EP releases typically play, for me, like Cliff’s Notes variations of the full-length album the artists might have recorded however didn’t. It isn’t the case, nevertheless, with Freeway Wolf’s Purdie’s Dream. San Francisco’s Mick Hellman’s conception for this specific launch doesn’t take him removed from the Americana roots he often harvests along with his different band Wreckless Strangers, however there’s an intimate contact right here that’s far faraway from Wreckless Strangers’ work.

Furthermore, it’s a launch of canopy songs somewhat than authentic compositions. This will likely dampen some listeners’ enthusiasm for the discharge, nevertheless it shouldn’t. Hellman and his collaborators deal with these well-regarded compositions, regardless of their reputations, as if he penned them somewhat than songwriters many years earlier than him.

“Again within the Excessive Life” is, arguably, essentially the most well-known of the EP’s tracks. Hellman feels an apparent deep affinity for the Steve Winwood traditional and imbues its lyrics with bloodied however unbowed hope. He steeps the observe in a well-calibrated Americana sound that favors traditional nation influences above all others and the musicianship, particularly guitarist Dave Zirbel, excels.

He takes a memorable stylistic flip with Joe Walsh’s “Within the Metropolis”. Freeway Wolf jettisons the rock guitar histrionics of Walsh’s model in favor of a loosey-goosey bluesy quantity with stellar piano equipped by pianist Barbara Higbie. The vocal strengths of this EP are stellar and Hellman’s re-arrangement of “Within the Metropolis” advantages from a number of well-placed contributions from backing singers.

“Father and Son” follows it. Hellman seems to Cat Stevens’ discography for a supply of inspiration right here and does a fabulous job reorienting the tune in a folkier route. Pop music was by no means removed from the forefront of Stevens’ artwork throughout his peak years, however Freeway Wolf finds grittier riches of their model with out ever shedding the melodic sweetness that exemplifies the unique.

“Blue Letter” is an entire 180-degree flip in a unique route. This Fleetwood Mac authentic, from the early days of Lindsay Buckingham and Stevie Nicks’ authentic tenure with the band, by no means loses its rock coronary heart in Hellman’s palms. Zirbel delivers maybe his greatest guitar efficiency on Purdie’s Dream with this tune and even a single hearken to Hellman’s singing reveals how shut he pertains to the tune’s lyrical materials.

You may say the identical in regards to the cowl of “Silver Springs” that closes the discharge. This aftermath-of-a-breakup tune, par excellence, loses nothing with Hellman’s therapy. He doesn’t filter it via the identical dynamic and dramatic rock association that Fleetwood Max delivered to their authentic (and later performances), however his quieter tackle the reduce holds its personal distinctive energy.

Freeway Wolf’s Purdie’s Dream delivers in 5 songs what many albums of authentic materials battle to attain in ten tracks. I can inform that selecting these tracks, cooking up new preparations for every, and giving these performances means an incredible deal to Mick Hellman and his inventive companions. It ought to. He’s crafted a remarkably sturdy assortment that ought to have widespread enchantment; it actually checked off all the packing containers for me. Let’s hope there’s extra to come back. 

Mindy McCall