Samuel Markus = Encore Status

One of Markus’ strengths is that he seems to concentrate on post production just as much as he focuses on the craft of song writing. The Talking Heads sounded just as assured on stage as they did on their albums. I have yet to see Markus on stage, but the construction of these songs is assured and mature; the fundamentals so strong, so I can imagine them played as effectively during happy hour, as they are played on this album. “Rosa” leads off the album New Dawn, and it is one hell of a track with classy crunching chords and a pleading, if manipulated voice. It perfectly expresses the desperation contained in the lyrics. Markus is also incredibly evocative with a prototypical ‘folky’ voice, one that can frequently lie about the singer’s worldliness. He channels Dylan, but it is clear that he can sing. I really enjoy the voice because it speaks in sun tones, and with each song I find myself imagining a different time of the day, or a different temperature of the light outside my window. Marry that voice with a great set of poison pen lyrics, and you have a first rate folk singer.

If Markus has a weakness, it’s that he betrays a little too much of his influences. I don’t have to look at his myspace page to tell you that he digs Tom Waits, Leonard Cohen, and Bob Dylan. “New Dawn” in particular borrows a little too much from Tom Waits’ lilting psycho-trubador vibe. Having said that, it is a great title track with an interesting play between his refined voice and the very raw backing vocals. “The Offering” is a top notch Dylanesque song that sounds straight off of “Blood on the Tracks,” and I’m kind of ambivalent about it because of the similarity. At the same time, the lyrics are well written (as they are throughout the album). At other times he gets a little too conventional. “Suzanne” in particular sounds a little too much like a top 40 hit, and it is a little disappointing to hear it after a string of dynamite tracks. “One Door Land” also falls into this category as it is a good track, but it does not match the fun of his other more manic tracks, and it is self consciously morose. The album contains a formidable number of tracks for a debut album (15), and that leads to a hodge podge sense of continuity. Markus relies on his heroes for several songs, and does so with aplomb, but it is when he writes his own songs and relies less on his influences that this album shines.

Once we enter the Southwest kick of the album, tracks 7-10, we don’t look back, and it is a treat that keeps on treating. His grasp of roots music is particularly dazzling on a stomping track like “Miles Away” that kicks a substantial amount of ass. I feel like I’m in a Southwestern bar, on my last stop before Cowboy oblivion. This is a track that would impress T-Bone Burnett, and I highly recommend it to anyone, even those not predisposed to Tex-Mex. “Jitterbug” is another pleasant surprised, as the voice says Dylan, but the cocaine-tempo boogie dances fast, and escapes any of his influences. It is a track that he completely owns and it would be great for driving, for a party, or just for listening after you’ve had some coffee. The guitar solos are short and sweet (and man are they sweet) and on “Deeper Well,” the guitar work stands out with scary guitar slides that recall Eric Clapton’s “Layla” (the GOOD version).

Above all, Markus joins a growing legion of professional grade artists that eschew the amateur textures of self conscious low-fi, and embrace virtuosity. The backing band, The Only Ones, deserves a lot of credit for this album’s success. They do not try to hide behind “conceptual” strong structuring or DIY textures; this sounds like an album made in a top studio. Markus should be very pleased with the results. I know I am.
- Bork

P.S. Samuel Markus is having a show in LA at the House of Blues on Dec 11th. Please show your support. More info here