Written
by Mike Yoder, posted by blog admin
Phil
Barry and Sarah Fuerst’s collaboration under the name Thunderbolt and Lightfoot
marks a next natural step for these two respected figures on the Midwestern
indie and folk scene. The confluence of their talents, first exhibited on their
self-titled debut EP, takes the main stage here with a full length studio album
and it certainly smacks of much more than regional desires. These are one of
those rare working partnerships where one performer truly inspires and prods
the other to heights they might not have reached on their own otherwise. Songs
for Mixed Company is a ten song collection that certainly embraces its folk
roots, but there are dashes of something truly different in many of the
performances that set it apart from typical efforts in this style. There’s no
question, however, that the album’s songwriting is suffused with the spirit of
genuine poetry and that glows extends to many of the musical arrangements as
well.
“Let’s
Be Friends” definitely doesn’t communicate the promise of that. This is a
subtle lyrical narrative where two now former lovers, each still reeling from
their split, make uncomfortable promises they aren’t sure they can ever honor.
Barry and Fuerst’s vocals don’t flawlessly connect and that’s a part of their
appeal as it brings an added quality of emotion to the performance. They try on
some of the trappings of classic country with the song “Miss Me”, but it’s
another sly bit of songwriting as well. Beneath the song’s seemingly playful
lyrics lurks a tremendous sea of longing and a little regret and the musical
qualities of the piece help bring those moods into even sharper relief. We get
more evidence of their songwriting talents with “Can’t Be Trusted”, nut their
interpretative potential is clear too as Barry completely inhabits the less
than reputable character at the heart of the song.
“Year
of the Monkey” is one of the most solid cuts on Songs for Mixed Company and
shows off how well the band brings an assortment of Americana sounds into their
artistic vision and finds the right balance. There’s some raunchy lead guitar
in the song’s second half and the overall bluesy influence casting a shadow
over the song is impossible to ignore. The unassuming and easy going saunter
struck by “Sweetest Baby” is one of the album’s more relaxed musical peaks, but
the song asks more than it lets on and there’s a definite vein of melancholy
running just below its surface. They choose an unlikely cover of Bruce
Springsteen’s ode to desire, “I’m on Fire”, from his 1984 Born in the USA
album. It isn’t the first time this song has been covered, far from it, but
what doesn’t seem to initially be a good fit for the duo soon proves to be
ideal for their purposes. “Dearly Beloved” leaves the album basking in a little
sunlight without revisiting the depths it reaches on earlier songs and the
humor in the writing is played very well by both singers, particularly Barry.
It ends Songs for Mixed Company on the upswing rather than mired in its own
misery/Amy fan of Americana and modern folk will consider this album essential.
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