Singer Firmly Rooted in a Hard Cider Alternative-Country Vocal Style.

Sometimes the most endearing vocals are the ones that have some peculiarity to them. Some may say I am being rude when I say that. But think about it: Bob Dylan, Jimmie Dale Gilmore, Lyle Lovett, Tom Waits, Leonard Cohen, Karen Dalton, Valerie June, Shane McGowan, Demis Roussos, John Jacob Niles, Tony Bird and Dave Van Ronk. Totally unique. They don’t sound like anyone else and if someone does come along and sings similar to these artists it’s probably emulating (not imitating) them. I always found Tom Waits to be a cross between Louis Armstrong and Howlin’ Wolf with a Hoagy Carmichael persona. There’s also a little similarity between Dave Matthews style and tone with the great singer-songwriter David Gray.

With “My Spirit Sister,” – a ten track collection by Joshua James I find that same creative vein with a unique vocal. At first, it was just a little strange, the tone and manner in which Joshua sang. But thankfully, he sounded refreshingly original and not like so many other singers today who have the lame, whiney style that possesses no authority, no punch, and no grit. Yet, as soon as “Real Love,” started to spin I heard little bits of Jimmie Dale Gilmore but no so much that Joshua was not following his own muse — he was. There is a nice style to his timbre, his intonation, phrasing – all quite assuring and above all — well presented.

Joshua continues to sing in this same well-textured way through the majority of his tunes but he has some that really stand out with finesse. The lyrics are usually well-written and with no clutter or cliche. The guitars are gritty and the liberal use of distortion doesn’t detract from the songs. No, this is a well thought out project.

Some songs work a little better than others. Joshua performs “Backbone Bend,” wonderfully with its sharp snare snaps and piano. This Joshua James voice has vitality. This is a pleasure to listen to. It has the tight percussion and sonics required to stimulate attention. But this doesn’t come across to me as country music. It has suggestions of country sifted through an alternative rock filter. Pretty ambitious if you ask me. In that Lyle Lovett, k.d. Lang, Michelle Shocked “isn’t country music” realm. This is firmly rooted in a hard cider alternative style. And that’s good news. It means that this artist is not scared about developing a dyed in the wool genre a little further. “My Spirit Sister,” has the necessary noise and melody to create some renewed excitement in country-folk and Americana.

This is the one track co-written with Kyle Henderson. It has a magnetism for ears to appreciate. This track also features some muted trumpet and trombone that was a pleasant surprise and should be developed a little further.

Joshua James as a songwriter has a delivery that is for selective tastes and he has a sound that is spirited. It’s worth a toss of the dice. 

Mr. James is not your standard cookie cutter vocal and songs. What makes listening to James’ material a challenge is that it’s fun. It has none of that standard lyrical fluff that infects so many songs year after year. There is vulnerability, honesty, it explores areas in relationships that aren’t covered in standard commercial songs. Will Joshua succeed with this? I’m not sure. Joshua James has been around the barn a few times – he is not a greenhorn. You have to remember that in the early 60’s when most people were accustomed to Johnny Mathis, Bobby Darin and even Bobby Rydell (who did, indeed sing very well) – what did they think when Bob Dylan came along?

Many said Dylan didn’t have a snowball’s chance in hell of being a successful singer. John Hammond discovered Dylan and discovered many great artists through his years as an A&R man and producer for Columbia Records. But despite his fine track record with Billie Holiday, Count Basie, Benny Goodman and later Bruce Springsteen among others. Bob Dylan was considered John Hammond’s folly. These were the days when Columbia was run by that stuffy, sing-a-long with Mitch guy — Mitch Miller. Considering that, it was a miracle Hammond managed to record Dylan at all. But Miller trusted Hammond and let him be.

Forget the fact that this same audience 50’s early 60’s non-rock audience embraced the deep rasp of Louis Armstrong who sang “Hello, Dolly,” on the Ed Sullivan Show and it toppled the Beatles from the number one spot on the charts.

Now, Joshua’s voice isn’t that “out there” that he couldn’t be appreciated by a wider audience. The songs have potency. Valerie June is a relatively new singer who has found some wonderful success and she has quite a peculiar vocal. But that’s what makes her – interesting.

Music should always at least be interesting. A Devil’s Food Cake should always taste like a Devil’s Food Cake. But a new song should always sound fresh, new and have tasteful chemistry.

Joshua James has a nice recipe. Good ingredients. Does he still need to develop? Maybe. But he’s not following the easy road. Maybe that’s the first thing he does right in order to not only get his songs out there but to get his style out there. Some songs still need polishing but the shine — it’s already there.

“Losin’ Mi Mente” (“Losin’ My Mind”) – This is a nice earthy ballad and sung with authenticity. The snare beats are somewhat muted but are effective. The guitar winds around ghostly like early morning fog over a golf course lawn. Probably Joshua’s finest vocal in this collection. The lyrics are not weighty. The fuzz tone approach to the guitar compliments the entire arrangement and not in a fuzz-tone style made popular in the late 60’s or with funk bands. It has a heaviness to it that is necessary – it is quite an expressive song and it ends with a nice harmonica touch.

I like lyrics that tell stories. “Dark Cloud,” is a first-class ballad with a story and has an excellent vocal. At this junction on the album, Joshua is on a roll. It was a little slow out of the gate at first but the album has jewels to recommend it. This is one. Biting lead guitar, steady drums and percussion and the bass — loaded. This song possesses a delicate balance. It could easily be sappy but it isn’t. It is poignant and powerful and you can understand every word Joshua sings. The entire mood of this melody changes the structure of the album – but, it fits and it comes at the right time. It’s a serious tune that showcases creative diversification.

With just a tad of echo on his voice and a hat tip to the tradition of the recording process that was popular in the early 60’s on Liberty Records. “Blackbird Sorrow,” concludes the album. It’s at the end that features some invigorating harmonica. Joshua is still in fine voice and though the song is a little spare with solos and bombastic musicianship — it makes up for it with jubilant words and colorful backup vocals. It is a spirited performance. An appropriate conclusion.

Joshua exemplifies a wonderfully exuberant vocal on the tune and this is what makes a singer special and most importantly – memorable in the ears of listeners. The harmonica at the end again — added a nice touch with the piano. It offered a little drama and sends a listener away wanting more. Yes…wanting more.

The CD package is a beautiful full color six panel with a spooky skeletal face on the cover. A stitched 16-page color lyric booklet with credits. Some of this is written in cursive but it is readable. The art layout was by Elyse Taylor.

Website:  https://www.joshuajames.tv/

Facebook: https://www.facebook.com/joshuajamesband/

Spotify Music Samples:  https://open.spotify.com/artist/0YLUOdFiedWIWBttlDAQeO?autoplay=true

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. YouTube images are standard YouTube license.

John Apice / No Depression / August 2017