Phil Gammage was a member of Certain General; a now-legendary New York post-punk band who set out to be a ‘pop version of The Contortions’ and whose first release back in 1982 was notably co-produced by Michael Gira and Peter Holsapple. Certain General continued to irregularly reconvene, making records well into the new century with 2010’s Stolen Car being a particular highlight.
In Certain General with Parker Dulany fronting Phil’s concentration was always on his exceptional guitar playing; to hear his voice you went to his solo albums – Night Train and Kneel To The Rising Sun for New Rose, and Cry Of The City for Alive. Now qualifying as a veteran New York muso he’s quietly served up a good half-dozen more of which Redeemed is the latest and the first for five years.
The moods of Redeemed range from joy to severity. The sound of the city allied to edgy roots music often possessed of an understated swagger; moral but carrying undoubted hints of admiration for the sinner; the gravitas of Johnny Cash along with Johnny Dowd’s glint. The words come from the Hudson Valley poet David B. Schell; they make for spare lyrics where every word counts, and the songs appear as little stories and lessons in life, telling vignettes and epiphanies.
While Phil is the epitome of multi-instrumentalism – lead and background vocals, guitars, harmonica, marimba, and keyboards – he’s joined by a rhythm section (Michael Fox and Jeff Gordon) and additional keyboards (Johnny Young), guitar (Brian Hack), harmonica (David Fleming), and backing vocalist (Joe Nieves and Lizzie Edwards). Thus there’s a keen variety of both setting and mood across the ten songs here.
The album opens with the uplifting sentiments of ‘Good Place’; the song rides in with organ and piano prominent, spoken verses and sung choruses presenting as an endearing old-school drama with happy ending. ‘Right On’ is more of a morality tale as folk ballad with falling-out among thieves and a final axiom: “We all get some evil when we think we be good”. Following this comes a touch of exoticism with ‘The Woman In The Window’; what she may be is anyone’s guess, certainly the singer who views her briefly from a halted subway train is unsure, though the telephone calls and the scarlet robe might provide a hint.
The title track is a celebration of beating the demons but this triumph of redemption seems leavened with the fear of another fall; some more cool keyboards here. That fear might well be conjured by the subject of ‘Serious Trouble’; a bluesy shuffle wringing with temptation. This wouldn’t prove a problem for ‘Johnny Lee’ whose Stack-A-Lee-esq adventures – “He was the great gal sneaker/With a song and polished shoes” – are merrily framed with easy-going twang.
‘Messages From The Grave’ is measured, almost biblical: “Her’s is the winnower and they, life’s chaff”. Then comes a dive into the Great American Songbook for ‘Prisoner Of Love’; the song’s been previously served well by Billy Eckstine and James Brown, and Phil’s exquisite reading stands comparison. The instrumental ‘Phil’s Boogie’ is delightfully Waitsy with a Merrie Melodies patina, and the album closes with ‘The Rain’ which sounds like it somehow escaped from the 50s taking us back to the earliest days of pop.
Throughout his imperious, fluid baritone holds the attention, and the stylistic variety provides abundant reward. This world of rough and rowdy ways may be all too recognisable to us but when presented this well we know it’s one we’ll never tire of.
Redeemed is available now from Phil’s Bandcamp
Bucketfull Of Brains 