Here we have an established artist known for being part of a successful duo striking out with a solo release. The press release tells me that after 17 years as part of acclaimed duo The Harpoonist and the Axe Murderer, Canadian vocalist and harmonica virtuoso Shawn Hall, aka The Harpoonist, now goes it alone with his first solo record, Did We Come Here to Dance, out November 8, via Tonic Records.
As one half of his former band, a Vancouver-based folk and blues duo, Shawn has toured far and wide across his home nation and been praised by Canadian institutions like The Globe and Mail newspaper and CBC (Canadian Broadcasting Corporation). Under the guise of The Harpoonist (inspired by the line ‘I pulled a harpoon out of my dirty red bandana,’ from the beloved song ‘Me and Bobby McGee‘), he has already released a string of singles etched in blues and psychedelia. His first full-length solo album turns this sound up to eleven, bringing swampy grooves and heavy soul into the mix thanks to his collaborative efforts with the founder of one of Canada’s biggest selling bands, Big Sugar—Gordie Johnson here on production duties.
Speaking about how this album differs from his previous work as a duo, Shawn says,”I think it captures my sense of humour a lot more, often with really absurd imagery, so it breathes truer to my personality than my previous incarnation. There is also a heavy attention to groove and off-the-wall hooks while never losing touch with the pulse. Making sense of these musical influences is my harp playing threading a sort of narrative.‘
Recorded within a 10-day whirl at Gordie Johnson‘s ranch in Austin, Texas, Shawn describes this time as one of the most enjoyable experiences of his creative life. “He has these three shacks he calls the Sugar Shacksdown the hill from his house that overlook Dripping Springs, Texas… One for drumming, the other for his guitars, the other for singing and mixing. We would bounce back and forth between shacks and write lyrics on the deck.‘ While journeying between these shacks, Shawn also explains that ideas came together from all over, such as a graffiti line spotted in a bathroom stall married with a piano line he’d had in his head, and looking through scribbled notes and listening to phone memos to see what would stick. The result is an album he describes as joyful, and one that showcases ‘a version of me that’s always existed but just not quite captured on record before.‘
And now for my review.
“Good People” opens the album with harmonica and asks, ‘Did we come here to dance, or did we come here to die?‘ It’s a strong vocal performance with minimal instrumental backing and a repeated (chant) theme that almost acts as a chorus. I believe this was the lead single; it’s a statement of intent and unusual. I wasn’t sure what to expect, but I found an alternative style, a nod to the psychedelic music movement.
“Heartbreak Autobahn.” This is more bluesy, a bit poppy and has a pinch of funk somewhere in there. I felt the dance rhythm in this one and turned the volume up. Remember, all reviewing is subjective—an opinion at the end of the day. I liked this number much more than the opener; it got me excited about what was to come.
“Acrobatic” retains a dance groove with some unusual instrumental touches. It’s pushing out the walls musically, and I imagine it was a whole lot of fun to do. Swampy, I think, is one of the words used to describe this music. I would say that fits quite well, swampy pop! I would also note this one has a great groove!
“I May Not Have It Together.” This one instantly hits a spot—a clap-along slow rhythm with that harmonica adding some spice in that power groove. It has a strange but catchy little chant along.
“Lullaby Life” is too rocky to be a lullaby! Shawn describes it as ‘another swamp banger‘ for the album. He explains that ‘I know Gordie (Johnson) wanted to marry mid-90s hip-hop on this one… drums, guitar, Moog bass with sparse harp‘. The drums do pound here, and jungle drums have a sexy quality that excites. This is a very interesting song. I like it when the drums are allowed to drive the car, and this track engaged me on many levels.
“Show Me the Green” is show me the harmonica! It is a heavy ‘ish’ track, with plenty of rhythmic vibes and pounding moves. I liked the chorus and the confident strut within the song.
“Yusef Lateef’ brings out the sax in tribute to the great US jazz musician. How unexpected to find a track in tribute to the Ahmadi jazz maestro. What can I say? It’s kind of cool! Smooth, jazzy, the cream on a coffee.
“Scrapper” is a blues number, reflecting on the aftermath of a bender. It retains a keen sense of energy, moves nicely and keeps the pot on the boil.
“Trucker Speed” completes the album with a touch of reggae hiding in those notes. It is a cover of Canadian touring musician Fred Eaglesmith, a story of a truck driver who falls out of love and into a life on the road. It rounds things off in style.
In summary, what a great harmonica sound! Apart from that, Shawn Hall has created an eclectic listening experience that I really grew into. It was an album where I think I found it difficult to like the song I was meant to enjoy (the opener), but quickly began to love the sheer inventiveness and scope of the following songs. It gave me a truly enjoyable listening experience, and I found some of those rhythms irrepressible.
Standout Tracks: “Heartbreak Autobahn,” “I May Not Have It Together,” and “Yusef Lateef.”
As a finishing point, to keep us improving the magazine, we do need your support, and if you can go to the “support us” button and buy us a coffee or follow us, it helps us feel appreciated and keep improving the magazine.
By Stevie Ritson