I don’t get too excited about too many things these days. Thank goodness I still get a bit of a jump when I hear fresh, exciting music: the day that stops happening it the day I’ll be ready to pack it all in.
Still, I don’t get worked up by a lot of the music being produced by younger musicians and singers. Give me a new album by Rodney Crowell, The Gibson Brothers, or David and Gillian over something by Shakey Graves, Ten Strings and a Goat Skin, or Molly Tuttle most any day and I’ll be more than content.
It isn’t that folks twenty and thirty years my junior have nothing to contribute—far from it, they keep the roots growing—I am just not into what many of them are doing. And that is fine, I suppose, as long as I recognize that while their music may not necessarily fully connect with me, it does impact others in the same way Guy Clark, Emmylou Harris, Wilma Burgess, and Steve Forbert once—long ago—knocked me back on my arse.
Ahh, but there is always an exception. Emily Burgess (I guess Wilma Burgess didn’t come to mind a sentence ago serendipitously) is the latest ‘youngster’ to capture my ears.
Not sure when my recent fascination with soulful female vocalists began, but I know Bobbie Gentry laid a solid foundation over the past twenty years. Discovering her catalogue beyond “Ode to Billie Joe” did more than a little to push me in this direction. I know I fell hard for the singing of Linda Clifford, Gladys Knight, Marlena Shaw, Candi Staton, and Dorothy Moore (and a hundred and fifty-six others) when I encountered them on soundtracks, compilations, and radio, and became enamoured with the thrill of discovering even more when I started digging. Over time, Amy Black came to my attention, and a couple years ago I fell hard for Edmonton’s Ann Vriend’s recent albums. Lately, Erin Costelo and Crystal Shawanda have came onto my radar. Now, Emily Burgess.
Out of Ontario, Emily Burgess is a guitar-wielding firebrand who has played with various outfits, most recently The Weber Brothers. From what I can gather browsing the links, many of her previous appearances feature harder blues stylings. Not so Are We In Love? And these softer, soulful songs are right up my alley, and I would suggest ideally suit Burgess.
Backed by The Weber Brothers Band, Burgess strolls down the soulful side of the street on this debut set of ten songs. With the recording coming in at just over 30 minutes, no time is wasted, no filler dropped in. “Til I Get To Call You My Only” comes with a confident strut to kick-off the album, each and every performance is concise, and the album’s brevity magnifies the intensity of the music.
Burgess and Sam Weber (no individual credits are provided) drop in tasteful guitar fills throughout the set (“I Want To Make You Mine,” for example) and the rhythm section of Marcus Browne (drums) and Ryan Weber (bass) keep the backbeat deep. Ryan “Rico” Browne contributes a bevy of keys. With everyone focused on maintaining a discerning groove, the album maintains cohesion that never blurs into monotony.
Burgess’s softer side comes through on “Ain’t That A Woman?” and the title track, but these songs avoid mushy sentimentality. “Is this a phantom I’m chasing,” she sings on “Are We In Love?” and the answer is most obviously, No. Emily Burgess knows what she is going after, revealing no hesitation. “All I Wanna Do Is Love You” rocks like a Danko Jones’ outtake, and “Stand Up For Your Love” is just a terrific song.
Still, despite all of these highlights, the late set “Arrested” may just be the strongest performance on Are We In Love? Embracing shifting tempos, Burgess sings of falling under a spell, “arrested by the love of a man,” over a percolating and percussive rhythm with a signature hook that is significantly catchy.
Released late last year, Emily Burgess’s Are We In Love? is a captivating album, one that will get your soulful, bottom-end moving.