Based in Fayetteville, AR, songwriter, vocalist, and multi-instrumentalist Shawn James is probably best known as the leader of the Shapeshifters, a combo applying substantial levels of noise and sludge to a blues-rock framework. But as his latest illustrates, James is also a solo artist; On the Shoulders of Giants’ ten selections retain the raw sensibility but gravitate nearer to the bluesy end of the spectrum as James recorded everything himself at the famed Sun Studios of Memphis, TN. Never allowing attitude to usurp substance, the self-released results are out now on vinyl, compact disc, and digital.
Some musicians attempt to keep a lid on their influences, but Shawn James is quite forthcoming, even going so far as recording a digital album with the self-explanatory title Covers back in 2014. Opening with “John the Revelator” as made famous by the titan of the Delta Son House, rather than continue down a straight blues path the set does a good job outlining his overall approach.
Iron Maiden, Sam Cooke, and John Legend underscore the breadth of the landscape, while House, Johnny Cash, and the prison work song “Jet Black Woman” reinforce the roots; C.W. Stoneking and A.A. Bondy make clear that James & the Shapeshifters are appreciative of those working in roughly similar contemporary territory.
2015’s The Gospel According to… outlined the band’s original material; undeniably heavy, there is an accompanying heavy-handedness that’s sure to be a deal breaker for many listeners. Indeed, James is the antithesis of microphone-shy and the group explores caustic slide guitar-based mauling with an aggressiveness that illuminates the namechecks given to Earth and SunnO))).
Heavy-handedness might read like a putdown, but it shouldn’t really; over the decades blues-rock and attendant styles have frequently indulged in a lack of subtlety as a distinguishing characteristic; James and his band simply explore this tradition of boldness in a thoroughly non-conflicted manner while integrating atypical instrumentation such as violin and banjo.
As noted above, On the Shoulders of Giants is a solo affair, but in scaling things back James keeps tabs on the power in his work with the Shapeshifters and undertakes progressions from the vibe of his two prior solo discs. 2012’s Shadows and ’14’s Deliverance were still blues-informed outings, but they simultaneously emanated an atmosphere that can be assessed as almost singer-songwriter.
Diving deeper into bluesy territory, the album opens with a new version of “Hellhound,” a song that was given the full band treatment as a digital single last year. For the redo, James unfurls an extremely doomy guitar line in tandem with emotion-drenched vocalizing, a chain gang rhythm and eruptions of some very potent slide work.
The Shapeshifters’ slide is a burning, grinding sound, but the approach here brings to mind a mid-’60s side stage at the Newport folk Festival. The aura persists in “Belly of the Beast” as James injects enough modernity to the equation to avoid coming off like a deliberate throwback. Two of his weapons are the aforementioned heaviness alongside significant soulfulness of voice, an attribute that really shouldn’t be surprising given his respectful tackling of “A Change is Gonna Come” on Covers.
And yet, it’s still striking; James’ singing won’t be for everybody, but where many push into similar regions to compensate for a musical lack, the vocals here, while indisputably emotive, don’t succumb to histrionics and unify with the playing. A truly solo LP, On the Shoulders of Giants utilizes a simplicity of rhythm to its advantage, just kick drum and tambourine coloring much of the album and frequently emerging only after slide and fingerpicking patterns have been established.
That’s the case with “When it Rains, it Pours” and the ensuing track “Snake Eyes,” James narrowing the focus and getting nearer to his blues models in tactics as well as sound; Son House has become an even deeper influence on his style. I’m thinking especially of the ’60s rediscovery material, where advancements in recording technology vibrantly captured the cornerstone country-blues figure’s playing on National Steel guitar.
But retaining James’ relationship to the (reasonably) new, “Delilah” employs the title of Earth’s 2008 LP The Bees Make Honey in the Lion’s Skull as a lyric, and the disc’s general thrust seems destined to please fans of current duo rock thump a la Black Keys and the Bonnevilles and in particular listeners with a concurrent love for the raw Southern blues gusto that helped to establish the Fat Possum empire.
James manages a fine blend of amp gristle and resonant, almost banjo-like plucked tones in the opening moments of “Back Down,” and just when the record’s reduced palette begins flirting with monotony “Lift Us Up” combines an initial instrumental sparseness with appealing stabs of slide, increased kick drum thuds, and a guitar denouement blending menace with melody.
Additionally, the percussion in “Captain Stormalong” moves from the chain gang to the coffeehouse, though the migration to folky environs is gradual overall. It leads into “Preacher Foretold,” its overtly religious theme and sturdy handclap recalling House’s ’60s a cappella versions of “John the Revelator” and ending the album on a satisfying note.
On the Shoulders of Giants should easily chuff blues-rock partisans as the tightened stylistic momentum has the potential to attract sludge/ doom mavens not already hip to James through the Shapeshifters; it might even convert a few listeners who consider themselves averse to the heavy-handedness alluded to above.
GRADED ON A CURVE:
B+
