MICHAEL MCDERMOTT - WILLOW SPRINGS
2016 - Pauper Sky Records
The poeticism of Dylan, the storytelling and power of Springsteen, in fact a vocal style not too dissimilar to the latter and even Peter Case with his raw, yet expressive style that is just as capable of exhibiting a comforting warmth, although there has been little of that up to, but precluding, this album! That in a nutshell is how I've often described Michael McDermott to the uninitiated. Many think I must be exaggerating, until that is, they hear a couple of his albums. Of course, those comparisons are pretty much meaningless but do give some idea of what you can hear on his recordings. The big difference though, in fact you could say the huge difference, is that Michael McDermott has led a 'colourful' life, for many years on the dark side and that is exactly what he writes and sings about. Not for him the poetic idealism of a young Dylan or the tales of 'all American' life a la Springsteen. His knowledge of life comes from a very much different world, for much of it lived in the 'colourful' 'Hell's Kitchen' area of New York City and Chicago.
It was often the case on earlier albums that the open hearted confessions about his lifestyle were going to lead beyond drama to tragedy but Michael has conquered many of his demons and this is the first album of his, at least that I recollect, that includes a little tenderness, in fact, an almost overwhelming tenderness on Willie Rain a paean to his own child, territory that I'm sure most followers of his career thought he would never get to. It's a tribute to his inner strength that was sparked by his wife and musical partner in his 'side project,' 'The Westies' Heather Horton. Both of the Westies albums are extraordinary and should form a part of any roots music aficionados music collection, with the subject matter being deep and dark but offset by the fact that much of it is true and there are some beautiful and memorable melodies. Every album he has ever made, this is his tenth, (plus the two Westies albums) provides the listener with not only excellent and evocative vocals propelled by tremendous melodies and arrangements but also with lashings of food for thought. No restraint is used lyrically and there is no romanticizing of his past life but this album actually exhibits optimism at the turn his life has taken in recent years making it not only a truly great album but also just about the most moving collection of songs I have ever heard. I know that Michael himself still believes in the healing power of music, something I more than happily subscribe to, and this album in many ways defines that sentiment with its two almost extreme helpings of darkness and light. It is that light that is so unusual for a Michael McDermott album and it is the contrast between the two that provides the almost overwhelming depth of sentiment that any listener who still has a pulse will become enshrouded and lost in.
The same applies to the melodies on this album, some contrasting with the dark lyrics, some sympathetic with the timbre of the story ensuring that the listener is never quite sure what to expect. The lyrics themselves are often extraordinary, sometimes having the feel of being produced as streams of consciousness during which there is absolutely no sign of holding back, often intensely dark, occasionally now containing swathes of light but always poetic and quite addictive. He is helped out on this recording by multi-instrumentalist, Lex Price, with Will Kimbrough adding his guitar expertise, John Deaderick on keyboards and Heather Horton adding her often restrained but essential backing vocals, all members along with Michael who also produced the album, of the Westies.
All of his albums have a dramatic intensity that few if any can match, but this one stands out for the closure and the powerful beams of light contained in particular in three songs towards the end of this incredible recording. They are Shadow in the window, Willie Rain and What dreams may come, with the first of them getting underway with a strummed guitar and harmonica getting this slow moody ballad off to a beautiful start on a spectacular love song that gradually builds in power and is a tremendous and emotional tribute to his late father. There is probably no coincidence in the fact that Willie Rain follows that tribute to his father. It is a quite spectacular and emotional tale of the love he has for his daughter. In literally anyone else's hands this would certainly come across as sugary but in the case of Michael McDermott, with his raw voice, that often sounds like Peter Case on this song, and the depth of feeling it is like a happy ending at the end of a long harrowing drama. The third in this virtual trilogy is a beautiful but intense dreamscape that relates to the death of his father. In many ways that trio of songs brings closure to a cinematic album that started with Willow Springs, with its lovely light guitar sound getting things going on a lyrically dark tale that reflects on a variety of sinful pursuits pre and post incarceration, performed in a way that sounds like a young Dylan, the slight monotone giving the song more power, occasionally alleviated by Heather Horton's beautiful harmonies. The song is actually centered on a man whose sins have been left behind and he is now free to simply reflect on what was and look forward to what will be with due credit to his lover. Being the album's title track it's interesting to reflect on the fact that 'Willow Springs,' a small rural community twenty five miles south of Chicago is now home to Michael and his family and in many ways is one of the important life giving roots of this recording. What follows are tales of self doubt, harrowing stories of addiction, crime and hopelessness all leading up to some kind of redemption with his introduction into a hitherto unassailable world.
I think the difference between this and some of his earlier albums is that now the majority of his darker tales are telling stories about his past rather than his current experiences, consequently allowing a little tenderness to enter the picture. To be honest, I don't care what he sings about; he has one of those voices that perfectly evoke every emotion contained in his stories and in much the same way as a great actor can grip his audience, Michael has a similar effect with his songs. Nothing is ever going to be sanitized and most, perhaps all, will undoubtedly be taken from his experiences, good and bad. It still amazes me that the mainstream hasn't latched on to this extraordinarily gifted singer songwriter. He is genuinely at the top of the tree, with few if any peers. For me a choice between a new Springsteen album and a new McDermott recording is a no brainer. It's McDermott every time, despite the fact that I've been an (intermittent) fan of Springsteen since his very first release. I can only think that Michael McDermott's music is too 'real' for the sanitized world of mainstream music, with his 'warts 'n' all' songs being too powerful for the sensitive. Anything that allows this gifted musician to continue making unique and completely individual recordings is fine by me, but be warned, If you buy this album and enjoy it as you assuredly will, you will then be forced to invest in both 'Westies' albums, after which you will be driven to work your way back through this talented mans catalogue and be as desperate for his next release as all of his ever growing band of fans are!
http://www.michael-mcdermott.com/
Footnote:
It is rare I receive an album that is so moving and that I can relate to in its entirety. In fact I don't remember ever receiving such an album; that is until this one came into my possession. I can actually relate to nearly every song, not always through personal experience although much of it is, but through the hitherto unknown depths of emotion that he has plumbed and the roller coaster the recording takes the listener on. Take Willie Rain. Michael McDermott just doesn't write, much less record, songs such as this. Or at least he didn't until now and to do so he must have almost literally opened his soul, all brought about by one little girl. That little girl and her mother Heather have shown Michael, whose past has been well documented, that not only is redemption possible but that he has actually gone a long way towards achieving it, despite the constant difficulties in hanging on to this most tenuous of states. I've never been to prison, never been a drug addict and never been an alcoholic, some of it more through luck than judgement, but in so many ways I envy the man for his ability, desire and the strength to be able to open up his heart and soul in such a way. It is impossible to imagine how difficult it must have been to reveal these inner feelings but I for one thank him for doing what most of us are totally incapable of. Quite how he will follow this once in a generation recording that in many ways provides closure on a long difficult spell I don't know, but I'm pretty sure he will have a damn good try.
The poeticism of Dylan, the storytelling and power of Springsteen, in fact a vocal style not too dissimilar to the latter and even Peter Case with his raw, yet expressive style that is just as capable of exhibiting a comforting warmth, although there has been little of that up to, but precluding, this album! That in a nutshell is how I've often described Michael McDermott to the uninitiated. Many think I must be exaggerating, until that is, they hear a couple of his albums. Of course, those comparisons are pretty much meaningless but do give some idea of what you can hear on his recordings. The big difference though, in fact you could say the huge difference, is that Michael McDermott has led a 'colourful' life, for many years on the dark side and that is exactly what he writes and sings about. Not for him the poetic idealism of a young Dylan or the tales of 'all American' life a la Springsteen. His knowledge of life comes from a very much different world, for much of it lived in the 'colourful' 'Hell's Kitchen' area of New York City and Chicago.
It was often the case on earlier albums that the open hearted confessions about his lifestyle were going to lead beyond drama to tragedy but Michael has conquered many of his demons and this is the first album of his, at least that I recollect, that includes a little tenderness, in fact, an almost overwhelming tenderness on Willie Rain a paean to his own child, territory that I'm sure most followers of his career thought he would never get to. It's a tribute to his inner strength that was sparked by his wife and musical partner in his 'side project,' 'The Westies' Heather Horton. Both of the Westies albums are extraordinary and should form a part of any roots music aficionados music collection, with the subject matter being deep and dark but offset by the fact that much of it is true and there are some beautiful and memorable melodies. Every album he has ever made, this is his tenth, (plus the two Westies albums) provides the listener with not only excellent and evocative vocals propelled by tremendous melodies and arrangements but also with lashings of food for thought. No restraint is used lyrically and there is no romanticizing of his past life but this album actually exhibits optimism at the turn his life has taken in recent years making it not only a truly great album but also just about the most moving collection of songs I have ever heard. I know that Michael himself still believes in the healing power of music, something I more than happily subscribe to, and this album in many ways defines that sentiment with its two almost extreme helpings of darkness and light. It is that light that is so unusual for a Michael McDermott album and it is the contrast between the two that provides the almost overwhelming depth of sentiment that any listener who still has a pulse will become enshrouded and lost in.
The same applies to the melodies on this album, some contrasting with the dark lyrics, some sympathetic with the timbre of the story ensuring that the listener is never quite sure what to expect. The lyrics themselves are often extraordinary, sometimes having the feel of being produced as streams of consciousness during which there is absolutely no sign of holding back, often intensely dark, occasionally now containing swathes of light but always poetic and quite addictive. He is helped out on this recording by multi-instrumentalist, Lex Price, with Will Kimbrough adding his guitar expertise, John Deaderick on keyboards and Heather Horton adding her often restrained but essential backing vocals, all members along with Michael who also produced the album, of the Westies.
All of his albums have a dramatic intensity that few if any can match, but this one stands out for the closure and the powerful beams of light contained in particular in three songs towards the end of this incredible recording. They are Shadow in the window, Willie Rain and What dreams may come, with the first of them getting underway with a strummed guitar and harmonica getting this slow moody ballad off to a beautiful start on a spectacular love song that gradually builds in power and is a tremendous and emotional tribute to his late father. There is probably no coincidence in the fact that Willie Rain follows that tribute to his father. It is a quite spectacular and emotional tale of the love he has for his daughter. In literally anyone else's hands this would certainly come across as sugary but in the case of Michael McDermott, with his raw voice, that often sounds like Peter Case on this song, and the depth of feeling it is like a happy ending at the end of a long harrowing drama. The third in this virtual trilogy is a beautiful but intense dreamscape that relates to the death of his father. In many ways that trio of songs brings closure to a cinematic album that started with Willow Springs, with its lovely light guitar sound getting things going on a lyrically dark tale that reflects on a variety of sinful pursuits pre and post incarceration, performed in a way that sounds like a young Dylan, the slight monotone giving the song more power, occasionally alleviated by Heather Horton's beautiful harmonies. The song is actually centered on a man whose sins have been left behind and he is now free to simply reflect on what was and look forward to what will be with due credit to his lover. Being the album's title track it's interesting to reflect on the fact that 'Willow Springs,' a small rural community twenty five miles south of Chicago is now home to Michael and his family and in many ways is one of the important life giving roots of this recording. What follows are tales of self doubt, harrowing stories of addiction, crime and hopelessness all leading up to some kind of redemption with his introduction into a hitherto unassailable world.
I think the difference between this and some of his earlier albums is that now the majority of his darker tales are telling stories about his past rather than his current experiences, consequently allowing a little tenderness to enter the picture. To be honest, I don't care what he sings about; he has one of those voices that perfectly evoke every emotion contained in his stories and in much the same way as a great actor can grip his audience, Michael has a similar effect with his songs. Nothing is ever going to be sanitized and most, perhaps all, will undoubtedly be taken from his experiences, good and bad. It still amazes me that the mainstream hasn't latched on to this extraordinarily gifted singer songwriter. He is genuinely at the top of the tree, with few if any peers. For me a choice between a new Springsteen album and a new McDermott recording is a no brainer. It's McDermott every time, despite the fact that I've been an (intermittent) fan of Springsteen since his very first release. I can only think that Michael McDermott's music is too 'real' for the sanitized world of mainstream music, with his 'warts 'n' all' songs being too powerful for the sensitive. Anything that allows this gifted musician to continue making unique and completely individual recordings is fine by me, but be warned, If you buy this album and enjoy it as you assuredly will, you will then be forced to invest in both 'Westies' albums, after which you will be driven to work your way back through this talented mans catalogue and be as desperate for his next release as all of his ever growing band of fans are!
http://www.michael-mcdermott.com/
Footnote:
It is rare I receive an album that is so moving and that I can relate to in its entirety. In fact I don't remember ever receiving such an album; that is until this one came into my possession. I can actually relate to nearly every song, not always through personal experience although much of it is, but through the hitherto unknown depths of emotion that he has plumbed and the roller coaster the recording takes the listener on. Take Willie Rain. Michael McDermott just doesn't write, much less record, songs such as this. Or at least he didn't until now and to do so he must have almost literally opened his soul, all brought about by one little girl. That little girl and her mother Heather have shown Michael, whose past has been well documented, that not only is redemption possible but that he has actually gone a long way towards achieving it, despite the constant difficulties in hanging on to this most tenuous of states. I've never been to prison, never been a drug addict and never been an alcoholic, some of it more through luck than judgement, but in so many ways I envy the man for his ability, desire and the strength to be able to open up his heart and soul in such a way. It is impossible to imagine how difficult it must have been to reveal these inner feelings but I for one thank him for doing what most of us are totally incapable of. Quite how he will follow this once in a generation recording that in many ways provides closure on a long difficult spell I don't know, but I'm pretty sure he will have a damn good try.