Posts Tagged ‘James Matthew VII’

Matthew ‘Doc’ Dunn

The last few years have seen Matthew ‘Doc’ Dunn kick out an enviable catalog of works on his own Cosmic Range Records and 2020 shows no sign of flagging with the arrival of Rain, Rain, Rain. Dunn’s name might ring familiar with a few folks around here — he’s been a longtime MV&EE collaborator in addition to showing up on records from fellow Canadians U.S. Girls, James Matthew VII, and Jennifer Castle. Not to rest easy he also heads up RSTB faves Sacred Lamp, The Cosmic Range, and Stonegrass. While his sidework tends to toe heavily into the psychedelic, on his own works he’s cultivated a bar-beaten singer songwriter countenance that’s washed in last call whiskey and delivered with a heart-heavy sigh.

As with his impeccable run from the last few years, Dunn’s songwriting here is touched a slight echo of ‘70s Van Morrison and Open Road era of Donovan. He’s soaked his records in the honeyed AM air that infected folk rock with a taste of cosmic croon and country-tumbled tangents as ’72 tumbled off of the calendar. That feeling runs heavy as ever over Rain, Rain, Rain. “Cold Wind” sways with jukebox twang and a lover’s embrace that’s only deepened on “Chance.” “Last Goodbye” brings a touch of Southern Soul in the background vocals, feeling like the tape might have run through Muscle Shoals before making its way back across the border to mellow in the Northern sun. As he dips into the distance on closer “Listen To The Rain” he lets the fog overtake the album, fading guitar cries into the soft patter rising on the wind.

There’s been a long kinship with his collaborator James Matthew VII. The artists have often graced each other’s records and Matthew shows up here once more to add in a good dose of buttered slide and tremolo ache. While JMVII lifts into the shimmer of ozone in his own works, here the pair ground Dunn’s record in the feeling of long-paced pavement, late-night lamentations, and last looks over a town before its left behind for good. The mark of a true country-folk gem is how much ache it can hang on a heart, and in that regard, this one’s as gold as they come. With each new solo work Dunn’s building a reputation as a Northern troubadour that shouldn’t be missed.




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Matthew ‘Doc’ Dunn – “Last Goodbye”

Canadian songwriter Matthew ‘Doc’ Dunn continues his excellent run of solo LPs for his own Cosmic Range Records. Beginning with the double 2018 run of Lightbourn and Some Horses Run and continuing through last years’ Upper Canada Blues Dunn has tapped into a weathered, country-flecked sound that’s shouldering a heavy load of emotional weight with the feeling that there’s plenty of road left to travel. He brings on fellow psych-country crooner James Matthew VII to add some stringwork to the LP, injecting his own mellowed gold to the sounds. Dunn’s perfected the art of the bittersweet swoon and while there are two solid pre-release singles up today, its “Last Goodbye” that captures the bright dawn sunlight best. The song gallops along with a breeze in its bones — a traveling song that leaves it all behind, but not without a pang that pulls at the soul. Rain, Rain, Rain is out October 26th and is up today for pre-order.



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RSTB Best of 2019

2019’s drawing to a close, so I suppose this is the place to tie it all up. I’ve mentioned in years past that ‘best’ is a hard line to draw around the music from the year. From a blog perspective ‘favorite’ seems more appropriate, but then for all intents and purposes my choices are qualitatively the best to me, if not necessarily quantitatively best in the sense of the zeitgeist. The drive to figure out what’s best seems to just consolidate consensus and we’re all treated to dozens of lists that cross over with each other, especially in the top spots. I’ve long been a proponent of niche. I say long live finding your voice and letting others find theirs – we can all compare notes and discover new music in the process. I don’t need anyone to sand the edges and offer up a list that’s all inclusive. I like the edges. These are my favorites from a great year, edges and all.

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James Matthew VII

There’s been a wealth of psychedelic country flooding the speakers of late, and I for one couldn’t be happier. Adding to this year’s patch of low-valley shimmer is Canadian songwriter James Matthew (De Long) VII. A longtime studio vet and songwriter, he’d originally found his way to the front of the fray with fellow punk tuned pop magnate Ben Cook in No Warning before the pair went on to softer shores with Marvelous Darlings. From there he found himself subsumed into the session life contributing to Tina Turner and Bone Thugs n’ Harmony records all while still popping up on Canada’s finest (Young Guv, Yacht Club, Matthew ‘Doc’ Dunn LPs). All sounds like the perfect setup for an alt-country comedown, eh? Well, maybe. After branding himself Blind Matty he shifted to the slide-swapped shimmer of country for Burger Records, eventually dropping the moniker in favor of a tag closer to the name on his government issue.

His debut LP for Canadian powerhouse of psychedelic ephemera Idée Fixe Records sees him crystallize his vision for twang-tinted ramble. The record pulls at classic psych-country touches handed down from Flying Burritos, Country Funk and Mighty Baby while tumbling headlong into the cloud of smoke that surrounds latter day saints like Beachwood Sparks. De Long makes good on his twenty-odd years behind the strings for others, pulling in guest spots here from an enviable gathering of talent – Augie Meyers (Sir Douglas Quintet, Bob Dylan), Daddy Long Legs, Bill Cutler (Jerry Garcia, Bob Weir), John Catfish (Psychic Ills, Nude Party), Sean Dean (The Sadies), and Matthew ‘Doc’ Dunn (U.S. Girls, MV&EE). The stacked bench pays off with songs that feel lived-in and natural, heartbreaking and melancholy. The record pulls off the heat-shimmer psychedelia bouncing off the blacktop while still feeling like a leathered country classic that could easily stand another twenty years and sound timeless. This is yet another release swooping in at the tail end of 2019, so don’t let the rush to quantify the last eleven months overshadow one of the years’ best.



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