JJ Shiplett A Way Through Time (Red Buffalo Records)
J. J. (Jason) Shiplett is possessed of a boisterous, warm hug of a voice which, if pressed to describe it, would be akin to ‘smoked, well-aged whisky’…‘soft, silky and with a complex presence.’ Close your eyes and he does sound similar to a lot of singers who you can’t quite place. Matters not – as this short release serves as substantial notice that there’s a new kid on the block, making a significant contribution to the ‘from-the-heart’ singer-songwriter camp.
The spirited lead-off track – “Already There” – is propelled by a party-friendly drumbeat and lightly-strummed guitar chords. Shiplett’s voice is clearly the star despite its whisper-quiet level and (his own) barely-there backup vocals. As guitar (J.J. Shiplett) and piano (Jeremy Friesen) come into play, the song blossoms into a full-fledged hook with serious legs, as each musician bites into it. The rhythm section of Jay Stewart (drums, and producer) and Jeremy Friesen (bass…and piano) keep this noteworthy song on the move.
Dropping his vocal range down a few octaves and, with a slower approach, the stunningly beautiful “Oleander” is proof positive of Shiplett’s songwriting ability. This tight-knit collaboration of musicians play as one – Shiplett’s soft, yet soulful, vocal tying it all together, delivering yet another powerful composition celebrating good and bad, positive and negative and everything in-between.
The soft-spoken “Reckless Heart” – co-written with fellow Canadian, Dustin Bentall –again – nails it – a veritable hat-trick of highlights. Repeated plays sink these hooks extremely deeply while Shiplett’s velvety rasp of a voice (with its slight dash of grit) takes on a timeless sense.
So, who is this young guy from Calgary, Alberta? He’s only been at it for a few years but he is, so far, difficult to pigeonhole – not a bad thing. Country? Roots artist? Pop?
The fact that he’s hard to peg is exactly the reason his move to Nashville proved a negative experience, as the local label execs tried to force his hand and spit him out like an up-and-coming Chris Stapleton or (insert flavor-of-the-month here). Difficult to know the real story but, if you can believe it, “Reckless Heart” spells out the degree to which Shiplett wanted no part of it, returning home to continue his journey as a songwriter and lyricist, first, and a singer and guitarist, second. This was not the defeat it might seem – in fact, the Nashville-recorded songs were de-constructed with local musicians in the hope of removing some of the Nashville’s off-putting sheen.
“American Accent” capitalizes – as do most of these songs – on the chemistry between these players. There are no weak links as the vocals complement the music and the music calls attention to the vocals. Friesen’s piano takes a more prominent position here – shining brightly throughout, closing the song beautifully.
Another low-key track, “Modern Drugs,” moves ahead, somewhat dirge-like, until the guitar pulls away from a gentle piano accompaniment to break up things up with some tasteful distortion – acting as a salve should the vocals prove overly gentle. Still, a rousing tribute to his wife’s strengths and courage in the birth of their child.
“Bad Feelings” underlines those sad moments in life as we respond with wide-ranging emotions to many of the events life throws our way. Bittersweet, too, because it was the last time Shiplett would work in-studio with close friend, bassist and keyboardist, Jeremy Friesen – an integral part of this recording – who succumbed to cancer last June.
In a show of intense gratitude, “You and I will Never End” is an homage to this friendship and forever love in the untimely passing of Friesen, lyrics reworked to fit the already-recorded band track, featuring Friesen’s contribution on bass and keys. Shiplett has added acoustic guitar for an enhanced level of intimacy.
Initially befriended by fellow Albertan and country star Johnny Reid – a beneficial relationship was born, inadvertently and somewhat awkwardly mis-classified him as a country singer. Appreciation for the leg up aside, Shiplett demonstrates otherwise. This is quality roots music with a leg in each of rock, folk and country. But think of him as a songwriter first, if not a work-in-progress. He may not have the words quite yet but he works hard to perfect his craft. His lesson learned from Nashville is the music’s gain. His heart is worn prominently on his sleeve and his delivery is more than earnest. That said, Shiplett has a free rein on wherever he goes from here and the path he’s already taken is well worth your taking a solid listen.