Mike Hollon – Irving Park

Mike Hollon – Irving Park – Album Review

This ended up being a really neat record to make my way through over this past month or so.  Mike’s got a unique perspective that’s relatable, but still his own…and I think what I might like even more than that is the fact that he’s an artist that is so willing to share his point of view and musings with the rest of us.  I liked that we seemed to come at so many of these different scenarios he’d write about from opposite ends of the spectrum and find some middle ground that we had in common along the way.  He’s got a compelling lineup of tunes on Irving Park that had me thinking about all kinds of things as I listened to it – let’s check it out and see if we can’t uncover a few reasons that you should tune in to listen to it too.

It was interesting to read the write-up that came along with “1000 Days.”  “This song is about the time after a breakup.  The time you should have been heling and working on yourself.  One day you turn around and realize – damn.  I just wasted three years of MY time, after it was over.”  It’s all about perspective when it comes to things like that I reckon.  I don’t think I’ve ever wasted a single moment of my time here on earth, regardless of how down in the doldrums I might have felt…and my advice for Mike would be to find a way to get to a similar space in his mindset.  It’d drive me absolutely batty to think I could have wasted three years – but is that really the fairest way to assess time spent like that?  You’re always learning something, you’re always evolving…and chances are, unless you’re sitting on the couch for the full “1000 Days,” I’d imagine you’re still moving forward somehow.  At the very least, that time spent gave Mike the perspective he needed to create this opening track on Irving Park, right?  That’s still something!  It’s not nothing, that I can tell ya.  I don’t mind what he’s got here sound-wise – he’s folkin’ it up, so that’s a tough climb to recreate the wheel & all, but it’s got a bit of an edge to it as it surges into the second minute…it’s not a song that seems desperate to cling to the typical script, so I’m cool with that.  Plus there’s obviously a lot of Mike in this track as well…he’s being down to Earth & real with ya, and last time I checked, that’s the exact recipe required to create music that resonates with ya.

“Letting Go” confirms he’s ditching all the harmful stuff, and that he IS moving forward with his life.  I mean…look…I’m not gonna lie to you, we have all kinds of inspirations to make a new record, but one of the most common you’ll ever stumble across is the broken-hearted rebuild, which sounds like where Mike is currently at based on these opening two tracks.  The first tells ya what caused the reaction, and the second track confirms he’s now the new and improved version of himself that’s embraced a new philosophy and way of life to get through this next chapter ahead.  I’m all for it.  Don’t spend your life in pain y’all…if there’s something you can personally do to make it better, please do whatever that thing is!  Mike’s makin’ music and writing himself into catharsis, like many of the folks on these pages of ours have at one point in time.  You’ll find “Letting Go” is relatable in that regard…and heck, regardless of how he came into this wisdom, he certainly ain’t wrong about anything he’s singing about.  “The brand-new this, and the latest that” isn’t going to be what makes you happy in this life – but it does take a little bit of livin’ before you come to that conclusion.  We’re all at different stages when it comes to how we govern ourselves and what’s important to us.  I listen to a track like “Letting Go” and it’s clear that Mike is already well on the road to recovery when you pay attention to the details in his lyricism.  Plus, he sounds natural and organic, which goes a long way in a song that’s really doing its best to remind you that we all have all we need in this world…the rest of what we purchase and buy are the bells and whistles – but we essentially come equipped with everything we’ll need from the day that we’re born.  It’s easy to forget that, believe me…but “Letting Go” is a way you can purge the past to create a better present.  “That shit just weighs you down” as Mike will tell ya, and as far as I know, he’s right about that.

There are different means and methods to make a record, as I’m sure you’re aware.  There are also different levels of inspiration and reasons as to why you’d make one, which also presents a different set of priorities when it comes to what gets included, as well as what gets overlooked.  As I listened to the third track on this album, called “Love,” it became pretty clear that the words and the message in Mike’s music is the main priority here.  What do I mean by that?  Well…ultimately, it’s an observation that he always has something valid to say within the songs he’s writing – and it’s also fair to say that with the message taking the priority position, there are other things that go further by the wayside.  Like – “Love” doesn’t REALLY have any hooks to it…it just doesn’t.  We can go back and forth about that in a debate, and I’ll probably concede that you’ll definitely find SOME hooks – but they’re all contained within the music itself…which has more or less been the case so far.  That doesn’t mean Mike isn’t singing well – he’s doin’ just fine tyvm – but he’s not prioritizing his vocal melodies half as much as he is the words.  Which creates a bit of a push/pull effect with listeners usually, but I think he’ll get by with a solid victory in the court of public opinion for “Love” because it’s got such sweet intentions and a colorful upbeat vibe.  He’s clearly got a lot of “Love” to give, and this album is genuinely symbolic of his need to give it.  Bonus points to the trumpet being added in here though…I’m loving that!  Hollon’s kind of got this like, Cake-like thread to his sound and the way he writes/structures his music, which I’m totally cool with.

I do have moments, like where I’m listening to “Go” for example, where I really want Mike to match the confidence we hear in his music with what we hear in his vocals…that’s where I see the most opportunity for this dude to continue to level up.  There’s no doubt that he CAN sing – but when I listen to him doin’ it on these songs from Irving Park, it does sound like there’s less of a balance between his strengths as an artist…and it’s not really a matter of skill, he’s got plenty of that in what you’ll hear from the music to the microphone…like I said earlier, it’s more of a matter of where the focus is being applied.  I think he’s got really fantastic ideas in the music, and I think the guy’s seriously fearless with how open and honest he chooses to be with his lyricism…and now it’s all about believing in the material so strongly that we hear it in his voice as well.  I felt like he got pretty close by the end of “Go” where the intensity starts to ramp up in its finale, but that just made me want that same kind of energy a little earlier on, you feel me?  I’m not suggesting he’s all that far off the mark that he’d need to be, but I’m pretty confident he’d tell you that singing isn’t the main function of his musicianship – it’s something that he can do, but he’s still got some work to be done if he’s going to excel in that category as well – that’s all I’m saying.  Musically, the guy sounds like he’s a barnstormer with his acoustic guitar and can really make that thing move…the confidence you’ll hear in his instrumentation never wavers, and all I’m advocating for is that we get that same level of strength through the microphone.  Part of that involves really looking for those melodic hooks that he can believe in, as opposed to simply singing along in the space – make sense?  That being said, again…it’s the words that are the priority here, and he’s singing them clearly…the message and meaning of his lyrics will get through to listeners as a result of that, but I think he’s got an opportunity to strengthen that aspect of his songwriting to make more of an impact.

“Fool No More” is a song that I’d imagine at least a few of you out there would benefit by listening to closely.  It’s about the push/pull of relationships…you know, the ones that never seem to want to die?  We’ve all had’em, right?  I can’t be the only one that’s experienced being locked into that hell of trying to find your way out, only to do the makeup and breakup thing another thousand times before it’s REALLY finished?  You end up with the grey hairs that I have on my face, and believe me, you’ve likely learned a few things along the way.  Every relationship I used to be in was a makeup and breakup relationship prior to meeting my wife…and I reckon one of the main reasons we even got married to begin with was the fact that we don’t do that shit.  If either of us were to say it was really over, we’d know that it was…because we don’t do the back & forth thing.  Knowing how STABLE a relationship can actually be without that push & pull…is amazing…and once you’re finally on the other side of the fence and you realize just how much greener the grass truly is, you’ll never go back to the way that it was.  “Fool No More” has a bit more of a Bluesy thread to it…but I won’t hold that against this tune – I like it.  There’s extraordinary character in Mike’s guitar on this track that I felt pretty damn addicted to overall.

“Casablanca.”  You know…I spent about what…something like, ten of fifteen years in a video store, long before I ever got into music journalism permanently?  Never saw “Casablanca.”  I should really make some time for that one day.  Anyhow.  You’ll read in the write-up that comes along with this song online that it’s one of Mike’s favorites to play, and I totally get why that would be.  From the eastern influence on the sound, to the fact that he isn’t being weighed down with additional vocal duties…I mean…it’s a genuinely unique cut in his catalog, and there’s always appeal to an artist in a case like that.  I’m based in Canada…we listen to a whole lot of The Tea Party here…these are very familiar sounds to me, but very welcome all the same.  More importantly, I think we get an excellent glimpse of what Hollon’s music could be like without the vocals.  Don’t get it twisted, I’ve already told ya the man can sing – but…with that being said…I do think there’s a bit of examination needed when it comes to how he goes about adding vocals to his tunes…as in, if there’s not a major idea in the melody present, then perhaps vocals aren’t really the most necessary ingredient, you feel me?  You wanna hear purpose and intention in everything we hear…and if that’s not going to be there, not just existing, but thriving in the music, then my recommendation is always the same – if something ain’t adding, it’s probably subtracting from the rest.  Hearing how engaging and lively something like “Casablanca” was to listen to, made me appreciate how capable and confident Mike is with his instrumentation.  Maybe we’ll hear him go this route more often in the future, or maybe we’ll hear him accept the challenge and raise the bar higher for his vocals.

Ohhhhhhh…where oh where do I begin with the title track on this album?  Look…not everything we’re ever going to do is going to recreate the wheel when it comes to the art of making music…and “Irving Park” is definitely an example of that.  Do we need to be all that unique?  Not necessarily, no.  Some folks actually quite enjoy listening to something more familiar, even if the song is new to them.  “Irving Park” doesn’t have a whole lot in it that I haven’t heard in some way, shape, or form by this point in my life…and I’m probably one of those people that prefers to voyage into the unknown rather than head back to something I’ve already kinda heard.  Aside from that…metering…I mean…Mike’s got an extra syllable here & there within many of his tunes, but it’s a bit more pronounced here…and he could easily fix that for a bit more fluidity in what he’s creating.  Like…you’ll listen to a moment like where he sings “when you are in my arms, it’s my favorite thing” – you’ll hear him adjusting his singing speed to fit the metering, and it’s easier to resolve with an extra syllable or taking one away when it’s needed.  Beyond that, like…I dunno…it’s really not my favorite line in the song and it seems like there’s probably a more unique way to say what he’s saying…but that might just be how I feel.  “Irving Park” is drawing upon a whole lot of what has been done throughout the majority of music’s history, which again, will be an advantage for some listeners, and a disadvantage with others.  I’d be the first to tell you it’s got upbeat energy that people are sure to love and it IS catchy…but it’s a little less unique than many in this lineup.

It might be…and I’ve been accused of this many times…that the happier, upbeat material isn’t as much of a draw to be and the infinite well of sadness found within my soul.  As I got to “Movin’ Along” I felt like this was another track that probably wouldn’t resonate with me as much as it might with YOU – and if it’s your jam, then right on.  I’m hearing something that’s been done from the days of MacLean and MacLean all the way through to Jack Johnson, and “I got to keep on moving along” – you understand, right Mike?  Is it a bad tune?  No!  Not by any stretch of the imagination – it’s actually one of the album’s most well-executed songs from start to finish, and one that has impeccable balance in its strengths as well.  I like what Mike’s doin’ with the backing vocals…I like the way the drums react to the song as well – and everything in between all that is right where it should be.  It’s one of Hollon’s better cuts for his vocals overall…the bass-lines are tight…the ukulele is a nice touch…I mean…you KNOW that a song like this is one that Mike could fall out of bed and land on before he hit the floor, or the type of tune that he could haul out his ukulele and just start playin’ like it’s always been a part of him…but I don’t begrudge the man workin’ with what he knows works for him.  It’s an interesting concept when you think about it – you’ve got Mike singin’ about the importance of movin’ forward, yet he’s rockin’ with a sound & style that’s been explored and mined to the nth degree…and you kind of have to appreciate the irony in that.

Now…”Downhill Slide” starts out great, musically.  Vocally, I dunno…I could really take or leave the verse, but I felt like the chorus seemed to raise the stakes enough to make the difference.  It’s the guitar surrounding both of those parts that makes the most difference in terms of this song’s appeal though, and I was a little bummed that it wasn’t actually the main meat of the verses we hear in this tune.  Mike is gonna do his folk thing and be happy as long as he’s doin’ it I’d bet…so it really doesn’t matter a whole lot about whether any of us like this song or that one…he’s still gonna be doin’ what he loves, and long may he run.  I know that’s all I’d ever want for the guy, so heck yeah, play on my friend.  “Downhill Slide” is a good example of him having the right ideas…I like the music surrounding the verses/chorus…I really like the way he slides on into the chorus in transition…and he’s got some solid highlights in his vocals as the song heads into its finale as well.  He’s even got an organ in the mix for ya to bring it all home – and what’s not to love about that?  There’s so much warmth in that instrument, and especially the way that it contributes to this particular song.  Folk is a TOUGH genre to stand out in, because so many artists tend to work within a similar framework…but you get to a song like “Downhill Slide” and you realize how little that can matter sometimes.  Hollon clearly just wants to play and sing his songs, and I’d be the last person to tell him he should do anything otherwise.  I might argue that he’s got plenty of space to challenge himself more as an artist, but so what?  If that’s important to him, he’ll do it – and if it’s not, then I know he’ll be just fine haulin’ out his acoustic guitar or ukulele & making the music he truly loves.

Look at it this way though.  When you hear the very first line in “Tomorrow’s Sunshine” – can you hear how similar that is to what he was singin’ in the song right before it?  If we’re being generous, then we can say he’s remarkably consistent for sure.  If we’re being more critical, then of course that’s a red flag that tells us he needs to dig even deeper to create the kind of separation you need between songs.  For myself, it’s not too much of a strain to hear what makes each song different – but to the average everyday listener, folks just passing by, or people that are not paying as close attention, Mike’s running a bit of a risk with the similarities in the material working against him.  Perspective again comes into play here…from what I’ve read, “Tomorrow’s Sunshine” is a bit of a rebellion against the grudges we hold – and obviously, on the surface, we don’t wanna have those when we can avoid them.  Digging into even deeper, “Tomorrow’s Sunshine” deals with his own family estrangement…and I get it…I’ve definitely been there, and it’s not ideal.  That being said, distancing myself from my own family wasn’t so much of a choice as it was survival instincts kicking in.  I stopped talking with my own mother about twelve years ago now I suppose?  I’ve lost track…because I wouldn’t have it any other way.  I mean, I literally wouldn’t be here if I hadn’t made that choice to get away from a toxic relationship that had no chance of getting any better – but we’re told these people we’re tied to can’t be severed…that’s how we’re all raised, to think that family is an unbreakable bond.  Allow me to be the first to tell you to GTFO if you’re in a situation that doesn’t work for you…I look at things from the opposite perspective as what Mike is singing about on “Tomorrow’s Sunrise” and I’m more than comfortable with that.  To each their own as they say…but it’s been neat to realize how different Hollon and I view life with so much in common at the same time.  Dig the additional harmonica in the song…and overall, I still think that it’s one of the album’s best tunes if I’m being honest with ya – I don’t need to agree with every word to feel that way.  You could look at “Tomorrow’s Sunrise” from a whole different angle too…like…I LOVE its emphasis on making sure that you make the most of the present because you never know what’s around the corner.

Finishing things off with another instrumental at the end called “Blue Mountain Spring” – I found that I loved the fact that Mike’s liner notes for the album tended to be more descriptive for the songs without words to help paint a more vivid picture of what inspired them.  “Casablanca” was one of my favorites in this lineup, and I feel much the same when it comes to the final song as well – “Blue Mountain Spring” is another excellent track in this set-list that the album wouldn’t be the same without.  Unencumbered by his vocal duties, Hollon is able to do things with his guitar work that he simply can’t while he’s singing.  That’s no knock on his vocals or his capabilities – it’s much more of a reality for the way so many of us play or how we use our instruments when they become the primary focus.  As a result, you get moments like “Blue Mountain Spring” that speak volumes on their own behalf without having to sing a single word…and I dunno…I appreciate the simplicity in that.  I also like a good story too…and it sounds like this one is built on redemption – “Blue Mountain Spring” is largely about rebuilding North Carolina after a significant flood, but knowing that’s possible even in the midst of such devastating circumstances.  It’s about our resilience, as people that determine their own fate…it’s “an instrumental prayer that looks to brighter days ahead,” as so it should be.  Sometimes we don’t need a single word to express how we feel, and I think that’s what I loved most about this final tune.  You feel the heart and the respect at the core of it all, and an unbreakable spirit that is bound to come out stronger on the other side of all that it has been through.  Musically metaphorical for life I reckon…and a wonderful way to conclude what’s been a highly interesting experience with Mike Hollon’s special brand of Folk music.

Find out more about Mike Hollon from his official website at:  https://www.mikehollon.com

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