WESLEY RANDOLPH EADER - HIGHWAY WINDS
2018 - Self Released
When deciding whether (or not) to review an album I don't necessarily have to love it, just as long as I can get something out of it and the positives outweigh any negatives. To my mind it is so easy to be negative simply because nothing in this world that is manufactured by man is perfect. I also realise just how much work and how much of the musicians self goes into the creation of an album, from writing, arranging, performing, recording and promotion if finances allow, which in the case of most artists that I tend to follow, they don't or are at least limited! That is why I sometimes get criticized for the lack of criticism in my reviews but as far as I'm concerned a reviewer is a different creature to a 'critic.' I'm merely trying to give some indication of what potential listeners may hear and give them a gentle push in the direction of the music I love. Don't worry about the foregoing comments, yet another hugely positive review is about to ensue!
Wesley Randolph Eaders second album 'Highway winds' is one of the best albums, I've heard since John Prine's self titled debut back in 1972, the benchmark by which I measure musical quality. It has had a huge number of plays in the last few weeks so it remains to be seen how its longevity progresses but I must say that at the moment it is getting better with every play. In relating this recording to the first paragraph above, even if I was a critic this album, at least in my world, is beyond any criticism. The ten self written songs are all as good as anyone could wish to hear and so lyrically varied, with arrangements that are perfect for purpose, generally sparse but with enough instrumental changes to keep things interesting throughout, the playing is excellent and Wesley's voice could have been 'created' to sing these tremendous songs. In fact, and I don't say this lightly, my mention of John Prine in the same review is in some ways prescient. Again, that word longevity comes into play, but the fact remains that I still look on 'John Prine' as being my all time favourite album and whilst the first few listens to that old vinyl recording were a very long time ago and my impressions coloured by that four and a half decades, from memory I'm getting a similar buzz each time I play 'Highway Winds.' Right now I'm pretty sure the 'longevity' question is simply me hedging my bets and that I really do believe this will grow to be regarded by many as a truly great album. Last year I was saying (to anyone who would listen) that Amber Cross's album 'Savage on the downhill' was a potential album of the century, certainly so far;' Highway Winds is up there with it, not just behind, but actually sharing that position!
I know John Prine and Townes Van Zandt, along with artists such as Guy Clark are idolized by many (including me) and justifiably so. I'm sure that if Wesley progresses from this album and is actually able to continue making albums of this quality he could very well be added to that esteemed list. Only time and longevity will tell but this is one hell of an excellent start. The Townes and Prine comparisons even have some relevance in the vocal stakes with the warm melodicism of his vocals raising echoes of those two added to the often poetic, emotion charged lyricism of his songs
All ten of the songs were written by Wesley and the whole album in its entirety was recorded on a 1970s tape machine at Bungalow 9 studios, engineered by Danny Ohanlon who also helped out on production duties and played drums. On much of the instrumentation Wesley's good friend and 'Blitzen Trapper,' Eric Earley played electric guitar, piano, banjo, vocal harmonies, dobro and second acoustic guitar, with Wesley himself on lead vocals, acoustic guitar and harmonica. Adding their skills to the mix were two times national old time fiddle champion Luke Price, fairly obviously on fiddle, Spencer Buckle on bass, Charlie Morris, lap steel, Laura Kucera played violin and Rachel Anna Dial added beautiful harmonies. The warmth and melodic qualities of Wesley's vocal, even on the slowest, most sparse songs, is still sufficient to keep things more than interesting thanks to his ability to evoke all of the sentiments contained in these often wordy, highly descriptive, poetic stories.
The album opens with Big steam wheel, a song that kicks off with acoustic guitar and the lovely sound of the dobro, soon joined by Wesley's excellent clear, warm vocal that in some ways reminded me of the late John Denver. The tempo never gets above slow and reflective but the sound of the dobro and the excellence of the lyrics and melody ensure the quality of this incredibly descriptive song. It is followed by Carry on down the road, the mandolin and fiddle giving the song a high lonesome feel with the handclaps almost creating a hoedown feel. It is a tale that has a humorous edge, with the harmonies deepening the sound and the rural atmosphere on a composition that has an incredibly catchy melody and reminds me of artists such as 'Old Man Luedecke.' There is a gentle acoustic guitar intro on Eliza (Saint of Flower Mountain) that is soon joined by a haunting harmonica and fiddle with the dobro eventually adding to the company, creating greater depth and variety on a love song that is so highly detailed it draws the listener in despite the slow pace that is essential to a tale that has an incredibly sad end. Sorrows for a song has an intro consisting of acoustic guitar and lovely steel guitar accompanying Wesley's reflective vocal on a beautiful country song that stylistically reminds me of the late great Townes Van Zandt. The piano comes in as the bass deepens giving the song a much fuller sound as it wends its way through Wesley's excellent lyrical tale.
Whilst I have made a number of comparisons with other artists they are all, at best, loose and are only meant to give some idea of the diversity and possible influences of this hugely talented singer songwriter. He brings great variety and no little originality to his lovely blend of country and folk music and really should be destined for great things with his ability to turn basic genres into something so personal and highly individual. 'Highway Winds' is his 'difficult second album' and if that tired old cliché has any truth in it at all I can't begin to visualize just how great his next album will be, but this one most certainly is.
http://www.wesleyrandolpheader.com/
Wesley is on tour in the UK in July so check his website for dates and locations. I'll see you at the Green Note, London on the 25th!
When deciding whether (or not) to review an album I don't necessarily have to love it, just as long as I can get something out of it and the positives outweigh any negatives. To my mind it is so easy to be negative simply because nothing in this world that is manufactured by man is perfect. I also realise just how much work and how much of the musicians self goes into the creation of an album, from writing, arranging, performing, recording and promotion if finances allow, which in the case of most artists that I tend to follow, they don't or are at least limited! That is why I sometimes get criticized for the lack of criticism in my reviews but as far as I'm concerned a reviewer is a different creature to a 'critic.' I'm merely trying to give some indication of what potential listeners may hear and give them a gentle push in the direction of the music I love. Don't worry about the foregoing comments, yet another hugely positive review is about to ensue!
Wesley Randolph Eaders second album 'Highway winds' is one of the best albums, I've heard since John Prine's self titled debut back in 1972, the benchmark by which I measure musical quality. It has had a huge number of plays in the last few weeks so it remains to be seen how its longevity progresses but I must say that at the moment it is getting better with every play. In relating this recording to the first paragraph above, even if I was a critic this album, at least in my world, is beyond any criticism. The ten self written songs are all as good as anyone could wish to hear and so lyrically varied, with arrangements that are perfect for purpose, generally sparse but with enough instrumental changes to keep things interesting throughout, the playing is excellent and Wesley's voice could have been 'created' to sing these tremendous songs. In fact, and I don't say this lightly, my mention of John Prine in the same review is in some ways prescient. Again, that word longevity comes into play, but the fact remains that I still look on 'John Prine' as being my all time favourite album and whilst the first few listens to that old vinyl recording were a very long time ago and my impressions coloured by that four and a half decades, from memory I'm getting a similar buzz each time I play 'Highway Winds.' Right now I'm pretty sure the 'longevity' question is simply me hedging my bets and that I really do believe this will grow to be regarded by many as a truly great album. Last year I was saying (to anyone who would listen) that Amber Cross's album 'Savage on the downhill' was a potential album of the century, certainly so far;' Highway Winds is up there with it, not just behind, but actually sharing that position!
I know John Prine and Townes Van Zandt, along with artists such as Guy Clark are idolized by many (including me) and justifiably so. I'm sure that if Wesley progresses from this album and is actually able to continue making albums of this quality he could very well be added to that esteemed list. Only time and longevity will tell but this is one hell of an excellent start. The Townes and Prine comparisons even have some relevance in the vocal stakes with the warm melodicism of his vocals raising echoes of those two added to the often poetic, emotion charged lyricism of his songs
All ten of the songs were written by Wesley and the whole album in its entirety was recorded on a 1970s tape machine at Bungalow 9 studios, engineered by Danny Ohanlon who also helped out on production duties and played drums. On much of the instrumentation Wesley's good friend and 'Blitzen Trapper,' Eric Earley played electric guitar, piano, banjo, vocal harmonies, dobro and second acoustic guitar, with Wesley himself on lead vocals, acoustic guitar and harmonica. Adding their skills to the mix were two times national old time fiddle champion Luke Price, fairly obviously on fiddle, Spencer Buckle on bass, Charlie Morris, lap steel, Laura Kucera played violin and Rachel Anna Dial added beautiful harmonies. The warmth and melodic qualities of Wesley's vocal, even on the slowest, most sparse songs, is still sufficient to keep things more than interesting thanks to his ability to evoke all of the sentiments contained in these often wordy, highly descriptive, poetic stories.
The album opens with Big steam wheel, a song that kicks off with acoustic guitar and the lovely sound of the dobro, soon joined by Wesley's excellent clear, warm vocal that in some ways reminded me of the late John Denver. The tempo never gets above slow and reflective but the sound of the dobro and the excellence of the lyrics and melody ensure the quality of this incredibly descriptive song. It is followed by Carry on down the road, the mandolin and fiddle giving the song a high lonesome feel with the handclaps almost creating a hoedown feel. It is a tale that has a humorous edge, with the harmonies deepening the sound and the rural atmosphere on a composition that has an incredibly catchy melody and reminds me of artists such as 'Old Man Luedecke.' There is a gentle acoustic guitar intro on Eliza (Saint of Flower Mountain) that is soon joined by a haunting harmonica and fiddle with the dobro eventually adding to the company, creating greater depth and variety on a love song that is so highly detailed it draws the listener in despite the slow pace that is essential to a tale that has an incredibly sad end. Sorrows for a song has an intro consisting of acoustic guitar and lovely steel guitar accompanying Wesley's reflective vocal on a beautiful country song that stylistically reminds me of the late great Townes Van Zandt. The piano comes in as the bass deepens giving the song a much fuller sound as it wends its way through Wesley's excellent lyrical tale.
Whilst I have made a number of comparisons with other artists they are all, at best, loose and are only meant to give some idea of the diversity and possible influences of this hugely talented singer songwriter. He brings great variety and no little originality to his lovely blend of country and folk music and really should be destined for great things with his ability to turn basic genres into something so personal and highly individual. 'Highway Winds' is his 'difficult second album' and if that tired old cliché has any truth in it at all I can't begin to visualize just how great his next album will be, but this one most certainly is.
http://www.wesleyrandolpheader.com/
Wesley is on tour in the UK in July so check his website for dates and locations. I'll see you at the Green Note, London on the 25th!