This album opens with a well-engineered and sounding tune in “Give Me What You Gave To Him.” Stereo separation almost as marvelous as old-style stereo where the instruments are impeccably separated between speakers. I had the strumming acoustic guitar coming clearly from one speaker and the excellent lead vocals from the other speaker. The ambient sound must have been recorded into this track because I had the rest of the band emanating from a center speaker that didn’t exist. But, it just may be the way my system is set up. It certainly made for an enjoyable listen technically….but how about the music?
This opener is a sublime track but the production value of the performance is thick and dramatic. I put my hands behind my head sat back in my easy chair and I had expectations that this collection from Midnight Pilot’s self-titled album may be an exciting journey.
On a side note: don’t let the picture of their youthfulness distract you. These men are quite accomplished musicians and the proof will be in your speakers as well. This album deserves a listen…and more than once.
Following the delightful opener came “Elizabeth,” a gnarling lead guitar (not grunge). This came gang-busting out with a supreme melody and Rolling Stones-type rhythm guitar anchoring the carefully beaded and strung rock notes. This is one of the best post-rock era songs I have heard in awhile. I don’t consider grunge and material like Dave Matthews rock. For me, the last true rock artists in the old tradition were U2 and Tom Petty. Everything else was heavy metal, Goth, grunge and uh…Limp Johnson rock (yes, I said it).
But Midnight Pilot’s drums and guitars on “Elizabeth” oozes precise manifestations of what rock was meant to be. A potent reminder of the strength that genre possessed when performed righteously. A Bruce Springsteen edge with Rolling Stones mentality. This is an exemplarily song.
An aside: The video for “Elizabeth” included in this review is not the version from the album — but a wonderful acoustic version from The Grantland Sessions in Nashville, TN. This is an opportunity to parallel compare between their rockier LP version and their tight, melodic and excellently played acoustic version.
By this time, I am holding my breath. When is the balloon going to burst? When is it all going to fall into the mire of rock freeze-dried coffee with generous sprinklings of processed sugar? When are they going to load up on the clichés and weightless lyrics?
But, it’s the third song – and it hasn’t happened.
“Again and Again,” is sung in a more uniform multi-vocal style and it’s filled with energy and hooks. Guitars chime like the vintage hard rock band Gun when they played their “Race With the Devil,” “Yellow Cab Man” and “Sunshine,” back in the late 60’s. But, that was Adrian (Curtis) Gurvitz and he was a monster lead guitarist. Yet, the sensation I speak of is actually there as Midnight Pilot sings this track. At the end they are singing together with the same unified grit of the Anti-Nowhere League on their “Queen and Country.” This song also had no deficiency in inspiration and it’s played with plenty of frosting.
With a nice wall of sound “Taking My Chances,” lead vocalist Grant Geertsma is pulling out no punches with a wide range of notes and vocal gymnastics. The guitars continue to play with crystalline clarity. While I am not entirely convinced Grant is ideal with the slower tunes – this song is a surprise. It’s well arranged and the vocals forge an interesting polished sentimentality. The song is also sincere, to say the least. It has little bits of masterful textures that helps it rise above the ordinary. And now the band is beginning to come closer to Americana.
The acoustic guitars on “Birds Fly South,” have a cool Spanish-flavor cha-cha-cha with maracas beads accentuating and illuminating this fairly simple song. Touches of brass support the lead singer who now sings in a smooth crooning style similar to the late David McComb of The Triffids when he sang his wonderful “Trick of the Light,” all those years ago.
The strings are expressive — they frame the tune strong and stirringly. I enjoyed this one quite a bit. Sounds almost like a classic song waiting for an opportunity to capture many more ears.
Driving is how the next song’s opening notes “Let Loose.” (I couldn’t resist using the title of the song as part of my description). If this was 1968 this would be a top ten song easily. It has the hook, lyric, the vocal and the incessant instruments and groove. Drums are creative when they need to be and other than that just beautifully driving and foot stomping. A fascinating approach to 2015 Americana-rock and — someone thought this stuff out because you simply don’t get this clean and original by jamming.
The guitars cut through, are nuclear powered and on this — Midnight Pilot sounds like Midnight Pilot and no one else. If I had to compare them to anyone – maybe a little bit of Slade and the power of Noddy Holder. Only difference is that this would appeal to many people who never cared for a band like Slade. “Let Loose” has a unique appeal and it’s an appeal that has been part of great rock music for decades. Midnight Pilot mastered this recipe. They have the melodies, the musicianship, and diversity.
“Break In” starts with an acoustic guitar intro that segues into an energetic melodic lead guitar. Grant Geertsma also has a comfortable grasp of how to hold notes and where to hold them. This song has key lyrics he slides around vocally and this is what makes for an enticing sounding rock song. Elvis Presley (“Steamroller Blues”) had it, Bobby Darin, (“Funny What Love Can Do”), Tom Jones (“Daughter of Darkness”) and Brook Benton (“Hotel Happiness”). This song is a menagerie of excellent instrumental interplay and layering. The vocals figure prominently tough and with authority. The strings add character to the song. You wouldn’t expect this type of violin/fiddle in a song like this but it works – and it works well.
“Better Man” starts with some piano and then strings appear. A touch of drama but not too much. The vocals are sleek and polished – but, the polish does not subtract from the splendor required of rendering a listenable rock song.
Grant Geertsma is not sugary like Kenny Loggins (though on a good day Loggins could be a great rock singer – “Somebody Knows.”) or carbonated like Christopher Cross. This band has a voice in Geertsma that can hold charm with potency. This track has a little Beach Boys inflection – done in a manner that would bring a smile and not a grimace.
I continue to shake my head – impressed with how well this collection was recorded. Clear, pristine and well-separated. I am not even certain it was done intentionally but I noticed it on first listen and it continues through each song.
“Losing the Heart,” has impressive guitar runs filled with presence, a military-style drum beat, potent but brief background vocals and as it concludes the guitar outshines everything. A rousing, riveting ear-grabbing solo that is right up there with the riveting and emotionally moving Alan Parker guitar solo in Scott Walker’s “No Regrets.” This is one of Midnight Pilot’s best and will be an enduring track.
“Another Opinion,” is upbeat and about a friend who doesn’t agree with the singer because he has “another opinion.” Quite a clever subject. We all know someone like that. This is a song that would attract covering by any number of famous singers. It has all the ingredients for a great live show song, it’s a subject seldom sung about, and it delivers powerful opportunities to solo. It reminds me of The Strawbs’ who had songs like “Part of the Union,” “I Don’t Want To Talk About It,” and Dave Lambert — Strawbs’ lead guitarist’s solo tune “Take a Piece of My Life.” Catchy, driving, melodic, consistent and suave.
Just like the classic band Strawbs would do, Midnight Pilot follows a rock song with a banjo opening on their very next tune. “Take Me There,” is nothing like any of the other tunes on this fine album. This is more Americana-Roots oriented and it only proves Midnight Pilot can do it.
This song could be played along side anything by The Oyster Band, Spirit of the West, Great Big Sea, The Pogues, Fairport Convention, Lindisfarne (“Cruising To Disaster”) or Horslips (“Loneliness,” “The Man Who Built America.”) and that is quite a stretch. This is a fun listen and all part of the mysteries of music and how wide an influence good musicians could possibly be exposed to. Midnight Pilot is from Nashville and many of my comparisons are artists from England/Scotland. But it’s all a surprise for me. I even hear similar stretches with The Mavericks and Blackhawk. I found this tune to also be one of Midnight Pilot’s best.
Closing this 12-song collection is the string heavy intro to “By My Side.” I am reminded again of the style of Strawbs. While the lead singer doesn’t have a distinct voice like Strawbs’ Dave Cousins – Grant Geertsma does possess a voice that is enduring – a pleasant, consistently attractive tone and inflection. Not as deep, subdued and passionate as a Nick Drake, edgy like John Martyn or darkly romantic as Duncan Browne — but he does have an intimacy to his singing style. This style of song suits him perfectly.
I enjoy when a male singer can ride that wave of high notes / low notes with little trouble. Boo Hewerdine, when he sang with The Bible had this magic on songs like “Crystal Palace,” and the marvelous “Honey Be Good.” Singers like Darden Smith, the duo David and David (including David Baerwald) on their “Boom Town,” also explored this style. On this particular track, Midnight Pilot continues in this tradition, they have absorbed and exhibited this special approach (knowingly or not) and now — virtually makes it their own. I think they have done an admirable job.
From an EP – Midnight Pilot released a track called “Let Go.” A beautiful mellow acoustic driven song. It’s sung with excellent backup vocals and supported with strings. Eventually, I would think Midnight Pilot is going to take up residence in a genre that is shared by many respectable artists who have endured and provide music of substance.
The EP includes another non-album tune “Slow Down,” a rousing sing-a-long tune. The balance has LP tracks: “Let Loose,” “Elizabeth,” and “Give Me What You Gave To Him.”
Midnight Pilot is out of Nashville, TN and they are: Grant Geertsma on vocals, guitars and lyrics; Kyle Schonewill is guitars, vocals and some keyboards; Kris Schonewill – bass guitar and percussion and Dustin Wise on Keyboards.
I did not have a hard copy of the CD package so I could not comment on the art, any lyrical booklet or technical personnel.
Photography: Courtesy of Midnight Pilot website – no single photographer cited.
Website: http://www.midnightpilot.com/
FaceBook: https://www.facebook.com/midnightpilotband
NoiseTrade: http://noisetrade.com/midnightpilot/midnight-pilot
Soundcloud: https://soundcloud.com/midnightpilotband
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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 reference and will be removed on request. YouTube images are standard YouTube license.
John Apice / No Depression / May 2015
