John McEuen (from the album The Newsman: A Man of Record

John McEuen (from the album The Newsman: A Man of Record

John McEuen (from the album The Newsman: A Man of Record available on Compass Records) (by Lee Zimmerman)
 
There are some who still think of multi-instrumentalist John McEuen as the lively player who helped found the Nitty Gritty Dirt Band in the mid-1960s, and then remained at the band’s helm for some 50 years. Nevertheless, after parting ways with the group in 2017 due to various personal and professional disagreements, he’s managed to carve out a vigorous and varied solo career — one which includes an autobiography, a role as host of the Acoustic Traveller radio program on Sirius/XM, a notable contribution to pal Steve Martin’s number one, Grammy-winning album The Crow: New Songs for the 5-String Banjo, and his own series of solo albums. His allegiance to tradition and the music bred in America’s heartland has always been foremost in his efforts, a fact that’s never been more obvious than on his latest LP, The Newsman: A Man of Record, a series of striking spoken word narratives with instrumental accompaniment.
 
The scenarios shift throughout the album, ranging from the title track about a newspaper salesman in Hollywood with unparalleled access to those who held the seats of power in L.A.’s entertainment empire during the mid ‘60s, to the tale of war and struggle for survival detailed in “Nui Ba Den”. Other songs reference bygone era and those who were the architects of what’s now considered a traditional musical tapestry. On the other hand, the song “I’ll Be Glad (When They Run Out of Gas)” offers a whimsical respite while lamenting the frustrations that arise from owning an automobile that seems to be terminally plagued with mechanical malfunctions.
 
John McEuen offers his wry observations courtesy of a knowing perspective, and while occasional guests — including Mark O’Connor’s contributions to the tune titled “Fly Trouble” and Jennifer Warnes who adds vocals to “Killed at the Ford” — McEuen’s own instrumental arsenal, consisting of guitars, banjo, fiddle, mandolin, mandola, piano, and bass, provides the bulk of the instrumental backdrops, be it the rousing revelry of “The Mountain Whippoorwill” or the gospel-like accompaniment given the aforementioned “Killed at the Ford”. The material is spawned from various s sources, both original and archival, but it’s McEuen’s storytelling skills that create the most durable impression.

Inevitably, that’s the headline here, all the more reason why The Newsman so successfully fulfills its rounds. (by Lee Zimmerman)
 
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