There are no half measures when Michael McDermott is in the mood to pour his heart and soul into a hefty project. Whether it was a lauded yet ultimately stuttering stab at the majors or a successful renaissance through The Westies and a string of solo albums, each release from this Chicago native saps, strains and eventually enthrals those willing to take up the challenge of diving deep in headlong. ST.PAUL'S BOULEVARD sees McDermott revving up the folk-rock engine before churning out a lyric-laden barrage of songs stirring into life any facets of passivity. A short intro turns the ignition before fourteen tracks take hold to whisk you on a journey where hope mingles with realistic despair.
You will need to section off in excess of an hour to absorb this record that launches with the rollicking 'Where the Light Gets In' and ends in the pure escapism of 'Paris', light years away from the crusty core of heartland USA. McDermott's acute songwriting hits a high early on with the line "Just remember the wound is where the light gets in" from the opener's chorus.
The knack of weaving in characters, both fictional and real life, is a trusted trait alongside tales told within a song. In the second track, 'Our Little Secret' spins around the axis of a chance encounter with consequences. Only a couple of tracks in and the richness of the production is paying off bringing out the best of McDermott's worn rock vocals.
Possibly one of the album's standout tracks flourishes in the no.4 slot. A rampant chorus thumps home the message of 'Sick of This Town" with the sentiment of the title booming out and captured succinctly in "feels like my future's in the rear view mirror".
To balance out the negatives, tempered rocker 'New Year's Day' heralds a message of hope, while 'Pack the Car' offers a solution if you get want to get out of here. These songs in the midriff and closing moments of the album catch McDermott in full flow to strengthen up an already strong collection of stirring songs.
We learn that 'St. Paul's Boulevard' can be anywhere you want it to be and the title track deep in the heart of the record steers the theme with a hint of twang plus plenty of rousing keys, and the sound titled heavily in power ballad direction. A style in which Michael McDermott excels as witnessed close at hand at a gig in Birmingham a few years ago.
The earlier mentioned external characters crop in 'Marlowe' - celebrating the fictional Phillip - and 'All That We Have Lost' where a string of assassinations frequent the lyrics from "Bobby in LA" to "Jesus on the cross". In contrast, 'The Outer Drive' threads in more characters likely from a fictional source to spin further escapist thoughts from a place wonderfully described by the line "There’s that goddamn ceiling fan. Hangs like a noose above a wanted man".
Four additional tracks take us up to the full complement. 'The Arsonist' is only a title that could come from Michael McDermott's writing and begins benignly on piano before picking up the pace to blast away. 'Meet Me Halfway' is aptly positioned right at the album's halfway point and is as typical a Michael McDermott track as you are likely to hear. Vocals from the gut, a soundtrack to project the aura and lyrics true to the soul.
'Dead By Dawn' and 'Peace, Love and Brilliant Colors' complete the set. Like all the tracks, both are living organisms on their own even within the strains of a semi-concept album. The former oozes a heartland gruffness, while the latter secures the penultimate spot in spirited positivity.
Any record from Michael McDermott is not for the faint hearted. Prepare for an exhausted journey where no pain no gain rings true in mild doses. ST PAUL'S BOULEVARD is a dedicated work of art once again propelling its architect to the summit of gritty heartfelt industrious folk rock. Each time he releases a record, more join the throng and that is justice.