From the Red Hot Chili Peppers to The Eagles to Tupac Shakur, it seems every artist has a song about California. It's beyond a pop-music cliché at this point.
But if everyone sang the word "California" like Vanessa Dalrymple does in the chorus of "26 Acres (California)," the eighth track on Gambler & Thief's new album, "Stage Theory," no one would complain about California songs anymore. Taking every syllable deliberately and adding a few of her own, Vanessa sends the listener on a melodic roller coaster, rising and falling in time with the song's gentle acoustic chords, and wringing every ounce of emotion out of each letter.
The song, a melancholy goodbye to home from Vanessa and her husband and musical partner, Timothy Dalrymple, is a true story -- the duo did move from California to Bend in 2012 (and ended up in Bend again in 2015 after a short sojourn in Chicago). The song also is key to bringing the themes on "Stage Theory," Gambler & Thief's second release and first since 2012's EP, "Orchard Tree," into focus. The album eventually plays out like a concept record about how life is a constant process of growth and change, building subtly from the first songs to an emotional climax.
That climax actually begins one track before "26 Acres." Coming after some of the record's saddest moments -- the slow-burning "Traveling with Ghosts" and the deceptively pretty "Stay" -- "Come Lay Your Head Down" starts as almost a reprieve. As the song plays on, it's clear that the duo has drawn a line in the sand, as Vanessa croons, "We don't have to run, but we don't have to stay here."
The first half of the album features equally strong songs that gain context on repeat listens. Opening track "Cathedrals" synthesizes everything the duo does -- their worship music background, strong harmony singing, country and Americana songwriting -- into one powerful punch, helped along by Ricky Newton's thundering percussion lines and Mark Karwan's steady bass throb. The next track, "We Were Young," is an easy highlight, with offbeat harmonies and an immediate hook to draw the listener in. For more country, try "Catch that Train," with rhythms ripped straight from the Johnny Cash playbook.
Vanessa is great at singing yearning, unrequited love songs, and there's more than a few here. "Ache of the Drum" could not have a better title, echoed in Newton's percussion work and the lyrics. The aforementioned "Stay" is another masterclass in the style, with a deceptively sunny chord progression juxtaposed with heartbroken pleas.
The album was produced by Timothy with help from Precious Byrd's Casey Parnell, and recorded at Grange Recorders in Sisters with engineer Keith Banning. The performances and instruments all pop while maintaining an airy feel, with enough space around the edges to let the details shine through.
What should I review next? Comment below and let me know, or email: brian.mcelhiney@gmail.com.
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