13th Studio Album – Himmelman’s Spider Web of Songs Catch & Hold Tight

Where to begin with this review? I’ve been an admirer of Minnesota’s Peter Himmelman since I picked up his first album “This Father’s Day,” for $1.99 in a thrift shop. That’s right. A thrift shop. Back then that was the best way to get introduced to a new artist without losing the rent money. Never heard of him before and that was 1986. But…some gambles pay off.

When I got the album home I was excited. Just as I’d done at 15 when I would pick up some of those white Woolworth boxes back in 1965: fifteen — 45 rpm records for $1.00. I could only judge a box — take a chance — by looking at the front and back display through the shrink wrap. Only two 45’s were visible on the box. The other thirteen were pot luck. Ah…but I was never disappointed. I always bought at least 3 boxes per week. Forty-five records or 90 songs per week. Pretty good investment for a 13-year old kid who knew little about what was good. I’d always sit back and be thrilled when the needle went down into the grooves. Side one always first. But many times the B-sides were often equally incredible.

Every week my Woolworths had new boxes. My heart raced when I came into the store. A cheap thrill but it was worth it. My record collection grew and that included obscure Muddy Waters, Teddy Randazzo’s, Chet Barnes & the Skylarks, The Candymen (later back up group for Roy Orbison on “Oh, Pretty Woman”), “At the Hop” by Danny & The Juniors but…but…it wasn’t on ABC Paramount Records it was the original with a count off first before the piano intro on the Singular label (today — it’s a collector’s item).

That’s when I caught the itch for the unknown artist. I knew songs by artists no one knew and slowly many of them developed and became major artists. Cat Stevens’ “I Love My Dog,” & “Matthew and Son” was in that white box. They said I was a fool. But…

The Troggs were in that box, obscure Dion DiMucci’s, Jim Reeves EP with four songs (what a baritone), and someone named J.J. Cale. He was on Liberty Records. Two Leon Russell produced songs: “It’s a Go-Go Place,” & “Dick Tracy.” But this Cale guy was great. Who knew he would someday record an album with Eric Clapton and Clapton would cover his songs?

Which brings me back to Peter Himmelman. I took a chance on that day in 1986. There were no more 45’s in a box – Woolworth’s was gone. The album cover was cool, song titles were intriguing. So, I did the same with this LP as I did with the white boxes. Went home and sat back with a smile on my face, a rum and coke and smoked a Panatela – and just let Peter run through my ears.

It didn’t take long for the musical slot machine to spill out its rewards. Every track was a pleasure, I enjoyed the music, and his voice was an original. Not like anyone else. His entire showcase was fresh. Every song was worth playing a second time. But then, damn…” Only You Can Walk Away.” It’s one of those songs that makes you stop what you’re doing and just listen. The opening piano was beautiful. The sincerity in Peter’s voice — stunning.

“All my constants have changed…” – who writes like this? Just the idea of someone saying to you — “only you can walk away from me now…” The descending piano after he sings that chorus — emotionally strong. As it progressed an entire orchestra took up the melody and it was chilling.

So, for me at that time, “Only You Could Walk Away,” – became a masterpiece. It was the high water mark I measured many Himmelman songs against. A tough order. Yet, through the years Peter managed to always have “one” tune or two that were striking like that. “I Feel Young Today,” “Clean,” “Impermanent Things” and “The Fifth of August.”  Peter Himmelman was bought without even hearing one song from any album from that point on.

After a few years, drenched in many new artists I lost touch with Himmelman. I had heard he was recording children’s songs now. Peter then put out some from the vault albums and a live album. The two children’s albums — I ignored them (and then discovered they were brilliant). Slowly I saw he was back with studio albums. So, my curiosity was back.

Peter Himmelman’s in 2017 offers us “There Is No Calamity.”  Another assemblage of brilliant songs, well-thought out lyrics and polished to a high sheen performances. I expected no less from such an articulate Grammy and Emmy nominated musician. And this — delivers the goods.

Track one “245^th Peace Song,” is an appropriate modern day tune.

“...the scars in people’s lives…” “the anger in people’s hearts needs to be cooled.”  This sounds like something a Woody Guthrie would have written back in the Depression or if he were even more articulate. Peter answers with venom: “…but you’ve got to be careful what you cool it with.” If this album were released in the 60’s the hippies would be sitting cross-legged on threadbare Persian rugs with a gallon of Gallo wine analyzing each line. Peter also uses female vocal backing wisely as Elvis and Bobby Rydell for impact and it works well. The song itself is relatively simple and it does stir up some thinking about what is going on.

A little rockier and short enough to be a single is “Memories in This Heart of Mine.” A light 60’s hook-inflected guitar riff (Scott Tipping) winds through with its memorable sweet sound. Himmelman’s clever lyric: “…and there are far fewer stars in the sky tonight than memories in this heart of mine.” Typical Himmelman artistry with his pen.  Drummer Chuck Lacy lays down some wonderfully steady aggressive beats and the lead guitar and bass chug along with well-balanced authority.

“Smoke and Flames,” is Peter Himmelman by his own recipe. The female backup singers are in force and they colorize this wonderful jaunty bluesy tune. I like that Peter uses the piano to its best effect in the deep end of the keys. Very percussive notes that are just so powerful in this spirited arrangement. The song is set up with drama — the way Peter Himmelman is known to do. It’s his signature, his strokes on a musical canvas with a variety of fat notes. There’s a sense of music-noir in the way the band builds the tension. But it keeps the buttery rhythm coursing through and keeping a listener’s ear glued to the speakers and never aching. This is a keeper.

Another with a pleasant piano introduction is “Fear Is Our Undoing.” It addresses the emotion of fear in our lives today — and it’s quite an under taking. Even with the word “fear” in the song, Peter designs with a flexible upbeat showcase. Scott Tipping’s guitar grunge’s through and accentuates the message’s intensity. Peter mines a vein of music few singer-songwriter’s venture into.

Tom Waits is still experimental and out there with brief forays into beautiful melodies with lots of special percussive effects and implements. John Prine is comfortable in his country moralistic, and humorous lifestyle songs the way Randy Newman explores similar more political subjects with satire. Bruce Springsteen is the factory worker American songwriter while John Mellencamp does the same in a more rural tradition. Bob Dylan is just the voice of a generation. Today he introduces us to another generation’s legendary songwriters that his fans may have ignored. That’s fine, we can’t expect Dylan to continue writing the same songs forever.

So Himmelman comes along and picks these subjects many ignore: “Ribbon of Highway,” — a cross between Buddy Miller and Del Shannon. Yeah, and it’s quite good. Peter even hits a few high notes and the song moves along like you’re being chased by spinning red lights on Route 66 late at night with bottles of Old Crow rolling around on the floor and on the backseat. The backup singers fire on all cylinders again. Wonderful stuff. 

“Rich Men Run the World,” is beautifully constructed. It may be a little darker than most songs but it has a serious Randy Newman approach but without the satire. It’s more matter of fact and Peter could build a career solely on these types of tunes if he wanted to. He has that tonality in his voice – that I’m not fooling when I sing authority. The words are crisp. In some respects they have venom. There’s a slow burn that goes on between these notes. The backup vocalists Kristin Mooney, Claire Holley and Willie Aron flame like a garden torch with their excellent voices. They add the necessary seriousness that adds to the song’s memorability. This one is this album’s “Only You Can Walk Away.”  Unfortunately, what Peter says in the song is the truth. But always has been — since the beginning of civilization.

“Sacrificial,” opens with deep note suspensions that bend with aggression. It has a bluesy vein. It runs through it but it has a nice thick pulse. The musicians never get over enthusiastic. They strike their brushes against the canvas with bright musical strokes. Peter is never overwhelmed by any of the support. Peter says he had several demos sent to producer Steve Berlin (Los Lobos) and when Steve finally got back to him he had the tunes Berlin wanted to make an album with. Peter admitted they weren’t necessarily songs he would have chosen. But it is the producer’s job to do that homework and find the winners and fertilize them until they bloom. Berlin’s perspective was acute. I’ve been enjoying virtually every track on this album. They are all effective. They all carry their own credibility.

Out of the grungy tunes and blues excursions, Peter surfaces with a driving yet rousing love song: “Love Is What Carries Us Away.” I love the inclusion by drummer Chuck Lacy of the rolling tom-tom sound just below the thuds of a tympani. It’s like that fluttering heartbeat accompanied by butterflies in the stomach that Peter is obviously talking about. Matt Thompson’s bass comes through with a nice run toward the end.

Mitchell Froom, I believe — makes an appearance on this song with Hammond, Celeste, and Mellotron because there is sound here I haven’t heard before. “Burning Through the Days,” is punctuated with percussion and again the backup vocalists come through. They aren’t doing anything special or difficult they just lend an effect that strengthens the performance without adding clutter. Peter is in fine voice. The lullaby type piano in this tune is effective because Peter builds his words and vocals around the lighter melody and it’s a delight. Peter writes his songs the way a novelist writes a novel. It’s not just dependent on chorus’ and hooks. It has chapters and asides.

I’m not always captivated by every track on any artist’s album or enchanted by every Peter Himmelman song on every album. But this is close to being one of the best albums Peter has produced. It sounds like they really injected lots of vitamins into each of the eleven tracks. None sounds like a previous tune. When you write, record and perform at Peter Himmelman’s level it’s hard to take your brilliant work to another level. But on this album — Peter Himmelman is recharged. These are all nuggets.

Everything is a standalone piece — cohesive and relevant. The chemistry in this band — tight and they play with finesse and proficiency. I should add that the production value as well — shimmers.

The last track proper is “Ropes and Wings,” – a more gospel-inflected excursion. Deep, highly polished piano notes follow Peter’s impassioned vocal. This song is excellent cover fodder for other artists who can’t write as well as Peter. It’s so accessible and assured. This is a well-written song with inspiration, instinct and the title of the album “there is no calamity” is first heard with its power here.

The long player is worth the investment just for this song alone. Few singer-songwriters approach this precision. Few have the emotion to pull it off as Peter Himmelman consistently does. It’s a slow song but it churns in the heart like thick butter and simmers. It siphons emotion from the deepest places in a listener’s soul. Just listen…listen closely. This is music written not as a back ground garnish.

Himmelman never gets boring or tedious with his presentation. He offers messages, paints some songs with pastels but his individuality is always sharp. This song sounds like something he is teasing Van Morrison with. I can hear Van sing this with his unique power and backup singers. It has that Van Morrison brass soulfully sluicing. This is a dynamic little jazzy narrative that has exuberance and some nicely charged lead guitar. Let’s hope somewhere there is a vault of recorded but unreleased Peter Himmelman. That would someday make for an interesting listen. Much of what Peter writes is often better than what most main stream artists produce. This is not a new Peter — but it is a new Himmelman album. I’m already waiting anxiously for the next one and that should say it all.

All songs were written by Peter Himmelman and Produced by Steve Berlin.

The album was recorded in Portland, Oregon. I had no details about the CD package art so I neglected to comment since the CD I have may not be the final artwork.  One closing note: what’s up with an artist like this being on an independent label? There are no major labels that will toss the dice on a consistently worthy artist like this? I find it hard to believe. I know Peter has been on major labels before but even the rock group Sparks has been on dozens of major labels that believed in their music for decades. You know what?

Nevermind — I take it back. If a Peter Himmelman, or a John Prine were on a major label we wouldn’t get the quality we get now. Those labels would interfere.

Website: http://www.peterhimmelman.com/home.php

Official Website: http://www.peterhimmelman.com/tour.php

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

Music Samples:   https://open.spotify.com/artist/3oTe4zcu5jeIY2nM8gOSSi?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 / September 2017