There are some albums that just click with you – no rhyme or reason. Just because it speaks to you in a musical way that most other albums don’t. Back in 1999, whilst working at a speech radio station, I had the good fortune to produce a weekly music review slot with the then Times music critic David Sinclair. We had similar music tastes and we tried to highlight albums which we thought deserved wider attention. This was at the start of the americana movement and we managed to feature many excellent releases, but none more memorable than a quirky-sounding debut album from an American singer-songwriter, ex-TV soap actor and all-round mystery guy.
His name was Ramsay Midwood – we knew nothing about him then and don’t know much about him now. It was released on the Glitterhouse label, a German label who brought out numerous americana albums that went on to become classics. These included Willard Grant Conspiracy, The Walkabouts, Friends of Dean Martinez, Rainer, Ben Weaver, David Munyon, Richard Buckner, The Minus 5, Jon Dee Graham, Johnny Dowd, Hazeldine, Steve Wynn and Howe Gelb to name but a few.
The label was owned by Rheinhard Holstein, and he also loved the album and here he shares his passion: “I’ve always had a soft spot for weird misfits! Ramsay Midwood is such a weirdo. I first heard him when Neal Casal and I were on our way to Big Pink (the house where The Band lived and recorded “The Basement Tapes” with Bob Dylan). He popped a CD into the player of his red Chevelle, and I was immediately hooked. “Shoot Out At The OK Chinese Restaurant” is my absolute favourite. The number 1!!! Like JJ Cale jamming with Tony Joe White – on Valium!”
So to celebrate its 25th birthday since its initial release, Holstein has managed to re-release this classic on a very limited vinyl only release that really does deserve to be in every true American fans collection.
The album got a fair amount of press attention, but this review seems to sum up its appeal really distinctly. ““Shoot Out at the OK Chinese Restaurant” draws deep from two American wells. Traditional music nourishes these performances, but so does that part of American culture that produces idiosyncratic, somewhat twisted individualists. In a laconic drawl that recalls both Woody Guthrie and Levon Helm, Midwood projects an ageless, enigmatic quality; like Leon Redbone, he might be a prematurely rustic twenty-something, a crotchety yet poetic septuagenarian, or anything in between. Vivid images fill his lyrics and drift over shambling tracks marked by banjo plucks, beat-up old pianos, and other garage-sale relics.” Another writer suggested Midwood’s work is “gospel music for inspired barflies”. So, so true.
So with the birthday cake out, let’s celebrate! The album opens with ‘Chicago’ and some random acoustic and electric guitar strumming, before some lovely tambourine shaking joins in and then we’re introduced to Midwood’s highly individual singing, part singing, part spoken, but with this lovely drawl giving his eccentric lyrics a real sheen. “Pick a bale a day looky looky pick of cotton looky looky pick a pale a day, Chicago got my old lady now – Y’know the windy city got burned by the cow”. The track also has some choice organ playing and some gentle drum work. Once this track is over, you know you’re in for something different.
The second track ‘Mohawk River’ is a barnstormer of a song. We open on some lovely electric guitar before more guitar and drumming kick in with some welcome harmonica. Then Midwood brings in his off-kilter vocalising, telling a weird story of a trip to Little Rock, Arkansas, involving a tombstone and some gun violence. The song regularly stops in its tracks for a few seconds, but this odd structure just makes it sound even stronger.
‘Monster Truck’ opens on Midwood’s vocals and a single guitar strumming and a lovely blues riff, before we explode with drums, piano and more. The lyrics are suitably odd but this track has a mounting energy and bite to it, with some astoundingly effective guitar work as the song comes to a close.
‘Feed My Monkey’ has a similar opening of vocals and simple guitar strumming and the vocals are hilarious. “She had wiggle and a giggle and a tickle in her talk and when she come around all I did was gawk”. It then builds with drums, an accordion and more guitar playing. As with all these songs they build with fantastic instrument playing and one can’t help but be almost hypnotized by Midwood’s singing and lyrics.
‘Esther’ opens on some barrel-house style piano and guitar and a love story but one Midwood-style, involving an instrument bow. There’s some occasional drum work joining in the fun and a superb violin sound. It’s all quite ethereal and odd but again just lovely.
‘Spinnin’ On This Rock’ opens on a strong drum sound, lovely guitar work, some rocking piano and an almost party feel to it. It’s the rambling thoughts of a guy ruminating on his precarious job situation and his seeming proneness to violence. It’s again quite dark but hilarious in quite a non-PC way. It ends with some magnificent violin playing.
‘Heaven’s Toll’ is another piece of piano blues with a Midwood take on our resting place and his requisite bleak humour mixed in the telling. ‘Fisherman’s Friend’ is a toe tapper of a blues shuffle with a quirky story involving the aforementioned fisherman, the beautiful Issie Cain and Marlon Brando.
This isn’t an album with much variety, but Midwood and his bunch of uber-talented musicians create a truly distinctive and memorable collection of songs. Those musicians include Matt Marguci (trumpet); Randy Weeks (guitars, banjo, harmonica, drums – check out his solo albums, they’re amazing); Kip Boardman (bass, piano); Kevin Jarvis (drums, percussion); Don Heffington (drums, percussion); Rami Jaffe (organ, accordion); Brantley Kearns (fiddle); Sheldon Gomberg (bass); Josh Grange (guitar); Danny McGough (piano, organ).
This album so richly deserves its vinyl-only re-release, but hurry, as it’s been limited to only 500 copies (www.jukejoint500.com) as well as other outlets. It’s got a weird illustration of a bunny on a truck on the cover with a ‘sticker’ saying ‘Electronically Altered For Stereo’.
It’s a hilarious, quirky, and different album but one that still resonates. When one finds something truly out there and oozing quality one has to take notice. Think Creedence, Tony Joe White, Tom Waits and even a smidgeon of Captain Beefheart. Immerse yourself in Mr Midwood’s eccentricity. It really is worth it.
