Distinctive Modern-Day Country-Brass Showcase by Highly Polished Roots Artist

This CD kicks off hot with “Sometimes You’ve Got to Do Bad Things to Do Good.” It immediately asserts itself with the same deep edgy vocals as Canadian Tom Wilson of Junkhouse (“Shine”). It’s mixed with a more modern-day country-brass slink and bellow of Sturgill Simpson as well. The guitars sting, the deep growl of 60’s style sax is winning. This is a fine showcase of a song. A little taste of Canadian singer Art Bergman (“Message from Paul”) sneaks into Matt’s vocal which is a good thing. Jay Bellerose’s hollow drums are invigorating. Love it. This is a great opener – this is how to begin an album and grab attention.  

This is Matt Patershuk’s (Guitar/Vocals) third album — twelve tracks on “Same as I Ever Have Been,” — a well-crafted 59 minutes of melody and purposeful countrified songs with clever lyrics and charged songs. Lots of influences here but they are my assumptions and nothing more. The backup band is known as The Pretty Darn Good Music Band and they are.

“Gypsy” is planted in the soil of Buddy Miller, Chuck E. Weiss, Jon Dee Graham, John Hiatt – and it’s just delicious. I’m a sucker for a ballad laced with a sorrowful female duetting with a strong male lead. Ana Egge provides disciplined and reliable vocal color here. John Reischman plays a little mandolin and Steve Dawson flies through like a bat in the dark on pedal steel. Matt toward the end narrates the lyrics and it’s authentic and country-real in an old fashion way.

Track three has a hint of singer-songwriter Lee Hazelwood by way of Tony Joe White in “Hot Knuckle Blues.” This tune is fiddle rich (Josh Zubot) and the song just struts along. In the old days, they called this type of song a toe-tapper. Yes, that’s what it is. Ana is still in the front with Matt and this song cooks and boils like stew on the backburner. Acoustic guitars and a whole array of stringed instruments paint an engrossing musical picture.

Otis Taylor (“Rain So Hard”) is what came to mind when I started to listen to “Good Luck.” This is not copying or imitating, this is emulating, soaking up influences (obvious or just accidental) and it actually delivers the goods with a solid foundation. Matt Patershuk has learned the blues, country, and roots music and what makes his showcase special is how he proficiently regurgitates (not one of my favorite words but that’s what he tosses back) a great, polished, professional style blended with the right tone and phrasing. Matt makes it all attractive even for those who might not be big fans of this genre. I like John Hiatt, Chuck E.Weiss, Jon Dee Graham and all those other names I dropped. So, I am going to add Patershuk to the fraternity. He qualifies and I’m only into the fourth song. “Good Luck,” is also somewhat rooted in the classics of Don Nix (“Goin’ Down”) and the incredible folk singer-songwriter John Hammond definitely.I could see Matt share the stage with the likes of the late Dave Van Ronk too. Dave would have loved and appreciated the sand in Matt’s showcase. On this track, I also like the effective hollow sounding drum beat (Jay Bellerose – collaborator with T. Bone Burnett & Joe Henry) and how it sounds alongside the lead guitar.

“Memory and the First Law of Thermodynamics,” – while not the best title I ever came across in a roots-oriented song has a beautiful melody. Almost has a similar haunting melody played at the end of “One Flew Over the Cuckoo’s Nest,” with the Theremin. But this is a highly personal piece of work. It has stunning moments in it. The song recalls the tragic true story of Matt’s sister Clare who lost her life when she was a victim of a drunk driver a few years ago. This is a potent, penetrating song and quite effective. Lovely lyrics. A respectful dedication.

A few years ago, singer-songwriter Cindy Bullens lost her 11-year old daughter to cancer. She released an album that had some dedicated songs to her daughter that was also impeccable in their sadness and celebration of the little girl’s life. “Somewhere Between Heaven and Earth.” Those songs contained similar songs that heart wrenching and remarkable.

On “Memory,” once again, Otis Taylor is what comes to mind. This is a slow ballad lightly salted with the vocals of Ana Egge. There’s a little reminiscence of John Prine – with a tug at the heart angst of the sad melody. These are the types of songs that are indeed little masterpieces. Much the same as Prine’s “Hello in There.”

However, Matt’s vocals skim along in the style that is Tom Wilson – nice deep and sincere. The musicians are all impeccable. Light touch, but it has inner strength and focus. One of the best in this collection.

Matt also sings at moments with the same efficiency as Otis Gibbs (“Where Only the Graves Are Real”) and Otis Taylor again. Lots of Otis’ in this review but this is all meant to be a frame of reference and a compliment. These are brilliant artists and not easy to be placed in their company. Matt belongs there because he does have an originality that meets the requirements of being in this lot. Matt isn’t quite Leonard Cohen but the later-years Cohen style does drift and infuse the more serious Patershuk originals.

Matt paces his vocals wonderfully and though he isn’t always deep, he is not monotone. He uses what he has and applies it with drama and understated emotion. “Boreal” is an exceptional tune with masterful instrumentation. The guitar solo is near-breath-taking in its clarity. The percussion, on my system, comes in clear as well and it frames the song in a smart cool drive. Matt’s vocals are in fine form. Captivating. Chris Gestrin’s brief Wurlitzer is spine-chilling and perfect for the finale.

John Prine tradition seeps from “Blank Pages and Lost Wages.” A little more commercial in the approach. I can’t slight Matt for including something that may appeal to a wider audience. It’s a typical country story tune with Ana’s voice singing in unison and fiddle’s firing away. This chugs along nicely and would be a good country dance melody. The guitar is a little grungy and it makes it interesting. Listen for the little tinkles of piano – it’s a bit mixed down and subliminal but it adds a nice feel.

Track 8 is a John Hiatt infused song – “Cheap Guitar” it also has a Haitt type title. What makes Matt’s songwriting and music savvy — though I am comparing him to so many great artists — is that Matt has a signature style of his own that clearly comes through on each attempt. It may be the arrangements, or just Matt himself. But this 6:20 song has headbanger brilliance. Great percussion/drums, a deep slicing sax, slow-burning blues narration, and a Z.Z. Top – jazz tied together. It works brilliantly. This is one of the best tracks for a country-roots artist – it not only pushes the envelope but bends the mailbox. I have played several of these songs more than once. There’s great vocalizing as the slinky sax just slithers around the notes. The album is worth the price just for this song. This has all the elements of traditionalism on a hot plate. Tony Joe White deep voice and growl, python lead guitar slithers all around the bunkhouse floor, and the atmosphere of the song lays down…cool. That’s it…no other words to describe it. Cool.

Hell, Led Zeppelin could cover this song and send their old fans into a head-shaking frenzy. This is great ensemble work by these musicians. Marvelous arrangement. I wait for songs like this to radiate from my Klipsch’s. This one will be on replay for the next year.

Track 9 is the title track: Matt tests his Tom Jones-blues-MOR voice and surprisingly, he succeeds. “Same as I Ever Have Been,” has effective lyrics and Tom should consider this for his next LP and help get that Patershuk name out there. It’s a strikingly beautiful melody with a mandolin. Patershuk has a tight, reliable band on these tracks and they just instinctively know what to do to frame the song into small masterpieces. Steve Dawson’s pedal steel haunts, Jeremy Holmes’ bass is solid and the instruments all unravel singularly and never intrude. Matt’s occasional growl in this song is low-key but so right to make the song rich and powerful. This is what would attract a talent like Tom Jones. This would be a great song for Tom and Matt to duet together on. Well, it’s just a thought.

“Atlas,” starts with instruments on echo but it allows the song to take on a different direction from the rest. Matt sounds a little like roadhouse Billy Bob Thornton on this narrated tune. This is an aching story. Not radio ready since it has some questionable language. Substitute that word, and this song would be so cool on the radio late at night. The song itself is another effective Matt-Ana Egge beauty. The narration is disciplined and does suck you in as the story is told. All the musicians contributed with a wealth of style and sometimes that’s the secret to a well-delivered song.

Getting closer to the end, track 11 “Sparrows,” is reminiscent of early-Tom Waits from his first album. Matt’s voice also has a little tinge of 60’s folk singer Barry McGuire (“Eve of Destruction” “What’s Exactly the Matter with Me?”) and he is effective even in this gear. This is a slow waltz-dirge type song with a deep beautiful sax solo. This is not a song that can play and is ignored. It has a purpose and it’s played with equal amounts of melodic stuffing. Matt’s lyrics are just as valuable as the music and performance. I like this guy…I like his presentation. It has grit. He has all the right instincts and if his band is a stove – he is using all the ranges and all the ovens and the baking is good.

When “Sparrows,” ends – something good remains.

Though track twelve is slow and does not display the vocal variety of say Elvis Presley, Matt’s voice is nonetheless sincere and rich. “Swans,” is the albums send-off so I can’t really criticize because this is a respectable way to say goodbye until next time. It’s poignant, Ana Egge’s vocal is angelic. The song is long – may be too long and this may be my only criticism. Yet, Matt shows a diversity and a contrast. The song is spare, mostly just acoustic guitar and Ana. It’s a long story told with measured narration. Not everything, I guess, needs to be an upbeat countrified blast to justify its worth. Matt lives inside the tales and no, I can not slight him for a song that is drawn out – there is a statement being made here. If you have the patience this song is affirming. Upon third listen, I started to appreciate it more. Which goes to show, that if you listen in haste, a jewel could pass you by. This was quite a confident collection. Not a blemish among them. One of the best I have heard all year.

Criticism: Next time include the lyrics in a stitched booklet. The lyrics are quite good.

The CD itself is a six panel die-cut full color package. Art Direction / Design by John Rummen. The painting was by Clare Patershuk. All the CD photography was by Rose & Peter Patershuk. The collection was Produced by Steve Dawson.

Website: https://www.mattpatershuk.com/

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

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 / December 2017