I know I’m coming
in way late on this review. Bob changed things up around here for me earlier in
the week, stayed home an extra day and we were on the go right up to the minute
he left town.
Thank you for
your patience.
By now you know
my reviews are less about the instrumentation, the technicalities of an album and
more about the soul. While all the albums I share encompass all those things, I
think sometimes we lose the heart and soul of an album in all the ‘stuff’.TEMPTATION ROW is all about the heart.
TEMPTATION ROW
opens up with a sweet bluesy number. Runnin’ Awaydraws you in. I had
the feeling of being on a dark, deserted street late at night feeling as if I
needed to keep watching over my shoulder.
Dancing With Him
has that slow travel around the dancehall. The mandolin is prominent in this
romantic tune that just has you closing your eyes and swaying along as you
remember your own special moment. As you’re remembering that special someone,
are you thinking Shoulda Woulda Coulda?
Hot Rodtakes
on a young man’s journey, connecting with each of us on some level. Whether we’ve
lost someone close or known someone who has, we’ve all had that experience.
Empathy.
Do you hear that?
The train whistle in the distance is the Cresson Train. (Cresson TX)Depending
on where you are in the commuter line waiting to cross (wait time could be up
to 45 minutes!) that whistle may be farther away for some. The pickin’ rhythm mimics the clickety clack
on the tracks while the lyrics lament over the patience one must have.
When I hear the
opening strains of The Lady, I thought of a jewelry box I used to have
with the pirouetting ballerina. The lyrics, however, is a gentle reminder to
men everywhere to take care of ‘the lady’. Pay attention to every nuance and
treat her like the lady she is.
Temptation Row
has a dark, maleficent undertone and a story to match. Call it a warning or a
premonition. If ever the term ‘stay out of dark alleys’ fit, the lyrics here bring
it home.
The final track, Suzanne,
is an echo to Wayne’s past – the earlier days and influences of his career as
well as the opportunity to hear his English ancestry.
As a folk artist,
at first I hear a touch of Arlo Guthrie but as I listened I hear so much more. I hear a depth of soul seldom encountered in
today’s music. True artistry in the building of both lyrics and tone.
I’m tipping my
hat:
.7
You can connect with Wayne Willingham through any of the following links. But first, check out this video... a sample of TEMPTATION ROW.
I believe living in a 'free' country and having the ability to do what you love doesn't get much more American than that. Wayne Willingham is one of those people.
Let's Open the Chute!
Let’s step back to early days. Do
you recall what first inspired you to be an artist?Seeing Buddy Holly on TV,
or any other guitar-playing singer. I
grew up in Michigan and we’d get Canadian stations as well, so I saw and heard
a huge array of styles. I can’t recall a
time when it wasn’t an aspiration.
When did you make the move to
Texas?In 1984, my first wife and I took a corporate transfer from her job. Live music, like everything in Detroit, ebbed and flowed with the auto industry, and we were sick of snow and slush. Detroit was in an ebb, and I remember the exact words I said that prompted our decision, “We can be broke anywhere.” No regrets.
There were some big names on the
country charts in 1970, when you were first starting out. You list some of your
heroes on your website. What about those artists spoke to you?I think we’re
all products of the music that was popular in our high school days, and we
filter out the aspects that really reach into our hearts. For me, the lyrics are what put some over the
top; whether it’s Pull Simon or Gordon Lightfoot or Joni Mitchell, they all
could turn a phase that creates a picture in my mind. That said, the songs that last have music
that also captures my imagination.
You spent twenty-six years on the
music path then just walked away one day before coming back to the fold around
2015. What brought you back and what did you hope would be different?I was
with a friend and heard a guitar duet that she knew. She introduced us, and told them I used to
play. One offered his John Lennon model Gibson to me (nice!), and I
played it some. I hadn’t touched my
guitars in years, but a few things came back to me, so I didn’t completely
embarrass myself.
When I handed it back, he said,
“Alright, who are you? Nobody just picks up a guitar and just plays like that.’
I gave him my short story. That got me
thinking, if he heard it, maybe I can still play. I had more free time than the last couple
decades, and thought, “Let’s see how much I can get back.” I got out one of my
guitars and started dedicating a couple hours a day to practice. Well, one thing led to another…
What did you doing during the
break and had you let go of the music entirely or was there still a hum, or
vibration below the surface waiting for a chance you’d hear? I really didn’t
miss music after I quit; I enjoyed listening to more variety and had mostly
fond memories. And man, was I busy with
other things. I’d gotten into
programming and data management, and was a partner in my own company. You can’t do music at a high level and then
just forget it, but I truly had no thoughts of playing at all, much less
performing. Then again, nobody claps
when you finish writing a computer program.
You released your first album in
2017. Had you done any albums prior to the break?No.
I’d recorded some of my own songs, and I used to do session work for
other artists and for advertising agencies.
In the early days, professional-quality recording was much more
expensive. Thanks to digital, it’s
gotten less pricey and easier to produce.
How do you think your music has
changed both from the 70s when you were first starting out to now and what
changes did you see for your music if you were going to give this another shot?Maturity is the main difference. That
leads to a little more discipline, and for me, a more scientific approach to
songwriting. All the early lessons are
still there, like “less is more” and “Play like you mean it”, and how to
perform to an audience and not just play the songs.
I wasn’t really giving it “another
shot”, and I’m not even now. While I
treat it like a business, I’m not doing it for the money – my business/tech
career set me up well enough. I’m
delighted to break even, and record and perform my own music and in my own way. One mantra of mine is “This time, it’s
personal.” And it is. That said, I’d love to expand my audience. I’m gratified to have some dedicated fans,
and I think I have something to offer.
With the exception of the pandemic
break, you’ve released a new album every year since you’re return. What is next
for Wayne Willingham? Wayne is going to settle into his new home with its
new music room, and write. I’ll be
inviting fellow songwriters over to collaborate – co-writing has never been an
emphasis for me, but I’m looking forward to it.
Gonna slow down on albums. I feel like I rushed the last two. The songs are some of my best, but I hear
things that I wish I’d arranged differently.
I turn 70 this year, so I’m not thinking past one more – yet. This may be my exit, and I want to do it
right. Maybe at least 6-8 reworks of previously released material, even some
live recordings, then at least as many brand-new songs.
How’s this for an album title?
Mulligans and Swan Songs
You have a loyal fan base. What do
you hope new people hearing your music will keep them coming back?I hope that people can resonate with the
feelings that are under the lyrics and music, that it touches something within
them. I hope they can laugh and cry for
the right reasons. The best compliment
is when somebody says, “Hey, listen to this – it made me think of you.”
Here's a tune off of his Stonehill Sessions album from Wayne's YouTube Channel -
You can find Wayne by clicking on any of the following links:
The 4th of July wouldn't be complete without songs from our favorite country artists. I thought I'd share a video my Toby Keith today and send best wishes and prayers for his complete recovery!
