John Cate's fascination with the Beatles brings out his best singing and songwriting to date on this exquisite album of memorable music that has drama, hooks, and the precision playing you've come to expect from him and his crew. The difference here is that by moving from the earthier sounds of his four albums released between 1996 and 2001 and going directly for that power pop arena he's found a niche that's perfect for his voice and songwriting sentiment. "Piece of This Town" takes the Byrds formula a step further, to where they were going in the "Chestnut Mare" phase back in 1970. "Hey, By the Way" rocks harder as the music seems to go through a personality crisis over the 11 tracks here. "Other Side" has Beatlesque guitar lines and lots of Tom Petty inflections, which detract from the proceedings. John Cate provides evidence here that he has what it takes to be a pure pop maestro and that's when it all comes together and works flawlessly. Anthony J. Resta produces the music on Livin' in the Moment and, as he gave Didi Stewart's music a different perspective, it is clear his influence on Cate brings out his best side. "Too Far, Too Long" is a nice laid-back country song with elegant guitar work, yet it strays too far from what is going on in the beautiful "moment" that is "Without Your Love," the song that is one of the standouts. There's plenty of help here with producer Resta joining in on vocals, programming, guitar, drums, flute, and synthesizer; Cate's old pal Mark Zamcheck, a notable figure on the Boston scene, adds some organ, while the redoubtable Paul Candilore brings his magical Mandolin and guitars to the dance. "Only Love" is another of the stronger tracks, and like "Without Your Love," it has enough Lennon, Harrison and McCartney sounds and feel to make any fan of solid harmonies and happy changes embrace what they're hearing. The title track also deserves mention as a key piece to this outing. The last three songs mentioned can be put against anything being played on commercial radio, from Macy Gray to James Blunt. John Cate doesn't sound like those artists, but he's in their commercial league, and if Livin' in the Moment doesn't break through it should at the very least be the direction that Cate continues to explore. There's solid gold here if he does.
- Joe Viglione
CMJ / John Cate Band
Though the John Cate Band is essentially a sizzling Americana outfit, it's impossible to deny the shades of John Lennon and Roy Orbison that permeate its sound. Cate's voice may be closer to an earthier Mellencamp, but "Standin' Here Alone" shares Orbison's affinity for soaring melodies and Tom Petty's love for harmonica-drenched folk-rock arrangements. "Invisible Man," a song about a disappearance due to neglect, manages to capture some of Lennon's caustic solo attitude without sounding overly Beatle-y. Like Lennon, Cate was born in Liverpool, but he was raised mostly in the US. Perhaps that's why his music so effectively straddles both sides of the pond in a first-rate roots-rock fashion.
- David Avery
Mojo / V
Tom Petty doing his best Dylan, John Couger Mellencamp and early Steve Earle come to mind listening to Boston-based Cate's album (his fifth, apparently). His songs, featuring a solid roots-rock band, are mostly about love, particularly love gone wrong, and mostly mid-tempo to upbeat, (he's less convincing on slow ballads like May the Road Rise to Meet You). Highlights: engaging opening track Let You Run- almost joyously defiant - Pettyesque Still in Love with Her and rockabilly Television.
- Sylvie Simmons
Miles of Music / V
There's a new vein becoming apparent in the folk music heard these days. A fine blending of traditional styles and instruments with solid components of modern rock has been demanding attention in a louder voice.
The sound, deemed part 'americana/american roots', and part 'roots rock' music by most of the artists who live and perform it, is fresh, but comfortable. Like stonewashed jeans. It contains a familiarity reminiscent of Springsteen, but new and exciting.
Some folk artists we've reviewed here recently lean more toward the music styles of old country and bluegrass - like Northern Lights and Don Campbell. Or blues, like Sugar Ray and Seth Yavacone. The John Cate Band has succeeded in fusing traditional folk instruments (mandolin, lap steel, harmonica, tambourine) with modern electric guitars and drums, while pulling style from what I term the first renaissance of folk music - the sound of the 60's.
Now, I'm not referring to the British Invasion, which influenced the style of so many of the bands that followed. There is a clear split in music history where 'rock' headed one way and those committed to preserving the art of passing along 'real life' stories through their songs took another branch. This is the path taken by Mitchell, Baez, Guthrie and other artists that sprouted from the folk style created by this generation of musicians during the years of flower power.
More contemporary artists in this vein include J. C. Mellencamp, Martin Simpson, Kate Wolf and many, many more wonderful storytellers. It is in this spirit that John Cate and company spill their hearts into their music. A skillful and soulful blending of elements from all generations of american roots music.
John Cate calls his music 'roots rock' and it fits him like a well-worn slipper. John is an exceptional songwriter and singer - hints of vintage folk in the tradition of the 60's icons, reminiscent of Bob Dylan and Mick Jagger at times, while at other times seeming more engulfed in John Mellencamp's world. He would easily fit into the Guthrie family too.
The Band's newest offering, V, is an excellent representation of their folk rock influenced style, presented with the maturity and professionalism of a well-oiled machine. They know who they are and what they are about, and it's plain they're enjoying every minute of it all. As you may guess, it's the fifth disc in the Band's line - and even after a number of plays, it remains fresh and new - I continue to hear tidbits not noticed before.
V kicks right in with a repertoire of solid rockers like 'Let You Run' and 'Television' to get your blood flowing, peppered occasionally by mellow rollers to let you breathe and center. That blending of traditional instruments I referred to earlier? Check out the infusions of tambourine in 'Without You,' mandolin on 'I Will Be Ready,' or the harmonica in the Jaggeresque 'Outsider' and the sweet journey ballad, 'Longer Way.' My favorite tracks? 'Longer Way' and the beautiful, soft Guthrie-styled acoustic,'May the Road Rise to Meet You.'
Give this disc a spin or two and you'll see what I mean. Or listen to any of the Band's previous releases. There is a complete discography of the American Music Partners releases available through the mothwing.com link on the Band's web site, www.johncate.com, along with links to MP3 and Real Audio song samples, booking info, show schedules, reviews, and CD ordering information. Together, they create a magical, musical adventure any roots rocker will love.
The John Cate Band may be releasing disc V now, but they are by no means finished - if the selection of track order is an indication (and I hope it is). V drifts off echoing the final line of'Longer Way' - 'and each and every road holds promises, but I've got a longer way to go (oh, yeah)'.
- Devin Travers
Boston Globe / Live at the House of Blues
Amid mainstream acts, talent shines through
Record producer Anthony J. Resta has worked on eight gold and platinum albums by international acts such as Duran Duran and Collective Soul. He is also trying to spice up the Boston scene with his Chelmsford-based Studio Bopnique Musique, embracing a variety of local musicians who might otherwise fall through the cracks. Some might be talented, some might be vanity acts, and some might be Top 40 cover bands looking to do original material to get to the next level. It's a motley but fascinating stable. Seven of Resta's acts were on display Monday at the House of Blues. It was a decidedly mixed evening, though there were flashes of talent, suggesting that Resta's work has not been in vain. Most acts, though, had a mainstream-style sound that may make it hard to penetrate the Boston scene, with its love of alternative pop music.
The standout was John Cate, whose sound is influenced by the Eagles and Bob Dylan. Cate's "Learn to Love Someone" cooked like a track off Dylan's "Blonde on Blonde" album. The melodies were substantial, and the band rode a groove throughout. Cate also helped set up the showcase, so it was fitting that he played so well.
Tony Roberts, who has been in the local band Mindflow, performed a solo acoustic set and had moments with his gravelly voice and humorous spin on life. Carla Ryder (formerly of the Mudhens) had great wordplay in her songs of female survival but was better on uptempo rock such as "High Tide in Tucson" than on her more softly nuanced adult pop, which was sometimes strained. Brian Alex (formerly of Entrain) scored with a solo acoustic Latin tune. And Chad LaMarsh, known for doing cover-song gigs at the Rack and other clubs around town, was a nice surprise with lively tracks from his fine new original album, "Anytime/ Anywhere." Singer Andrea Surova, playing with a band for the first time, was slow to find her groove, though she loosened up on "Halo." And Central Basement, which has also played the Rack, offered pop that was still trying to find an individual edge. No superstars may come of this night, but it is to Resta's credit that he helped bring them this far.
- Steve Morse
All Music Guide / Never Lookin' Back
"One Last Mile" gives a loud kick as the third album from John Cate, Never Lookin' Back, opens with Searchers riffs and Ventures style guitars, the image of the four men coming down what looks like church steps on the front and back cover of the CD making for a mysterious movie-type photo. Cate does his best Dylan on "This Isn't Goodbye", the prolific songwriter playing with styles and sounds that make him happy. Going through the music over the artist's first four albums there are no revelations - their mission is not to reinvent rock and roll, but The John Cate Band creatively packages things they like and present those things to the world with their own stamp.
The title track is compact and precise, and there's no nonsense whatsoever. For those who feel Neil Young can get too cutesy, or that John Cougar Mellancamp is spending too much time in front of the mirror, John Cate Band attacks the material with the drive of perfectionists looking for an intangible refined sound like the surfers in The Endless Summer were seeking the perfect wave.
"Never Lookin' Back" has that exciting, explosive guitar work generated from slamming the tunes out night after night in bar after bar. "Never Love Again" opens up with more anger, it seems someone never told Cate to never say never, the word starting off three of the eleven titles with more negative contractions like "won't" and "can't" in other song titles. "Never Love Again" has the thumping authority of Bob Seger's "Fire Down Below", but what's needed is Bette Midler to jump onstage and molest these guys. As the aforementioned rock stars Cougar and Neil Young do get indulgent, John Cate and his group need to lighten up. They are as serious as a judge, where a little touch of sly humor would really bring this material home. "Can't Let Go" comes across as perhaps the album's strongest track, and it is up there with the best of The Swinging Steaks, remarkable how much this act resembles a group they/he works closely with. "Down In The Hole" and "Never Was Enough" also in that pop vein with a country twang.
This is almost like Boston's version of The Eagles and J.D. Souther with The Swinging Steaks being The Eagles and Cate being J.D. Not a bad formula to emulate, and a series of fine albums by both groups which add a dimension to New England's vibrant music scene, a dimension that deserves more attention. "Everything Is Love" and "You Won't See Me" are more driving pop / original music from the pen of Gian S. Caterine and his John Cate Band, essential songs that make this the album you need as the introduction if you've yet to encounter this ensemble.
