Maine’s Gordon Thomas Ward is one of those singer-songwriters whose ability flesh out his sound with a full band makes one question whether singer-songwriter is an adequate description. His multi instrumentalist talents include acoustic and electric guitar, baritone guitar, organ, mellotron and a a lot more. He can therefore place a distinctly personal accompaniment around his distinctly personal vocal timbre. Ward’s songs do not follow the usual songwriter patterns and together with his other reserves, he can put together an album of compelling music.
Opening track “Silhouette” benefits from a lap steel melody wafting around Ward’s amicable delivery and chirpy timbre. He makes you feel like his voice is taking you somewhere, a travel guide to his lyrics, making very visual the woman his song is about. His peppy groove contributes to the travel motion of his song, giving the listener a pleasant ride as well as a pleasant tune for the ear.
“Halo” is pure tumbleweed paced mesmerizing acoustic picking and hauntingly delivered vocal presence allure. Electronic blips and bleats well augment an eerie space Ward opens up with his understated delivery. This keeps one glued with its especially subtle workings.
“You Reap What You Sow” makes the most of an almost shuffle groove. That motion lets Ward place a motion filled acoustic guitar chord progression as well as a pretty steel line that flows like a glider. Ward creates a fine feeling of resignation here, letting the many moving parts carry his life along as the numerous musical notes carry his voice along.
“Out To Pasture” finds Ward applying his mellow singer-songwriter vocal to a soft lead guitar, a quaint melodic line that feels as free as a butterfly. It’s a dandy of an accompaniment.
“Butterflies” gets its emotive grist from some high acoustic notes, mandolin picking, and whatever else Ward is playing. Every acoustic instrument seems to hover, like a, well, butterfly, hovering with a pretty presence. Around a suspended interval of acoustic guitar notes moves a few more instruments, an interaction that keeps the song feeling like it’s in a special place.
Special effects make “Comin’ In” begin in a breakfast diner. It finds Ward and Noel Paul Stookey singing in a homey duet, doing a vocal dance around a lively fiddle line. A touch of Celtic style makes “Comin’ In” feel like something one can dance a jig to. A harbor master, bow, nor’easter, and other images make this witty piece feel good even though it’s about a warning that all sailors and fishermen should heed.
Sounding like a theme from a scary movie, “The Bones Of Old John Ford” haunts the imagination with its trepidation acoustic guitar strum and its troubled soul cello mood(April Reed-Cox). Ward carries us through his narrative as only a master singer-songwriter can. A splash of electric guitar throughout gives this tune a dire backbone while the rest of its menacing tone conjures many warning signs. One wonders if Ward had actually seen a ghost before he wrote this.
Switching gears to nostalgic yearning, Ward’s “Grace” allows him to make a good song, one puff of vocal assertion at a time. Pleasantly paced, “Grace” moves with sensitivity, a barely picked acoustic guitar brushes the ear with its quiet presence. An arcing chorus pulls one in further as a sweet mellotron melody pulls one in for closer listening. All of these elements come together in one smooth whole while pleasing the ear with all of its brush strokes.
“Wendi Shires” feels mystical. Ward’s voice feels like an otherworldly presence, coming from another place just beyond the present. Nimble acoustic instrument picking and a dark cello line from Andy Happel create a timeless texture, a forlorn feeling of something just being out of reach, and all that is just the setup for this song. As Ward moves his unique timbre through his lyrical story, he takes on more of this tale’s emotive weight, becoming more and more intriguing.
With a joyful pop feel, “Kids Today” uses lyrics to betray the positive. While the music is peppy and Ward’s vocal expression feels hopeful, he is actually singing about the horror movie landscape that is today’s world for children. Eventually, the upbeat feeling becomes an anthem for change so children can live in peace. Ward masterfully balances the emotions here.
“My Angel And My Warrior” combines folks sensibilities with a country and western steel line. The subject of this story song hits the listener straight on with Ward’s stark description, something that gathers all such people who combine contrasting qualities. Ward then sews the sentiment he has for this lady by wedding it to an earthy prettiness with his instrumentation. This tune is another one of the Ward manifestation of knowledge brought to aural life.
Close out track “Now And Then” maintains a quiet presence but gently tugs the ear with an irresistible, quickly sung chorus that injects motion into the entire song. An acoustic guitar strums with a persistent gentleness beside a tender fiddle line. That low key emotive push makes a good home for Ward’s expressive vocal and the entire songs builds into a fond farewell number.
Ward creates a strong soundscape in each of his 13 songs on this Walking On The Wire album. It’s one of the best albums to come out of New England this year. Ward’s weave of enigmatic and intriguing lyrics, a slightly unusual vocal timbre, and a plethora of instruments boiling up in a cauldron of musical ideas makes for plenty of gravy. Recorded at Frog Hollow Studio in Topsham, Maine, the production lets you hear how seamlessly Ward brews his batch. Also along for the ride are Kevin Barry, Jud Casell, Ronnie Bouffard, Robby Coffin, Scott Elliot, William J. Hall, Ben Hunsberger, Marilyn Krentzman, Emily Mure, Eric Troyer, Pat Wictor, Gideon Showmaker, Hania Shoemaker, Annabelle Smith, Isaac Smith, and Kowen Smith, and the Sweet Voice of Freedom Choir.
