"With 21st Century Lo-Fi Savage continues this journey, bookending the album with the type of songs we would expect a songwriter of the folk ilk to explore during a pandemic. Just as intriguing is a trio of challenging songs serving as the nervous system of the album, songs that bring to mind various faces of David Bowie, of all people, including guitar threads that remind us of Carlos Alomar and Earl Slick, and creative bass effects that would not have been out of place on the Serious Moonlight tour.
These songs—“The One I Wouldn’t Let In,” “We’ve Outgrown Everything We’ve Known,” and “In the Evening Glow”—are absolutely fabulous, taking the listener on an appealing journey of sounds and visions. Savage’s vocal phrasing on these songs is pure genius, whether intentionally going places I’ve not previously heard from him or not.
But truly, the entire eight-song disc is bleeding amazing, and is certainly my first ‘favourite’ of 2022, closely followed by my recent purchase of Ann Vriend’s new one! The storytelling here is that of experience and emotion rather than narrative.
The press notes site the requisite Van Zandt and Springsteen comparisons, and Yeah, sure. I find Savage more individual, and comparisons—despite my previous attempts—don’t truly work. Toss in Tom Petty, Ray Wylie Hubbard, and Ian Hunter while you’re at it, but I prefer to just let his songs—the lyrics, the guitar effects, the vocal harmonies (check out the lead track, “Right Where You Found Me” for the combination of the three)—pull me close and keep me riveted.
Savage allows his songs to percolate, encouraging layers of sound to meld and stretch: one isn’t always sure when a song is reaching its natural conclusion, but each always feels ‘just right’ as they wind down. The second track, “I’m Beginning,” is initially disconcerting in that Savage approaches the vocals from a bit of a disjointed, late 70’s techno manner; once the ears adjust, it becomes a favourite, a bit of a reminder of what John Entwistle did—without sounding anything like The Quiet One– on his requisite offerings on albums from The Who—I’m thinking “905” from Who Are You and the spare part “Heaven and Hell.”
Savage’s remote rhythm section—Jason Mercer (bass and synth) and Bonz Bowering (drums)—is well-placed within this set, and is integral to the album’s sound; there are so many interesting and compelling rhythms and grooves on this album it is senseless to name each—that would truly be the track list.
Savage son Benji plays bass (what a funky bass line!) on the remarkable “We’ve Outgrown Everything We’ve Known.” (Son Zach is responsible for the striking album cover; it rather leaps out at the viewer.) The searing “Down Here,” the album’s most obviously political song, is a further highlight; Savage’s controlled wrath is apparent. The closing “Something Real” could be mistaken for a Steely Dan deep cut.
All in all, 21st Century Lo-Fi is a most satisfying and challenging recording. You’ll find a lot to appreciate." -
Dead Root Revival are on a quest to capture those unexplainable, otherworldly, soul-invigorating moments. For their fans, as much as for themselves. The spirit of the Delta Blues, the gritty inspiration of the farmhouse jam, the sheer brilliant power of guitar-driven classic rock.
Kids: Quit staring at your phones and join the Revival!
In my reviews, I typically do not pit performer against performer. But allow me this indulgence: Tom Savage is who Colter Wall listeners should be listening to.
Wall comes off as a privileged youth aping legitimacy; Savage presents with an aura of unpretentious, wayfaring minstrel, ‘a country boy not sure what to do.’ Out of necessity, he became a singer-songwriter.
Guitar-rich, Great Beyond is a robust collection of diverse songs.
Performing solo with only his guitar as accompaniment, Savage has no choice but to take charge, laying out his soul, heart, and well-earned perspiration on each of these ten original songs. “Slow Learner” is a weighty country-blues with sufficient slide guitar to prove attractive, “I Wasn’t Meant to Be Alone” is a sweeping guitar assault.
The album’s lead track, “Great Beyond” has a sweeping, cinematic quality reminiscent of the Texas songwriter tradition (Crowell, Van Zandt, Carroll, and such). “Lunatic Baby” has a bit of Sturgill Simpson hiding within darkness (“My daddy got the chair, my mama found religion, I found the keys to his pickup—an ’89 Ford, and rode down the interstate, laid waste to all that I saw…”), “Dirty Mind” is emotionally yearning, where “Keep Movin’ On” is all groove and rhyme. “Someone Knows Where I Am” goes deeper, while “(Too Much Time) Wasting My Time With You” is unequivocally liberating.
For context, I could see and hear Savage holding his own (and more) on a festival sessions stage with the likes of Fervor Coulee faves Darden Smith, Reed Foehl, and Lynn Jackson. Sounding like he is performing within an intimate, house concert setting, Great Beyond is an impressive presentation of Tom Savage unadorned.
If you like Gurf Morlix, you’ll appreciate Tom Savage. - Fervor Coulee
Sandy was a gifted musician and songwriter who readily left a lasting imprint on those she met.
Her friend John MacDonald aptly describes Sandy's personality, "I worked with Sandy at Pakwash Junior Camp and reconnected her on Facebook over a couple of years ago. Then, as now, I was appreciative of her extraordinary passion for life which came through, not only in her music, but in her genuine caring of those with whom she came in touch with. Her lasting friendship with her junior ranger sisters is a testament to the love she had for life."
As many know, Sandy struggled from bipolar depression for many years. The "black dogs" as she called them, continually nipping at her heels. Although her mental illness had a profound effect on every area of her life, it did not define who she was. She soldiered on despite it. Most storms Sandy endured valiantly, however, the last storm overcame her. This album represents her new sunrise. A lasting legacy to her brilliant life.
"I'll be thrown by these storms into a new sunrise" - Driftwood
"How many times have you tried to listen to an album from an artist purported to be the "next big thing" only to be summarily disappointed in the outcome of your efforts?
In a refreshing turnabout, the latest effort from Kingston, Ont.’s Tom Savage, the subtly brilliant Everything Intertwined, proves the notion that some of the best music can be found on the shore well away from the great river of so-called popular new releases. Savage simply writes what he knows without trying to definitively resolve any complicated life puzzles. EI, at its core, is a breakup album, yet there is a distinct lack of the over-sentimental here. The soulful Sad When You’re Not Here and the plaintive title track are truly confessional, yet they are both built with the kind of savvy musicality that makes them special.
The trio backing Savage’s great guitar work deserve high marks for also keeping it simple whether they are pop rocking with hook-filled abandon as on opening salvo Forever, flowing with power on the Springsteen-like Burnt By The Sun or cutting loose completely on the blazing 17 Years. For his part, Savage uses his riffs as a method of imprinting a few memorable notes to add to the sum of the whole and that is the mark of a true professional. Mean To Me has the kind of vocal insistence and rush to get all the words in that made all the best Tom Petty songs sound so sincere and closing track Cold But Free draws the curtain quietly on this affecting album. Highly recommended."
— Jeff Monk, Winnipeg Free Press
The long overdue debut from one of Canada's most authentic voices in Country music. Al has lived a life and his experience and authenticity comes through in the way he delivers his songs. There is no pretence here. A beautiful collection of songs that will fit nicely between Hank and Lefty on the shelf.