A Cue From Louisiana Folklore — Duo Explores Mysteries of Traditional Americana

I’m somewhat familiar with this duo and they have always produced wonderful songs. On this new effort, I instantly hear maturity. Their singing together is distinctly warmer, guitars chime with brilliance, and little additional instruments sneak in and out of their arrangement to make the tunes much more interesting. Despite their old-fashioned style, they don’t sound retro or too traditional. They have a style that does slip back to another era, but their voices are fresh, clear and vibrant — it eschews age.

I like Clay Parker’s country-inflected voice but its Jodi James on “Easy Breeze,” that is captivating. The song is slow, but it does not drag. There’re too many colorful little instrumentations that wind around every verse. This was a well thought out number. On first listen to this new album The Lonesomest Sound That Can Sound, it’s undeniable that their voices are accomplished not only as a singing tool but their tone has historic, antiquated credibility — and their voices retain an implausible reminiscence in their performance. You can almost smell the chimney smoke in the air and the baking bread in the kitchen. 

On this opening track, I hear an old pop-folk duo Dick and Dee Dee from the early 60’s who had a hit with “The Mountain’s High. (1961)”  Each singer sang two separate harmony lines and Dick (St. John) — who also wrote the song, sang the highest and lowest parts including falsetto and Dee Dee (Sperling)sang the middle notes. This young duo is not far from the knees of St. John and Ms. Sperling. 

The second track “Katie’s Blues,” is a step in a different direction. Subtle, slow, with flavors that you savor in your mouth as if it were an expensive glass of wine. Though the title says “blues,” it’s not a blues in the truest sense. It is a little story about Katie’s blues – sung with all the folk beauty dipped gently and only momentarily in the traditions of Appalachian mountain music. Jodi uses her Iris DeMent vocal style filled with a bit of angst to its fullest and wisest. Jodi’s voice, however, is far more dazzling than Iris’. There is indeed a beauty to singing as if no one is supposed to be listening. Jodi has such a rich vocal for this type of presentation. She has — authenticity.

To provide more diversity Clay Parker and Jodi James explore a twangy country tradition with “Every New Sky.” Parker is a little more upfront and Jodi uses her finest Bonnie Raitt approach. It’s not copying – it’s miraculous that she can convey such perfect old country tones to her young voice. What I mean is that – her voice sounds like it has experience, years of experience, the way Bonnie’s voice conveys. Jodi doesn’t just apply it here, she continues with “Gallows Tree,” and the guitars and singing with Clay is impeccable.

Parker doesn’t intrude, and his indigo voice is the perfect match for Jodi’s far more bright expression. At times when their voices sing in unison, it’s like a third voice. They both are quite good vocalizing the types of songs that display their best endeavors. Jodi is not a powerful female vocalist – she has an airiness, an atmospheric voice. It’s not Patti Smith aggressive, Debbie Harry prominent or sorrowful and melancholy as Connie Francis.  Jodi may sing some songs with a plodding sadness, but she offers it with such a delicate balance of optimism — it compels you to listen.

I don’t feel this album is overproduced because it isn’t. It isn’t spare sounding either. There’s a richness, a substance to the production, and an assortment of musical expressions that runs liberally through each tune. This duo could never be accused of redundancy in performance or being pretentious. 

Clay Parker and Jodi James are great singers with songs that have the complexion of world-weary but never taking life as we know it for granted. It’s still a beautiful place. “Far Away,” exemplifies the worthiness of their arrangements and features Clay prominently. Personally, I don’t want to hear this duo become another Peter, Paul & Mary, Kingston Trio, Weavers, Almanac Singers or Phil Ochs. I prefer to enjoy their showcase for what it is – folk music with spirit, with an outdoorsy benevolence, showing that there is some relevance to this life. It’s alright to be influenced by Guthrie, but there’s so much more to this kind of music than using it as an opinionated, political tool. I’m impressed with the diversity that Parker and James have displayed in this new collection. There is a maturity, though their music has always been serious there is something here that they have gained since their last effort.

“Cumberland Mill (No Pain)” features Jodi in a position where she could’ve embodied the grating vocalizing that was evident in the early songs of Joan Baez. But she didn’t. Jodi’s voice is primarily an even-tempered stream-lined smooth tickle on the ears – much the same as Joan’s younger sister the late Mimi Farina and years later Linda Thompson has.

As I listen to this she redeems herself though she came close to the edge. She performs very well with Clay and knows her limitations. Clyde Thompson offers excellent fiddle support on this which adds the necessary single drop of drama. This song sounds like the duo may have been listening to some early Steve Earle – there’s a darkness to it, a determination and a marginal melody that sticks in the ear. David Hinson’s upright bass sounds like he may have drawn a bow across the strings, but I’m not certain. Nice effect though. The tune also had a little country-Neil Young flavor. There’s a lot to like here. I will play this again.

I try never to read any previous reviews I wrote if I am writing about an artist I am familiar with. I want to try and see if there are new influences, and I never want what I may have said earlier to influence my new opinion. So, I have not read my previous reviews of Clay and Jodi’s music. When they sing together and trade off lead vocals is when this duo is so effective.

“Down to the Garden,” is another excellent example providing wonderful acoustic guitar interplay and the band performs with such a light touch. That less is more theory really works here. This is a delightful little song. It sounds like something Emmylou Harris could’ve done on one of her classic albums – maybe with Mark Knopfler (Dire Straits) on vocal. This would be a great cover for them.

Micah Blouin played the drums, Paul Buller had the most to do: mandolin, pedal steel, and electric guitars, Ben Harrington was on organ, David Hinson (bass) and Clyde Thompson (violin) filled it out. Clay and Jodi each played acoustic guitars.

Other tunes on this album are moderately pleasant – “Remember It All,” has some impeccable acoustic guitar playing midway through and Clay and Jodi sing beautifully together as always. The lyrics to this song are quite good. Maybe next time they could include a lyric book. This quiet little ballad is followed by an upbeat “Yazoo City,” where most of the musicians are employed.

This is the most different song on the album. Clay sings lead and it comes across as a Grateful Dead-Pure Prairie League type exploration. The fiddle throughout has that intrusive style of Papa John Creach when he played with vigor with the Jefferson Starship in the 70’s (“Git Fiddler,” “Fast Buck Freddie”) — I say intrusive because he had a style where he snuck in and out between notes like a bee at a picnic of the other instruments and it was effective. Clyde saws away, and he’s been mixed up front where he belongs. 

Now, one criticism would be this: if you’re going to write original songs stay away from previous famous song titles and references. “Yazoo City,” has been done before – very well-known in country, folk and blues circles. Just come up with another term or place. “Killin’ Floor,” is a classic reference to a blues song (Chester Burnett aka Howlin’ Wolf). Try and come up with something a little more creative. You can use it in the lyrics but not as a title. People will think it’s the original and it’s not. You want to avoid confusion and comparisons. 

Nonetheless, those two songs are both great on this album – but, using two established titles/references in the music business – you can do better. There are so many possible titles that would at least become a signature for your song if either were to be covered or a hit. I happen to like both tracks as they are – it’s just the titles that were bothersome.

“Killin’ Floor,” while being the last song on the ten-track album – is one of the best. It’s slow, but it has momentum in the acoustic guitars and the mournful voices of Parker and James. Despite its length – clocking in at 12 minutes, the way the duo performs it the song remains interesting throughout. It may not be as mind-blowing as “You Set the Scene,” by Love; “Crazy Eyes” by Poco; “Burn Down the Mission,” by Elton John; “Gilbert Street,” by Sweet Thursday, or “East-West,” from the Butterfield Blues Band — but, it’s a keeper. It’s about as close to a relevant country-folk-blues song as you will find.

I don’t like songs that are long – but this performance maintains a cool momentum and a listener hardly even feels its length as it plays.

The 51-minute album distinguishes a young duo — absolutely accomplished at performing old style country with all its shades and colorings. They are accomplished in the art of traditional sounding songs from another age that flowed from their own fingers. Their voices have a traditional polish to them that I’m sure old-timers in the mountains would welcome on their porch. Even though this will never make it to commercial radio this is what true American music sounds like. 

The CD was recorded in Baton Rouge, Louisiana at Blue Velvet Studios and Nashville, TN at the Bakery Sound Studio. All songs were written and performed by Clay Parker & Jodi James. The CD is a four-color four-panel fold out with photographs by Tate Tullier. There was no reference to who designed the package.

Website: https://cpjjmusic.com/

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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 2018