Conor Donohue – Stray Dogs
This set is more aggressive than most Americana. It has muscles where others are brawny. “Wasteland” opens the album with some jarring chords, but the chorale delivers a soulful balance with a haunting tone. Somebody’s trying to be interesting & that somebody is New Orleans-based singer Conor Donohue.
The set seems to rely on blending a few hard-edged 50s rock n’ roll grooves with 60s funk/pop/soul décor. “Feel That Hit” sounds like where Sly & the Family Stone left off. Whereas “Wait…” has an upbeat fully fueled 60s assertiveness.
There are 10 different breeds on Stray Dogs (Drops Oct 11/Independent) which roam the backyard of varied genres rubbing up against soulful/funk fences. It’s a nice effect, something that’s the same but different. A little more falsetto dominates “Hold On To That Feeling.” It features a soulful lead & gets the job done. It’s the vocal application that’s well-cultivated above all else. It lays down a dance groove that works & is sturdy if not repetitious.
Produced by Joel T. Hamilton (organ/Rhodes/piano/bass/percussion/drum programming/vocals) & Emily Eck some songs have synths — but it’s used wisely & liberally. Nothing’s ever too heavy or pompous. Even on some of the less clever tunes, there are creative displays. On “Franklin & Royal,” the drums are aggressively cool with their shuffle. It keeps the cymbal strikes to a minimum. Though not a great composition it is an interesting arrangement & performance.
Conor (guitar/bass/Wurlitzer/Casio/synth/drum programming/vocals) uses an array of special effects & electronic percussion on some tunes that I’d prefer to be done with real instruments, especially on such a good track as “Stray Dogs.” It’s a soulful atmospheric exhibition with good lyrics. Conor constructs effective dramatic song techniques in many of his pieces & they’re not merely to astound but to add to the entertainment value.
Some songs are better than others with no gloss or mascara. “Elephants” is also of dancehall quality but again it’s the arrangement & sophisticated performance that elevates the music. Conor doesn’t have a distinctive voice but the way he applies his vocal prowess is magical enough. It isn’t progressive music, but it is, not wholly dance music but can be. Many of the tunes have the necessary punch. Bottom line? This is innovative Americana & not cookie-cutter roots music.
Highlights – “Wasteland,” “Feel That Hit,” “Hold On To That Feeling,” “Franklin & Royal,” “Stray Dogs,” “Elephants,” “Wait…” “River” & “Apocalypse Industry.”
Musicians – Ron Wiltrout (drums/percussion), George Baerreis, Kenny Murphy & Andrew Jarman (bass), Tyler Ross (lap steel), Nic Jenkins & Tif Lamson (percussion/vocals), Micah Nichols (guitar), Michael Flynn (Rhodes), Josh Kaler (pedal steel), Ian Wellman (Rhodes/synth), Lindsey Verrill (cello), Jeff Johnson (singing saw), Rose Cangelosi, Trent Pruitt & Ben Gallaway (vocals), Sam Doores (Wurlitzer/Lighter/percussion/vocals),
Image courtesy of Ian Wellman/Conor’s website. CD @ Bandcamp & Apple Music + https://conordonohue.com/
