The album is released on Quarto Valley Records on Friday, May 16. This feature includes a review of the album and an interview we had with the man himself. For those who like to know these things, I did the review (Anna-Louise) and Mark did the interview.
Just as a bit of background first, the press release runs as follows:
“Better Side of Me” is a collaboration with notable producer Denny Seiwell, the co-founder and drummer of Wings, and Fernando Perdomo. Their combined expertise promises to deliver an exceptional listening experience.
John McAndrew is a unique storyteller and it can truly be said that it is his passion for telling a tale that is attracting the attention of Americana listeners and blues/pop fans. With his jagged and soulful voice, his music is uplifting, inspiring and is captivating audiences across the United States.
The story of John McAndrew is one about overcoming difficulty, redemption, hard work and not giving up. John’s struggles in his early life provided him with these redemptive themes that have carried over into his music and are showcased in his songwriting throughout his career and most certainly on “Better Side of Me.”
McAndrew, who had always considered himself a moderate drinker, began to face the reality that his drinking was affecting his health. At age 19, he entered a hospital with a blood-sugar level so high he began to hallucinate.
“I remember being in that hospital room, and a little green monster came to visit me,” he said. “He was kind of green, fluffy and smoky, and he came through the door and smiled at me.”
A doctor told McAndrew that he was a diabetic and asked how much he drank.
“A little bit – that’s our typical answer,” he said. “I asked, ‘Why? Can’t I drink anymore?’ “
The doctor advised that he should be drinking no more than 1.7 ounces of alcohol per day. McAndrew scoffed. The next day he left with 20 bags of syringes and headed to the liquor store. A week later, he was at a biker party, where a new level of his disease began to progress.
“They made crank out the back of their house, and they saw this guy with all these clean needles,” he recalled. “So, they offered me some crank, and I said, ‘I guess I’ll try that. This looks like fun.’ “
For another 10 years, McAndrew spiraled down into his disease.
“I don’t have to tell you that I wanted to commit suicide and I couldn’t stop drinking,” he confided.
He found a new way to live through the help of a 12-step recovery program, which he has followed ever since. Through recovery, he has evolved his musical talents with a career infused with songs conveying a deepening message of hope and a power greater than himself.
McAndrew vowed that with the many second chances at life that he was given, he was determined to not waste any more time. He began to play solo piano gigs, jazz and blues gigs, and started writing songs with a passion he never knew before.
Before long people began to take notice, and John ended up at the famed Muscle Shoals Sound studios for his first major recording/publishing contract and album, “Like We Were Made of Gold.” This led to his next album, recorded in Los Angeles, “Good Enough,” produced by Ken Polk. John then moved to Nashville and recorded two more albums, “Small Crowds” and “I Am Home.”
Music is his life, and his songs and storytelling have moved audiences all over the world. His music can be heard in several films, including “Jesus, Mary and Joey,” starring Jennifer Esposito, Olympia Dukakis, Charles Durning and Stacy Keach; “Jake’s Corner,” starring Richard Tyson and Dianne Ladd; and “Little Red Wagon,” a film by David Ansbaugh.
John’s music has been heard at many National Events including the 50th Anniversary of NATO in Washington, DC. John’s song, “Birmingham,” is featured at the Birmingham Civil rights Museum in Birmingham, AL. John also added a one-man show off Broadway to his repertoire that received much acclaim.
The greatest artists are those whose lives are their art. John IS his music – honest, tender, and tough. Always an echo of the heartbeat of life. All of John’s music arises out of that heartbeat. If he sings about it, it is because people have lived it. More than anything else, John’s music is life listening to itself.
We will turn to the interview and hear from John first.
We are not always the same people in life. We often hear from those older blues artists about how when we scratch the surface of the best songs, they will contain the blues/life experiences. Do you agree?
John: Yes, I do, and in my case the bumps in the road we call life taught me things and these came out in the songwriting as well as the playing. Songwriting is just that for me, the journey and the story and it is always changing. The blues are so fluid and passionate, and I think they show themselves in the vocals and the lyrics. For some reason I also love playing blues piano, and that sometimes shows up in the songwriting.
I read this in your bio: McAndrew, who had always considered himself a moderate drinker, began to face the reality that his drinking was affecting his health. At age 19, he entered a hospital with a blood-sugar level so high he began to hallucinate. “I remember being in that hospital room, and a little green monster came to visit me,” he said. “He was kind of green, fluffy and smoky, and he came through the door and smiled at me.” That sounds absolutely terrifying?! I don’t know how to frame the question – how real was he? (Quoting Hamlet – more things in heaven and earth than are dreamt of in your philosophy…)
John: Well, simply it is called DTs, and obviously my drinking had crossed the line. It took a few more years to end that chapter of my life That experience still lives in my head, and I remember looking around the room to see if I had a roommate, hoping he saw it too and that I wasn’t losing my mind. Thank God the little monster was friendly!
Turning to music, is this album a reflection of your development as a musician? How well does it show an evolving you from previous releases? And how important is it to evolve- some artists are more interested in delivering what their audience expects.
John: My piano playing is always progressing, I would like to think. I never had lessons, so later in life, as I experienced more types of music, my playing adapted. And trying to stay fresh in my writing is always a bit of a challenge too. Playing a little bit of guitar can help me get into different grooves and styles as well. I studied later with some Jazz Piano instructors and try to keep fresh that way. I even took some classical guitar lessons a couple of years ago that opened up some new pathways and ideas. And Jazz and Blues are always lingering underneath it all.
Let’s turn to a look at a couple of songs. Firstly, “Up on River Road” has this lovely melody and the vocals took me toward a Chris Rea sound. I liked the emotive connection you got into the vocal – could you tell me about that song and how you approach it?
John: What a good question! The bass movement on the left hand and the chords started the song, descending then ascending, and the melody came right after. It is normal for piano players to play alternate bass notes under chords, and I love to sing to that movement. All my pieces start as a vocal piano performance, so it has to work like that first. The lyrics came from a real life experience at an amazing healing place in TN called Cumberland Heights.
“Nobody Knows” is an interesting contrast and we thought it really brought in the storytelling style of a Dean Martin, perhaps. For the story writing side to a song like this, are you working with a piano melody first, or are you jotting lyrics down and then playing with the notes later?
John: This song I wrote with my eyes closed, very quickly, and just kind jazzy bluesy fun stuff I’ve always done. The music came first, lyrics and melody shortly after. Its another story of playing NYC at a privet jazz club, and my soon to be wife Nancy came out to see me. We had such a good time imagining this amazing future, which has come true. That’s pretty romantic huh?
When we read other publications that have pieces on you, they often talk about you being on a “spiritual journey”—is that accurate? How do you see this?
John: I’ve lived a couple of different lives, one dark and in the past and a new one.
Substance abuse and mental illness were in the early mix and came out alive, so now what do I do? Spirituality is living life the best I can, knowing I’m not perfect, and also knowing I can’t do many things on my own and need to ask for help. In my battle with self, the answer is a spiritual one and thinking of others. Music has always been the most calming thing for this worried mind, and I think for all people, in this sense it is magic! Be honest and loving…and unselfish. I’m still working on all of it.
What song is the best entry point to your music for someone who is unaware of what you do? Why choose that one?
John: I think on this album probably “Better Side of Me” embodies my soul the most. Just keep trying, you know? Then “Only You” is just fun to sing and play.
Lastly, what was the last album you listened to from beginning to end, and did you enjoy it?
John: I think the last from beginning to end was “Running On Empty” by Jackson Browne, it’s always moved me and I think early on motivated me to sing and play, and it still does.
And now on to the album review itself!
“Only You.” Has a decent funky beat and an assured style. I liked the lyrics and the vocal delivery. I would imagine it is a song that would play (and listen to) well live and something of that live sound definitely is present in the production here. It has an immediacy in the way it is recorded.
“Up on River Road.” This song introduces me to the man and his music (as it played first for some reason on my run-through). It is a pleasing blend of folk storytelling and a gentle pop melody. For me, personally, this is perfect late evening listening to music as I relax in the sunshine and enjoy watching the world go round.
“Let it go Tonight.” This track returns us to a laid-back sound, guitar harmonies and those late-evening ghosts who are only ever just the other side of the wall.
“Before they all Slip Away.” This one has a slower build and you notice the drumbeat providing a heartbeat to a slightly melancholic and wistful track. Love is in the late summer air with this one, remembering those loves who got away, I think.
“If it weren’t for you.” This one has a gentle piano accompanying a simple track of memories of Paris and the reverie of getting through those difficult times. I didn’t connect with this one immediately, but it’s one that probably would benefit from a couple of plays.
“Nobody knows my name.” This is one my editor liked and I can see why. If you like those jazzy sounds with a touch of honky-tonk and those singers of the rat pack era, then this one is for you.
“Freedom’s in our blood.” This one returns to the simpler style of folk storytelling. It is more of a bluesy lament. A solid enough album track.
“We changed our minds.” I liked this one; it introduces a solid beat (tambourine?) and a solid rhythm that you sway quite happily to. A nice fit for smooth radio.
“Expecting nothing in return.” This type of folk storytelling is a central part of what John McAndrew does. I relaxed into the lyrics and melody again; it is music for the late evening. Music to unwind to.
“Like a Child.” This track, falling late in the album, puts just a pinch of gospel into the mixture. It brings in a bit of background harmony and I enjoyed listening to this one.
“Me, my soul and my heart.” This one delivers a bluesy feel; it’s one my colleague Stevie would have appreciated if she had reviewed this one. It is the type of track John delivers well and I am sure it plays well for his fans.
“Better side of me.” The album closes with a slower acoustic number. It was one I may have had earlier on the album.
Standout tracks: “Like a Child,” “Only You,” and “Up on River Road.”
In summary:
All in all, Better Side of Me is a mellow, heartfelt journey through soul, folk, blues, and a little toe-tapping groove for good measure. John McAndrew knows his lane and drives it with the windows down and the sun setting in the rearview mirror. It’s an album for winding down, tuning in, and remembering that the best songs are the ones that feel like old friends dropping by for a chat.
And I hope you liked the feature, dear reader! If you did, please check out the other pages of the magazine; we have many great features, merchandise, and editorials, and even poetry! We work hard for you, and if you want to show some appreciation and support what we do, then do use the Support Us link below and buy us a coffee.
You can stream music from John McAndrew here
Artist website here
By Anna-Louise Burgess
and
Mark C. Chambers
