Written
by Robert Elgin, posted by blog admin
Thunderbolt
and Lightfoot, a folk project headed by the tandem of Phil Barry and Sarah
Fuerst, have released their first full length studio platter Songs for Mixed
Company and the results should strengthen their position as one of the most
promising Americana themed acts to come along in quite some time. Both Barry
and Fuerst are experienced musicians, songwriters, and have earned a lot of
well deserved praise for earlier projects, but Thunderbolt and Lightfoot
arguably provides them with their best forum yet to prove their prowess as top
flight players, singers, and composers. The album’s ten songs show a surprising
stylistic range – what surprises isn’t so much the fact that they dare attempt
such stretching, but rather that they manage it so seamlessly. The inclusion of
Mellotron, electric guitar, accordion, and strong drumming doesn’t upset the
delicacy of their songwriting but, instead, further fleshes it out and elevates
the overall quality several notches above the norm.
We
begin with the basics however. It’s difficult to refer to “Let’s Be Friends” as
basic, really, because the track plumbs deeply and honestly into the experience
of one time lovers still trying to maintain a connection after separating.
Barry and Fuerst treat the situation with all the sensitivity you might expect
and the track is further distinguished by the plain-spoken poetry of the lyrics
sparing no punches. “Miss Me” exhibits a similar level of artistry, albeit in a
much different mode. Thunderbolt and Lightfoot do an excellent job doubling as
weepy country crooners on this tune, but there’s little question their
songwriting contains much more depth than the classic style they’re trying to
mimic. There’s certainly a strong current of longing running through the lyrics
and performance, but there’s undeniable melancholy filling this song as well. “Can’t
Be Trusted” has a muted edge, but it’s definitely much darker in tone than the
album’s first two songs. Barry’s guitar playing is rather remarkable for its
combination of artistry and restraint. Buoyant accordion brightens an otherwise
wistfully sad “Goodbye is Not the End”, but this is clearly a nuanced piece
where sorrow does not have the final word. There’s a surprising amount of zest
in the dual vocals with Barry’s voice seemingly leading the way.
“Year
of the Monkey” doesn’t erupt with electric guitar at any point, but Thunderbolt
and Lightfoot work up a head of steam with this song thanks to the straight
ahead guitar work and assertive drumming. It’s one of the album’s best lyrical
numbers as well. Songs for Mixed Company includes one instrumental buried late
in the running order. “Vesper” is a successful composition and performance
further highlighting the duo’s instrumental strengths and the absence of a
vocalist will bother few. “Sweetest Baby” is one of the album’s most charismatic
moments and sure to appeal far outside the Americana crowd, but the substantive
musical weight common to their writing doesn’t desert them here and they
continue aiming to write memorable tracks each time out. “Dearly Beloved”
closes Songs for Mixed Company on an upbeat note with lyrics that range from
the humorous to endearing and it makes for an excellent final curtain. Lovers
of Americana and roots rock will find much to admire on Thunderbolt and
Lightfoot’s new release.
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