Free your mind, clear out the everyday clutter and take as
much time as you need to absorb the subtle drifting mesmeric tones of Sam
Baker. In some respects this new album is symbolic of the acute
singer-songwriter that has been accumulating lo-fi accolades for over a decade,
but in other ways there are some marked changes from his earlier releases. Without
doubt Sam Baker aficionados will lap up every minute of LAND OF DOUBT and this may
prove an accessible entry point for those willing to try something a little
different.
What will always be undeniable is his ability to pen some
amazingly structured lyrical compositions, very much in line with what seems an
inbred trait of Texas songwriters. This is prevalent throughout the ten
narrated songs on this album which brings to life a number of characters,
concepts and perceptions. However what makes this album different are the five
carefully inserted short musical interludes which coat the whole record in a
cinematic gloss. Together with the ingenious production skills of Neilson
Hubbard, this helps fill the canvas with a host of dark shades giving an overall
feel of expansive western noir.
On the musical front, minimalist electric has generally
replaced the previous acoustic prevalence, but perhaps the starkest instrumental
inclusion is the periodic trumpet parts courtesy of Don Mitchell which add to a
lonesome atmosphere. The final player on this slimmed down band project is ace
guitarist Will Kimbrough and there is very little these days which doesn’t turn
to gold dust with his presence.
While on the subject of name association, there is one song
written in collaboration, and what better writer to work with than Mary
Gauthier. ‘Moses in the Reeds’ is the
result of their creative co-operation. This is an example of a character driven
piece which is a theme for the tracks which possibly resonate most on the
record. For a touch of ‘off the cuff’ name association there is so much synergy
with the writing style of Danny Schmidt on this record. ‘Feast of Valentine’s Day ‘is the track that most inspires this
assertion. It’s what Texan songwriters do best.
Returning to the outset of this review, and a couple of
plays on a busy commute isn’t going to make this record work. When you do
start to grasp it, the first track to leap out will likely be ‘Same Kind of Blue’. This has all the
credentials of a Sam Baker classic, rich in storytelling, sentiment and
poignancy. ‘Way down in a tunnel where the fallen angels dwell, there is a
quiet young man crawling into hell’ does the lyrical job perfectly. Towards the
end of the record ‘Say the Right Words’
has the capacity to linger long in the listener’s mind showcasing Baker as the
master of repetition. In the true spirit
of Van Zandt and numerous other songwriters there is an obligatory comment on
Cleveland’s negative side. One day somebody will have something nice to say
about the ‘jewel on Lake Erie’.
Back to other tracks, and characters take hold of ‘Margaret’ and ‘Peace Out’, while contemplative sentiment rules the roost in ‘Love is Patient’ and ‘Land of Doubt’. The lyrics take a more
decisive turn with ‘Leave’ suggesting
there is much to discover in the writing of Sam Baker as long as you’re
prepared to give it your undivided attention.
Parts of LAND OF DOUBT give this album a mini orchestral
feel, even to the extent of viewing the interludes as intellectual breathers.
Depth in its sparsity could well be on the epitaph of Sam Baker’s music, but
hopefully there will be more intriguing offerings before he hangs up the pen
and guitar. There are no rules as to when you can engage with Sam Baker; this
record may be well the starting point for the next legion of fans. Existing lovers
will no doubt concur.
