Biggsongs
D. G. Biggs
Independent
2000
12 tracks
After more than three decades writing and performing songs, Winnipeg's D. G. Biggs seems to have not yet decided what he wants to be when he grows up. Although the quality of the songs and performance on his debut release do reflect his many years' experience, it would be hard to lock him into any specific genre category. While Biggs might arguably be classified into some generic country music category, he slips across the board from folk to jazz to blues and gospel to somewhere not quite in any genre except his own. This is not a bad thing. Rather than such artificial classifications, what holds this set together is Biggs' simple acoustic approach to making music.
Biggs has a voice that ranges from sweet pop to old style [some might say hokey] country to an even older style of blues vocal with a jazz edge. He has a comfortable, almost conversational vocal style that suggests years of singing in smaller venues and folk clubs where he is personally known to his audience and he knows the face and name of each listener. The acoustic sound of the music backing him underlines this cosy at-home ambience.
There's an extra song on Biggsongs which is incorrectly identified in the liner notes. Track 13 is announced as an acoustic version of track 8 ("Crying Shame") but is actually a second version of track 7 ("St. Vincent's Law"). Since this is a release of relatively acoustic performances, this distinction between the not so hidden track and any other in this release is moot. It might better be said that, rather than acoustic, the final track is a solo version of the earlier track.
"St. Vincent's Law" reinforced my wish that artists would all either include lyrics with their releases or post them on their websites. I would especially have liked to be able to read the lyrics to this song. "St. Vincent's Law" is a sweet sad song that touches on certain unhappy disclosures, made some years ago and of which most Canadians will be aware, of long-term institutional child abuse. The artist's approach to this subject is both sensitive and admonitory. Both versions make the point well but, if I had to choose, the solo version is more focussed and leaves more room for the lyric to make its point.
The folky gospel sound of "Talk About Sufferin" is clean and simple, without all the reverb and other effects many producers would be tempted to put on a capella vocals. As a producer, Biggs is to be commended for avoiding the temptation. Biggs puts real feeling into his vocal and there's just enough choral harmony to give the song form and a needed fullness. The backup singers are not credited, but they add a great deal to this performance.
Juno nominee Laurie MacKenzie [no relation] plays guitar on most tracks, but he shines when he slips into some cool Thirties style jazz-blues licks. "Bad Days" is the sort of slow, grooving jazz-influenced acoustic blues that proliferated between the two world wars. Biggs' vocal style is less Jimmie Rodgers than Hoagie Carmichael and the mood is not so blue after all. This song is a pleasure to hear.
"Frequently Mistaken" is another song in antique jazz mode where Biggs benefits greatly from his partnership with MacKenzie, who plays both guitar and bass on these tracks [I'd like to see him do that live]. Bob Russell on drums carries the song along with a steady shuffle. The vocal and the band are a perfect complement.
"Not Like You" is a simple country song that manages to make the connection between today's sound and that of a half century ago. The result is pure country with a lively, danceable beat. It's interesting to hear Biggs put on a bit of an American accent (words like "thangs") in this very American feeling song.
"Brothers" retains that American sound with the sort of slow swamp groove that makes you remember the story of how Billy Joe McAllister jumped off the Tallahatchee Bridge and other sad tales of another era. Again the voice and the vocal style slip into role and the transition creates a complete piece of theatre. The performance is polished and convincing.
At first glance, I had wondered about the hokey album title but, as I listen to these songs, I wonder if that title actually serves to set the mood at the outset for this suite of very restful performances. I'm not sure if this is the sort of release that can break out of the comfortable acceptance of the hometown club circuit, but it's certainly one that deserves to be heard across Canada.
|
Since about February 14, 2004 |
While you're here, please take the time to check out our sponsors below and on other pages.
Got a new or recent release you would like reviewed?
Click here 
for more information.
|
on Sound Bytes' Free-For-All Links page... Click Here.
Designed by The Communication Centre (R. D. MacKenzie Associates,
Kingston, Ontario K7K 6T9)
This web site, all pages, original content & images copyright © 1997-2002 R. D. MacKenzie.
Some web site functions developed and provided by Bravenet Web Services.
Review written: November 25, 2002
Page modified: February 14, 2004
Proudly Canadian
Send mail to the Sound Bytes Webmaster
if you have questions or comments about this web site.