamic, Johnny Cash persona, Willie Nelson style in his work. It’s just too horizontal and that’s what hurts songs that have potential – like this one.

Finally, Arnold finds his niche with “Just a Gittin’ It,” – much more successful here with the rockabilly approach with cool Freddy Cannon (“Palisades Park”) accentuation. The jangle of guitars is consistent and it’s a fun tune. This one still needs vocal polish but its one that seems more balanced in production and Arnold sounds — comfortable. The production lacks a bottom (bass is almost indecipherable). This type of song is more Arnold’s forte and the tune carries a nice Fabulous Thunderbirds feel though Arnold is not yet Kim Wilson on vocals.

A succulent harmonica run or wailing sax would have made this song — perfect. There’s some excellent work here by all the musicians – nice, tight and enjoyable. This would get people up to dance for sure.

Getting a little more daring is fine too – so with “A-Hole,” (though I am not a big fan of novelty songs – if you’re already established it can be fun but it won’t further your career past saloon band or street festival unit). If the song was aimed at someone specifically it would carry some weight. The way John Lennon’s “How Do You Sleep?” was pointed toward Paul McCartney. The way Graham Parker cleverly titled his last album for Mercury Records “Mercury Poisoning.”  A solo female vocalist on “A-Hole,” would have worked far better as a novelty. and it probably would have gained attention. 

Arnold’s voice improves — it’s more assured with “Lay It On the Floor,” –and sounds like the band gets along far better with more moderate up-tempos. The third song with background vocals with the call and answer routine – this one does work best because it’s recorded better. The guitar is delightfully melodic even the interplay is pleasant and creative. Strong acoustic backup just fills in all the necessary spaces beautifully. More of this kind of material and the boys could find a real loyal following beyond their close to home audience. However, Arnold needs to assert himself more as a vocalist. He seems to capture the energy but doesn’t sustain it. On this song, the finale is excellent.

The title track of this ambitious effort could be a great song but again the production interferes.

“Fire on the Wire,” is in stereo but it sounds mono. No distinction between the instruments – but this could be forgiven if the band recorded live into the board with no tracking. Spillage would be an issue if they wanted to go back. The background vocals are good; the guitars are fine and clean. Arnold just sounds at times like he’s reaching beyond his vocal comfort zone. This effort is commendable. Their heart and soul is weaved into each song. Does it all need a little work? Yes. When it’s done live they can oil some of its parts. But before recording again they should rehearse with a potential producer in attendance. 

Though the entire album has a contemporary feel throughout – “You & Me,” is a nice retro country tune with some false starts, moments when they don’t sound certain and it leaves it a little awkward. The production this time buries Arnold’s vocal and Arnold seems to be in good voice, go figure. I don’t understand all that’s being sung. It’s sad because the guitars never fail this band. They play this tune quite well despite moments when the enthusiasm is awkward or can’t find its direction — and seems to lose steam. The drums are steady and the best-recorded instrument. This song is a good tune – it needs to be arranged better with more fire and produced with a country experienced producer.

This song has lots of potentials and it’s just not here as recorded — there’s no one with the instincts to act as a Bob Dylan, Steve Earle, T. Bone Burnett or Neil Young to guide them.

Now, if the band Fire on the Water is going to promote themselves as Jersey Country I think it’s a wonderful idea. But, there is little here to suggest much of Jersey country. Singing songs doesn’t make it alone.

If there is another album in the cards by these dedicated musicians they should heed these suggestions so the authenticity of their “roots” can help endear an audience. Write more about what IS New Jersey. Songs that Bruce Springsteen, Bon Jovi and, Billy Falcon haven’t thought of yet. 

More Jersey country about exits along the long and historic NJ Turnpike, diners, the Morris Canal, Morristown, Princeton, The Concrete Mile (right in their own hometown), Jersey tomatoes (I visited Italy years ago and they used only Jersey tomatoes in their sauce), the Jersey vineyards, the refineries (if it wasn’t for New Jersey do you have any idea how many commodities the rest of the USA wouldn’t have?), how about the famous people who come from Jersey there are many including Jack Nicholsen. How about the history of the Delaware River — it doesn’t belong to PA exclusively. How about the bygone history — Oxford Furnace, Palisades Amusement Park, Bertram Island on Lake Hopatcong, the Lincoln Highway. You need to write about highways — Route 80, Route 17, 9W, Route 46 has a storied history, Rts 1-9. Lots of highway tales and you also have Weird New Jersey magazines that may be loaded with folklore for a songwriter. You have to write about what you know.

See what I mean? Jersey country must be looked at as if it were folk music — there’s a colorful history here and the band could have a monopoly on sculpting it with their music. That is if — they’re serious about their tagline. 

“Single Wide Trailer,” is a novelty close-out? You never close on a novelty note. You want to close with a song that your audience will want to remember. Strong melody, so they come back. Even a strong instrumental would be wiser or an instrumental of the title track itself would have been better or dare I suggest it — an all-out jam with lots of vinegar. This kind of a song should be avoided. It’s funny for the band, their friends, and family but to strangers, there’s nothing for them to relate to. These musicians are better than this.

The band itself on this album play their music with the necessary grit and joy of dedicated performers. I think they just need better guidance and a producer with a chair and a whip. It will come together – they have the juice and they deserve to create something they can really be proud of…ten years from now when their grandchildren ask if you played on it. 

All songs were written by Arnold Connelly. The CD is a colorful picture of a flame and the title of the album (not available at press time). 

Website: None as of yet

FaceBook: None at this writing

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 a reference and will be removed on request. YouTubeimages are standard YouTube license.

John Apice / No Depression / Written July 2018