Canadian bluesman Matt Andersen finds his softer side, which shows off his tremendous voice in this tender, at times intimate release.
“The Hammer & The Rose” is the 11th solo studio album by Canadian guitar player and singer-songwriter Matt Andersen; his previous release being 2023’s “The Big Bottle of Joy“. Hailing from New Brunswick, eastern Canada, Andersen is an extensive gigger and has worked with a long list of big-name musicians, including touring with Marty Stuart, Randy Bachman, Bo Diddley, Buddy Guy, Gregg Allman, Tedeschi Trucks Band, Jonny Lang and Beth Hart. Andersen’s music has garnered 33 million streams on the Spotify streaming platform and 30 million views on YouTube.
Over his career, Andersen has developed a reputation for heavy blues riffs; however, here, he displays a more mellow, intimate, even tender side. The change in approach came about when, after a show, producer Joshua Van Tassel told Andersen how much he loved the quieter moments of the set, saying that at these times, he could hear, with more clarity, the timbre and texture of Andersen’s powerful, soul-tinged voice. Van Tassel suggested that Andersen should record an album in this vein. “The Hammer & The Rose” was produced by Van Tassel; recording was done at Hard Scrabble Studio in Wolfville, Nova Scotia, where, in addition to Andersen, the musicians were Christine Bougie (lap steel), Aaron Comeau (keys), Kyle Cunjak (acoustic bass), and Afie Jurvanen (acoustic guitar) and Van Tassel (drums).
The soulful ballad title track opens the record, and it’s a corker; apparently, the title is meant to represent a metaphor for the differences and push-and-pull relationship between the head and the heart. Andersen sings, “I’ve taken some chances, They’ve come up lean, Halfhearted romances, Came apart at the seams“.
‘Hold on to Me‘ is a little more uptempo, with the voice once again the focus, although there’s a tasty guitar solo mid-song. The subject is being there for a friend in need, and lyrically, the key line is “When the world’s got a hold on you, You can hold on to me“. ‘Wayaheadaya‘ is more blues-focused, with Andersen’s voice once again prominent; Comeau provides a Fender Rhodes solo.
‘Countin’ Quarters‘ is one of two songs on the record that were not written or co-written by Andersen; instead, it was written by Ryan and Scott Hupman of local (Annapolis Valley) blues band, The Hupman Brothers. It’s a down-on-your-luck kind of a song, “But I couldn’t care about money, At least that’s what I’d say, Until I’m counting all my quarters, Just to find my rent to pay“. Then, lastly, “Four or five years ago, I understood, But I don’t understand much of it now“.
‘The Cobbler (Good for My Sole)‘ is a funkier cut and one of the album’s high points; almost instrumental, with the only (repeated) lyric being “Baby, you’re good for my sole!“; this allows the Hammond B3 organ and Andersen’s guitar to cut through.
‘You’re Here to Stay‘ settles into a groove, and it really takes off with the pedal steel solo and the guitar solo as the song fades out. While on ‘Magnolia‘, Andersen delivers a respectful cover of this J.J. Cale song. Although this is a much-covered song, Andersen’s version is right up there with excellent versions by artists such as Lucinda Williams, Poco and Pat Travers.
The record closes with Andersen singing over acoustic guitar on the touching ‘Always Be Your Son‘, his tribute to his ageing father; “You will always be my father, and I’ll always be your son.”
Andersen’s change of approach for this LP helps demonstrate that his voice is a magnificent instrument, and the songs, arrangements and production here allow it to soar. The style may not suit all tastes, leaning towards the more soulful end of blues music, but there are some great songs here; give it a chance, and you may just find that it gets under your skin.
