Junkie of the Sad Song & Ballads Genre – 1st Solo LP of Roots Rock Sumner Brother

The New Year gets off to a poignant start with this nine-song solo debut collection by singer-songwriter Bob Sumner (The Sumner Brothers) – and self-proclaimed junkie of the sad song and ballads genre. On his album Wasted Love Songs I don’t hear Bruce Springsteen, Tom Petty or any modern-day example of songwriting.

What I do hear at the onset with “Riverbed,” (the first official single release) — is a tinge of latter-day Ramblin’ Jack Elliott (A Stranger Here). By the second track “All Our Dead Things,” there is a reminiscence of Mickey Newbury, Tom Rush, and Bob Neuwirth. While Springsteen and Petty are respected and excellent songwriters, for my money, these old-school songwriters have more substance in their ability — and substance is what Sumner has in some of his better moments. There is an influence here, or at least a harken back to the tradition of songwriting that predates a writer like Springsteen and Petty. The second track has some nice effects, but the guitar picking is down to earth, homegrown and warm. First class Americana and not just commercial dabbling.

By the third song, Sumner cruises the surface waters of The Band’s own late Rick Danko as he sings “A Thousand Horses.”  The song features a pleasant old-fashioned organ run and steady brushes on the snare one-two beat. There’s nothing earth-shattering here just a reliable, devoted sounding singer who is in control. Track 4 starts with a solid vocal on “New York City,” and clear guitar picking with a splendid sincere up-close vocal. Constructed as a slow burner it gains tempo as the song progresses and this is what embellishes a song and grabs an ear. This is one of the best in the entire collection. Some of the lines Sumner delivers is evident that this man is a professional. He pronounces lyrics in such a subtle manner, the way a trained singer knows how to do. Trained by a pro or trained by years of singing and singing with other proficient voices. Many young singers don’t realize that singing isn’t always about the vocal cords – but the pronunciation of the words in the lyrics and how its decorated with the corresponding notes. Singing is another necessary instrument — Sumner has this quality.

“Comin’ Around,” continues even more intensely with fine vocalizing, good Americana tone, solid instrumentation, and a sparkling little arrangement. Matthew Kelly’s pedal steel shimmers over the excellent groundwork laid by the marvelous musicians. This is borderline music by The Band with the vocals of Hot Tuna or Little Feat. This is a jewel. This will be set on repeat for sure.

“Worn Down Boy,” already sounds like a potential classic — not only for country singers but folk singers. I’m impressed with the simplicity of the music and how tight it’s woven by the Erik Nielsen bass, sparkling Chris Gestrain piano, and organ. The adroit instrumentation is colorful. Sumner possesses a true dye in the wool Americana voice – not too gruff, not too sweet and always on target with the inflections necessary to render the songs sincere. Going through the songs you can tell these were not all written in two hours in the studio. These are all thought-out novellas of life experience, personalities and moments in one’s life. “Rosalee,” is Bob Sumner’s “Martha,” (Tom Waits) and Leonard Cohen’s “So Long, Marianne.” My problem with the song is simple – it ended too soon. Its beauty was just beginning to coalesce.

Grittier guitars open “My Old Friend,” and though it plods just a bit the lack of these types of songs on the album seems to offset the necessity for such a sad ballad. With a little sweet harmony, this would have been an early Simon and Garfunkel type tune. If Glen Campbell were still alive and performing this would be a good song for his voice. It could also suit the gruffer Kris Kristofferson. The song has flavor — a tune to be listened to as you slow dance under dim lights. A mournful fiddle could embellish this just a bit. I like the way Sumner adds his drama piece by piece and doesn’t overplay his hand. This is excellent songwriting. The finale is worth the wait and the musicians are all splendid.

The album creates a relaxing landscape and it has what many cannot add to their work: atmosphere. Lots of this can be found throughout every song. The finale song “Ticket to Ride,” is a slow narrative-ballad, not the classic Beatles song. This is in the tradition of Gordon Lightfoot, Greg Trooper, Mark Knopfler, and Clive Gregson. But if I were to neglect a slight mention of Woody Guthrie, Ramblin’ Jack Elliott or Townes Van Zandt I would be shortchanging Bob Sumner. It’s five minutes long but the interchange between guitars, the steady brush beat (always used quite effectively by Leon Power), all contribute to its well-balanced conclusion.

Ticket To Ride Live Video

And finally, there is no wasted love song on this collection. They’re all good to someone. Dismiss that title as poetic license. The 36-minute album was produced by Erik Nielsen and recorded at Vancouver’s Afterlife Studios. All songs by Bob Sumner except for “Comin’ Around,” co-written with Etienne Tremblay {Neko Case} and “A Thousand Horses,” (written entirely by Ilya Zalubniak).

The CD package is the standard 4-panel matte color tray – no lyric inserts, unfortunately. Designed by Neale Pope with CD photography by Jack Fairburne.

Website: https://bobsumnermusic.com/

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

Bandcamp: https://bobsumner.bandcamp.com/releases

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 / January 2019