Canadian Blues.Ca
Roots & Blues Online Magazine
Tim Holek
Hailing from North Sydney on Cape Breton Island, Matt Minglewood has "down
east" culture oozing from his story-telling tunes. Canada's Maritimes are a
musical gumbo (not unlike New Orleans) that includes southern rock, country,
Celtic and blues, and all are embraced in this Canadian music legend's sound.
Early in a career that now exceeds 35 years, Minglewood quickly rose to the top
of the Canadian blues-rock scene with a string of top-selling albums in the
late 1970s and early 1980s. He has earned a number of nominations and awards
including a Lifetime Achievement Award from the East Coast Music Association,
and a Great Canadian Blues Award from the CBC's Saturday Night Blues radio
program.
Drivin' Wheel is Minglewood's most recent release, a self-produced, 57-minute
powerhouse disc featuring 11 songs including three covers. Additionally, his
Maritime heritage leaps off the CD liner thanks to numerous photos of Cape
Breton Island.
It is a sheer delight hearing his lyrics describing working-class struggles and
down-to-earth living as opposed to the far too common booze and women themes.
Occasional screeching aside, he uses his strong voice accordingly.
Surprisingly, Minglewood does not handle all the guitars. He is ably assisted
by Gordie Sampson and Fred Lavery in that department. Grant Leslie and Neil
Robertson (from his touring band) tackle the bottom and pulse while John Lee
and Bill McCauley perform wonders on piano and organ.
How High Is High Enough is a folk song with a British pub-styled chorus. Black
Spruce River, though, is the quintessential east coast song. Here, Minglewood
sings with burning conviction with succinct background harmonies performed by
Jamie Foulds and a choir.
Hughie T. & Annie Lizzie is an emotion-laden instrumental in which you feel
compassion in every note. The names in the title indicate how his parents were
affectionately addressed by people who were close to them. The fiddle at the
beginning is the only recording of Matt's paternal grandfather.
For a rocked-up version of the blues, listen to Help Me. McCauley's organ is
spooky while Minglewood's shrieking and wailing electric/slide guitar is played
so methodically, baby boomers will not be able to resist. Meanwhile, I Wanna'
Be Your Man is cruising rock and roll that is so loud, proud and heavy, images
of leather, spandex and big hair come to mind. Then, on Cape Crusader, a riff
from ZZ Top is borrowed.
Minglewood pays homage to his influences on Comin‚ Back A King. His lyrics
acknowledge that his upbringing and lifestyle are nothing compared to the
hardships his heroes endured.
Minglewood puts the pedal to the metal on all but the CDs three slow ballads.
However, even on these, the band is cookin'. On Darkest Shade of Blue, his
vocals are as emotional and aggressive as his guitar notes. Lee's jazzy piano
is in sharp contrast to the song's dark heavy melody. Surely, Minglewood has
penned an award winner here.
Travelin' Man is a country ballad that will moisten the eyes of the staunchest
hard-nose. Using ardent vocal harmonies, it describes the discordant loneliness
of a career that keeps you away from a loved one. (BTW, I agree Matt; the west
coast is not the best coast) The CD liner's back cover brings this song to
life. Desolately pictured are Matt's guitar, case and the long-winding road.
Blues purists, beware! This is not a blues album, and rockers beware!
Occasionally, the tracks sound more like Mellancamp or Springsteen.
Matt Minglewood, though, is not your dime-a-dozen blues-rocker. He has
something unique to offer. The spirited songs, with their fervent rhythms,
zestful vocals, ardent guitar work and lusty keyboards, combine for one of the
best rock albums ever.
Reviewer Tim Holek