Phil Celia – Through The Years

Phil Celia – Through The Years – Album Review

Holy jeez…if it ain’t the direct combination of Bowie and Springsteen at the start here.

Phil Celia might just want to check out the roots of his family tree, you know what I mean?

For real…you’ll push play on Through The Years and the first song “Before It’s Gone” begins, and it’s really like hearing Bowie singing his version of what it would sound like if he did a tune from the Boss.  He’s also got one seriously mean harmonica at the start of this opener as well, which is always a welcome sound to my ears when it’s played as right as this is.  I’ll admit, while my main Bowie days are long behind me now, I don’t think they ever really leave you.  As far as Bruce goes…I’ve got much less experience in that department, and if I ever did have a Springsteen phase, it probably peaked with the bio-pic from last year.  In any event, obviously that’s great company to be keeping, and from the sounds of things on “Before It’s Gone,” the comparisons to these legendary artists seems well warranted to me.  In a sense, I think it’s obviously fair to say that it’s not exactly a style that’s in lockstep with what’s out there at the forefront of the scene today, but you could just as easily point out that Celia’s clearly working with a more timeless sound that never really seems to fade either.  Tons of fans still out there that are looking for what’s essentially some new old stuff…and in that respect, Phil should have no problem supplying ya with tunes that’ll remind you of something else you know, without feeling like he’s any kind of forgery.  As I listened to “Before It’s Gone,” I kept coming back to the harmonica in this tune – it’s freakishly brilliant to begin with, but what’s also cool is how much Celia leans into it here…it’s LOUD in the mix, but it’s seriously welcome.  It’s the kind of dominating characteristic you’ll remember hearing in this song.

I kinda assumed from the first track that I’d go on to like some cuts more than others on this album, and I suppose that’s how I ended up feeling about it for sure by the time I got around to writing this review.  Like, I probably appreciate a song like “Somedays” maybe more than I’d say that it’s my kind of tune, but hey man, what are you gonna do?  We all like what we like and love what we love.  I’d still happily tell ya that it’s a quality song and that Phil’s executed on it like a seasoned veteran of the biz…but I’d also be the guy to tell you it’s a bit of a sleepier choice to have as track two in the context of a record & keeping the ever-shortening attention spans out there listening as intently as they likely should be.  If I’m reading the tea leaves correctly online, this dude’s been at it for more than four and a half DECADES – so don’t get me wrong, you can tell he knows his way around a song and that he knows what he’s looking for in the sound he’s workin’ with…all that’s positive.  You can hear the professionalism in him, and for what it’s worth, you can definitely hear the traditional songwriter in him as well.  For some out there, that’s an instant push play scenario…tons of folks like highly crafted tunes, and who could blame them?  I might like something a little less predictable in that regard, which can make Phil’s style of writing a bit tougher for myself to connect with at times.  In a situation like “Somedays,” I’ll hear one line and be able to beat the next line to the word that’s going to complete the rhyme scheme miles ahead of when Celia actually sings it…but that’s nothing against him…I run into that with the singer/songwriter crowd all the time, and to be completely fair, I’ve already fit hearing seven lifetimes worth of listening into the one I’ve been living.  I like the humble way he sings “Somedays,” I also really like the way the keyboard chimes in but doesn’t try to do too much more than simply complement the existing melody…don’t get it twisted, I’m still happy to listen to “Somedays” even if it isn’t the kind of cut that recreates the wheel.  The real truth of the matter is most songs don’t…and that’s alright.  There ain’t nothing wrong with a song that’s simply well played, and to me, that seems like precisely what you get with “Somedays.”

It’s also fair to say that most songs really do rely hard on a rhyme scheme too, so like…you know…I’m not pickin’ on poor Phil for doin’ what we all do.  I think it’s merely a matter of sometimes you end up in a position on this side of the speakers where you hear that stuff more than others.  In the context of a track like “Somedays” that is fairly bare-bones in terms of the instrumentation & such, you kinda can’t help but notice the words, the rhyme scheme, the cadence of Phil’s voice…you hear that all stuff more when there’s not a whole lot else going on around it to take your focus off of it.  Then you hear a song like “Long Road,” where it has a bit more meat on its bones, musically speaking, and even though Phil is still employing the same kind of approach to the lyrics and songwriting, you don’t tend to notice it as much because there’s more instrumentation to listen to.  Mind you, that’s not how “Long Road” starts – it’s also pretty minimalist as it begins, and again to be as objective and fair as I possibly can be, it’s the perfect beginning to a song like this.  The magic is right there on display from moment one, and that’s entirely because Celia knocked this tune straight outta the park with his down to earth nostalgia and the wisdom of his life experience in lyrical form, combined with a stunning melody that continues to build.  By the mid-point in “Long Road,” I was convinced this track had something special that the two before it didn’t quite have, and right to this very moment here, I’m still certain that’s the case.  So there you have it – I’ve already told you from the start that Phil’s good at what he does – “Long Road” proved to me that he can be great at what he does in the right circumstances too.  You artists and bands know what it’s like…sometimes moments simply come together in ways that defy description, and they bring out the best in you…to me, that’s what it was like to listen to “Long Road.”  The gentle guitar is beautiful, the way Phil sings it is flawless, the lyrics have excellent imagery, and the intimate melody sparkles & shines.

“Over & Older” was a little tougher for me to assess if I’m being honest with ya.  Fundamentally at its core, there’s a solid song here…the writing and the idea itself are entirely sound.  Performance-wise, I’m of the mind there’s probably a stronger take that could have been achieved here, but it still came out well enough…like, I’m not suggesting there’s anything too detrimental going on here.  “Over & Older” is intact and ready enough for your consumption, but it’s probably a closer call than Phil might like in that respect.  There’s a couple spots in here where it felt like the tune of the guitar was hangin’ on by a thread…and to be real with you, I’m not even all that bent outta shape about that – like I said, it’s still where it needs to be, even if it’s right on the edge.  To me, what felt like a bigger obstacle to me in listening to “Over & Older” was that aside from Phil’s voice and the way he sings it, there was a whole bunch of stuff in the instrumentation here that felt like it was going through the motions rather than being played with intentions and purpose, you feel me?  So where you get this marvelously focused performance from Celia on the mic to lead the way, it felt like there was an imbalance between that aspect and the strength of the rest.  The guitar didn’t feel like it quite had the passion it needed, and the drums…ohh…I hate to say it, but they just seemed uninspired to me in this particular tune.  I never want to be the bad guy, but sometimes things need to be said.  Vocally, I think Phil puts in a fantastic performance, but that ends up becoming part of the frustration too, because you want everything else alongside him to be at that same level and I’m not quite convinced that’s how this came out in the end.  The instrumentation outside of the guitar and drums all felt like it contributed more of a creative spark, but alas, that ain’t the main meat of the song…so unfortunately, you kind of want a little bit more than you get here.  To me, “Over & Older” sounds like it’s being played cautiously, rather than confidently.

Hmmmm.  How do I feel about “Restless?”  Good question!  Look…I think where I would get to each time I got back to this song in the lineup is that I kept hoping to hear things more intact for Phil like they had been towards the start of this record, rather than feel like I was enjoying pieces a la carte like I have been in the middle of this lineup, but we’re not outta the woods just yet.  Same thing as before in a way – the majority of what you’ll hear is in line with where it should be, but there are definitely spots where you’d want to hear things improved.  I feel bad in pickin’ on a certain instrument two tracks in a row, but the drums just aren’t there on this tune…if anyone is feeling “Restless,” it sounds like the dude that’s sittin’ on the throne.  Normally I’d be like, whatever…but…I mean, it’s kind of a main feature in this song and it just seemed like a case of a split second here and a split second there, constantly as I listened – and I’m kinda unsure as to what else could be said other than that needs to be tightened up, from my perspective.  The rest all seems to work pretty well.  You get another strong performance from Phil in the vocals, the hook itself is highly memorable, and the slight use of keyboard provided another stellar accent piece in the music that hit the mark for me, especially as you pass that second minute and it becomes more involved.  Maybe the drums could have been more crisp in adhering directly to the metering…maybe that’s just the way I’m hearing it – I’ll let you be the judge.  Even if you agree with me, I think we’d also agree that “Restless” might still be the most accessible/single-worthy cut in the lineup.

It was probably Phil I was a little less sure about on the next tune.  Don’t get me wrong, for the most part I think his vocals have been the strongest aspect of the songs on Through The Years, but there are definitely a few spots within “Back To You” that another run through in the studio could have cleared right up.  We all hear different things in the music we listen to, and that’s the facts, Jack.  One of the most impossible tasks any artist or bands run into is remaining objective, because it’s monumentally tough to stay that way when you’re so close to the material…but that’s where the critics and consumers come in.  We provide that voice that’s not always in the room with you, and hopefully, we say a few things that help people evolve, grow, or refine their craft even further.  I mean, if I was to see Phil play “Back To You” live and this was how he sang it, trust me, I’d be happy with his performance, because ultimately what we might perceive as slight flaws also represent the humanity within the music being made.  So there’s some good in that, because it does humanize an artist like Phil, and we relate to that as we try to sing along with him, and presumably most of us sound much, much worse when we do.  All that being said, when you’ve got the ability to get back in the booth and give things another whirl, then there’s really no reason not to do that in the context of a recording.  95% of what you’ll hear on “Back To You” came out exceptionally well…and most of us will accept that performance as basically being 100% – but that pesky 5% is what the creators/artists behind it all tend to hear more than anything else years and years down the road.  Phil’s put in an expressive performance in how he sings “Back To You,” and I admire much of what he’s doing…but it’s those spots where he’s struggling to reach the highs, and the spaces where the lows drip down more dramatically or quickly than the melody is calling out for – all stuff he’s made clear he can handle in the other performances he’s put in already – those are the spots of opportunity that need to be identified.  He’s clearly capable, and as far as my ears are concerned, he’s right on the doorstep of where he wants to go with this melody.  If the song wasn’t worth it, that’d be one thing, but “Back To You” has some of his best songwriting and it’s worth his time to perfect it all.

Music-wise, I might advocate on behalf of the album’s title-track as being the most interesting to me.  At the very least, I think it’s fair to say it’s the largest departure in the set and most unique in comparison to the rest.  That might be the advantage it needs to have in order for such a gentle sound to stand out like it should…or, at least I’d hope it is.  A beautiful song that proudly explores the relationship of love in the context of time and all we go through together with those special people we choose to spend our lives with, “Through The Years” ended up being a really strong song with a remarkably delicate sound.  The additional strings and keys play a huge role in creating such an intimate moment…the guitar was the right fit here…and Phil’s vocals got back to the level of performance he’s put in throughout the majority of his new album.  Yeah…you know…hmm…I’d say that I’m a big fan of “Long Road” and the bulk of cuts in the first three songs really – but I’ve got a whole lot of love for what he’s come up with on “Through The Years” at the end.  This is one of those songs that you listen to, and though most of us would have no idea who Phil has written this song for, we can’t help but have our hearts melt a little just thinking about how truly special that person would be, and how having a song like this written for/about you would be such an incredible honor.  This isn’t a case of trying to find the right word that rhymes though, you feel me?  This is where you hear Phil saying what he wants to say, exactly how he wants to say it – and to my ears, that makes all the difference in the world in terms of the authenticity behind WHY he’s written this song, and how it makes us feel in turn as we listen to it.  So…yeah…I think I’m gonna tell you that he’s saved the best for last here – I think “Through The Years” is quite likely going to be the track that keeps us all coming back for another spin through the record.  It’s a low-key finale in terms of the song’s sweet and subtle sound…I mean, we have traveled a LONG way from where that harmonica had come out gunnin’ for ya as “Before It’s Gone” began…but that kind of makes this finale even more endearing to experience, and satisfying to reach at the end.  It’s a gorgeous tune if I’m being entirely real with ya…the melody is truly spellbinding, and the performance put in is equally enchanting.  It’s a stellar example of what Phil Celia sounds like at his most natural & focused…and it’s a perfect ending, full stop.

Find out more about Phil Celia from his official website at:  https://philcelia.com

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