Back to their roots.
For many, including this reviewer, Cowboy Junkies begin with ‘Trinity Session’ recorded in a Toronto church to a single mic. The 1988 album’s atmospheric, immersive sound launched Cowboy Junkies to their deserved acclaim but it is their second release. Their debut is ‘Whites Off Earth Now!!’ released two years previously, live to tape using a single ambisonic mic. It too is completely absorbing, vocals almost in a whisper enveloped by guitars that span an immense range from stark and distant to intensely present. This year’s reissue is a magnificent reminder of the band’s sheer originality and versatility that is brought out magnificently by John Webber at Air Studios who cut the originals at half speed. The sense of space, already a Cowboy Junkies trademark is vast. Appealing to another type of junkie, the record is pressed on 180g limited edition red or black audiophile vinyl.
On their return to Canada from the UK in 1985 guitarist Michael Timmins and bassist Alan Anton sought a new band and particularly a new sound. In their rented house, 547 Crawford Street, Toronto that later became known as Studio 547 they experimented with jazz and particularly the early bluesmen Lightnin’ Hopkins, John Lee Hooker and Robert Johnson. With these influences they played and jammed their way to creating an original sound. These two were joined by Timmins’s younger brother Peter for his drumming and sister Margo’s vocals. Sadly the neighbours didn’t like what they heard and called the police. Thereafter, this nascent combo had to find their musical voice very softly. But, every cloud etc, this emphasis on keeping the sound down became the foundation of the Cowboy Junkies unique sound. Singing more quietly gave Margo’s vocals far greater nuance and Peter’s brushes replacing sticks added further layers.
The result was ‘Whites Off Earth Now!!’. What gives it even greater fascination is that with a single exception all the tracks are covers, mainly of songs by those old bluesmen. It feels as if the purpose was purely to explore and create the sound, writing would come later.
The record opens with’Shining Moon’, first recorded by Lightnin’ Hopkins. If that 1947 original was relaxed then the Cowboy Junkies version is almost horizontal. The 12 bar blues is barely perceptible behind a whisper of vocals, the brushes across the drums more a breeze than a beat. Yet the result is as captivating as the original, particularly Michael’s guitar flourishes. Sticking with the bluesmen John Lee Hooker features three times; ‘Decoration Day’ is stripped to its barest, “put an envelope flower to decorate your grave baby” sung by Margo sounds as if it it comes from beyond that grave. Similarly, ‘I’ll Never Get Out Of These Blues Alive’ feels other-worldly while the final John Lee Hooker is a pulsating version of ‘Forgive Me’, where this time Michael gives the original blues bars what can only be described as electric shock treatment. Covered by many, the traditional ‘Baby Please Don’t Go’ popularised by Big Joe Williams, in the hands of Cowboy Junkies sounds like no other with its ethereal vocal meanderings. Robert Johnson is represented twice. Margo seems to heap scorn on the misogyny in ‘Me and the Devil’ while this version of ‘Crossroads’ could not be further from the blasting applied by Cream. Several times the song seems to peter out altogether yet again, those haunting vocals and guitar volleys totally absorb.
The only contemporary cover is very well-selected. If Springsteen sounds bleak then try ‘State Trooper’ as done by Cowboy Junkies. Margo’s “Mister State Trooper, please don’t stop me” is an even more intense plea than that from The Boss. Which leaves the only original song, ‘Take Me’. Still bluesy, there is even a hint of folk in this early example of what was to become the Cowboy Junkies sound.
Spending time with ‘Whites Off Earth Now!!’ left this reviewer not just marvelling at the beginnings of this unique group, but taking even longer going through the entire catalogue since those early days. To be recommended.
