part of the light

From birth through most of my 20's, I spent a lot of time in and around a small mountain town called Winchester, VA. I camped there for more weekends than I ever dare try and count. It was the second town I knew as well as my home towns (they're called the tri-cities, so I kinda consider them as one). I even lived there for a summer in an attempt to stay somewhat close to everything I'd grown fond of at W&M - and in so doing cemented my dislike for musicals.

In time I discovered that my good friend Matt grew up there (you may remember him from such album reviews as Wolf & Clover), so I started calling in on his family whenever I was in town. I remember being there for a cookout one summer. We were sitting on the front porch of the house playing guitars and admiring the view (and it's spectacular, I wish I could share a picture with you). The year was 2003, and Matt mentions a CD called Trouble his dad just let him borrow. He says I have to check it out. He says this guy is going places.

Fast forward to the summer of 2011. Another rural summer, but this time in Maine. The theatre I was working at had it's annual summer variety show where the staff/cast show off the other random talents they have. I had it in my mind to participate, so I started working on picking out guitar tunes. I wish I remembered all of the contenders, but eventually I settled on this little ditty called "Jolene." Turns out it's by this guy that's from Maine (not originally, but close enough), and he put out his debut album in 2003, and it was called Trouble. That gentleman's name is Ray LaMontagne.

Ray's been in the game for 15 years now. That debut was brilliant. The follow up, 2006's Till The Sun Turns Black, brushed off the sophomore slump as if it were nothing. As time went on, Ray pushed at what made Trouble so great - just his voice and his guitar. He's had full band, fleshed out, well recorded albums (2010's God Willing and the Creek Don't Rise comes to mind) and he's gone way out there with electric guitars and found himself in uncharted waters (2016's Ouroboros is a bit of a trip). Finally it seems that he may have found the best balance on Part of the Light. 

Still I have to admit that my favorite Ray tracks aren't the electric rockers. It's never felt like it fit him, and I mostly blame that on the production. Take "Paper Man" for instance; you can hear the signature acoustic guitar in the background, almost as a pseudo-percussive instrument, but you certainly can't miss the electric guitar fills that dominate the choruses. It's even tougher to take when it sounds like something from the Black Sabbath catalogue, as heard on "As Black As Blood Is Blue." Though when Ray tries to sound like a blues band a la the Black Keys (as he does on "No Answer Arrives") it's not as bad.

It's true, I do kinda wish that this album were just Ray and his guitar. I don't think we'll ever get one of those records again. Until then, I can still go back and listen to my all time favorite Ray song ever - and dream about covering it on stage in front of people. 

Recommended tracks: "Part of the Light," "Let's Make It Last," "Such A Simple Thing," "Goodbye Blue Sky." "To The Sea"