Sam Cullen – Sam Cullen (13th Floor Album Review)
If an album of music is a journey, then Sam Cullen’s self-titled debut album is a journey back in time.
This collection of 10 songs co-produced by Cullen and Chris Scott, with Benjamin Mack calling the shots on Do You Know The Feeling? – all mastered by Chris Chetland from Kog Studios – has a distinctive air of the 1980s about it.
Most of the songs are held in the higher registers – plenty of tight cymbal, poppy synth melodies, clipped guitar rhythm and licks and up-tempo drive – creating a platform for what is the main attraction: Cullen’s voice.
With a pretty impressive range and some adept phrasing, Cullen shows his obvious vocal talents through these tracks bringing to mind some of the big-hitting male singers from 4 decades ago. Billy Joel, Bruce Springsteen, Rod Stewart and Kiwi legend Jordan Luck have all made an impression on Cullen and he does a fair job to bring the essence of these music makers into the 2020s.
The opening track That Sombody’s You jumps right in to the era of shoulder pads, white socks, aviator shades and stubble with a thumping, driving rhythm and hooky synth line.
The song charted for five weeks on the Aotearoa Hot Singles Chart, which will come as no surprise, with Cullen singing about facing up to the realities of life and to keep on keeping on.
“There is a sense of hope and longing that lives throughout this record because it reflects that transition,” Cullen says in the promo blurb describing how the songs were crafted over six years in towns and cities all over the country.
“All of the ups and downs, insecurities, fun, sadness, and nostalgia that comes with growing up lives in these songs,” he said. “As does my love for ‘80s music, rock n roll, and driving Americana. I’m proud to wear my influences on my sleeve with the body of work as I feel as though I’ve been able to pay homage while creating my own world.”
And creating his own world is some of what Cullen does best on this record. He really loves lyrics, it seems, and he’s mastered the craft of the impressionistic sketch.
He paints a vivid picture in The Clubrooms, a song about ‘playing gigs in rugby clubrooms growing up as a teenager in Invercargill’ with a jaunty, dance number.
“Rugby is such a cornerstone of the culture at home and my family has been part of it for generations,” Cullen says of this, one of his favourite tracks. “Growing up I quickly traded the rugby field for soundtracking the parties post-match with four hour covers gigs – some of the most seminal nights of my life and career.”
And again on the ballad Better Than Anything, the focus track on this release, Cullen’s painting a picture of that beautiful moment between sleep and awake to introduce a rousing anthemic love song.
There’s a hint of Rod Stewart in his ‘80s solo heyday in this number. Cullen might not have the Stewart scratch and emotional break, but he has a powerful voice that carries well, even over a big sound. All that’s needed is some bigger hair and billowy curtains to round it off!
Take Me For A Drive has echoes of The Cars in its thumping guitar and metronomic drumbeat. There’s even that classic high synth melody in the background to really shoot us back to the future.
It’s syrupy, nostalgic and a fabulous song.
Cullen evokes memories right through this album and on Easy Like That you’d swear it’s a Springsteen song that he’s covering. His voice carries straight in over a simple snare-cymbal beat and sustained organ – I’m On Fire springs to mind.
And on Lone Rider he’s resurrecting another ‘80s megastar in the form of Billy Idol. A thumping kick bass, swirly, swampy guitar and echoey, breathy vocal brings the past to present day.
Cullen doesn’t quite have that sneer and lower-register power that Idol brings to his songs, but we’ll forgive him this one time.
On the track Home To You, a duet with Brody Leigh, of Ben & Brody fame, I can’t help think of Shane MacGowan and Kirsty McColl in the opening lines.
The song is nothing like Fairytale of New York but the antagonistic exchange is reminiscent of the downward spiral of that classic number. This, however, is a happy, foot-tapping, upbeat poppy track as they sing together
The track builds from an intimate duet to a full-on wall of sound with, even, a silky sax line leading us out.
The final song on this record Do You Know The Feeling is change of pace with strong acoustic guitar rhythm, steady rock drum, electric guitar licks, piano and something that sounds like slide guitar to fill-in the gaps.
Lyrically it’s Cullen’s most accomplished work painting an unsettled picture of insecurity, vulnerability, laying himself open.
From the quieter, simple start the track build into a full crescendo, reflecting torture and torment as Cullen fully exposes his emotions, before falling back again for the denouement and a sparse piano line to take us out.
This is a triumph of a debut album. There’s some great writing, tight and well-thought out composition, fabulous musicianship and wonderful production.
Cullen is, obviously, front and centre, and deservedly so, but it would be nice to know who those musicians are that make up the five-piece band he’s used with great success – even running for three nights and R&V.
To call so heavily on the influences from yesteryear can turn homage into pastiche, but Cullen negotiates that path adeptly. Will he continue with one foot in the past or will he use those influences to carve out another road to what will surely be some wider recognition?
Alex Robertson
Sam Cullen’s self-titled debut album is due out Friday, Nov. 7th.
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