reviews; Of
Macleans Magazine / Best of 015 / Michael Barclay
Michelle McAdorey, Into Her Future; Scott Merritt, Of
Neither one of these Ontario musicians has been heard from in at least 12 years; both came back with quiet, understated albums with songs that sound like each artist has been ripening this material slowly, waiting for the ideal harvest. McAdorey fronted the alternately fiery and folkie Crash Vegas in the early ’90s; Merritt had a series of albums in the ’80s, working with Daniel Lanois and avant-garde musicians from New York City. On Into Her Future, McAdorey rejoins her original writing partner, Blue Rodeo’s Greg Keelor, and dives deep into British folk, American psychedelic country, and their shared love of classic pop songwriting. Echoes of her voice can be found in newer artists like Feist, Emily Haines and Jennifer Castle, fans of whom will find much to love in this haunting, enchanting record. Merritt is a grandfather with nothing to lose and nothing to prove, so he uses his ukulele and little else—a pump organ, a clarinet, sparse upright bass courtesy of Cowboy Junkie Jeff Bird—to craft evocative vignettes and melodies that could well be set to roaring rock anthems, but sound so much more powerful in their hushed intimacy and quietly insistent rhythmic pulse. Merritt’s made his living as a producer in the last 25 years, so naturally it all sounds exquisite, the tiniest gestures resonating throughout his sonic temple. “How did I forget?” asks McAdorey on the closing track of her record. After these visits from old friends, we may well ask ourselves the same question.
Neither one of these Ontario musicians has been heard from in at least 12 years; both came back with quiet, understated albums with songs that sound like each artist has been ripening this material slowly, waiting for the ideal harvest. McAdorey fronted the alternately fiery and folkie Crash Vegas in the early ’90s; Merritt had a series of albums in the ’80s, working with Daniel Lanois and avant-garde musicians from New York City. On Into Her Future, McAdorey rejoins her original writing partner, Blue Rodeo’s Greg Keelor, and dives deep into British folk, American psychedelic country, and their shared love of classic pop songwriting. Echoes of her voice can be found in newer artists like Feist, Emily Haines and Jennifer Castle, fans of whom will find much to love in this haunting, enchanting record. Merritt is a grandfather with nothing to lose and nothing to prove, so he uses his ukulele and little else—a pump organ, a clarinet, sparse upright bass courtesy of Cowboy Junkie Jeff Bird—to craft evocative vignettes and melodies that could well be set to roaring rock anthems, but sound so much more powerful in their hushed intimacy and quietly insistent rhythmic pulse. Merritt’s made his living as a producer in the last 25 years, so naturally it all sounds exquisite, the tiniest gestures resonating throughout his sonic temple. “How did I forget?” asks McAdorey on the closing track of her record. After these visits from old friends, we may well ask ourselves the same question.
Slate / Best of 015 / Carl Wilson
Finally, one name on my album list few Americans will know is Scott Merritt. Full disclosure is needed here: Merritt hails from my hometown of Brantford, Ontario, and was a mentor to me when I was the age of that girl I saw covering Sleater-Kinney. But he was also prominent in Canada’s left-field songwriting world of the 1980s, along the same spectrum as Jane Siberry, whom a few of you might recall(?)—until a series of snafus with record labels and other bad industry mojo drove Merritt mostly out of performing, to work as a producer on other musicians’ projects in his own small studio. Since 1990’s Violet and Black on IRS, he’s put out only two albums independently, 2002’s The Detour Home and this year’s Of. It is a small, exquisite record played with glittering precision mostly on a tenor ukulele (which does not sound anything like the strummy-strum ukuleles that were on way too many twee-rock records a few years ago). The sound is ideal for these elusive, imagistic songs about memory and mortality. If you seek it out, it will take hold of you.
Globe and Mail / Sean Michaels
Three songs you need to hear: Sean Michaels’s playlist of the week
Special to The Globe and Mail
Okkervil River – Unless It’s Kicks (2007)
Scott Merritt – Willing Night (2015)
Nicki Minaj ft. 2 Chainz – Beez In The Trap (2012)
Scott Merritt – Willing Night (2015)
This song’s a remedy. Full of hope and purpose, bare of schmaltz. Merritt was close to a star in the 1980s, working with Daniel Lanois and Jane Siberry, and to many he’s still one of the country’s most talented songwriters. But he has released just three albums in the past 25 years: the latest, Of, came out in April. Willing Night shows him raging against the darkness, or at least hoping against it, imagining that there’s more to the universe than its slow incremental heat-death. “Junebugs bangin’ into lamps up and down the road,” he sings. “All the dark eyed windows, where we run up the split level rows / and a rail in a trainyard crying somewhere / and a little faith inside.”
Merritt plays a tenor ukulele, but it isn’t the jaunty uke of minivan ads: It’s a tiny machine made of wood and gut, fragile and trying. And the two of them are joined by other voices: blasts of harmonica, Jeff Bird’s benevolent double bass, Andy Magoffin’s patient baritone horn. The finished result is a song that seems sure and pleading at the same time. “What might / what might / what might,” Merritt repeats to close the song. Maybe it’s an exhortation (“What might!”). Maybe it’s a wish (“What might?”). Or if we’re lucky – it’s both.
Sean Michaels received the 2014 Scotiabank Giller Prize for his novel Us Conductors. He is the editor of the music blog Said the Gramophone
Special to The Globe and Mail
Okkervil River – Unless It’s Kicks (2007)
Scott Merritt – Willing Night (2015)
Nicki Minaj ft. 2 Chainz – Beez In The Trap (2012)
Scott Merritt – Willing Night (2015)
This song’s a remedy. Full of hope and purpose, bare of schmaltz. Merritt was close to a star in the 1980s, working with Daniel Lanois and Jane Siberry, and to many he’s still one of the country’s most talented songwriters. But he has released just three albums in the past 25 years: the latest, Of, came out in April. Willing Night shows him raging against the darkness, or at least hoping against it, imagining that there’s more to the universe than its slow incremental heat-death. “Junebugs bangin’ into lamps up and down the road,” he sings. “All the dark eyed windows, where we run up the split level rows / and a rail in a trainyard crying somewhere / and a little faith inside.”
Merritt plays a tenor ukulele, but it isn’t the jaunty uke of minivan ads: It’s a tiny machine made of wood and gut, fragile and trying. And the two of them are joined by other voices: blasts of harmonica, Jeff Bird’s benevolent double bass, Andy Magoffin’s patient baritone horn. The finished result is a song that seems sure and pleading at the same time. “What might / what might / what might,” Merritt repeats to close the song. Maybe it’s an exhortation (“What might!”). Maybe it’s a wish (“What might?”). Or if we’re lucky – it’s both.
Sean Michaels received the 2014 Scotiabank Giller Prize for his novel Us Conductors. He is the editor of the music blog Said the Gramophone
Waterloo Record, Nightlife
SCOTT MERRITT “OF” (INDEPENDENT)
When Scott Merritt was last in the public eye — back in the mid- to late-1980s when videos for his unique brand of art rock were played on MuchMusic — his records were crammed full of the latest technology, sometimes to a fault, distracting from his songcraft.
Scott Merritt is no longer in the public eye. The Brantford-born songwriter has been hiding out in Guelph for the last two decades, quietly raising his family, recording albums for Fred Eaglesmith and others, releasing only one album of his own in the last 26 years (2002’s “The Detour Home”).
So it’s a joy to suddenly discover this quiet gem, which snuck out into the world in April, on which Merritt employs little more than ukulele — and easily and instantly buries any hang-up you might have about an instrument that every hipster and cutesy pop act seems to be slinging around these days. Merritt’s magical hands extract delicacy and intricacy out of those four strings. To flesh out the sound, he relies largely on droning accordions (perhaps harmoniums?), trombone sections, clarinets alternating between only two notes, and upright bass by the incomparable Jeff Bird. For a record with no percussion and comprised largely of languid tempos, the rhythms are pulsing and surprisingly strong on such a quiet record.
If this was merely a perfectly arranged and produced album, that would be one thing. But when a songwriter of Merritt’s calibre saves up more than a decade of sketches and brings them to fruition, we’re obviously witness to the best the man has to offer. There’s a song on here, “Meteor,” that I first heard Merritt play live more than 10 years ago — and I instantly remembered the melody and lyric vividly. Surely, I thought, I know this song from a previous album? Nope. That song stuck with me, with only one impression, for more than a decade. Always a good sign.
Scott Merritt will be accompanied by Jeff Bird for a show on Dec. 12 at Guelph Black Heritage Society Heritage Hall in Guelph.
Download: “Meteor,” “Bragging Rights,” “Willing Night”
-Michael Barclay / Nightlife / Waterloo Record
12/015
When Scott Merritt was last in the public eye — back in the mid- to late-1980s when videos for his unique brand of art rock were played on MuchMusic — his records were crammed full of the latest technology, sometimes to a fault, distracting from his songcraft.
Scott Merritt is no longer in the public eye. The Brantford-born songwriter has been hiding out in Guelph for the last two decades, quietly raising his family, recording albums for Fred Eaglesmith and others, releasing only one album of his own in the last 26 years (2002’s “The Detour Home”).
So it’s a joy to suddenly discover this quiet gem, which snuck out into the world in April, on which Merritt employs little more than ukulele — and easily and instantly buries any hang-up you might have about an instrument that every hipster and cutesy pop act seems to be slinging around these days. Merritt’s magical hands extract delicacy and intricacy out of those four strings. To flesh out the sound, he relies largely on droning accordions (perhaps harmoniums?), trombone sections, clarinets alternating between only two notes, and upright bass by the incomparable Jeff Bird. For a record with no percussion and comprised largely of languid tempos, the rhythms are pulsing and surprisingly strong on such a quiet record.
If this was merely a perfectly arranged and produced album, that would be one thing. But when a songwriter of Merritt’s calibre saves up more than a decade of sketches and brings them to fruition, we’re obviously witness to the best the man has to offer. There’s a song on here, “Meteor,” that I first heard Merritt play live more than 10 years ago — and I instantly remembered the melody and lyric vividly. Surely, I thought, I know this song from a previous album? Nope. That song stuck with me, with only one impression, for more than a decade. Always a good sign.
Scott Merritt will be accompanied by Jeff Bird for a show on Dec. 12 at Guelph Black Heritage Society Heritage Hall in Guelph.
Download: “Meteor,” “Bragging Rights,” “Willing Night”
-Michael Barclay / Nightlife / Waterloo Record
12/015
Coral Andrews / The Mercury
Scott Merritt
Accompanied by Jeff Bird
The Original Princess Cinema
6 Princess Street West Waterloo
Thurs Dec 3, 2015, 7:30 pm
For too long, a quirky, mysterious uniquely imaginative voice has been missing from the North American music tapestry.
Welcome back Scott Merritt.
There's a good reason for the Guelph-based singer-songwriter's sabbatical.
Merritt burst onto the Canadian indie music scene with ground-breaking (rare collectible) debut “Desperate Cosmetics” (produced by Merritt at Grant Avenue Studios). 1979's “Serious Interference” was (produced by Dan Lanois – (Peter Gabriel) also at Grant Ave). 1985's alt folk-rockier “Gravity is Mutual” (Duke Street Records) was produced by Roma Baran (Laurie Anderson) with 1989's “Violet is Black” (produced by Arthur Barrow (Frank Zappa) on Duke Street /US label IRS. After “Black's”release and the demise of both labels, Merritt left “showbiz” sans contract, to follow his own incomparable path.
Thirteen years later, Merrit, (also an acclaimed producer, (Garnet Rogers, Fred Eaglesmith, Stephen Fearing, Kevin Breit) re-merged with 2002's critically lauded fifth album “The Detour Home” (Maple/Universal) created at his Guelph home studio The cottaGE.
And poof! Like a mischievous magician, Merritt disappeared again in 12-year self imposed exile producing for a slew Canadian musicians, until the timing was right for the next album morph.
Sixth album/sonic narrative “Of” is produced by Merritt, and mixed by Philip Shaw Bova (Ben Caplan). The intriguing cover (“10:16 am /2010”) (taken from artist Alexander Harding's “Visible Light” series) aptly accentuates this gloriously stripped down musically elegant acoustic collection of eight songs melded with Merritt's poetic perspective on life out of focus.
“Of” is sublime because of what is not there.
Merritt is joined by long time friends/ fellow instrument junkies/ musicians Jeff Bird, and Andy Magoffin. Bird (Stephen Fearing, (the late) Willie P. Bennett) plays upright bass, octave mandolin, and psaltery aka a small stringed instrument played with a bow. Andy Magoffin (By Divine Right, Pistol George Warren) plays baritone horn.
Merritt says he chose Bird, and Magoffin because of the way they play knowing their input would work in the context and idea of “almost no production.”
Merrit plays vibraphone, reed organ, and tenor uke.
“I was trying to pick patterns because of the way the tenor uke is tuned,”says Merritt referring to his finger playing technique. “The bottom end of the pattern would fall more in the middle of the picking phrase. That sounds sort of nerdish to mention but it turned things into more of an African feel because the centre of the rhythm wasn't nearly as evident as when you played the same patterns on guitar. So for me the tenor uke became more like a little harp.”
Set to beautifully spare instrumental arrangements, and occasional gentle foot tapping, Merritt's one-of a-kind lyrics and hypnotic vocals, draw the listener in from the first note; be it whimsical opener “Meteor,” off-kilter love ballad “Repo,” the “no end/no beginning” of life's parade, in “Everwill, ” cautiously eco-optimistic comment, “Willing Night” or wry philosophical insight on finale “Solomon.”
Merritt was honoured to have “Of”s” provocative historical hymn “Indispensable” (written about the Royal Chapel Of the Mohawks in his hometown Brantford) included in literary journal The Windsor Review's commemorative edition dedicated to author Alice Munro.
Just a smidge over half an hour, “Of” is an aural gem, destined to be put on Play/Repeat.
The Princess show will showcase “Of” plus Merritt's past songs adapted for a new instrumentation.
“We are trying to do this as stripped down as possible kind of thing,” he notes. “I am moving some songs to new instruments and try to keep the main idea, so the song is in tact in the process.”
- Coral Andrews / Guelph Mercury
12/015
Accompanied by Jeff Bird
The Original Princess Cinema
6 Princess Street West Waterloo
Thurs Dec 3, 2015, 7:30 pm
For too long, a quirky, mysterious uniquely imaginative voice has been missing from the North American music tapestry.
Welcome back Scott Merritt.
There's a good reason for the Guelph-based singer-songwriter's sabbatical.
Merritt burst onto the Canadian indie music scene with ground-breaking (rare collectible) debut “Desperate Cosmetics” (produced by Merritt at Grant Avenue Studios). 1979's “Serious Interference” was (produced by Dan Lanois – (Peter Gabriel) also at Grant Ave). 1985's alt folk-rockier “Gravity is Mutual” (Duke Street Records) was produced by Roma Baran (Laurie Anderson) with 1989's “Violet is Black” (produced by Arthur Barrow (Frank Zappa) on Duke Street /US label IRS. After “Black's”release and the demise of both labels, Merritt left “showbiz” sans contract, to follow his own incomparable path.
Thirteen years later, Merrit, (also an acclaimed producer, (Garnet Rogers, Fred Eaglesmith, Stephen Fearing, Kevin Breit) re-merged with 2002's critically lauded fifth album “The Detour Home” (Maple/Universal) created at his Guelph home studio The cottaGE.
And poof! Like a mischievous magician, Merritt disappeared again in 12-year self imposed exile producing for a slew Canadian musicians, until the timing was right for the next album morph.
Sixth album/sonic narrative “Of” is produced by Merritt, and mixed by Philip Shaw Bova (Ben Caplan). The intriguing cover (“10:16 am /2010”) (taken from artist Alexander Harding's “Visible Light” series) aptly accentuates this gloriously stripped down musically elegant acoustic collection of eight songs melded with Merritt's poetic perspective on life out of focus.
“Of” is sublime because of what is not there.
Merritt is joined by long time friends/ fellow instrument junkies/ musicians Jeff Bird, and Andy Magoffin. Bird (Stephen Fearing, (the late) Willie P. Bennett) plays upright bass, octave mandolin, and psaltery aka a small stringed instrument played with a bow. Andy Magoffin (By Divine Right, Pistol George Warren) plays baritone horn.
Merritt says he chose Bird, and Magoffin because of the way they play knowing their input would work in the context and idea of “almost no production.”
Merrit plays vibraphone, reed organ, and tenor uke.
“I was trying to pick patterns because of the way the tenor uke is tuned,”says Merritt referring to his finger playing technique. “The bottom end of the pattern would fall more in the middle of the picking phrase. That sounds sort of nerdish to mention but it turned things into more of an African feel because the centre of the rhythm wasn't nearly as evident as when you played the same patterns on guitar. So for me the tenor uke became more like a little harp.”
Set to beautifully spare instrumental arrangements, and occasional gentle foot tapping, Merritt's one-of a-kind lyrics and hypnotic vocals, draw the listener in from the first note; be it whimsical opener “Meteor,” off-kilter love ballad “Repo,” the “no end/no beginning” of life's parade, in “Everwill, ” cautiously eco-optimistic comment, “Willing Night” or wry philosophical insight on finale “Solomon.”
Merritt was honoured to have “Of”s” provocative historical hymn “Indispensable” (written about the Royal Chapel Of the Mohawks in his hometown Brantford) included in literary journal The Windsor Review's commemorative edition dedicated to author Alice Munro.
Just a smidge over half an hour, “Of” is an aural gem, destined to be put on Play/Repeat.
The Princess show will showcase “Of” plus Merritt's past songs adapted for a new instrumentation.
“We are trying to do this as stripped down as possible kind of thing,” he notes. “I am moving some songs to new instruments and try to keep the main idea, so the song is in tact in the process.”
- Coral Andrews / Guelph Mercury
12/015
Carl Wilson
..."Everwill" - perhaps my favourite song from the new Scott Merritt album ("Of"), in which a scene of a Labor Day parade somehow becomes a meditation on how mortality is in a way its own form of eternity: "get there late enough, you won't see it starting/ leave it soon enough, you never have to see it end... the everwas and everwill."
Martin Murray
Scott Merritt is one of the great unsung singer-songwriters of Canada. Through a career that started in the late 70's, from his hometown of Brantford, Scott has recorded only six albums, but each one has been worth the wait and all are masterful works of genius. He's a bit like the Tom Scholtz of Canada, when it comes to getting everything just right before he will release it to the public. His 1990 album "Violet & Black" remains one of my favourite records of all time, and travels with me wherever I go. I never get tired of listening to it.
Most of the time, these days, Scott is known best as a producer and engineer, working out of his studio, The Cottage, in Guelph, Ontario. People like Fred Eaglesmith, Stephen Fearing, Suzie Vinnick, and Garnet Rogers are familiar faces through his door. However, slowly but surely, he writes a bunch of new tunes, and when the time is right we get a new album, and so now we have "Of."The cover is a bit like the old Zeppelin albums of the 70's, or Pink Floyd, in that there is no type on it at all. No "SCOTT MERRITT" in great big letters. Just a lovely photo of a sunlit window and table by a photographer named Alexander Harding. It's typical of Scott. He is an artist who very much follows the beat of his own drum, and his music is very unique and unlike anyone else at all. Although he is an excellent guitarist, known for his mastery of effects and such, on this new album he took an entirely different approach. There is no guitar on it at all, and the instrumentation is very spare. He plays a tenor ukelele through the entire album, supplemented by a reed organ and vibraphone. Jeff Bird adds standup bass and mandolin, and Andy Magoffin plays horns. It creates a very atmospheric sound, full of space, and draws attention to Scott's tender but powerful vocals and wonderful lyrics. Scott doesn't play the ukelele in the typical way at all, but instead fingerpicks it, and most of the time it sounds very much like a harp. Even with the change of instrumentation, however, his own style is immediately recognizable. Like I said, Scott Merritt sounds like no one else.
As always, with his records, the songs can be somewhat enigmatic. The standout tracks to me are the lovely "Everwill," "Repo," the epic "Willing Night" and the closer, "Solomon." "Indespensible" was written about Her Majesty's Royal Chapel To The Mohawks, which is a Protestant church built by the crown on the Six Nations Reserve."Of" is a lovely, soothing record, which needs several listens to really get into. If you are a Scott Merritt fan, it is also indespensible.
Most of the time, these days, Scott is known best as a producer and engineer, working out of his studio, The Cottage, in Guelph, Ontario. People like Fred Eaglesmith, Stephen Fearing, Suzie Vinnick, and Garnet Rogers are familiar faces through his door. However, slowly but surely, he writes a bunch of new tunes, and when the time is right we get a new album, and so now we have "Of."The cover is a bit like the old Zeppelin albums of the 70's, or Pink Floyd, in that there is no type on it at all. No "SCOTT MERRITT" in great big letters. Just a lovely photo of a sunlit window and table by a photographer named Alexander Harding. It's typical of Scott. He is an artist who very much follows the beat of his own drum, and his music is very unique and unlike anyone else at all. Although he is an excellent guitarist, known for his mastery of effects and such, on this new album he took an entirely different approach. There is no guitar on it at all, and the instrumentation is very spare. He plays a tenor ukelele through the entire album, supplemented by a reed organ and vibraphone. Jeff Bird adds standup bass and mandolin, and Andy Magoffin plays horns. It creates a very atmospheric sound, full of space, and draws attention to Scott's tender but powerful vocals and wonderful lyrics. Scott doesn't play the ukelele in the typical way at all, but instead fingerpicks it, and most of the time it sounds very much like a harp. Even with the change of instrumentation, however, his own style is immediately recognizable. Like I said, Scott Merritt sounds like no one else.
As always, with his records, the songs can be somewhat enigmatic. The standout tracks to me are the lovely "Everwill," "Repo," the epic "Willing Night" and the closer, "Solomon." "Indespensible" was written about Her Majesty's Royal Chapel To The Mohawks, which is a Protestant church built by the crown on the Six Nations Reserve."Of" is a lovely, soothing record, which needs several listens to really get into. If you are a Scott Merritt fan, it is also indespensible.
Mike Clasen
For over 30 years, going back to my days as music director at Mohawk College radio, I’ve been a fan of Scott Merritt’s wonderful music. A very
fleeting glimpse at Scott’s “ career” in this crazy industry would read something like: “Hugely talented songwriter, producer from Brantford releases
five albums of unique and innovative music that straddles folk, pop and rock only to be screwed over by record companies and to eventually give
up on the notion of success, while sticking to his artistic vision, to come back in 2015 with another fantastic release, 14 years after his last one.”
I could go on and on about how sometimes there just is no justice, no place in music for artists like Scott except for those who truly appreciate
it for what it is, but instead let’s get to the new release “OF”, his sixth.
OF is not quite like any other Scott Merritt release as it features no drums, no electric guitar, but instead is played mainly on tenor ukulele
and stand-up bass with a bit of other accompaniment such as organ, vibes and mandolin. The background instruments play a huge role here as they
support the subtle production with a haunting backdrop providing a touch of space and ambience that has always been a big part of Scott’s albums.
Jeff Bird's (Cowboy Junkies) stand-up bass is smooth, deep and adds a perfect balance to the stripped down, acoustic sound here, most noticeable
on the tracks “Bragging Right” and “ Willing Night”. Instantly recognizable is Scott’s earthy and unique voice as well as his production. Ever since his
debut album Desperate Cosmetics in 1979, Scott has been adding unique and quirky in-studio effects to his great songs, but has always recognized the need for subtlety and space in his music. This was so evident on tracks such as Face To Fire on 1982’s “ Serious Interference” album and shines through again on the new release, especially on the closing track “Solomon” which seems to drift away, only to stay with you long after the album is over.
These are not pop songs and they are not destined to receive airplay, especially in these days of instant gratification and withering patience. No, these are songs that are each as melodic as they are beautiful that slowly ingrain themselves into your mind, heart and soul , that have an almost hymn-like, confessional quality to them such as “Indispensable”, a track that deals with the Mohawk Chappel built by the British in 1785 and which stands beside Joseph Brant’s tomb in Brantford, Ontario. One of the most haunting tracks on the album, it draws you into the song by stripping everything away except the backdrop and Scott’s voice. The quality of the production of this album on LP or on CD is astoundingly good and creates an incredible sense of presence on both formats that’s typical of Scott’s production on his other albums.
This is the type of album that comes along once in a very long time, in fact it’s taken Scott almost 14 years to release, but is very special and deserves a
much wider audience than it will get. Let’s hope it doesn’t take nearly as long for another. Available on CD, LP and LP/CD combo pack.
- Records On Wheels, Dundas, On
fleeting glimpse at Scott’s “ career” in this crazy industry would read something like: “Hugely talented songwriter, producer from Brantford releases
five albums of unique and innovative music that straddles folk, pop and rock only to be screwed over by record companies and to eventually give
up on the notion of success, while sticking to his artistic vision, to come back in 2015 with another fantastic release, 14 years after his last one.”
I could go on and on about how sometimes there just is no justice, no place in music for artists like Scott except for those who truly appreciate
it for what it is, but instead let’s get to the new release “OF”, his sixth.
OF is not quite like any other Scott Merritt release as it features no drums, no electric guitar, but instead is played mainly on tenor ukulele
and stand-up bass with a bit of other accompaniment such as organ, vibes and mandolin. The background instruments play a huge role here as they
support the subtle production with a haunting backdrop providing a touch of space and ambience that has always been a big part of Scott’s albums.
Jeff Bird's (Cowboy Junkies) stand-up bass is smooth, deep and adds a perfect balance to the stripped down, acoustic sound here, most noticeable
on the tracks “Bragging Right” and “ Willing Night”. Instantly recognizable is Scott’s earthy and unique voice as well as his production. Ever since his
debut album Desperate Cosmetics in 1979, Scott has been adding unique and quirky in-studio effects to his great songs, but has always recognized the need for subtlety and space in his music. This was so evident on tracks such as Face To Fire on 1982’s “ Serious Interference” album and shines through again on the new release, especially on the closing track “Solomon” which seems to drift away, only to stay with you long after the album is over.
These are not pop songs and they are not destined to receive airplay, especially in these days of instant gratification and withering patience. No, these are songs that are each as melodic as they are beautiful that slowly ingrain themselves into your mind, heart and soul , that have an almost hymn-like, confessional quality to them such as “Indispensable”, a track that deals with the Mohawk Chappel built by the British in 1785 and which stands beside Joseph Brant’s tomb in Brantford, Ontario. One of the most haunting tracks on the album, it draws you into the song by stripping everything away except the backdrop and Scott’s voice. The quality of the production of this album on LP or on CD is astoundingly good and creates an incredible sense of presence on both formats that’s typical of Scott’s production on his other albums.
This is the type of album that comes along once in a very long time, in fact it’s taken Scott almost 14 years to release, but is very special and deserves a
much wider audience than it will get. Let’s hope it doesn’t take nearly as long for another. Available on CD, LP and LP/CD combo pack.
- Records On Wheels, Dundas, On
itunes
***** itunes (5 stars)
by mykbA
spare and spacious recording, a close voice from the not too distant past over stripped down arrangements, honed and refined but not without the rough edges to keep the songs lodged in your ear, a little farther in each listen.
***** itunes (5 stars)
by DDKW
Mature meaningful lyrics artfully arranged in an unique and distinct sound. It has been a long time, but it is incredible how the first note brings you right back so vividly. There is such a clarity of sound and voice that you can't help but fall into each and every song. Thank you for sharing your music Scott.
by mykbA
spare and spacious recording, a close voice from the not too distant past over stripped down arrangements, honed and refined but not without the rough edges to keep the songs lodged in your ear, a little farther in each listen.
***** itunes (5 stars)
by DDKW
Mature meaningful lyrics artfully arranged in an unique and distinct sound. It has been a long time, but it is incredible how the first note brings you right back so vividly. There is such a clarity of sound and voice that you can't help but fall into each and every song. Thank you for sharing your music Scott.
Thirsty Boots
Translated into English:
Scott Merritt makes music again!
Scott Merritt - "Of" – Limited Edition LP 2015
Scott Merritt is one of my obscure favorites, and I would rank his album "Violet and Black" from 1990 as one of the five best albums in all categories. Listen to e.g. "Burning Train ',' Violet and Black", or "Bell To Bell".
"Violet and Black" is an absolutely amazing album where every note, every drum-beat, each inhalation, each emphasizing feels so exactly right. And there is an enormous energy and many unique and exciting arrangements.
How the music world could miss this gem is totally unbelievable!
His last album "The Detour Home" was released in 2002, so any hope of a sixth disc seemed unlikely to come true. But, as a new concert appeared on YouTube about a year ago, the hope had somehow returned… Now you can order "Of" as a combined LP and CD set from Scott's website.
This time the music is subtle and low-key. Scott Merritt mainly plays tenor ukulele extremely fascinatingly. The lyrics are just as inventive as usual and Scott sings with an empathy that touches every inch of me. Jeff Bird plays bass effectively on some songs.
"Bragging Right" and "Willing Night" are typical Merritt songs that I could hear hundreds of times and still find new aspects every time. But all eight songs are full of strength, despite the bare instrumentation.
This is a short album, the total length is only just over half an hour, but it is very special. So far away from everything commercially as possible, stripped down to vulnerability and an intrusive presence. A great music adventurer has given us yet another album to love.
- Music and Art blog, Sweeden
Scott Merritt makes music again!
Scott Merritt - "Of" – Limited Edition LP 2015
Scott Merritt is one of my obscure favorites, and I would rank his album "Violet and Black" from 1990 as one of the five best albums in all categories. Listen to e.g. "Burning Train ',' Violet and Black", or "Bell To Bell".
"Violet and Black" is an absolutely amazing album where every note, every drum-beat, each inhalation, each emphasizing feels so exactly right. And there is an enormous energy and many unique and exciting arrangements.
How the music world could miss this gem is totally unbelievable!
His last album "The Detour Home" was released in 2002, so any hope of a sixth disc seemed unlikely to come true. But, as a new concert appeared on YouTube about a year ago, the hope had somehow returned… Now you can order "Of" as a combined LP and CD set from Scott's website.
This time the music is subtle and low-key. Scott Merritt mainly plays tenor ukulele extremely fascinatingly. The lyrics are just as inventive as usual and Scott sings with an empathy that touches every inch of me. Jeff Bird plays bass effectively on some songs.
"Bragging Right" and "Willing Night" are typical Merritt songs that I could hear hundreds of times and still find new aspects every time. But all eight songs are full of strength, despite the bare instrumentation.
This is a short album, the total length is only just over half an hour, but it is very special. So far away from everything commercially as possible, stripped down to vulnerability and an intrusive presence. A great music adventurer has given us yet another album to love.
- Music and Art blog, Sweeden
Hamiltonblues Spot writes
On Scott Merritt's latest album (simply titled Of) the Brantford singer/songwriter proves that he can do wonders with a stripped down, sparse sound. With little more than his expressive voice and deft guitar playing, he creates an enchanting, beautiful sound.
Scott's usual lyrical skill and storytelling are definitely a major plus. Thanks to the stripped down sound, the poetic words have even more of an impact.
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Scott's usual lyrical skill and storytelling are definitely a major plus. Thanks to the stripped down sound, the poetic words have even more of an impact.
more press