Sawtooth Witch – The Chariot
An album of hearty rock with energetic originality found in bands like Crossfire Choir (“Month of Sundays”), Blue October (“Congratulations”) & See No Evil (“Don’t Cry”). Why? Their distinctive vocals made them stand out. This is the appeal of Sawtooth Witch. It’s multi-instrumentalist Pat “Doc” Dougherty’s sure-footed musical creation that’s propulsive, engaging & with a heartbeat smoothed over by the fine, clear sawdust that falls from Haley Fleming’s sawing fiddle.
It isn’t so much a new sound as an appealing sound. Instead of making a Manhattan cocktail with rye whiskey, use Jack Daniels & it becomes the difference between a stinging jab & a knock-out punch. Good collaboration. They have the moves.
There are 8 tavern rustic sharpened claws on the dusty stuffed bear that’s Sawtooth Witch’s debut, The Chariot (Drops April 24/Independent/24:40). Recorded in Minneapolis, MN. Songs are regarded as soulful (yeah, a little), American songbook quality (don’t see the connection), genre-bending blends of hill-country blues (a bit), cosmic country (yes), & house music (if you say so).
What I hear is a clever rock formulation, warm-hearted persona, a confluence of how the Rolling Stones shaped their exploration of the country blues (“Country Honk,” “Dead Flowers”). There’s always that underpinning rock torque in each Sawtooth Witch song. “Coming To America,” & “The Punchline” are a nuts & bolts mish-mash of a dynamic showcase with soulful vocals mixed with the barbed rock sound. The guitars are not weighed down with boisterous runs & solos but build an economy of atmosphere. The vocals, phrasing & intonation — packed as tight as tuna in a can.
“The Dream” is dramatic but not melodramatic. Performed with skill over the surface of elaborate music. Haley’s fiddle doesn’t act like a secondary lead; instead, it holds down the foundation like the bass guitar would. In & out with subtle sawing that becomes a glue between the other instruments. A much more determined drum application with inventive Ringo Starr (Beatles) fills would provide more character to the tunes.
“Leave the Light On” is rock vocals framed in a funky frame. Spare in the percussion alley; the arrangement has plenty of punch. Ingenuity, that’s the driving force of these 2 musicians. They approach the musical combinations of David Luckhurst’s Crazy House (my interpretation) with their aggressive opening track, “The Hustle.” But have yet to ascend to that Luckhurst level of production captured on “Still Looking For Heaven On Earth” (1987) with “Find the Words To Change Your Mind,” “The Whole Creation,” & “Shake (Sell Your Soul).”
Sawtooth Witch has the songs & instincts – maybe all they need is a resourceful producer who would aspire to cathedral bells instead of perfectly tuned chimes. Regardless, I like this group.
Highlights – “The Hustle,” “The Weight,” “Coming To America,” “The Punchline,” “The Dream,” & “Leave the Light On.”
Photos courtesy of Tom Smouse. CD @ Amazon & https://sawtoothwitch.bandcamp.com/album/the-chariot