Tony Gee – Bloom Full Album Review by Steve Wagner
When you tell some people you’re a singer-songwriter from Texas—the state that produced such remarkable talents as Willie Nelson, Guy Clark, Lucinda Williams and beyond—it can raise peoples’ expectations of you. Though his style is more pop than the aforementioned artists, with Bloom Full, Tony Gee does his state proud. It’s an album full of solid lyrical ideas, memorable melodies and hooks, and some musical surprises.
Bloom Full is Gee’s third collection and it has a rootsy, familiar feel, built around the old reliable guitars, bass, and drums, plus tasteful use of keyboards, strings, and horns. Its overall sound will appeal to fans of Fountains of Wayne and Fastball—bands with a sound that is sadly missing from the current musical landscape—and its baked-in rock ‘n roll roots will appeal to classic rock fans as well.
The rock-out-knock-out opener, “Light Heavyweight,” shows Gee’s skill with both analogy (no, it’s not about a prizefighter) and character study. At just under three minutes, it’s a tough and tender American rock ‘n roller that ends way before you want it to.
“Miss You Like Crazy” is an Americana-sounding let’s-make-up song about writing a let’s-make-up song (it’s way better than that sounds). If this song ended up on the soundtrack of a hit romantic comedy, one could rest assured that some things are indeed right with this world.
“Just About to Know Her” has an undeniable early Kinks vibe (more Village Green Preservation Society than “You Really Got Me”), helped along by its chimey guitars, pulsing Mellotron, and addictive sing-along chorus.
Just when you think Gee is the broken-hearted type, specializing in yearning love songs, he hits the chorus of the almost-smooth-R&B of “Without You,” delivering an unexpected twist on the title and a surprisingly satisfying kiss-off to the “You” in question. It’s not as bitter as some of Dylan skewerings (e.g. “Positively 4th Street”) but is nearly Dylanesque in its resolve.
He veers entirely away from romantic love in “Everything Golden,” which consists of a single verse and chorus—oh, but what a verse and chorus—about something so true and common to each of us that you don’t want for further verses. Sometimes it’s just that simple and perfect. Gee was wise to leave it as-is.
Gee delivers his tunes with a clear, strong voice that hints of Peter Frampton, Cat Stevens, and even a little Elvis Costello but with a strong, smooth (and, at times, funky) falsetto all his own.
Bloom Full is permeated by a sense of the discoveries of early adulthood—that time when you’ve left behind the youthful angst and begun to get your bearings in the wider world. You look back and realize you’ve survived fear and pain (“Someday”); you don’t have to follow in anyone’s footsteps (the convincingly bluesy “The Family Seal”); and you become sensitive to the struggles of others (“Someone to Lift Her Back Up”).
As with his second album, It’s Time, Gee brought Bloom Full to full bloom with the help of Austin-based producer Ron Flynt (of 70s new-wave power pop legends 20/20). He’s also aided by a cast of Austin’s finest players, including guitarist Whit Williams (Cotton Mather), drummer Ray Rodriguez (The Mystiqueros), guitarist Matt Giles (The Drakes), Flugelhorn player Sam Howden, and vocalists Tina Mitchell Wilkins and Zac Wilkerson.
Official Website: www.TonyGeeMusic.com
Bandcamp: tonygeemusic.bandcamp.com/
Spotify: open.spotify.com/artist/201JMlgvZev7hcOhfS6j9x
Apple Music: itunes.apple.com/artist/tony-gee/121424937
Follow Tony on Twitter: twitter.com/geetonygee
Like Tony on Facebook: www.facebook.com/tonygeemusic
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