With the release of his 3rd studio album, Ray Lamontagne has broadened the concept of what we have come to know as a “Ray Lamontagne Album“. Gossip in the Grain (Oct. 14 -RCA) seamlessly blends multiple moods, tempos and even a sense of humor into a complete work that shows dexterity and growth in such a way that many people will be unable to lazily lump Lamontagne into the simple “folk” category any longer.
“You are the Best Thing”, the lead single and opening track, boasts an upbeat, good-time feel that isnt often present in much of Lamontagne’s back catalog. Thanks to the trumpets and big-band swing vibe, it’s easy to bop along with the bouncy beat. While Lamontagne has historically produced relatively positive and hopeful songs about love, they aren’t as happy sounding generally. The trademark rasp of Lamontagne’s howl lends itself well to these more upbeat songs, almost as much as to the slower, more somber material of his. The spare, R&B style warmth of his vocal performance is especially effective in the track “Sarah”. Lamontagne’s voice, (bearing a strong resemblance to a softer, gentler Joe Cocker) navigates through one of the more bare arrangements on the album, to great effect. Strings and Mandolin compliment each other in order to create a light and dreamy state. “Sarah” seems to be the track that would fit most comfortably onto either of Lamontagne’s previous studio efforts.
A smile and a wink are both clear to see with the track, “Meg White”. Seemingly an ode to the less heralded member of Jack White’s main gig, Lamontagne downplays the greatness of Meg’s Ex. In the song’s chorus, which would fit nicely into a Simon & Garfunkel number, he hopes openly that he and her might “ride our bikes down by the seaside“. This may be the best singer/celebrity love-letter since the Woody Guthrie penned “Ingrid Bergman”, from the Mermaid Avenue Sessions. The fun continues in the album’s most folksy, country cut. “Hey Me, Hey Mama” is a ditty that discusses “Mama”, roosters and the need for “Mama” to come on back home. Again, it’s good to hear Lamontagne having fun, as the banjo playing is as carefree as the reappearing jazzy trumpet that barks in the background. This looseness satisfyingly sends the track from folky, front-porch terrain into Dixieland Jazz territory. It’s worth noting that Lamontagne’s previous releases were recorded primarily as solo-efforts. This new album shows clear signs of being much more of a group recording project, as evidenced by tracks such as “Hey Me, Hey Mama”. Much like the chorus of “Meg White”, the introductory chime of wood-winds and hushed vocals of the title track hearkens back to the great folk sounds of the late 60′s and early 70′s without a trace of irony. Lamontagne’s voice again takes control and steers us to the album’s close with only an acoustic guitar befriending his trademark whispery vocal.
While Lamontagne hasn’t exactly gone from Acoustic-era Dylan to O.K. Computer , he has expanded his reach and displayed great comfort with these adjustments. When an artist makes clear and specific alterations to his sound and succeeds without abandoning his strengths and core “vibe”, it is a well-earned and deserved victory.
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