Mamas Gun – Cure the Joneses
On Heal the Jones, their fifth full length album of original material, based in the UK Mom Gun hone their mastery of deep soul ballads and complex midtempo grooves. Resonating with multi-layered arrangements and an atmospheric wall of sound infused with classic rock undertones and doo-wop sensibilities, the 11-song set finds frontman Andy Platts gently but artfully delivering concert-accurately assembled melodies with organic instrumental structure.
As for previous versions golden days And cheap hotel, the band’s use of vintage gear creates an emotive vibe that many retro performers struggle to achieve. This is particularly evident on lead singles “Party for One,” a moody groove that contrasts charming harmonic riffs with dissonant moments of jazzy undertone, and the slyly contemplative, coolly punctuated “Looking for Moses.” In each case, Platts’ varied performances attract and delight without resorting to force or fantasy, relying instead on calm assurance and a genuine attitude.
While a good part of Heal the Jones is downtempo and ballad-driven, numbers like summertime “Friends to Lovers” and festive “Winner’s Eyes” balance the soundscape with chaotic beats and gripping guitar playing. However, it’s the string-laden slow jams that tug on the heartstrings the most poignantly. The opener “When You Stole the Sun from the Sky” possesses a comforting melancholy inherent in the merging of a few keyboard and guitar strokes with Platts’ eager tone and earnest phrasing. Meanwhile, the more uptempo “Go Through It” maintains emotional shelter via a swirling rhythm section and stacks of sublime harmony vocals.
Terry Lewis’ tender guitar prowess and Dave Oliver’s well-placed keyboard flourishes perfectly complement Platts’ vocal vulnerability on the masterfully pure “Reconsider,” wrapped in a sweet serenade of strings that dreamily close the number. Angelic falsetto tones convey the longing for “You’re Too Hip (For Me Baby),” driven by a three-feeling ballad rhythm, prominent bassline, and simmering keys. In contrast, the title’s sophisticated cut softens with a subtle Latin jazz feel and a memorable chorus that brings home the message of love spent fighting a lost romantic battle.
Heal the Jones ends with the picturesque “daffodils”, a poetic ode to memory. The arrangement flows effortlessly, with brief touches of harp and electric guitar completing a musical affair that is both thoughtful and inspiring. It’s a satisfying conclusion to a meticulously crafted collection of songs that work in perfect tandem with each other while still being very satisfying on a stand-alone basis. Listeners who appreciate undiluted soulful music with meaningful words are encouraged to carve 45 minutes into their schedule, kick back and enjoy this jones sound cure. Highly recommended.
by Justin Kantor
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