West Michigan native John Sanger’s art owes everything to storytelling and personal experiences. His four recent singles bear this out. “Cirrhosis of the River”, “Daisies”, “Lemonade”, and “Sit-N-Spin” cover a wide stylistic ground while unshakable core artistic values. None of the four cuts exceed the three-and-a-half-minute mark reflecting his economic songwriting approach and unwavering focus. The songs likewise ransack a bevy of musical influences ranging from Elvis Costello, Asie Payton, Johnny Cash, Robert Johnson, The Band, and scores of others. Sanger filters those eclectic influences through his consciousness to produce singular work with true staying power.
There’s humor, dark and otherwise, expert characterizations, and a sturdy sense of narrative underlying the first track “Cirrhosis of the River”. His eye for telling lyrical details is stunning. Everything from knocking off your cigarette ashes into a beer can, odd fishing techniques, and describing someone as looking like the bride of Frankenstein are among the examples of Sanger’s penchant for concrete imagery. Slide guitar highlights the spartan musical backing but, despite the lean uncluttered arrangement, the playing generates a surprising amount of sonic firepower.
His acute lyrical eye remains strong with “Daisies”. It’s a love song, but never the crassly obvious variety dealing in tired cliches. Sanger, instead, finds poetry in the low-key suggestive moments portrayed in the track’s lyrics and lavishes vocal sensitivity interpreting them for listeners. It’s never overwrought, however. He’s joined by well-placed female backing vocals that add further dimensions to the song. The plaintive straightforward drum beat gives “Daisies” a solid rhythmic foundation.
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The brisk pace of “Lemonade” has a lighter touch than its predecessors. Mandolin and piano contribute to that quicksilver effect on listeners and spot-on flourishes place scattered exclamation points throughout the track. He’s paired again with a female backing vocalist who makes the performance a near-duet. It’s another love song delivered in Sanger’s inimitable fashion while still striking an universal note. Slide guitar makes its presence felt once again.
“Sit-N-Spin” has a raw-boned bite in its introduction but soon settles into a steady mid-tempo groove. It’s roots rock with a distinct blues/country feel. It doesn’t exaggerate those attributes, however, and instead relies on tasteful yet soulful nuance to carry the day. It surges at all the right times and arguably features Sanger’s finest vocal performance from these four singles. The instrumental break during the song’s second half is especially potent.
Musical artists build their legacies one song at a time. John Sanger understands this. He isn’t pushing for rock and roll glory, however, but instead sings and writes from an inner need that no amount of fame or praise will quell. Sanger’s a lifer, one of those increasingly rare songwriters/musicians who would still be singing and making music even if he didn’t release a single track. These four singles make that apparent. They have artistic debts, to be sure, but Sanger isn’t into mimicry. His work stands on its own and draws from a deep well of tradition to craft, in the end, something uniquely his own.
Heather Savage
