Maurice, Louisiana’s population is small, being right around one thousand. However, the heart and soul of the music in this part of the country is large. The pieces recorded at an acclaimed local site known as Dockside Studios can offer solid testaments to this premise. One of the most recent efforts put together at the notable location is a liberating work encompassing funk, New Orleans style Jazz and swampland soul.
Johnny & The Mongrels show undeniable inspiration, presenting an aural documentation of survivorship with a love for the music and culture of Louisiana on their first release, Creole Skies. The project was produced by JoeBaby Michaels (Neville Jacobs, Deanna Bogart) and co-produced by group guitarist, Scott Sharrard. The core members Johnny Ryan (vocals), Jeff Bostic (bass), Scott Sharrard (guitar), Eddie Christmas (drums / percussion) are certainly not new to the music derby. In being in and out of music most of their lives some of the band has partially grown up in the pelican state. All four have an unmistakable passion for the states people and culture.
In returning to the boot state the men spent time recording a wonderful record of roots music that is strongly associated with the area and is one which reveals some of the members most dramatic life struggles. Creole Skies is a sincere work filled with tales of striving to find oneself through the years and attempting to solidify happiness in middle age.
The album starts off with ‘Louisiana Girl’, which combines a funk swagger and certain grooving confidence in this jazzy dance styled paean. Keys and saxophone (Craig Dreyer) sound off reciprocally in this infectious, spicy opener.
Next in is the significant ‘Drinking With Angels’, a southern soul-based number that has a way of putting a tear in the eye and a smile on one’s face simultaneously. This song’s subject is that of losing a dear friend and it is delivered with genuine, heartfelt vocals by Jeff Ryan. Keys play off Ryan’s vocal and this carries the song through to something truly special. It is hard to think of a better example of something musically (or lyrically) as bitter-sweet as this.
‘Shallow Grave’ is a heavily gospel influenced track which reveals perhaps the albums most catchy chorus. The tune is a ‘sing-along’ which exhibits Ryan and Bostic going back and forth with one another sharing vocal responsibilities. It is one of the standout ideas on the record, as well it is a standout track. Simplistic, lovely splashing piano by keyboardist Bill McKay rounds things out in the finish.
Sonically, Creole Skies conveys itself as a cross between a two-inch analog tape recording up front and a live band set at a small show hall underneath. Hammond organ is a staple in the album but interestingly it was elected to sit a bit lower in the mix on a few of the tracks, acting as support rather than a complete standout instrument. The widespread idea for this record seems to be incorporating ample pedal steel guitar (including Mike Rifkin), plenty of keys, a variety of bass players and handful of vocalists (along with Roddie Romero) in creating a solid ten song layout. The songwriting is good, and the music comes across as effortless. Several of the songs sound as though they were recorded live in the studio with minimal overdubs.
‘Saturday Night in Oak Grove Louisiana’ is a rocking song that is a bit saucier than the rest of the faster paced ode's on board. This song is a Tony Joe White (the ‘Swamp Fox’) cover featuring excellent piano work and blazing electric guitar.
‘Hard Way’ is a charming blend of country and soul describing the learning processes in life while ‘Music Man’ is a rumble-jumble of Chicago Blues Rock and Jazz.
The production is smooth, un brash. The entire collection has a breezy analog feel all through. The ballads are essential and especially moving while the up-tempo pieces ring with enduring muse.
Lyrically the songs tell of bumps in the road but with a strong willfulness in overcoming them. All during this album there is a demonstrating admiration of the music generally identified with the bayou state.
Shining through is the writing member’s inner strength with explanations of life’s emotional struggles, pitfalls, and select unhappiness’s. All these conquests make their way in strong emotive fashion to the very crux of the album. Johnny Ryan, Jeff Bostic, Scott Sharrard and Eddie Christmas perform from sadness, lost love, and in transcending personal demons through their affection for New Orleans styled melody magic.
While Creole Skies certainly has its share of slower meaningful bits, it is anything but top heavy or overly somber. The record carries the right mixture of nimble jamboree and touching balladry. Every musician and vocalist involved performs in tuneful cohesion and no note seems out of place. Yet despite all this there is nothing on Creole Skies that is polished or perfect, nor should it be. The album is real and its music authentic.
The final selection, ‘Just Keep Walking’ is a funky, gospel rock meld serving rightfully as the sets closer including excellent symbol work by Christmas. The mood it projects is optimistic in advising one to continue directing themselves to a better way of life with an open heart. This song’s heyem continues to replay in one’s head hours after completion (which is a good thing).
The heart and soul of Johnny & The Mongrels appear first and foremost behind this album with a seasoned slew of additional musicians and vocalists in support of the cause. Creole Skies never intends to rattle to the core but by no means is it ever even slightly sedating. Its ride is relatively uncommon. The album has a special way of easing tension, inspiring and reinvigorating by way of Jazz rock, ginchi funk, Gospel, and beautiful Southern Soul.
"I’ll Never Give Up the Fight .. My Heart Knows What’s Right" ~ Johnny Ryan and Jeff Bostic, 2020.
Creole Skies will be released this Friday, July 17th.
- Ian Billen