J.P. WHIPPLE – THINKING OF YOU … STARING
AT THE POWER LINES
2014 – Self Released
All of J.P. Whipples songs have a strong memorable melody, poetic lyrics, excellent playing and raw passionate vocals, but what you won’t get is many laughs! John Whipple is the master of dark tales, not through having sat down and thought out his musical direction but simply by playing the music that he feels. It is full of frustration, often desolation at the ways of the world, life, love and death told from the perspective of someone with a deep feeling for rural life, a distrust of the city and it’s dwellers and a powerful depth of realism rather than optimism or pessimism, although it is true to say that on the face of it pessimism is the driving force. It is only when you lose yourself in this and his previous recordings (at least, the ones I’m familiar with) that you realize that much of his music is driven by real experiences, whether by him or someone he knows I couldn’t say, but the stories are rooted in the less priviledged in American society, some of whom (as in all walks of life) are beset by misfortune.
Often referred to as the ‘barefoot troubadour’ this complete one off, hugely original singer songwriter travels America’s highways and byways playing in small venues for anyone with sufficient taste to realize they are listening to a musical genius. ‘Genius’ is not something I usually attach to anyone but what else is there to say? His songs are rooted in real life, albeit a darker world than most of us inhabit, but real all the same. His playing is always excellent, something that is enhanced by the fact that he regularly plays all of the instruments himself, (certainly live) often all at the same time. His often mesmerising lyrics draw the listener in to his world and the sparse instrumentation that often seems to have it’s own voice is as essential and heartfelt as the vocals and perhaps most importantly, the possibility that his stories are drawn from his own life is always there. If that is the case the listener is left with the lasting impression that this is not music that is purely manufactured for sales but a set of stories that he feels coursing through his veins, just as much as his lifeblood. Perhaps that is rather a melodramatic description but music is all about creating lasting impressions and that is the one that John Whipples music leaves me with. Most of his songs tell stories of the rootlessness of a hard, itinerant, uncompromising character in the depths of loneliness and hopelessness. If that also seems too melodramatic, all of those feelings are what has beset most of us at sometime; it’s just that they are enhanced by the fact that they are compressed onto forty minutes of a disc rather than spread over a lifetime, however long or short.
The nearest comparison that I can come up with is probably Tom Waits but don’t think you are getting a copy; this man goes completely his own way and inhabits more of a rural existence than Waits often city based barfly. Whipples songs are darker and often easier to unravel and in many ways more rewarding because unlike Waits there is never even a hint of contrivance.
This is his ninth album since 2002 and as is usual J.P wrote all of the songs on this tremendous album but where it differs from most of his recordings is that he is assisted by several other musicians and although the sound is fuller it is still quite sparse. He takes all lead vocals as well as playing dobro, banjo, bass, harmonica and synthesizer, Sean McCarthy is on Keyboards, James Perry, drums and percussion, Joel Zeigler, bass on No Fool and Noah Bernstein plays saxophone on Dumpster Dan. As with many of his albums this one was Produced by James Perry.
And so to the songs! The album opens with On The Run, a dark tale enhanced by the melodic guitar sound, supported by light percussion and heavy bass then in comes those raw vocals that take you to another world. Everything blends into a totally original sound that is both blues and raw unearthly hillbilly on a dark tale of loneliness that borders despair. The pace picks up a little on Ordinary Skin, another excellent blues/hillbilly song that gradually with the help of his slide, organ and cymbals becomes a cacophony before returning to a more disciplined sound on a song that contrasts the frenzy of city life with the peace of a rural existence, on a highly descriptive and heartfelt song. Dumpster Dan is propelled by a slow moody banjo, bass and percussion on a tale that is highly descriptive and full of the dark evocative horror of a life that could have been rewarding but ended with a total lack of dignity. The saxophone, that could easily have clashed discordantly, serves to enhance the lack of redemption for the victim of this sad tale. Cadillac In Paradise conversely, is actually a humourous tale on this dobro driven song on which there are female harmony vocals and a speedy tempo on the story of someone who has achieved redemption and looks forward to his reward of a Cadillac in paradise! Finally, Mother Road on which the sole instrument, other than vocal, is the tuneful banjo that slowly drives this tale of a pair of lovers who have burned their bridges (and her fathers barn!) and are now off to start a new life in California ……. they hope! Can’t help thinking that living their lives on the wrong side of the tracks is certain to scupper their plans, but for the time being they are enjoying their freedom!
That’s more than enough of my ramblings aimed at hopefully persuading you to invest some of your valuable time in John Whipple’s music. Because of his uniqueness I stand by my ‘genius’ accusation, something that can often be a millstone around the necks of lesser talents, which is exactly my point; this man has an abundance of talent that in spite of many struggles in his career keeps him ploughing on with his (dark) musical visions! Long may he continue to do so.
http://barefootjohn.com/
All of J.P. Whipples songs have a strong memorable melody, poetic lyrics, excellent playing and raw passionate vocals, but what you won’t get is many laughs! John Whipple is the master of dark tales, not through having sat down and thought out his musical direction but simply by playing the music that he feels. It is full of frustration, often desolation at the ways of the world, life, love and death told from the perspective of someone with a deep feeling for rural life, a distrust of the city and it’s dwellers and a powerful depth of realism rather than optimism or pessimism, although it is true to say that on the face of it pessimism is the driving force. It is only when you lose yourself in this and his previous recordings (at least, the ones I’m familiar with) that you realize that much of his music is driven by real experiences, whether by him or someone he knows I couldn’t say, but the stories are rooted in the less priviledged in American society, some of whom (as in all walks of life) are beset by misfortune.
Often referred to as the ‘barefoot troubadour’ this complete one off, hugely original singer songwriter travels America’s highways and byways playing in small venues for anyone with sufficient taste to realize they are listening to a musical genius. ‘Genius’ is not something I usually attach to anyone but what else is there to say? His songs are rooted in real life, albeit a darker world than most of us inhabit, but real all the same. His playing is always excellent, something that is enhanced by the fact that he regularly plays all of the instruments himself, (certainly live) often all at the same time. His often mesmerising lyrics draw the listener in to his world and the sparse instrumentation that often seems to have it’s own voice is as essential and heartfelt as the vocals and perhaps most importantly, the possibility that his stories are drawn from his own life is always there. If that is the case the listener is left with the lasting impression that this is not music that is purely manufactured for sales but a set of stories that he feels coursing through his veins, just as much as his lifeblood. Perhaps that is rather a melodramatic description but music is all about creating lasting impressions and that is the one that John Whipples music leaves me with. Most of his songs tell stories of the rootlessness of a hard, itinerant, uncompromising character in the depths of loneliness and hopelessness. If that also seems too melodramatic, all of those feelings are what has beset most of us at sometime; it’s just that they are enhanced by the fact that they are compressed onto forty minutes of a disc rather than spread over a lifetime, however long or short.
The nearest comparison that I can come up with is probably Tom Waits but don’t think you are getting a copy; this man goes completely his own way and inhabits more of a rural existence than Waits often city based barfly. Whipples songs are darker and often easier to unravel and in many ways more rewarding because unlike Waits there is never even a hint of contrivance.
This is his ninth album since 2002 and as is usual J.P wrote all of the songs on this tremendous album but where it differs from most of his recordings is that he is assisted by several other musicians and although the sound is fuller it is still quite sparse. He takes all lead vocals as well as playing dobro, banjo, bass, harmonica and synthesizer, Sean McCarthy is on Keyboards, James Perry, drums and percussion, Joel Zeigler, bass on No Fool and Noah Bernstein plays saxophone on Dumpster Dan. As with many of his albums this one was Produced by James Perry.
And so to the songs! The album opens with On The Run, a dark tale enhanced by the melodic guitar sound, supported by light percussion and heavy bass then in comes those raw vocals that take you to another world. Everything blends into a totally original sound that is both blues and raw unearthly hillbilly on a dark tale of loneliness that borders despair. The pace picks up a little on Ordinary Skin, another excellent blues/hillbilly song that gradually with the help of his slide, organ and cymbals becomes a cacophony before returning to a more disciplined sound on a song that contrasts the frenzy of city life with the peace of a rural existence, on a highly descriptive and heartfelt song. Dumpster Dan is propelled by a slow moody banjo, bass and percussion on a tale that is highly descriptive and full of the dark evocative horror of a life that could have been rewarding but ended with a total lack of dignity. The saxophone, that could easily have clashed discordantly, serves to enhance the lack of redemption for the victim of this sad tale. Cadillac In Paradise conversely, is actually a humourous tale on this dobro driven song on which there are female harmony vocals and a speedy tempo on the story of someone who has achieved redemption and looks forward to his reward of a Cadillac in paradise! Finally, Mother Road on which the sole instrument, other than vocal, is the tuneful banjo that slowly drives this tale of a pair of lovers who have burned their bridges (and her fathers barn!) and are now off to start a new life in California ……. they hope! Can’t help thinking that living their lives on the wrong side of the tracks is certain to scupper their plans, but for the time being they are enjoying their freedom!
That’s more than enough of my ramblings aimed at hopefully persuading you to invest some of your valuable time in John Whipple’s music. Because of his uniqueness I stand by my ‘genius’ accusation, something that can often be a millstone around the necks of lesser talents, which is exactly my point; this man has an abundance of talent that in spite of many struggles in his career keeps him ploughing on with his (dark) musical visions! Long may he continue to do so.
http://barefootjohn.com/