PHARIS & JASON ROMERO - A WANDERER I'LL STAY

2015 - Lula Records
This is the third album release by this talented couple who live in rural Canada and who, when not making music, manufacture much sought after banjo's. This disc's two excellent predecessor's signaled that Pharis and Jason could very soon leave their 'cult' status, as well as their banjo manufacturing, in the past and this new recording that to my ears ups the quality by at least a notch, simply reaffirms that comment. 'A wanderer I'll stay' should see them, if not plunging into the mainstream, certainly having appeal for many mainstream fans, as well as those loving the edgier side of 'roots music.' Rather than perhaps being a little in the shadow of artists such as that other talented pairing, Gillian Welch and David Rawlins this album sees them at least alongside and perhaps edging ahead of them. I've sometimes felt the rurality of the Welch, Rawlings music has been a little contrived but the Romero's has a completely natural 'take us as we are' quality. That is not a criticism of the former pair, who can count me amongst their many fans, but perhaps a slightly different take on their music.
At times in Pharis's vocal's there is a sound not too dissimilar to Gillian Welch and I have even heard some Linda Ronstadt tones on occasions! That is excellent company to have even a passing similarity too and one that labels Pharis as not only an excellent vocalist but also one who has a completely natural style as evidenced by the beautiful flow of her voice on this album and the sentiments she manages to arouse in the listener. Jason is also a very good vocalist although Pharis handles most lead vocals and plays guitar, with Jason taking some of the leads and playing various banjos and guitar. Their two part harmonies are excellent and help to generate a lovely edgy rural atmosphere to just about every song on this album. Their sound on this always sparse recording is supplemented by Josh Rabie on fiddle, John Hurd, bass, Marc Jenkins plays pedal steel and Brent Morton on drums. None of the additional instrumentation is over used but probably strengthens the album with those extra washes of colour and diversity that they provide.
Of the twelve varied tracks on the recording three are written solely by Pharis, three are co writes with Jason and two are Jason penned instrumentals, both dominated by his tremendous banjo playing. There are also four 'covers' at least two of which can be described as classics, although anyone not knowing those songs can be forgiven for thinking all of the songs were written at the same time, whether ninety years ago or yesterday! This is another indication of the talent possessed by this pairing who almost literally inhabit each song, old or new.
Ballad of Old Bill is a tremendous co-write by the pair that is led by atmospheric acoustic guitar and banjo on the tale of a man going completely his own way following the American civil war, with his reflections on the unremitting, but at the same time appealing, loneliness of his world. New Lonesome Blues is a tremendous harmony duet driven by the superb banjo playing that creates an 'old timey' haunting atmosphere which, when added to the harmonies, creates an unusual and eerie sound that harks back to the Louvin's at their most ethereal. On It's a sin to tell a lie we are treated to a gorgeous steel guitar that meanders it's way through this classic song with the duos harmonies as beautiful as they have ever been, stamping the song with their own individuality rather than being 'just another cover' of an old song. Cocaine Blues was first heard in the 1920s and was probably the first blues song to be recorded that was specifically about cocaine. This version whilst having the old song at heart is a tremendous modern day re-working, with excellent fiddle propelling the pairs tremendous vocal performance, aided by acoustic guitar. Final mention goes to the harrowing The Dying Soldier, another gorgeous, powerful and heartfelt duet with haunting fiddle and banjo that takes the classic war ballad back to the American civil war where it was set. It is an incredibly sad tale on which they almost overwhelm the listener with the sentiments for which there is only redemption in heaven as consolation.
This is a tremendous album that creates a warm moodily reflective atmosphere, even on the saddest of songs, something that brings a perfect balance to this mix of Pharis and Jason originals interspersed with those few classic public domain songs. There is a rural homemade aura to the album, not in terms of production, but in the complete depth of the songs and performances that are totally lacking in contrivances, something that is becoming this hugely talented duos trademark. Long may it continue!
http://pharisandjason.com/
This is the third album release by this talented couple who live in rural Canada and who, when not making music, manufacture much sought after banjo's. This disc's two excellent predecessor's signaled that Pharis and Jason could very soon leave their 'cult' status, as well as their banjo manufacturing, in the past and this new recording that to my ears ups the quality by at least a notch, simply reaffirms that comment. 'A wanderer I'll stay' should see them, if not plunging into the mainstream, certainly having appeal for many mainstream fans, as well as those loving the edgier side of 'roots music.' Rather than perhaps being a little in the shadow of artists such as that other talented pairing, Gillian Welch and David Rawlins this album sees them at least alongside and perhaps edging ahead of them. I've sometimes felt the rurality of the Welch, Rawlings music has been a little contrived but the Romero's has a completely natural 'take us as we are' quality. That is not a criticism of the former pair, who can count me amongst their many fans, but perhaps a slightly different take on their music.
At times in Pharis's vocal's there is a sound not too dissimilar to Gillian Welch and I have even heard some Linda Ronstadt tones on occasions! That is excellent company to have even a passing similarity too and one that labels Pharis as not only an excellent vocalist but also one who has a completely natural style as evidenced by the beautiful flow of her voice on this album and the sentiments she manages to arouse in the listener. Jason is also a very good vocalist although Pharis handles most lead vocals and plays guitar, with Jason taking some of the leads and playing various banjos and guitar. Their two part harmonies are excellent and help to generate a lovely edgy rural atmosphere to just about every song on this album. Their sound on this always sparse recording is supplemented by Josh Rabie on fiddle, John Hurd, bass, Marc Jenkins plays pedal steel and Brent Morton on drums. None of the additional instrumentation is over used but probably strengthens the album with those extra washes of colour and diversity that they provide.
Of the twelve varied tracks on the recording three are written solely by Pharis, three are co writes with Jason and two are Jason penned instrumentals, both dominated by his tremendous banjo playing. There are also four 'covers' at least two of which can be described as classics, although anyone not knowing those songs can be forgiven for thinking all of the songs were written at the same time, whether ninety years ago or yesterday! This is another indication of the talent possessed by this pairing who almost literally inhabit each song, old or new.
Ballad of Old Bill is a tremendous co-write by the pair that is led by atmospheric acoustic guitar and banjo on the tale of a man going completely his own way following the American civil war, with his reflections on the unremitting, but at the same time appealing, loneliness of his world. New Lonesome Blues is a tremendous harmony duet driven by the superb banjo playing that creates an 'old timey' haunting atmosphere which, when added to the harmonies, creates an unusual and eerie sound that harks back to the Louvin's at their most ethereal. On It's a sin to tell a lie we are treated to a gorgeous steel guitar that meanders it's way through this classic song with the duos harmonies as beautiful as they have ever been, stamping the song with their own individuality rather than being 'just another cover' of an old song. Cocaine Blues was first heard in the 1920s and was probably the first blues song to be recorded that was specifically about cocaine. This version whilst having the old song at heart is a tremendous modern day re-working, with excellent fiddle propelling the pairs tremendous vocal performance, aided by acoustic guitar. Final mention goes to the harrowing The Dying Soldier, another gorgeous, powerful and heartfelt duet with haunting fiddle and banjo that takes the classic war ballad back to the American civil war where it was set. It is an incredibly sad tale on which they almost overwhelm the listener with the sentiments for which there is only redemption in heaven as consolation.
This is a tremendous album that creates a warm moodily reflective atmosphere, even on the saddest of songs, something that brings a perfect balance to this mix of Pharis and Jason originals interspersed with those few classic public domain songs. There is a rural homemade aura to the album, not in terms of production, but in the complete depth of the songs and performances that are totally lacking in contrivances, something that is becoming this hugely talented duos trademark. Long may it continue!
http://pharisandjason.com/