The blues is a tradition as old as the earth because that’s where it came from—right out of the ground. Like the dirt, it’s basic and simple, but when it’s done right, the blues can evoke something that feels much larger. On For Rosa, Maeve and Noreen, Samuel James is searching for that “something,” as he defines himself within the context of the legendary, pre-war, front-porch Delta blues that set the standard. The result is a record well informed by the works of Skip James, Son House and Charley Patton, but that ultimately works best in small doses.
For Rosa is James’ second release for Canadian imprint NorthernBlues, picking up where 2008’s Songs Famed for Sorrow & Joy left off. He employs a barebones, one-man-and-his-guitar approach to stories of love, loss, murder and revenge replete with steadily plucked drones, foot-tapping rhythms, and the meandering vocal style you’d expect from a Deep South troubadour (James is from Portland, Maine). On guitars and resonator, James demonstrates his skill at finger picking, slide and percussive styles that form the backbone of the fourteen tracks here. Vocally, he wanders between a gritty, soulful croon and a deadpan narrative that may alienate some listeners. And when it comes to writing songs, Samuel James is at his best when he’s telling stories, as on For Rosa’s bookends (“Bigger, Blacker Ben” and “Path of Ashes,” respectfully). In between play variations on a theme that seem better suited to a bygone era, where simplicity was reality not effect. He can’t be faulted for trying; it’s hard to pull off a sound that—for all intents and purposes—exists in an extensive back catalogue and grainy black and white films. But because this music’s origins are so old and sacred, when it’s cleaned up and thrown in a studio the risk that things may come off as contrived is almost unavoidable.
There is no denying James’ talent, but after a few tracks the novelty wears off and the listener is liable to spend the rest of the record waiting for a pick-me-up. Thirteen tracks later, when he finally does cut loose, “Path of Ashes” shines as For Rosa’s greatest but final attribute. While the majority of this album plays like an attempt at time travel as James chases his heroes, with a little more substance this bluesman’s future as a storyteller could be well within his reach.
Stephen B. Griggs – MuzikReviews.com Contributor
November 6, 2009
