My wife and I tend to have very disparate music tastes. For example, one of the prized records in my vinyl collection is Metallica’s Master of Puppets, a record that I don’t dare play around my wife because I’m afraid that as retribution she’ll play her Sara Barielles CD. And, then, out of spite, I’ll be forced to blare Mudhoney, and … well, you get the picture – we go to bed angry. So, for the sake of long car trips, which we love to take, and ultimately our marriage, we attempt to find music that we both like. So, I was excited to be given the opportunity to review Charlie Oxford’s self-titled debut album. After first listen I thought, “Here’s a record we can both enjoy as we drink a bottle of wine together.” Much to my surprise, my wife is fairly lukewarm about the album. I don’t care what she thinks, though (please don’t tell her that!), because I dig Charlie Oxford.
Charlie Oxford is a soul-pop singer in the tradition of Sam Cooke but with some Stevie Ray Vaughn thrown in for more than good measure. Based out of Nashville, Oxford utilized Kickstarter to fund his debut album, and the funds raised were put to good use. The musicality of the album is undeniable and Charlie Oxford is tightly produced, but the strength of the album is found in Charlie Oxford himself.
I wrote “drink a bottle of wine” in the opening paragraph, but drinking an aged bourbon would be far more apropos in regards to this silky smooth and interestingly layered album. The jazz and soul influences are wonderfully evident, but Charlie Oxford’s blues guitar gives his debut album an earthiness and substance that speaks of a gravitas that is often associated with humid southern nights, bbq, and long talks deep into the lightning bug lit twilight.
From the first track “Waiting For,” Charlie Oxford establishes that he’s meant to be behind a microphone – as singer and guitarist. The song opens with soulful brass that is quickly followed by Oxford’s adroit guitar blues. According to Charlie Oxford, “This is song about seeking out what’s holding you back—be it a day job you hate or your lack of confidence—and freeing yourself to pursue your dreams.” In the hands of a lesser artist, especially a young artist, there is the risk of a song like “Waiting For” to come across as unearned didacticism. Oxford never even comes close. The song isn’t a warning; it’s an exuberant invitation to join a young and rising artist as he begins an exploration and career that many in society consider foolhardy.
Track two, “Drive Me Crazy,” is an opportunity to relax, breathe and enjoy Oxford’s soothing melodies and smooth voice. Like “Waiting For” Oxford’s superb handle on the guitar is highlighted in “Drive Me Crazy.” All of that combined with the beautifully hypnotic organ, and I want to ignore the fact that it’s still early in the morning, pour myself of tumbler of bourbon, and spend the rest of the day relaxing.
Some of the highlights for me from Charlie Oxford include the “Intermission,” which is a beautiful strings arrangement that transitions into the pop-centric, “Stranger Than Fiction,” and the funky-groove of “Move In On Me.” In fact, “Move In On Me” competes with “Waiting For” as my favorite track on the album.
Spring is here, for some of us at least, and it’s predicted to be a colder spring than normal. Bundle up with your significant other, light the fire-pit, pour some bourbon (or wine), and allow Charlie Oxford to remind you that sultry summer is right around the corner. Who knows, maybe the cold spring night will turn into its own sultry night for you. I know that I’m going to enjoy convincing my wife that she underestimated Charlie Oxford.
