Prolific New Zealand Alt-Country Singer-Songwriter Provides 7th Inspiring Collection

As I mentioned in passing before some of the best Americana-Roots-Rock music played today is not always American-bred, or English import. This type of music is now clearly an art with an international interpretation. I have listened to and have been thrilled by “Americana” music from Canada, Australia, Italy, Sweden and now again, one of the deepest wells: New Zealand.

It thrives there with their own edge. Their own tales, and though applied to our recipe for folk-roots music the respective artists apply their own ingredients, their own traditions and this is where it all gets interesting: Greg Fleming is not a greenhorn – he once opened for the late legend Townes van Zandt. Greg has plied his trade in the music business for many years already. That doesn’t suggest the singer-songwriter is in a wheelchair or has a mop of wavy white hair. Fleming is still a vital performer in New Zealand and could easily stand beside any major recording currently performing anywhere in the world. His alt-country songs continue to be written and played with good instincts and avoid the clichés of the genre – which is refreshing. Like Neil Young and Crazy Horse – Greg has had a few band inceptions along the way to create different styles to support his inspiration.

There are albums that were under Greg Fleming, Greg Fleming and the Trains, and the recent lineup Greg Fleming and the Working Poor. On his latest, “Working Poor Country,” – a 12-track released in October 2017 – Fleming continues with his somewhat Bruce Springsteen-John Mellencamp-Neil Young type approach. However, if you listen, really listen – Greg has his own stories to tell, in his own manner, and it’s original and creative as ever. For the most part, Greg has been polishing his style over the years and when his name is mentioned among those familiar with his work – a definitive encapsulation is confirmed. When I mention other people’s names it’s to make clearer what genre the artist works in for those unfamiliar but have that itch to discover. New Zealand has a wealth of artists who create stirring music and write with an originality seldom found in this American mainland industry. People down under just see things — differently. And as far as I am concerned…that’s a good thing.

These Down Under countries gave us Midnight Oil and Men at Work + Colin Hay. And they were interesting. They have their marvelous singers who could give artists like Robert Plant a run for their money – I’m thinking of Cold Chisel’s Jimmy Barnes (“Wild Colonial Boy” & “You’ve Got Nothin’ I Want”) as opposed to AC-DC which everyone is familiar with. In the early 80’s I worked on promoting an Australian film in the USA called “Freedom” with the late Jon Blake that included songs from Cold Chisel’s Don Walker. This was the starting point I had for becoming familiar with Down Under music. I never stopped searching for great similar artists: Dragon, Hunter, MEO245, and such. It’s the artists that are still in the shadows from these countries that deserve a little more attention. Greg Fleming is definitely one.

With a very Americana sounding National guitar, Fleming has a sizzling track in the New York-oriented “Headlights” – the first single released from the new album. The style is a modern blues-rocker but has threads of old style 50’s romp and sock ‘em: think Gene Vincent. The vocals are reminiscent of what Tom Waits would have done had he chosen to use New York more often as a subject and not LA.

Fleming continues in a fiery blaze of guitars and upfront vocals as he sings the title track “Working Poor Country.” Easily a song that could be placed side by side with the rockiest of Neil Young or Bruce Springsteen. This is a barnburner. “Kids are watching TV, daddy is out tonight….” Easily and simplistically relatable to many. This is the kind of song the should be an American hit. It has all the sand and necessary grit, nuances, and balls that American kids who love rock and roll still – would devour. If it could only be heard.

Greg understands the smoke and the fire of a good rocker but he is also very well-versed in the importance of a poignant ballad. So he has placed “Go South” in this collection. Sung with all the poignancy of a Buddy Miller, John Hiatt or early Tom Waits. I would even go as far as to say Greg sings his slow songs better than Springsteen. Bruce sometimes has a tendency to always be “on.” And when he does this – when he plays the role of The Boss the true message seems to get a little lost in a slow ballad because he just pushes too much. The quality and flavor are there but the sincerity isn’t sugar, it’s sugar substitute. One of Springsteen’s best songs of late was “Girls in Their Summer Dresses,” – if he did more like that The Boss would be a great — great ballad singer. Greg has never disappointed me as a ballad singer. His material is always intense. As for this track, the lyric is beautiful, it has a nice pensive acoustic guitar, a soft ghostly piano and it all reminds me a little of the best songs of Graham Parker and the Rumor.

Ballads don’t always grab my attention. But this one had a very dusty feel: out on the road, traveling at night, bus depots, loneliness, coffee with a shot of no-name whiskey, too many discount cigarettes and not enough passion. Windy street signs that blow in the wind, and time just passing us by. “Go South” = a great Greg Fleming song.

Singing in a deeper register, Greg uncovers another slow song in an entirely different mood. “Confuses Me,” is an old-fashioned saloon type song. Almost written in a style that the late classic tunesmith Hoagy Carmichael used. Fleming is descriptive, but with a careful use of words. He’s economical the way Leonard Cohen was. The singing is almost in a whisper as if he’s alone and it’s nearing the last call for drinks at 2 am. The slight strain in the voice, pushing the register, lends sincerity. The backup singers have a John Hiatt feel that compliments the shuffle of brushes on the snare.

As of late, I also hear a kindred soul musically between Fleming and prolific singer-songwriter Tom Russell (circa his 2006 album “Love & Fear” which had songs that would be ideal with Fleming’s repertoire. They don’t necessarily sound the same they just maintain that quality that makes this music so inspiring. Good storytellers. I am thinking: “The Pugilist,” “Beautiful Trouble,” and “Stealing Electricity.” ) These guys go very well together. Maybe one day they’ll share the stage together.

“One Thing,” is more upbeat in a more commercial manner. It’s a rocker with a 60’s approach and the Duane Eddy type chime of guitars are easy on the ears. It sounds almost as if Greg had someone like the late-rocker Del Shannon in mind when he constructed this piece. There is also a shade of the old rocker Freddy Cannon in the way the song is sung and performed. It has that special energy that Cannon was famous for — injected in his 60’s hit singles: “Palisades Park,” “June, July, and August” “Where the Action Is” and “Abigail Beecher.” Maybe it was the Frank Slay arrangements but Cannon’s dynamic vocal intuition on all these songs is part of what makes Greg Fleming exciting today. They don’t sing similar songs they just have that carefree driving exuberance. Springsteen exhibits this from time to time (“I’m a Rocker”) but doesn’t have this style at all times. Mellencamp never had it, and Billy Idol would just have it lead-free.

A touch of foul language slips into “Move to the Side,” and the effects on Greg’s voice lend some diversity to his new set of songs. This one sounds like nothing that came before. It’s a rap-light attempt and made more listenable to a rock fan with the funky rock grinding guitars. I could hear the late Prince cover this had he known about it. This is right up his funky alley. This all goes to prove how wide a region and scale of music Greg Fleming enjoys experimenting with. Does it always work? No. Can I slight him for it? Not at all. This is how a good artist stretches out. Even the late Captain Beefheart tried his hand at a commercial endeavor (“Bluejeans and Moonbeams”) — his fans didn’t care for it. He didn’t either. But, I did. Because it wasn’t expected. (Fleming’s is not a throwaway song, it has value and a little kick in the pants).

Greg falls more into his comfort zone with “Cash Is King.” This is the Greg Fleming of all his past albums. And why not? This is the signature sound – it borders strongly on the work of the late Philadelphia Americana singer Robert Hazard. Greg manages to take a somewhat similar style a little beyond that and it has precision. Greg has a mannered vocal approach with sarcastic overtones. It all blends well with his confident tone. This is an area that Springsteen and Mellencamp do not mine. Not often anyway. Springsteen is the working man’s rocker – in factories and with Unions, the shore, the underprivileged, the middle-class and the shoe-shine boy.

Mellencamp is more rural, with farmers, and foreclosures and with the histrionics of the wanders and wayfarers of America, the one-room church house with twenty parishioners, the scarecrow in the field, the moonshine boy.

Greg Fleming touches on far more variety and “Cash Is King,” is a jewel in this crown. “Only Girl (I Ever Loved)” continues in the Hazard style — but, Fleming adds his own edginess and the somewhat strained vocal is used to great effect. He sounds good and manages to sound more like a troubadour on the street with a guitar slung over his back than a polished entertainer headed for a Vegas stage. Call it what you want I call it authenticity.

Greg has that versatility going on that Alejandro Escovedo has, and Jon Dee Graham possesses. Real-life dense experience sifted through a colander of guitar notes and made presentable. That’s all anyone could ask in a songwriter who tries to relate real-life through his work. Isn’t that what Woody Guthrie did? And ever since, thousands have aspired to?

I reviewed this album by a stream. I did not have an opportunity to see the album artwork or if there was a lyric booklet with all the musicians listed.

All of Greg Fleming’s musicians were excellent and all of Greg’s previous albums are worth exploring.

This new collection was Produced by Greg Fleming with the Working Poor members Wayne Bell and Andrew Thorne.

Website: http://www.gregfleming.co.nz/

Bandcamp:  https://gregflemingnz.bandcamp.com/album/working-poor-country

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

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 / Written in December 2017