Evelyn Barge
A&E Editor
Singer-songwriter Sam Beam apparently can do no wrong.
The musical quality of his newest release, “Woman King,” is nothing short of heavenly. This six-song EP features Beam’s most artistically advanced musings yet, and even wanders bravely away from the sounds of his acclaimed 2004 album, “Our Endless Numbered Days.”
Featuring more percussion, piano and even an electric guitar, “Woman King” takes a new approach to Beam’s hauntingly mellow style. Still fueled heavily by Beam’s lyrical stylings, “Woman King” focuses on songs about women. The passionate Southern folk-rock serves the intimate themes of the album well.
The album’s title track is up-tempo and faster paced than most of what we’ve heard off Beam’s previous releases. It is a good place to start the album, as it sets up the listener for a heavy-handed guitar strum with harmonizing elements of percussion.
“Jezebel” is most reminiscent of Beam’s previous work. His deep, raspy voice accentuates every note of the delicately flowing ballad. Biblically inspired lyrics add a sense of ancient mystique and secrecy to this gorgeously crafted song. “Jezebel” is the kind of song you want to replay over and over again to seek out its hidden meanings and unearth its lyrical secrets. And while “Jezebel” sounds much like a track off “Our Endless Numbered Days,” you can’t really blame Beam for knowing what he does best.
But a little variation never hurts, and “Woman King” is just that for this up-and-coming artist. A number of the tracks have a strength and power that was missing off his last album. “Woman King” plays out like a struggle at times, and the listener is left wondering how much Beam will break from his current sound.
Certainly, “Woman King” is like a singer’s vocal exercise and musical experiment recorded for the world to hear.
“Freedom Hangs like Heaven” and “Evening on the Ground” stand in stark contrast to the quietly unassuming “Jezebel.” They feature Beam’s typical folksy flavor, but bring in heavy doses of electric guitar and percussion. These strong-bodied songs help round out the album’s more delicate tracks like “Gray Stables.”
“My Lady’s House” is another remarkable track, due mostly to the amazing harmonies produced by a little sibling cooperation. Sarah Beam, Sam’s sister, provides faintly illuminating background vocals that are heavy and evocative. And if their genetic similarities have anything to do with the way their voices work together on this track, then that calls for more brother and sister duos in folk-rock.
The album’s most obvious drawback is the small number of songs included on it, but, at around $8.99 in most record stores, it is well worth the price to hear a new side of Beam’s inspired creativity.
Also, since “Woman King” flows a bit like an experiment in stretching out musical possibilities, the transitions from one song to the next are choppy and disruptive. This prevents total immersion into the album.
But with the music on each track at the highest caliber, this is really no reason to dislike the album. If anything, listeners should revel in Beam’s willingness to explore new musical territories and share them openly with his fans.
03-24-2005
