A New Country Singer Fuse Lights Up and Reinvents a Robert Johnson Classic

Sometimes when a new artist reminds you too much of another, accomplished artist you either embrace them as “great” or you’re indifferent to their similar music. However, there is always that artist that takes their musical finger and they just glide their fingertips across the rim of familiar artists and that momentary touch – not dip, just a touch on that rim is enough to offer praise.

You can’t convince me Crosby, Stills, Nash and Young were not somewhat influenced by the harmonies of the Everly Brothers and the Beach Boys in their attempt to be a similar extraordinary vocal driven band. They took their influences from a different well but the water is the same. I am not even a big fan of that music but, I respect it enough to acknowledge that they are all great at what they do and if I started a band like that all three of those bands would have been definitive influences.

That brings me to the attractive young vocalist Sara Syms. With her opening song – the title track of her new CD – Way Back Home, she mines the riches of Emmylou Harris. If not, she certainly brings Emmylou’s atmosphere to her fine, refreshing and consistent collection. This is not imitation, this is interpreting, re-assessing, adding a new fuse and showing where that style can continue to go and grow.

Sara is breathy at times the way Emmylou Harris is known for, and it’s done at moments in the song that sent a little shiver down my spine – since I respect Emmylou Harris so much and I am comfortable with Sara’s music. The richness is there, the unmistakable quality and there is a value added here. Sara Syms has stocked her vault of originality and creativity with just a hint of the influences that she needs to validate her spot among legendary Americana singers. Not stopping here, Sara puts the pedal to the metal with a high speed “Running Away From Me.”  

This song has just enough corn and grits to gauge this country – not in the tradition of the Randy Travis’ and Jeannie C. Riley’s but more like The Band and Lucinda Williams to stamp this package Grade A. With blistering guitars and Spencer Cohen’s roller coaster drum beat – this will make the hairs on the back of your neck stand up and the dust in your navel curl.

“Almost Home,” slows things down and the luxuriance of Sara’s vocal is even more evident. Her sincerity outweighs the assembly-line country tunes of a Taylor Swift who is a good singer but her music is much closer to what was once known as country-pop than country. Things change I guess. The reliable backing female vocal is cut from a late 50’s – early 60’s tradition and it still sounds good with a singer like Sara. The steady, lonesome, angst-ridden guitars are strong. Anyone aching for old-fashion country without being nostalgic will find Sara’s music not of the novelty but serious and with its deep roots.

The next track is more in the manner of a Bobbie Gentry song (“Ode to Billie Joe,” “Mississippi Delta”) in that its told through a compelling storytelling fashion. “Hard Work Pays,” has a nice Nick Cave-oriented whiskey voice courtesy of Nick Africano (harmonica, vocal and author of this song). It diversifies this set as does Thad Debrock’s pedal steel that frames it with a beautifully melodic run before Sara’s effective vocal returns. When Nick and Sara sing together briefly it’s quite impressive. Not dramatic… impressive.

Back to a more upbeat sting, “Bright Dreams, Lonely Days,” has another pleasant Lucinda Williams inflection in how it’s lyric is sung. But, Sara is her own woman nevertheless, and the energetic approach, angelic voice with edge, allows the song to be appealing within its exuberance. It’s arranged well and it’s a tight example of refined country. Nothing is overdone.

That swampy guitar lead into “Real Bad Low,” goes to another deeper level. Darker than the previous tunes this pushing country to the outer edges. Sara sings with sensuality but it’s humid, saucy and buoyant. The contrast between the Delta music and her infectious method of rendering it memorable in this way — with just a touch of melodic hook with a snake on the end of the line instead of a worm is marvelous. Great musicianship.

Not to end there, Sara must have been compelled obviously to revisit a real blues classic and summoned up the ghost of Robert Johnson with her rendition of “Crossroads.” The song does not sound like Robert Johnson, or the 60’s rock version by Cream, and not sounding like any blues oriented take off at all – except for its atmosphere. Instead, Sara wisely reinvents the tune acoustically and inserted new phrases, conjured heavy ghostly pedal steel (Thad Debrock) supported by excellent acoustic guitar and deep, moody piano chords (Chris Cubeta). Eerie? Yes. Does it work? I was surprised because I enjoyed it – enjoyed hearing an old favorite get a shot of Vitamin B12. Sara virtually showed many how a great song has a long life by taking a slight detour in translation. I assume blues purists won’t like it but that would be like buying a new suit every two years but never changing the style and believing that’s fine. It isn’t. The song Sara has sculptured is fluent, it’s an emotive ballad and what’s old is new again. Applause. 

“Land Where the Blues Began,” continues in this vein – a well-crafted song that isn’t a blues at all but is it about the blues. It plays homage to the blues – that’s all. The pedal steel snakes around throughout the song and Sara renders a wonderfully intimate vocal. Bonnie Raitt, Cassandra Wilson would make this song work in their respective genres.

Sara concludes with some ballads and middle-of-the-road excursions but for a young lady from Brooklyn, NY she certainly has her country instincts sharpened and in tune along with her fine musicians. Sara closes with “In Time,” and her voice is sensitive as it strikes a nerve when it has to. It walks a boulevard of musical senses – nothing here is boring with its excellent acoustic guitar draped over the entirety of the song and Sara’s lyrics – far above the average for country. This closing song alone is worth the price of the album but I didn’t find one dud throughout the showcase.

The collection was produced by Chris Cubeta and Nick Africano and it was recorded in Brooklyn, New York. The album art was designed by Sara herself.

Website:  http://www.sarasyms.com/

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

Music – Bandcamp Samples: https://sarasyms.bandcamp.com/album/way-back-home

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 / January 2016