Here we have Vol 2 of Mercyland; Hymns For The Rest of Us, like its well-received predecessor of 2012 the second instalment is awash in fine material. Phil Madeira who thought up the concept not of making an out and out religious album but one that brought people together. Given great encouragement by his then boss, Emmylou Harris (when he was in her then band, The Red Dirt Boys) once again plays an integral especially as a songwriter. On saying this I am not forgetting or dismissing his efforts on acoustic, electric, B-Bender electric, slide guitar, Hammond organ and piano as he ensures his lyrics are accompanied by the feel intended. With a wonderful set of diverse players the album if nothing else it's eclectic, as the listener has a broad as it is deep musical landscape set before them to explore; even the most seasoned and world weary will find someone new and exciting to them.
In its own right the record is both a challenge and inspiration to Madeira, a man who in turn has worked with Buddy Miller and Harris has co-writes with Matraca Berg, Kim Carnes, Mindy Smith, Lesile Satcher, John Paul White (The Civil Wars), Chuck Cannon, Shawn Mullins, Cindy Morgan and others. His songs have been recorded by Garth Brooks, Toby Keith, Nitty Gritty Dirt Band, Harris, Miller and The Civil Wars (who in 2013 won a Grammy with “In The Valley”, the opening track from Mercyland Vol, 1) among others. An author, visual artist and producer, Rhode Island-born and long time Nashville, Tennessee resident Madeira has a number of strings to his bow.
One or two new acts different from the norm gain the opportunity to show their worth. Nashville’s Angel Snow little known outside the American South is aided by the harmony vocals of The McCrary Sisters and is a revelation on “I Said It, I Meant It”, with a vocal style not unlike that of Shelby Lynne on a good day she figures among the highlights of the release. Other heart stopping moments on the record from those new to me include performances by Norwegian band, Humming People (“Stars”) and David Crowder’s soothing work on “Make An Ocean”. While with her sounding better than I have heard her in sometime Emmylou Harris’ partnership with John Paul White on “Kyrie”sounds like one made in heaven with her old guile and incisiveness is back there for all to savour. Adding to the above Madeira gets the best out of The McCrary Sisters on “Boom Chicka Boom” as the girls are given freedom to express themselves fully. One of two co-writes with his Southern Born Woman, Merrill Farnsworth I would love him to produce their next record if he could make them sound this good on every track! It is a ripper. Texan Crowder who follows them in the running order performs with meaning and, to a degree reminds me of a young Steve Young. Beautiful work.
The release is a wonderful opportunity for some little know outside some people’s field to gain a foothold with a new set of fans; and those whom prior to the release knew little about the likes of Lone Bellow some new exciting acts to follow. Underrated musician, songwriter and producer Will Kimbrough and The Red Dirt Boys come through with a strong “Madness Of the World”. As for the man himself Madeira comes armed with a staggering rhythm for a tune that wouldn’t go amiss if performed by performer Mark Knopfler. Such is the snap crackle and pop of “Mercy”, and there are other star cuts too. Snow’s song is one of those I find an additional something to it every time I play the song, and it isn’t alone. I have yet to get to genial jazz instrumentalist John Scofield and his own tune “Heaven Hill” that closes the record in fabulous fashion, and like they say he makes the guitar talk. Nashville’s much talked about The Wood Brothers (listen to that man play bass, he’s about the best there is) do themselves proud with “Can’t Put A Name On It”, classy, a little funky it stirs the pot with a great fervour as they are joined by some great brass (Rahsaan Barber, saxes; Roland Barber, trumpet, trombone). Finally there’s a killer r&b track “Sacred Ground”; performed by Jason Eskridge, a great lead vocalist the authoritative nature in which he grabs hold of the song is top class. His backing unit of Cindy Morgan who I loved on the first album, and The Wood Brothers who play with more fire in their belly than most players dream of send the song into orbit. One of the more spare tunes on the record Sugar & The High Lows with Trent Dabs and Amy Stroup on lead vocals is one of those songs that gains a little every time I listen to it, and like with Snow and her song it carries a message as strong if not stronger than any other song on the record. I can’t wait for Mercyland; Hymns For The Rest Of Us Vol, 3
Maurice Hope