Lance Cowan
Against the Grain
Lantzapalooza Musik
Lance Cowan’s career change is one that is certainly unusual although this writer can point to a few music publicists who double as singer-songwriters. Nonetheless, it was a surprise to learn last year, that a publicist that I’ve been working with for two decades or more, and in his case 35 years in the profession, switched gears and became a singer-songwriter. In fact, though, he continues to double. Although Cowan has played gigs informally in and around Nashville, few knew that he had this ‘double life.’ Yet now we learn that his songs have been performed or recorded by such artists as Joan Baez, Janis Ian, David Mallet, and a slew of independent artists. So, in any case, the title Against the Grain makes sense and it follows last year’s debut, So Far, So Good which garnered enough acclaim to convince Cowan that he should keep going.
Obviously three and half decades in the business will result in building a wide network. Cowan’s cast of supporting musicians is impressive to say the least. They are guitarist Pat Flynn (New Grass Revival), legendary pedal steel player Dan Dugmore (Linda Ronstadt, James Taylor, James Talley and so many more), drummer Vinny Santoro (The Cicadas, The Highwaymen, Rodney Crowell), bassist Jay Turner (Demola Adpoju, King Sunny Ade, Joanna Cotton), pianist/keyboardist Todd Smith (Days of the New) and vocal team Chip and Billy Davis (Alabama, Dolly Parton). Cowan, who sings lead and plays acoustic guitar, wrote or co-wrote these ten songs and tapped producers Jason Stelluto and Scott Paschall. The album was cut in just two days live in the studio with very few overdubs.
Not that Cowan was intentionally going after a certain sound, but there are several instances on the album that evoke acoustic Neil Young to these ears. That’s not a bad place to be. The album begins with the cosmic country “One More Chance,” co-written with Sam Gay, imbued with vocal harmonies of the Davis team. Ominous chords welcome in the tragic Western love story song, “Will Belinda,” co-written with John Tirro, punctuated by Smith’s keyboard work in a song with a throw-back feel.
Cowan is straightforward in his stance moving from “I can’t stand” to “I hate” in “I Can’t Stand the Winter,” infused with Dugmore’s pedal steel, a interesting choice as it may the instrument we would least associate with that season. As the song evolves, that distaste for the season is magnified because he is missing his loved one. Cowan’s vocal grows very emotional in “More or Less” with an accompaniment that belies the typical Americana backing as he’s backed by only piano, cello, organ, bass and very modest percussion for a sublimely gorgeous sound. By contrast “Ragged Edge of Nothing,” written with longtime collaborator Terry Clayton, has a rocking pulse, teeming with rollicking piano, swirling organ, and jangling guitars.
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His standout original “Old King Coal” both nods to and mourns the plight of coal miners in his native Kentucky. Yes, this is one of those that evoked Neil for me in the melody, chord structure, and to some extent, the vocal. Cowan, who has two sons, sings from experience in expressing the fears and burden of parenting in “Prayer for a Child.” Now that his children are older, perhaps he feels a new sense of freedom to pursue the troubadour route. The title track, also written with Sam Gay, has plenty of twang, infused by dobro, as Cowan sings “He sailed against the grain, far beyond the Kansas plains,” using the imagery of a ship and a play of the concept of ‘amber waves’ much like the artwork within the album that sets a sailing ship on grain, rather than water. “Goin’ South,” written with David Mallett, has an infectious rhythm and singalong chorus. Cowan retreats to a melancholic and deliberate posture on “Love Anyway,” inspired by our current divisive state, the rise of hate, and unfathomable events as he sings “Sometimes people can be so mean/If we ever hope for change, love anyway.”
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If there were any lingering doubts from Cowan’s debut, on Against the Grain he’s clearly stamped himself as a convincing and talented songsmith.
– Jim Hynes
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