Album Review – Logan Ledger (Self-Titled)
There was a time when a performer who proved their vocal prowess was something unique to a generation would be shepherded in front of microphones and audiences without prejudice, with all the walls and barriers falling in front of them to allow that voice to be broadcast to the masses for the betterment of everyone, even if the possessor of this unique talent was otherwise not traditionally suited for stardom, or was some sort of rube. It would be considered a sin to let such talent go to waste. But of course, these times are much different, when a lack of natural aptitude can be disguised in the studio mix, and commercial applicability is the primary concern of most in the industry. True talent is now just as much of a burden as an asset.
But those true talents still exist out there in the herd, and it was upon hearing the voice of Logan Ledger in a demo recording of his song “Let The Mermaids Flirt With Me” that legendary producer T Bone Burnett determined he’d struck gold, deciding to delay his impending retirement and tackle the task of attempting to insert Ledger into the conversation of popular music.
A songwriter from San Francisco who’d been biding his time playing pickup shows in east Nashville honky tonks, Logan Ledger was all of a sudden signed to Rounder Records, and recording with an all-star studio crew that included Marc Ribot, known for working with Tom Waits, as well as drummer Jay Bellerose and bassist Dennis Crouch. Along with T Bone Burnett, this is the same band that played on the Grammy-winning Album of the Year-winning Raising Sand by Robert Plant and Alison Krauss. Also joining the sessions was guitarist and pedal steel player Russ Pahl, heard most notably on the records of Tyler Childers.
To this end, Logan Ledger’s long-anticipated debut album has arrived, though perhaps under slightly strained conditions, and with some delay, though no worse for the wear musically. Saving Country Music first warned the public of Logan Ledger’s emerging talent back in September of 2018, with a debut album expected sometime thereafter. But more time was allotted to allow Ledger’s name recognition and tour capacity to develop for this release. Now Coronavirus has quashed Leger’s tour plans once again, or at least delayed them until mid summer. But the album has finally been allowed to see the light of day.
“Vintage” is the only way to fairly catalog this self-titled release, with the influences of classic country, traditional pop, mod, and even a little early psychedelia appearing throughout these eleven tracks. If you’re thinking country, think more of Jim Reeves or early George Jones, and less Waylon Jennings. Think The Byrds meet Nashville. This is a refined style of roots music, perhaps more suitable for the intimate theater than the honky tonk, but still and raw and real from the emotional experience.
Logan Ledger not only shows his capacity for classic country crooning on the song “Starlight,” he also proves flexibility and depth by delivering more smooth performances on songs like the velvety Memphis vibe of “Tell Me a Lie,” or more of a Morrissey-style tone in one of the more arresting tracks on the record, “Electric Fantasy.”
This album may take an extra pass or two to warm up to due to the range of influences it calls upon, and since some of its more stellar tracks may have been previously heard by audiences, spoiling a bit of the surprise. But intent listening and patience is rewarded with the revelation of amazingly-written compositions like the beautiful “Invisible Blue,” or what might reign as one of the most dark and depressing songs released in quite some time, “Nobody Knows.”
What to do with Logan Ledger, and where he fits in the music world remains a bit of a mystery, even with this full-length release. The rednecks and honky-tonk hipsters may not immediately hit on this effort since it’s a little light on twang and other country signifyers, yet it may feel a little too Western for the mod rockers out there as well.
But one thing is undeniable: Logan Ledger has a special voice and the songwriting acumen to pair with it to be worth hearing and being heard. Hopefully that fate finds him and lifts his music out of obscurity to feed ears famished for true musical talent.
7.5/10
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Eduardo Vargas
April 9, 2020 @ 8:16 am
I detect quite a bit of Chris Isaak in him- probably my favorite record that will be released this year
taz
April 9, 2020 @ 8:42 am
Roy orbison-ish
Jake Cutter
April 9, 2020 @ 9:07 am
Nice review. Loving the sound of this so far myself.
I’ve noticed now you saying something now a few times and I wonder what exactly you mean by it : “What to do with Logan Ledger…”
What do you mean by “what to do,” and who should be doing it?
Trigger
April 9, 2020 @ 10:24 am
Good question.
What I mean is that many artists take off because they appeal to a specific scene or style of music fan that is established and well-known. Because Logan’s style doesn’t fit nice and neat into any of these more established patters and crosses influences, it just makes me a little worried he won’t find the audience he deserves from the quality of his music, and his undeniable talent.
That said, the best artists create their own buzz, and their own scene. They buck the conventional wisdom of music and refuse to choose a lane. We’ll have to see if that’s where the music of Logan Ledger goes. This isn’t a commentary on the music at all. It’s more about if or where it can find a proper home.
Jake Cutter
April 9, 2020 @ 6:54 pm
Thanks for the reply. Interesting that we know more what to do with country that sounds more like rock, pop, elm and hip hop, than we know what to do that this.
Point is taken though.
Corncaster
April 9, 2020 @ 9:37 am
I agree with the Isaak comparison, but Isaak has a great sense of humor and doesn’t take himself too seriously. It’ll be interesting to see how Ledger becomes more than a stylist.
Kevin Smith
April 9, 2020 @ 9:50 am
Let’s just say it . It’s not a country music record. T Bone Burnett is not a country music producer. Marc Ribot is not known for country style guitar. That’s not a criticism, that’s just an observation. For the record, I loved O Brother Where Art Thou. Raising Sand had moments of brilliance, but it was weird to me and impossible to categorize. But I’m not knocking this bunch. Like others , I’m picking up a minor key, echo reverb, mopey Chris Isaak meets Morrissey vibe too. I just happen to love that sound, so I’m digging this a lot. Haven’t heard the whole album, only maybe half the tracks but I like it. Could use more guitar solos though, I understand it’s by design supposed to be light on that. Aesthetics.
I think I understand Trigs where do we go with this, however. I have personally seen Logan Ledger in the Nashville Honky Tonks, doing very traditional country. I saw a magical night of him and Kristina Murray doing George Jones and Melba Montgomery songs, Conway and Loretta , and other solid country gold stuff. This is who I thought Logan Ledger was. It appears that T Bone has entirely other ideas for Logans career path. So, how do you market this record? I’m gonna assume it will fall into the Americana realm by default. That seems to be where T Bones audience is. If that’s where Logan sees himself, then good for him. But if he envisions himself a neo traditionalist ala Jason James, Zeph Ohora, Hedley, then I think this approach /sound does not communicate that intent. To me this is a retro rock record with some hillbilly influences. What do y’all think?
Trigger
April 9, 2020 @ 10:25 am
I think this comment sums it up very well.
Durks
April 10, 2020 @ 1:58 am
That’s exactly my reaction. Having heard Logan Ledger sing a couple of country songs in Nashville about three years ago, the samples I have heard from this album leave me a bit puzzled. Is the overall vibe here the artist’s choice? Or is it the producer’s choice?
Euro South
April 12, 2020 @ 3:34 pm
Judging based on having listened to the album once, “a retro rock record with some hillbilly influences” sounds about right.
Benny Lee
April 9, 2020 @ 10:11 am
Really enjoying this record. His voice made me think of Marty Robbins, but a bit different. Jim Reeves is probably what I was searching for. There’s something here that’s undeniable and… ethereal? Very interesting; definitely adding it to my rotation.
Daniele
April 9, 2020 @ 10:31 am
I was waiting for this review. This album let me down a little, i feel T bone too much and it’s not as country as i expected, not bad just style over matter? Keep on listening
Trigger
April 9, 2020 @ 10:57 am
Generally speaking, I think the production on the album is good, and I’ve been critical of T Bone’s production on other albums in the past. The problem is it puts Logan in sort of that no man’s land of the nebulous “Americana” realm. I don’t want to be the selfish country fan and complain that the album isn’t country enough for me. I like the production. But I can see how it might fail to resonate with anyone very strongly, and leave Logan without the attention the effort deserves.
Blockman
April 9, 2020 @ 11:27 am
Not for me. Can barely make it through a full track. I guess based on your rating and review you are a bit let down by this after touting him as the next big thing and the name to look out for and remember over the last couple years?
Matt S
April 9, 2020 @ 11:35 am
Whether you want to call it country or not, I’m loving the sound. I think it’s a very solid album. It’s the only one in my current rotation. Can’t get enough of it. BTW, I do think it’s a country album. Agree with the Isaak and Orbison comparisons. Already looking forward to more music from him.
Trigger
April 9, 2020 @ 12:24 pm
I don’t have a problem calling this record country. There’s definitely a country heart to it. And just because something isn’t exclusively country doesn’t mean it’s bad. I think where some may be surprised is that Logan and some of his early songs were more country than what came to life on this record as a whole.
PaulButter
April 9, 2020 @ 1:04 pm
I’m neither a redneck (well kinda), honky tonk hipster or mod rocker and it still fell flat for me unfortunately. I do enjoy the production and arrangements, particularly on Starlight. The album sounds like surf rock to me. The hazy California Allah Las kind. Could be his west coast roots. Not a criticism. What didn’t do it for me was his vocals. He’s clearly a technically great singer, but I don’t find his tone listenable. Though his tone is different, It’s the same thing I feel about Paul Cauthen. These guys can sing great but they aren’t listenable to me. I equate this to the songs. The songs aren’t bad and clearly the vocals aren’t either…but the paring is a bit off to me.
DJ
April 9, 2020 @ 2:08 pm
I liked Starlight- Electric Fantasy not so much and I’m not a professional music critic looking for whatever to suit whatever.
Rob Storms
April 10, 2020 @ 12:27 am
Like the album a lot. Been following him for a year or so. I Don’t Dream Anymore is an absolute classic. A couple weak tracks though and instead of Skip A Rope they should’ve included his fantastic cover of Darkness Darkness Otherwise great stuff! I hope he gets to stay on Rounder.
Dylan Rimbaud
April 10, 2020 @ 7:37 am
I agree its not traditional Country and Western but its a damn fine album, reminiscent of everyone from Roy Orbison and Jim Reeves to Gram Parsons’ solo albums and his work with The Byrds (in particular their album ‘Sweetheart of the Rodeo’) and The Flying Burrito Bros. all the while still retaining a sound which is unique in its own right..I just hope his sophomore effort doesn’t take as long to arrive as his debut album did.
Tex Hex
April 12, 2020 @ 9:07 am
My only gripe about this album is the same one I have for many of the other albums I was initially hyped for in the last month or so, namely Gabe Lee’s and Jesse Daniel’s.
These albums are good, not great. They’re a little too safe. Too middle-of-the-road. Not enough idiosyncrasy or grit for long-term repeat listening.
Ledger’s main strength is his voice, but he frequently misuses it here, imho. He often lays it on too thick, with too much vibrato and tremolo. Comes across about overwrought and try-hard. I would’ve liked a more natural approach.
OlaR
April 12, 2020 @ 12:10 pm
I listen to the album on my notebook right now & the sound (instrumentation & voice) is weak.
But what i hear is lacking direction. The album sits between a couple of chairs.
My highlights: “Imagining Raindrops” & “The Lights Of San Francisco”.
Happy Dan
April 12, 2020 @ 12:24 pm
If you want to be really impressed with Logan’s vocal abilities, don’t miss his “Basement Sessions”:
https://www.youtube.com/playlist?list=PLgnWoiS3c1qPBEqVFuBXN6Q3d0ZTjpE_0