Effective Springsteen Flavored Alt-Country But…

Some reviews must be assessed a little harder than others and Sam Morrow provided me with a quandary. I listened to his new album “There Is No Map,” several times and there are parts that “suggest” who Sam Morrow is as an artist and there were areas that confirmed that Sam — as excellent a musician as he is with a great diversified band – simply laid out a persistent question: why would such a talented singer-songwriter think that sounding similar to Bruce Springsteen – not always  — would benefit his own art?

Now, allow me to elaborate: I don’t think Sam Morrow is imitating Bruce. He just uses a Springsteen type voice at times that is actually excellent and if it’s excellent. Why not use it?

Well, Sam has a unique interpretative style that has his music somewhat molded into a creative presentation that makes me wonder. Do I compliment his excellent singer-songwriter talents, his wonderful voice and showcase, his talented band who have more varying instruments than Springsteen himself. Or, do I criticize Sam for forsaking his own obvious creativity and relied on a style already made famous by Bruce Springsteen? Do we need another Bruce Springsteen? I think not. Not even a good one. 

What am I saying? The Sam Morrow songs that sound like Sam Morrow are absolutely excellent. The songs that sound like Bruce Springsteen are excellent too. But why shouldn’t they be? They could’ve been excellent if sung in the natural Sam Morrow voice as well and not Bruce’s. Some will listen and say “so what?” and some will say, “wow, this sounds like a lost Springsteen song from the vaults.” And others will likely toss off: “this sounds like a Springsteen knock-off.”

Sam Morrow doesn’t deserve that last accusation.

This is why I am being a little more critical than most times. Sam is better than that. I listened intently. Nevertheless, songs like “Wasted Time,” “Girls,” “Green,” “Train Robber,” “Hurts Like Hell,” and “Devil’s In the Details,” are going to draw heavy comparisons to Bruce Springsteen’s “Nebraska” era material, if not others and I don’t think that’s good. 

It’s probably more for the tone and inflections in Sam’s voice, than the actual music, lyrics and arrangements. He could have easily been compared to legendary singer-songwriter Dion DiMucci who through his career also had a gritty voice similar to Bruce and employed saxes as far back as the 50’s. What did Dion have that Bruce and Sam don’t have? Attitude.

Dion’s “King of the New York Streets,”  would be a fine example. Even the late-great Velvet Underground’s Lou Reed was infatuated with Dion and it’s because of the attitude. Sam would have benefited by listening to and then cross-referencing Bruce with Dion if he was to aim for that sound on his new album but come away with a somewhat more original sound.   

In actuality, Sam should distance himself from sounding  like anyone. It’s alright to be influenced. John Lennon was influenced by Elvis Presley but John Lennon never sounded like Elvis. Next time out of the gate if Sam Morrow combines his gift of melody, lyric, strong voice and add attitude — he could have a hell of an album. He’s too talented to be stuck in a genre that can easily stereotype an artist. Sam is not Bruce Springsteen and that’s not to say Sam isn’t worthy and those songs that sound like Springsteen aren’t worth a spin. I just don’t want to see Sam Morrow get bogged down and booked for his Bruce Springsteen vocal abilities. He will only wind-up as one of those great guitarists who play weddings and sound like Xerox copies of Carlos Santana or Eric Clapton. They play weddings and that’s as far as their talent will take them. I have known dozens, and I have seen famous people, famous, respected people, fall that far. The million-selling Brooklyn Bridge with Johnny Maestro was a giant band in the late 60’s but they were a wedding band by the 80’s. Maestro was no slouch either — he had two giant careers as a lead singer — The Crests (“16 Candles”) and The Brooklyn Bridge — several top ten hits. 

On the surface, Morrow’s songs are indeed consistently excellent, gritty, powerful and well-recorded. Sam has the voice, music and lyrics to be Sam Morrow – but, he needs the Dion attitude. I am guilty of comparing artists to others who have come and gone. I do it primarily to parallel for readers who an artist may sound like if they’re not familiar with a new artist.

However, there are dangers with this. You don’t want someone to be pigeonholed by comparisons. As good as Bruce Springsteen is – we don’t need facsimiles. Bruce alone is great for what he does, he’s famous for what he does, and his sound is known world-wide. Back in the 70’s even Bruce himself almost became a victim of the kiss-of-death comparison when they called him the “new” Dylan. Fortunately, Bruce didn’t succumb. At the same time, he didn’t record anything that was remotely Dylan-esque either and he never really sounded like Bob Dylan vocally. Instead, on his true breakout album “Born To Run,” – 1975 — he sounded more like Del Shannon. And that’s my point. Don’t be gullible enough to take compliments like sounding like Bruce, Elvis, or Bob Dylan lightly. It can stereotype and effectively send potential listeners away….in droves.

A few years after Jim Morrison of The Doors died a single (45) by Phantom was released under the title “Calm Before the Storm.” It was hawked as a Jim Morrison solo track, that he was really still alive. It did sound like Morrison. However, for the fellow who imitated Morrison – as good as he was – there was no career from this imitation. Unless the rumors are true Phantom was actually Iggy Pop. No one could essentially replace Jim Morrison. 

How about the singer with Mouse and the Traps – who released a single called “A Public Execution,”  that sounded like a young Bob Dylan. It was an excellent reproduction – but, they never amounted to much.

But this is not Sam Morrow’s case. Morrow has talent beyond just having a similar voice to a famous rocker on some tunes. But it is walking the edge…and that is what concerns me.

The first track “Barely Holding On,” – good vocals, the words are pronounced in a Dean Martin-inebriated style which is actually relaxing and sincere. It’s country in melody but Morrow infuses it with energy and this song has that Johnny Cash chugging beat. Here, Morrow is being Morrow and I like it, and it has confidence. The lyrics are clever and the guitar and backup vocals are darkly invigorating. This is not Bruce Springsteen and it propelled me to continue to listen. There is a spark, a grain of originality and it’s exciting. “The Deaf Conductor,” continues to mine a vein of music that is alt-country in flavor but with generous amounts of Americana riding the rumble strip of rock.

More ingenious storytelling keeps Sam anchored in an exhilarating style. There’s a hint of that deep Hege V (George Hamilton V) voice from the past. Check the hit “Burial Ground of the Broken Hearted,” from 1987. This is the righteous seed of Sam Morrow. It’s an approach that was always a country-music that had balls. More of this, and Sam will have the market cornered. He will join the elite musical club of John Haitt, Buddy Miller and Gene Watson where a voice like Sam Morrow belongs.

“Green,” continues to walk the Springsteen tight rope with electric piano, whining pedal steel and steady drums. This is what Bruce would sound like if he wrote country songs. Sam has musicians who are playing instruments Bruce’s band doesn’t use – yet, I don’t hear Sam taking advantage of these riches. “Green,”  is a credible song, moves along slowly, sadly and actually is performed a bit better than Bruce himself could pull it off. When the backup singers join Sam it becomes infused. No questioning the sincerity in Sam Morrow’s voice…I can’t challenge or criticize that whatsoever. But he still needs to distance himself from that Springsteen sound or he will just become a parallel artist. “If you can’t get me Bruce, get me that guy Sam whats-his-name.”

No, no that won’t do. Even if it’s lucrative, that’s not what an artist like Sam Morrow wants to be known for. He’s woprked too hard to shape a career with original songs. But, on the sixth song — the Springsteen vocal continues laboriously. Only the first two tracks — so far — sounded like Sam Morrow to me. “Train Robber,” is a good song, this is what’s disturbing. I am certain no one who listens to this will be disappointed. But, the sound is still too close to Bruce for my taste. Even the title of the song is Springsteen-ish which leads me to believe it was done intentional.

On “Nebraska” Bruce had songs called: “Highway Patrolman,” “State Trooper,” and such. Morrow’s own song is hot, with a wonderful little harmonica take off which I really enjoyed and the song is enthusiastic and has power. It’s his voice that needs to pronounce the words differently and with a less Boss tone and inflection. Less. It’s starting to sound like good songs, good music and musicianship – that ultimately come off as song out-takes from Bruce. Sounds like a back-handed compliment but, the songs are indeed that good. Yet, they do sound like Bruce’s cast-offs. Songs left off albums.

I am trying my best here – I happen to like the majority of the material on this album and I like Sam Morrow. It’s the edge of Springsteen’s style that is just overwhelming the true originality that could be Sam Morrow. I can recommend Sam Morrow as an artist – I just can’t hold up the songs as totally inventive. To achieve a more compelling showcase Morrow has to let it out and express it without the slightest hint of The Boss.

On “Hurts Like Hell,”  the addition of a mandolin (which is not used by Bruce much) elevates the song successfully…and this is a gorgeous song. Hints of Morrow being Morrow do come through and this was a pleasure. This is a strong song, very likeable, and well-performed. And with “Am I Wrong,”  this starts with a tight country-rock dominance. Sam sounds like Sam Morrow here too. Damn. It’s a nice rollicking song, and why oh why couldn’t Sam use this voice effectively in many of the others? Maybe it’s not the voice so much as how he pronounces the lyrics, or maybe the melodies are too close to Springsteen to escape comparison. These songs are essentially Sam Morrow music and I would like to hear more. There’s a vitality here, echoing toward a hauntingly beautiful conclusion as the music winds around. Splashes of cymbals, electric piano similar to an old band called Alda Reserve who used it effectively on many of their melodic songs. The strum of an acoustic brings Morrow back and this song is a winner on all levels.

The Springsteen voice surfaces in lesser amounts but not enough to render this song inferior. This song and “Hurts Like Hell,” are both quite satisfying. Morrow, if nothing else, is a sincere singer-songwriter.

However…”Devil’s In the Details,” is back to Springsteen-land. What concerns me is that the song, its lyrics, ideas are all good. It’s that ever-present Springsteen influence that gnaws. I want to listen to these Sam Morrow songs but there will be days when I don’t want to hear Bruce Springsteen sing them — if you get my drift. That would be the draw back. I think Sam needs to listen more closely to some other song-stylists. This album is saturated in Springsteen textures – too much so.

Fortunately, I believe Sam has enough instinct and musicianship to head in the right direction. For now, he’s got the right wheels, a full tank of gas, a strong engine — but he’s on the wrong highway. He’s taking the long way around the barn. He has the voice, talent, lyrics, music and musicians for nothing short of excellence. He should check his map, take the next exit and throw a case of Jack Daniels in the back seat. He will find his way. I know he will. 

I thought I was weighing too heavily in on the Bruce Springsteen comparisons until my son came into the room and asked if I was playing some new Springsteen song. Oh boy, see what I mean? Well, at least he thought he was a new Springsteen song. That could be a compliment. 

Can this be fixed? Absolutely. These are all fine songs by Sam Morrow. They just need some vocal surgery. Tweeking. They need to be sung in another “voice.” Somewhere in Sam Morrow’s throat there is Sam Morrow. He has everything else working for him brilliantly but he does need to find his voice.

The songs will find their way back to him and the comparison’s to Bruce will dissipate. It is nice to be compared to a brilliant artist like Bruce but it doesn’t help a young career gain momentum. I would love to sing like Bobby Darin, Elvis Presley or even Tom Waits – but, where would I be if I did? A lounge singer? Yeah, if I’m lucky. Sam Morrow is better than that. Sam needs to concentrate on finding the substance that is the Sam Morrow style. It’s there. I, for one, am confident Sam will find it and he become an original in the truest sense of the word. 

The ten song CD was produced, engineered and mixed by Eric Corne who also wrote “The Deaf Conductor.” Sam Morrow, co-produced.

Photography: Courtesy of Sam Morrow website

Website:  http://sammorrowmusic.com/home2

FaceBook:   https://www.facebook.com/sammorrowmusic

SoundCloud:  https://soundcloud.com/sammorrow

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.

John Apice / No Depression / October 2015