Dave Provost: Press

What’s a jobbing musician to do these days without label backing or deep pockets of their own? While we get major label releases here at Blabber’n’Smoke for review the majority are self released so its no surprise to see that Kickstarter is increasingly used as a fundraising source. Indeed Stuart Murdoch of Belle and Sebastian recently raised a sizeable amount to Kickstart a movie project that otherwise might never have seen the light of day.
Anyway, Nantucket based Dave Provost used Kickstarter to fund this, his second album and for that we can be grateful. Provost sits comfortably in that section of your collection that contains the likes of Steve Earle, Bruce Springsteen and John Hiatt (as long as you don’t have your albums in alphabetical order). Kicking off with the self assured strut of Hall of Bones the guitars ring out while an organ slightly swells before a chiming guitar solo, add Tom Petty to the above mentioned mentors and you have an idea of what this sounds like. Unplugging for the next song, Little Red Guitar, we get a slow country waltz sweetened by some fine pedal steel but the following Hula Girl digs into a bluesier and swampy groove. Mark Cutler’s slide oozes menace while Provost sounds somewhat like Jace Everett’s impassioned vocals on Bad Things. While Provost delivers more driving anthemic tales on Corners of the Skyand Up in the Air the majority of the remaining songs are pitched in a lower key.Please Stop Talking is a delicate acoustic tapestry with twinkling mandolin, rippling guitar and accordion while Partner in Crime features some fine Dobro playing (from Chris Boyd) on what might be the best song here. Almost the best song here we should say. While Provost covers Steve Earle’s I Ain’t Ever Satisfied the other cover, Rowland Salley’s Killing the Blues is indeed a veritable killer and knocks spots off of other versions by John Prine and Robert Plant.

Nantucket-based (though bi-coastal) Dave Provost’s second CD My Favorite Ghost comfortably rides the borderlands between country and rock, with a side of folk and a taste of the blues.

Fans of Dave Alvin, Tom Russell, Guy Clark and Lyle Lovett will find a lot to like here, as Provost employs his warm, husky voice on eight originals and two covers – John Prine’s “Killin’ The Blues” and Steve Earle’s “Ain’t Ever Satisfied.” Those covers are tastefully done, but the real revelations here are tracks like the bluesy slow-burning rocker “Hula Girl,” with lots of wailing slide guitar and moaning organ; and the jaunty Southwestern shuffle of “Partner In Crime” with tasteful dobro and accordion fills.

There’s no little influence of homey New England folk music here, too, in songs like “Partner In Crime” with its lyrical references to the natural world and the weather, or the fingerpicked 12-string of “Up In The Air.” But there’s also a little bit of Springsteen in rockers like the opener, “Hall of Bones.”

Provost had able assistance on this disc from a bunch of musicians who know how to play for the song, not to call attention to themselves. The arrangements, production and mixing all stand out, too. A fine effort by all involved, including the folks who financed it through a Kickstarter campaign.

Praise for "Home":

"Back-porch charm meets pub-rocking vim on Rhode Islander-turned-Carpinterian Dave Provost's juicy new album. It's smartly recorded and produced by Bruce Winter and benefits from the local likes of steel man Bill Flores and others. Provost has a way with guitars and also words, as he peels off poetic imagery and clever lines, advising to "look both ways before you cross your heart". The pleasingly leather-voiced Provost has a confident sound, easily riding the cusp of country and rock and song-smithing with brains attached."

"beautiful, resonant songs...one of the best albums you'll hear this year"

Southern California based Provost may have been born and raised on the East coast, but the heart of his songcraft beats with a Southwestern spirit. A smooth blend of roots-rock, country and pop, there is distinction and depth to each of the 10 tracks here. Provost has a terrific sense of song structure and stokes each number with his keen lyrical visions, utilizing his rough-hewn voice to breathe life into each scene.