Fender Jones – Reflection And Echo
Fender Jones – Reflection And Echo – Album Review
It’s been about six months or so since my first experience with the music of Fender Jones. Somewhere back in December of 2022, I had the opportunity to check out a couple singles called “How Can I Be Wrong” & “Nothing Here But You And Me” from this shiny new record called Reflection And Echo…and as with just about all music I listen to, I found some stuff in what I heard to appreciate. Wasn’t entirely sure what it was at that stage of the game…and I suppose you’ll have to read on to see if that’s changed!
For example…the opening track is called “Sins Of The Father,” and I’d probably be inclined to put that in the Blues/Rock section, even though Fender Jones has put himself out there as Americana/Alt-Country overall. Ultimately it speaks to his versatility as an artist when you hear him instantly bending his music outside of the labels he’s attached to it. I’m of the mind that genres generally suck anyways…they’re good to be guidelines, but they rarely tell the whole story. In fact, if you wanna know the band that a track like “Sins Of The Father” actually has the most in common with, even without sounding like them, it’s LIVE. Listen to the structure…listen to the songwriting…listen to the musicianship. Exchange the slow-burning way that Fender sings with the unapologetic venom & aggression of a singer like Ed Kowalczyk and you’d have a Live song in a heartbeat here…just sayin.’ It’s a deep cut like that, you know what I mean? Emotionally powerful and thought-provoking…great imagery in the words and poetry to’em…all that stuff checks out for an early win for Jones. I’d reckon he can get away with Americana here…but regardless of what box you wanna put him in, or what label he feels represents him the most, I figure as long as we can all agree something sounds good, we’re on the right track. If sports can shift itself to positionless formations, music should be afforded the same degree of versatility, in my opinion.
Mark my words…this is where things start, but it’s far from where it ends for Fender Jones. You can hear where the main skills are, and where there’s still room to evolve – but that’s natural in any new project whether you’re solo, in a band, or whatever…it takes time to grow into what ya do, and I firmly believe everyone should want that. If we step right outta the gate completely perfect, there’d be nowhere else to go but down…and who would rightly want that? So when I listen to a track like “I Feel Free” for example…I can instantly hear that Jones has got lyricism in the bag…like, that’s his wheelhouse without a doubt, and the instrumentation ain’t too much of a distant second really. His musicianship could easily take a run at being the #1 draw in terms of a reason to listen without a doubt. After that, you start to get into more debatable terrain. I’d personally tell ya that Fender was primarily a guitarist first and foremost before anything else if I had to hazard a guess…which has the vocals still sounding like he’s finding his way a bit, with some monumentally strong aspects to his singing, and others that could stand to have a bit more power or confidence to’em…maybe a different approach…something along those lines. It’s the difference between the man you hear in the chorus of “I Feel Free” that is 100% of what he’s singing, how he’s singing it, and why, as opposed to the more varied approach he takes to the verses of the same song. I ain’t saying that the verses don’t come out well enough – they do – but if you’re tellin’ me that the chorus doesn’t project the right level of confidence, power, and tone he should ultimately be lookin’ for every note to possess…I might just have to tell ya that you’re wrong, partner. The main chorus hook becomes seriously strong as a result of the way Fender sings it though, and he should be proud of that…it’s definitely going to be memorable for the many folks out there listening.
Like I said…y’all should always want some room and space to grow in your art and within your craft, no matter who you are or what you do. Lest we forget, this is Fender’s debut record as far as I know, so give the man a break and let him find his voice. He might have spots along the way, like on tracks like “My Heart Loves Trouble” where things seem to slip off the rails as he searches for the right tone that he’s looking for while he’s singing – but when he hits the right spots, it’s magic, and the songwriting itself should practically render you speechless. So…inarguably, there’s a bit of a trade-off at work in that regard…”My Heart Loves Trouble” isn’t perfected yet, but it is practically a perfect song – you follow me? There’s nothing left for Fender to do here other than make sure that he’s sure…and the moment he goes into the studio & vocal booth with that level of confidence, he’s gonna crush it consistently. “My Heart Loves Trouble” essentially encounters the same issues as “I Feel Free” did right beforehand – the verses need more stability tone-wise, and the chorus comes out undeniably stronger. It’s something that often afflicts singer/songwriters that have something significant to say through their lyricism – it’s almost as if the concentration of saying what you wanna say can affect how you wanna say it – make sense? I’ll tell ya this much though…the highlights of “My Heart Loves Trouble” basically make me wanna forget about any slight inconsistencies, because the song itself at the core of it all is genuinely award-worthy stuff. No joke folks, I’m in awe of what Fender has written here, and knowing that over the years ahead, a song like this will certainly get to where it needs to go through the benefits of time and experience makes me nothing but happy for the guy. The music is remarkable, the lyrics are beautifully bold, honest, vulnerable, and real – and the spots where his vocals find the right spot & tone he’s looking for, will send shivers straight down your spine. Jones will go from good to great real fast.
Hmmm…would you look at that? Did he change the title of “How Can I Be Wrong” from back when I reviewed it last year to share the blame on what’s “How Can We Be Wrong” now – or did I simply fuck that up when I wrote about it way back when & got the title wrong? Only Fender will know the truth for sure…you’ll have to ask him. I still dig this tune though, title be damned. I’m sure I still feel relatively the same about it as I did six months ago…you’ll have to click here to find out my original thoughts…but aside from the title being potentially updated, I think the rest is still more or less how I remember it. It’s a slow-burner…but noticeably memorable for the mesmerizing and hypnotic qualities it has. Like, I instantly remembered hearing it when I got the opportunity to spin this album in-full…I know it’s only been six months, but to be fair to Fender, I can’t remember what I did yesterday, and I’ve listened to a whole lot of music in between December and now – so honestly, it’s saying a whole lot when I can remember a song from that long ago & feel like it’s just as clear in my mind as if I just heard it last week. I still think that “How Can We Be Wrong” is the kind of track that’s likely going to appeal to a narrower slice of Fender’s audience overall perhaps…but I think those that get it will end up being quite attached to it, like I feel I am now. This is one of those tracks that ultimately possesses a lot of crossover sound to it, and while it might not contain a majorly flashy hook to please the masses, I think those out there that appreciate great songwriting will find themselves investing their ears right into a track like this one here.
Once Fender is able to take the same level of confidence he brings to his musicianship to his vocals, this dude’s gonna be A-OK. Right now, as it stands, we’re on the early side of his music as he builds his legacy from here…but there’s a ton of promise & potential in what he’s creating. He’s just gotta be a bit careful about slipping too far outta the tone he’s looking for on the mic, or roaming around too much in search of the right one, because that can really become an obstacle in between getting really well-written songs listened to by the average set of ears out there, especially when there are so many options for what to listen to these days. I read something like…120K new songs being uploaded to streaming sites daily now? Believe me y’all…that number is just gonna get bigger. Anyhow…you get the point…things gotta be as right as right can be, otherwise we’re all standing on shaky ground with great material that might never get its proper due. Like “Out Of The Shadows” for example…solid songwriting as you’d expect from Fender’s tunes at this point, and the music is perfectly put together as well. Vocally, we’ve got some hits, but we’ve got a few more misses than most folks are gonna accept in this one particular tune. Where he’s usually been most reliable and confident in the main hooks, he’s still not quite tapping into the full potential they have on “Out Of The Shadows” this time around…and I think that Jones probably just needs some person in his life to be direct & honest with him about that. Maybe that’s where I come in, I don’t know. I’m kinda known for saying things others won’t I guess, but I think it needs to be someone in range of Jones to poke the man in the ribs with a sharp stick and tell him to get back in the booth and sing it again…because he’s proven to be completely capable of hitting the right notes based on what we’ve heard. What makes artists like this dude perplexing is that you can hear the perfection of the music…so you know his ear for sound is entirely on-point…it’s just a matter of being objective from there, and applying that same high level of dedication to the microphone as well.
Overall, I’d be more than willing to tell ya that there’s greatness ahead for Fender Jones…he’ll get there, and I’m completely confident about that. Right now, at this point in the lineup, the single is still “My Heart Loves Trouble” even though it would still need polishing…but a track like “Fall Again” could also be a frontrunner too. I don’t know that it’s completely perfected yet, but it’s definitely among the cuts that are closer to being fully realized for their potential, and the songwriting is as potent as ever. “Fall Again” is one of those multi-layered, evocative tracks that you have to admire for being just as heartbreaking as they are beautiful…it’s got some authentically epic and memorable moments in the way it’s written. You also get a significant guest-star appearance from Dee Wolf in the vocals, who does an all-out remarkable job with her moment on the mic. I was already pretty happy with the results of how Jones was singing this one more or less…he holds his own pretty strongly here – but admittedly, Wolf comes in to help take this track from good to great the moment she gets in front of the microphone. The strength of the material here though, is outright profound – “Fall Again” is another stellar example of Fender’s songwriting at its finest, and the rhythm of the main hook he’s added to this song is straight-up brilliant. Ultimately, I’d tell ya that Jones has responded well to pressure here…sometimes the effect of having someone else play along with us, or sing in an instance like this, brings out the best in us because we know we have to find that next-level or second gear. In that respect, it’s honestly no surprise to me at all that we get one of Fender’s most significantly strong performances as he brings out his A-game to make sure Dee’s not hanging out there on her own. Wolf’s a professional through and through – you’ll find her out there online in a variety of places as a featured guest-star, because she’s known to knock it outta the park, and she rises to the occasion once again with her appearance with Jones on “Fall Again.” The more I spun my way through this record over the course of this past week, the more I felt like I grew attached to it…Fender does a noteworthy job with his vocals on this song, Dee’s amazing, and the material overall is genuinely exceptional stuff…it’s definitely one of the stronger cuts on this album.
I honestly still don’t know what I think about “Do You Want More” if I’m being truthful with ya. Part of me thinks that this is the kind of song that the caliber of songwriter Fender Jones has already proven to be could write in his sleep…maybe this simply feels like it’s easier for him, and I usually wanna rebel against that. It’s almost like, if you crossed Don Henley with David Baerwald…or if David Baerwald covered a Don Henley song…you’d get something similar to “Do You Want More.” Which is to say, you can feel that stretch to make the ordinary extraordinary, or give it more artistic depth than it has within its marrow…and I don’t know that I was fully convinced this time around. I like that Jones is calling out a lot of the superficiality of life and the way we all tend to live it, pointing out how we sell ourselves short for the shiny things we see in life. The truth is more rugged and less appealing to the people out there, but reality is what it is…we can believe the filters on Instagram as we wander through the valley of malls, or we can realize there’s a whole lot more to what being on this floating rock we call home is really all about. So…yeah…don’t get me wrong, there are elements of “Do You Want More” that I can appreciate, I just think that Fender could write ten of these before sundown, which puts a track like this in a very tough spot to fill coming after “Fall Again,” which is an undeniably more unique and well-crafted song that’d be right up there with the best on Reflection And Echo. My only job is to be real with the artists & bands about what I hear, and to push the scene to be at their best. I’d be the first to tell ya that there’s probably more accessibility in a track like “Do You Want More” than in many of the cuts on this album…but I feel like substance & songwriting is what Fender Jones really wants to be known for overall. So “Do You Want More” from him than what you get on this particular track? I kinda feel like I do, yes. If he wasn’t capable, I’d feel bad for asking…but since he’s proven that he is, plenty of times…I want it. Performance-wise, it’s strong & basically flawless…credit where credit is due; I think that’s the result of it being an easier song for him like I’ve already pointed out, but a seamless tune is still an achievement.
“The Weight Of The Week” is another possible candidate for what’ll likely go on to be debated in the conversations about what the best song on this record is, and rightly so. It’s another highlight example of Fender’s remarkable songwriting and down to earth vibes. In an unexpected twist, he even gives a shout-out to Muse’s Black Holes And Revelations album in his lyrics here…which again, if you’re thinkin’ this man belongs in the Americana/Alt-Country section, you really wouldn’t expect to find a Muse reference poppin’ up, you know? I’m really happy with this track all-around though…the lyricism is as stellar as you’ll find from Jones; it’s powerfully relevant and highly relatable too…people dig that. I also think he pulls off one of the smartest breakdowns you’ll hear on this record around the 3:35-ish spot, letting the song drift off before heading right back into the magic of the main hooks, setting up a perfect finale to “The Weight Of The Week.” All-in-all, I think this is one of the most significantly well-rounded tracks you’ll hear from Fender Jones in terms of the balance of its strengths…I love the piano, I love the guitars, the vocals came out extremely well for Jones too…it’s pretty much perfect y’all. As insightful as ever, the grounded way Fender expresses himself in this blue-collar anthem is truly stunning…I think that for as heartbreaking as this song can often be and IS at its core, it’s another track that highlights his natural gift for creating the kind of compelling contrast you can’t help but feel is every bit beautiful too. Bittersweet…I suppose that’s what you’d call it…it’s the kind of cut just as likely to make ya cry as smile.
I feel like one of the compliments that Fender and this lineup of songs deserves, is that it sounds like things finish stronger than they began. He seems to have found the confidence in his performances from “Fall Again” on-forward that felt more elusive in the first half of this record…and really, ain’t that all we’ve been looking for? “Lost On The Road” would be another great candidate to be a single…and given that it’s ready to roll right now, whereas a track I’d normally pick like “My Heart Loves Trouble” still needs a bit of work…I’d probably be inclined to choose this track over the other at the moment. I’m not necessarily saying that it puts “Lost On The Road” in the same caliber of songwriting as a track like “Fall Again” or “The Weight Of The Week” in terms of the record’s best in that regard, but in terms of accessibility, Fender’s charm & appeal on this song is undeniable. “I wanna be lost on the road, leaving somewhere with nowhere to go” is nothing short of brilliant, and it makes for an incredible hook. And yes, I’d be the first to admit, that’s a very Country-ish style of line…but it absolutely works, and there’s a whole lot of’em in this song that perfectly represent the genre. As for his performance…I think I’d be hard pressed to cite a better one on the album for his vocals…at least in terms of accessibility and the sparkle within the main hooks once again. I might personally be attached to more weary & weathered performances like we find on “Fall Again” or even “How Can We Be Wrong” to a degree…maybe…but if we’re talkin’ about heart and what people will latch onto, “Lost On The Road” is servin’ up what folks will certainly want a second helping of. Honestly, I’ve gotta admit, “Lost On The Road” is just one of those songs you hear that’s pretty much irresistible for the melody…and I ain’t impervious to that any more than anyone else. It’s easy for us to like “Lost On The Road,” and that’s a great thing for Fender; it’s a testament to both his single-worthy songwriting and the potential of his accessibility. Again, I might advocate more on behalf of cuts like “My Heart Loves Trouble,” “Fall Again,” or “The Weight Of The Week” as being better songs in the writing…but if we’re talkin’ about a track that’s gonna get to the masses with ease, without Jones really having to compromise his style as an artist, “Lost On The Road” is the surefire bet that will satisfy both sides of the fence & appeal to a lot of people that were sittin’ on it.
“There’s wisdom in my whiskey glass,” he sings on the final track “Nothing Here But You And Me” to finish off Reflection And Echo – and I feel like he’s proven that throughout this set-list and his lyricism. This was one of the two tracks I’d heard in advance of the rest of this record…and mind you, I’m still listening to it in advance of its actual release, which is scheduled for July 21st this year. Tougher for me to examine “Nothing Here But You And Me” this time around in being more familiar with it…I feel like we’ve experienced a whole bunch of tunes that outshine this track in terms of Fender’s songwriting now that I’ve heard the entire lineup on Reflection And Echo, but sure, it’s still a quality tune that had every right & reason to be a single in advance of the album. I’d probably even had said “Nothing Here But You And Me” might have been THE single of the bunch, were it not for “Lost On The Road” revealing itself right beforehand…but I still ain’t saying that it won’t be THE choice of the masses once they get ahold of this record for themselves. It’s a strong tune…great solo in the mix as well…overall, I’d probably cite that one aspect of the musicianship being what needs the spotlight a little more than it gets on this album overall. I’d have gone with the music up a bit more, vocals back a bit into the mix probably, but I get it…Fender Jones is a songwriter through and through, and the words should be the priority in a case like that. Vocally, he gets so much stronger as the album plays on…and I suppose that’s a metaphor for the way I feel about the man himself as an artist…if this is where Fender starts, believe me when I tell ya, you’re gonna hear the guy go on to reveal even more of a connection to his music as the years go by. Lots of great tunes to be found throughout this album; it’s a debut to be proud of and a true sign of even greater things to follow…regardless of what you’d call his style of music, he’s got the magic required for makin’ it, and the kind of songwriting that’ll go on to prove to be timeless…mark my words on that y’all.
Find out more about Fender Jones at his official website: https://fenderjones.com
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