If the mythical music genre ‘Briticana’ ever takes root
then, on the evidence of this new release, Jamie Freeman will be right at the
core of the movement. With the help of his band The Agreement and a wealth of
guest contributors, Jamie has cut a record that combines a plethora of American
music influences, all woven together with a distinct British, if not more
specifically English, flavour. 100 MILES FROM TOWN is the second album from
Jamie who balances a recording career with running the different strands of the
Union Music Store and generally being an Americana music activist. This multi-merited
release has the potential to nestle securely amongst the finest of British
purveyors of this music style.
Diversity is a popular word frequenting the modern day
dictionary and over the course of a 43 minute-13 song experience, Jamie
fluctuates between folk, country, Americana and rock n’ roll as well as adding a hint of gospel
and even a Mod feel to a couple of tracks. The appeal of the record lies within
the layers of musical arrangement and song construction, along with Jamie’s ear
for a story and the valuable acquisition of additional vocals to help bring the
tracks to life.
Jamie has certainly utilised the gifts of the many top notch
artists that pass through his East Sussex base. The instant effect of one such
talent is the lap steel and mandolin playing of the Lovell Sisters, Megan and
Rebecca, now more commonly known as Larkin Poe, which soaks into the folk
oriented opening song ‘The Knight’.
Later in the album, Canadian songbirds The Good Lovelies add a sublime harmony touch
to the retro but still relevant rocker ‘Two
Sugar Baby’ which even before reading the sleeve notes was recalled as a
familiar social media handle.
The third and probably most profound interim input comes
from highly respected Austin based artist Brandy Zdan who co-wrote with Jamie
the album’s standout track ‘Steel Away’.
This superb song echoes the vibes from the golden age of west coast country rock
and who better to step forward to offer his Pedal Steel services than UK stalwart
of this iconic instrument B.J. Cole. To further infiltrate the core of American
roots music, Jamie has chosen to promote this album with a classic-styled up tempo
Americana murder ballad ‘Hey Hey Indianna’
and reveals his writing ability to pen a serious tale with a catchy hook.
For a closer influence to home, Jamie has assembled a fine
band under the collective name of The Agreement consisting of regular
contributors Abigail Downs, Jessica Spengler, Jonathan Hirsch and Joe Ellis.
The two female band members join guest vocalist Rachel Davies and Jamie to
deliver the groovin’ almost instrument free gospel-eque moving song ‘Hey Mama’ which you could envisage being
a popular live participation number despite it’s quite sad lyrics and true
inspiration. More traditional English influence surfaces on the dobro driven ‘Down from London’ while folk figures
strongly on the Amy Tudor poem ‘Message
from Limbo’, an acoustic effort very reminiscent to the work of Seth
Lakeman. One suspects that Jamie may be rolling back the years a little with
the guitar rock style used on ‘Scrabble
in Afghanistan’ as vivid images of a post-punk new wave band immediately
accompany the solos decorating this song, co-written with the previously
mentioned Amy Tudor.
The best of the rest probably lies within the penultimate
track, another groovin’ narrative piece titled ‘Annie Ran Away’. This is in effect the album closer as the 13th
and final track is a short piano piece which is intended as a thoughtful
response to the previous song. Jamie admits on the sleeve notes that he doesn’t
play piano, however this has no adverse impact on the album which is healthily
stocked with a wide multi-dimensional offering of string instrumentation.
