Will Leet is a Brooklyn-based singer/songwriter who has just released his debut album titled Come Back Roses, a crowdfunded project created with his songwriting partner Chris Burns.
Leet (who also plays lead guitar with the international touring act Sammy Rae & The Friends) calls this album “an eclectic mix of rock, folk, country and baroque pop” that shows the influence of Kacey Musgraves, Willie Nelson, Death Cab for Cutie and the Beatles. “The record doesn’t adhere to one genre. Each song commits fully to whatever it is in that moment. The common thread is in the story telling. At its core, these are melodramatic songs sung over a campfire with an acoustic guitar. When the rock band roars in, you can feel the chaos of New York City.”
Like many artists, Leet took the forced break of the pandemic to “pour every ounce of myself into these songs.” The overarching themes are loss, growth and renewal, along with the hope that the simple joys in life will return again after the lockdown ends (i.e. “come back, roses!”). Besides guitar and vocals, Leet also plays a variety of keyboards including grand piano, organ and Mellotron. He’s joined by over 30 guest musicians including Eric Messihi, Andrew Whitbeck and James Quinlan (bass), Jimmy Coberly, C-bass Chiriboga and Jordan Rose (drums and percussion), Kathleen Parks (fiddle), Jordan Alleman (banjo), Eric Michael Lichter (pedal steel) and Tyler Campbell (vibraphone/bells/tympani). There’s also a large choir, additional vocalists and a string quartet. Leet produced and recorded the album himself across five studios in three states with 25 different musicians. Recording began on tape at Dreamland Studios in Kingston, NY, followed by sessions at Virtue & Vice, Dirt Floor, and Bearded Cat recording studios. Mixing was by Anthony “Rocky” Gallo (with one track by Ariel Shaffir) with mastering by Steve Fallone at Sterling Sound.
“Wildflower Thief” starts us off with an upbeat acoustic song with few lyrics but a sweet sentiment, painting a visual image of a “wildflower thief, until it starts to rain.” Leet has a singing voice that’s very much in the higher register, both melodic and with a trace of Americana twang. This is one of those songs Leet mentioned where the arrangement suddenly gives way to full-on rock, and he packs these tracks like a young Phil Spector. The drums especially have a wooden, heavy feel that fits the music surprisingly well. The background keyboards help glue all the disparate parts together. Despite being spread out over multiple studios, the sound is cohesive and beautiful.
“The Corner” is a jaunty rocker where Leet once again gets tons of mileage from just a few lyrics with tiny variations. The production is again phat and full, with background keyboard pads ornamented with mandolins, squonky guitar and barroom tack piano. The chorus harmonies have a ’50s sock hop quality, with able assist from Leet’s fleet of background singers. A stinging, dirty-clean guitar solo caps the track. “Cloudy Day” is a kind of Steely Dan detour (crossed with Dreampop) built from a prominent bass riff. Leet’s voice is not quite as high as Leo Sayer but that’s sort of the vibe I’m getting! Eric Lichter’s pedal steel gives this track a mournful country sheen. This track feels like a hit and Leet was smart to release it as a single.
“County Fair” appropriately gets even deeper into Americana with Kathleen Parks’ prominent fiddle along with Jordan Alleman’s banjo accompanying Leek’s acoustic guitar. This is another track filled with bittersweet memories, this time concerning the county fairs with their Gravitrons and carousels most of us know well. Leet’s arrangement here has a few levels, slowly building power as the story comes full circle. Magnificent, exquisite background vocals surely came from Leet’s personal choir: Sammy Rae, Pat Stone and Garrett Eaton. “Louisiana Goodbye” has a crystal clean acoustic riff worthy of America, The Eagles or the rest of those folk rock guys. For its full length, this fetching track has only lead and harmony vocals with a single guitar, but its effect is as big and wide as any orchestral work. As befitting its title, “NYC Cowboy” wears its country on its sleeve by featuring easygoing acoustic, pedal steel and laconic drums. That is, until the middle section which is full-on rock, quoting a riff similar to “Queen of Hearts.” This song has perhaps the most stylistic changeups, and they’re all fun. The closing guitar and keyboard vamp even takes a step into Doors territory. As this is a story-song about a Bad Guy on the lam, perhaps it’s a nod to “Riders On The Storm.”
“Magdalene” sets up a rolling drum riff similar to Paul Simon’s “Ceclila” and its observational lyric theme and compositional style may owe a bit to Mr. Simon as well. There’s an amazing contrast between verses and chorus, not into blazing rock like before but more like the clouds have parted and the light of a thousand suns have aimed foursquare on our singer’s broken heart. “Alice (ft. Sammy Rae & the Friends)” is the only track to feature backing by the band which Leet calls his day job. Banjos and fiddles again come to the fore, with a cloud of vocal overdubs that reach near the top of Leet’s range. Some of the players take hoedown-style solo breaks midway through. You can easily imagine this track being a real live barn burner. Similar in feel is “Satan & The Sailor” with a jumpy one-two beat, crystalline acoustic guitars and driving banjo picking. “Rainbow” ends the album on a somber note (or actually quite a few, on acoustic piano) and the lush, gorgeous string quartet, who finally get to shine center stage: Camellia Hartman, Meitar Forkosh, Midori Sadamatsu Witkoski and Sasha Ono.
Though Leet’s Americana-infused songs may sound vaguely familiar in style and tone, his voice and songwriting skills add something special that’s well worth checking out!
Heather Savage
