Featured: Former Wings’ Drummer Steve Holley & Patti Smith Bassist Tony Shanahan

Featured Performers:  Former Wings’ Drummer Steve Holley and Patti Smith Bassist Tony Shanahan

I’ve been familiar with James Maddock’s music since 2000, when he released a major label (Columbia) album under the band name Wood — called Songs From Stamford Hill.  The lead off track “Stay You,” even appeared on then popular TV series “Dawson’s Creek.”  You would have thought his career would have hit the highway after that.

But, despite appearances on The David Letterman Show and CBS This Morning and winning awards – “Sunrise On Avenue C” (2009) won the 2010/11 NY Music Award for “Best Americana Album” – Maddock just floated beneath Bruce Springsteen, John Mellencamp, John Hiatt, and his British-compatriot Richard Thompson. What am I trying to say?

I am saying it’s about time James Maddock stepped out of these shadows because with each successive album James has shown a maturity in his music, and he is consistently excellent.  Not a mean feat when a musician needs to come up with new ideas, fresh lyrics, and compelling melodies – that should stay within the confines of the personality and image that’s been developed. Maddock seldom sways or loses focus. He may be originally from England but his studied, perfected, rusty-tinged New York vocal approach makes him more a citizen of the Big Apple than most strap hangers. Oh, his Americana-Folk-Rock is also exceptional.

The Wood album had several prime tunes scattered throughout the collection. Credible performances and it was somewhat popular with some Metropolitan area disc jockeys including Vince Scelsa – former WNEW-FM disc jockey. An endorsement from someone like Vince was the equivalent of a five star review. Nevertheless, the Wood album didn’t lead to anything new for several years and James Maddock was MIA (Missing in Action). 

When James returned it was with an EP – and the climb back up the proverbial ladder. To reach the higher rungs where some musical credibility was — would take some time – but, Maddock — ever the determined soul loaded with personality always had his confidence pressed and cleaned. 

I read that some have compared James Maddock to early Jackson Browne. I differ. Even though the artist I think of is not an Americana-Roots artist there is a quality to England’s Chris Rea that I feel runs through James Maddock. Of course, in Americana few might not know who Chris Rea is but, in England and Europe he is a major performer on the level of Elton John (who has sung with Chris). Rea himself, has been recording and performing since 1978 and has had dozens of charted hits with sales in excess of 30 million. If you pour generous amounts of Chris Rea into a pot with ample quantities of John Haitt — the result will be something that resembles James Maddock — with arms up in the air and wearing a million dollar smile. And that’s no gimmick. Maddock loves what he does. 

On the Wood album there’s a great song called “Let Me Fall,”  which is very-Chris Rea in spirit. This was the song that kept me looking for James Maddock through the years because I was a big admirer of Chris Rea. Anyone who could approach that quality in a song was worth investigating, appreciating and spreading the word for. Maddock fit the bill.

As time went by — I did start to find solo James Maddock. I was pleased to hear that he sculptured his own sound – he didn’t sound like many others. He had a signature sound and it was developing with each successive release. All he needed was exposure and luck. He started to already get acknowledgement from some weighty fellow musicians. 

I felt at the time of the release of “Sunrise on Avenue C” (2009), and “Wake Up and Dream,” (2011)  that James was going to be the one to score a goal. He had the attitude, the persona and true grit. He may not be up there yet with Springsteen and Mellancamp – but, I am sure they can see him in their rear view mirrors. Recently, James shared a stage with the critically acclaimed rocker Willie Nile and Nile is no slouch. With friends like that Maddock is in good company.

In 2015 – James Maddock has now released his latest effort “The Green. I took a deep breath. Which direction would he take us? More rock? More roots and folk? More stories of the old neighborhood? More personable? Laid-back? The cover of the CD has James looking very New York. Maybe he will give us his “Patti Smith” personality? That would be interesting.

Or, there was a possibility he’d return to the poignancy and beauty of an old song like “Our Time Will Come,” which appeared on the Songs from Stamford Hill album. That had the reminiscent melodic approach used again and quite successfully years later on his original classic “My Old Neighborhood.”  That approach is still a resounding, wonderfully stimulating ballad. Both songs — Maddock classics.

The Green  album starts off full-throttle with“Once There Was a Boy,”  and its retro acoustic guitar attack similar to the way The Moody Blues melodically assaulted our ears decades ago with their masterful tune “Question.”  It’s an infectious melody, and the energy never lets up. It’s Maddock sinking his teeth into a rocker with Steve Holley’s thunderous drums accenting perfectly just below the acoustic guitar waves. Holley, former drummer with Paul McCartney’s Wings (1978-81) appears on all tracks except three. Holley has also performed and recorded with many top tier artists. I’m not surprised that James Maddock has been added to his resume. 

Also on this album is bassist Tony Shanahan – who has played with Beck, Suzanne Vega, Ian Hunter, Joy Askew (who also sang and played piano on Maddock’s Songs from Stamford Hill), Tom Verlaine and primarily with punk rock legend Patti Smith, among others.

“Rag Doll,”  has some Springsteen flavor with a hook-laden melody and brilliant diversified instrumentation that would be a perfect single release. Back-up vocalists ignite and the guitars chime with a drizzle of jubilant notes in a spirited performance. Maddock sings with a certain bravura that only comes with a seasoned professional voice – dipped in John Haitt and John Mellancamp syrup.

The third track “Speaking for the Man,”  is drenched in 60’s top ten song drama. It features a chorusline that is righteously fresh in a commercially-edged traditional type blend. Maddock is in full control of his menu of new tunes. All exceptionally recorded, the instruments never over power – but are there to support with little tinkles of piano, steady drums, strings and Maddock’s powerful reading. This is Phil Spector production perfect. Toward the conclusion, the guitars come in with a heavy barb-wire fuzz filtered through a tight and joyous melody. Despite its retro leanings the song is never “oldie” quality. It’s just a song rooted in the past and it wears new threads and smells like a hit. In true Maddock style, the song winds down quietly and makes its exit hardly noticed. Beautiful.

The song “Driving Around,”  is actually a more soulful Maddock — one I am not entirely used to. With some hot backup vocals by Jo Harman, Cindy Mizelle and Jason Darling the song is an old-style funk piece with some rusty Maddock vocals mixed nicely with falsetto runs. A very-retro string section reminiscent of 60’s soul records but the man from England pulls it off. A real tight, well-arranged soul excursion. The guitar is from the Steve Cropper school and the drums are Bernard Purdie dynamic. The back up vocalists smoke like Martha Reeves and Patti LaBelle toward the end. If James is trying to display his musical diversity by what he has absorbed in his years in New York – he has succeeded.

The title track starts acoustically with some urban lyrics about not having money, people laughing at them, poor people in the streets and the sudden in your face music of competition and rough lives. “The Green,”  is a message song with a strong statement in the tradition of the old folk songs. A subject that not many of today’s artists address in song without blaming someone. But this folk song is arranged with a Bruce Springsteen sneer and its brilliantly aggressive, fiery and with propulsive performances from all. Maddock gets nasty vocally, with some gritty accentuated words. Nice. Great to hear a vocalist actually sound like he lived it. He may have too.

The next song – despite not being able to supplant the original from my ears – is a re-recording of one of James Maddock’s classic songs. “My Old Neighborhood,” sung slower, bluesy has been Americanized here. It’s more Avenue C now than England. It’s a credible re-make. It sounds good slow, as a ballad and it retains its poignancy from the original. A dangerous move. Would Elvis have re-recorded “Suspicious Minds,” at a slower tempo?

The original was upbeat, happy and it was just one of the most positive and optimistic songs I ever heard and still love. Now it’s more of a dirge. As if, all the happy faces that were in the original video may have passed on – and James is left to reminisce alone. I can’t spite it though. It was a brave decision. It’s still a great song – maybe it just came full circle. I’m going to have to play the original later today, to remind me just how great the “old neighborhood,” was. And we all have one of our own.

“Too Many Boxes,”  is another reminiscence song. Maddock is excellent with these types of story songs. On this Maddock reminds me of New Jersey’s own Billy Falcon who sang his brilliant and sad “Heaven’s Highest Hill,”  years ago — with the same powerful, intense gritty vocal. You could almost consider these men music brothers. They mine the same vein and they both do it with sincerity. They know how to make words and music come together like Michelangelo did with mortar and paint. This is a moving tune, filled with everything that makes a song a classic. Maybe with some time, this will be a classic.

From poignancy Maddock goes into a strumming acoustic guitar with a very European sensibility. In a bar drinking whiskey in a 1960’s tragic romantic Jacques Brel type orbit. It has all the ingredients of those classic, inventive and lucent song structures that made those old sad MOR songs such tear-jerker classics. If Sinatra were alive he would tackle this with fervor. “Crash By Design,” also has a Chris Rea flavor to it – Rea had many songs that were written with this radiating style of thick romance and emotive glimmer. Maybe Scott Walker will surprise us and cover this if he returns to the MOR he was so successful with in the 1970’s — before he mutated into a subterranean Tom Waits on steroids. 

“Let’s Get Out of Here,”  is the musical opposite of the high-energy tunes at the beginning of the album. This song continues in a more pensive romantic notion. Sung confidently, it’s another song Frank Sinatra could have covered. What I like about it is the attitude that runs through it. It’s not a silly, mundane middle of the road effort. It has meat on its bones and it sounds like another classic Hoagy Carmichael — written in the 1940’s.

The wrap is a return to “Once There Was a Boy, Part 2”  from the onset of the album. It all comes full circle with this. “Stealing money from my Mom’s purse, and I’ve done worse.”

Quite an adventure once again walking down James Maddock’s musical paths. Is the boy….James Maddock? Certainly sounds like it. The song is like a lullaby, or children’s story being retold decades later by a much older man. Recollecting many of the personalities in his life that may have influenced him as a person — or as a musician. A return to the neighborhood….a return to a more simple time, a better time, a happier time….and the pounding piano notes follow.

There is a place for a James Maddock. He’s what Bob Dylan was back in the 1960’s. A troubadour. A storyteller. The jester, the philosopher and the musician who’s own story could be also be yours.

Produced by Iestyn Polson, it was recorded in New York City and London – with one error in the CD package – Weehawken is in New Jersey, not NYC. I used to live there.

The art is a nice four-panel fold out and mine did not have a lyric book – for shame. Maddock music deserves a lyric book.

All songs were written by James Maddock who also played all guitars and mandolin. Lots of wonderful musicians involved with this project and they are all credited on the sleeve.

Photography: James Maddock in desert kicking it up with guitar: Mary Ellen Matthews // Photo of James Maddock with outstretched arms: Joe Rosen // Other photos photographer not cited.

Website:     http://jamesmaddock.net/

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

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 / August 2015