Colin Linden is a contradiction: a white Canadian who sings the music of the black south, and one who embraces the contradictory images of the blues—whiskey and trains, sin and salvation, cries of prayer, and the joys and sorrows of love.
On Southern Jumbo we hear Linden’s favourite ensemble: Richard Bell on piano and organ, John Dymond on bass and Gary Craig on drums, all of whom have worked together on his recent recordings. What’s different this time is the strong presence of the Memphis Horns: sax player Andrew Love and trumpeter Wayne Jackson.
Linden’s rocking blues is not a consolation prize for a one-dimensional performer. His work as a producer for artists such as Colin James and Bruce Cockburn demonstrates his diverse ability, but his style here is a carefully selected part of the package that is Colin Linden. Quite often he sounds like Levon Helm or Rick Danko of The Band, especially when Richard Bell (the keyboard master of The Band’s latest incarnation) does his own best Garth Hudson organ trills in support. It’s worth noting that all of the musicians mentioned here have played on Linden’s albums.
I am finally gaining a clearer understanding of Linden’s approach to matters of the Spirit. He understands his audience, and has carefully selected where his persona fits within the tradition of the blues. In most cases he isn’t the man we meet in the songs. For example, Linden and his wife Janice Powers have been together a long time, and yet he knows the importance of songs such as “That Was Me” where the singer looks back longingly upon a lost love.
Throughout Southern Jumbo, or any of his albums for that matter, you’ll constantly hear spiritual metaphors slipped into otherwise secular subjects. Two different songs, this time, compare the joy of love to “holy wine.” On “Which Way Does The M & O Run?” (where Buddy Miller adds harmony), Colin sings “All my old-time friends are gone/ to the glory of Heaven’s call.…” On “Bucket Of Soul” an unnamed female singer is said to be “heaven bound and heaven sent/ got that holy sacrament/ moves me till I’m good and spent.…”
The spiritual persona he often portrays—a sinner on the verge of salvation—comes through most clearly on “Back Door To Heaven” where he sings, “The burden of my reckless ways is heavy on my heart/ I’m ready to come home now I just need a place to start…Do you think I could slip through the back door to heaven/ Is there a place among the blessed for me?”
Linden has found a way to sing of God so those outside the Kingdom will relate to the protagonist without even detecting a message—leaving the Spirit to do the work.
In contrast to Colin Linden, Graham Ord is a songwriter for those within the Kingdom who want songs to encourage them in their faith. With song titles such as “Amen hallelujah,” “God is near” and “The Lord is gracious and compassionate,” you know he’s preaching to the choir. The opening track, “Hook in me,” could at first seem to be about romantic love, but soon the spiritual language has accumulated beyond the point of doubt.
Lyrically you’ll find no surprises, but the freshness of Ord’s smooth R&B and roots-flavoured pop sound make his songs stand out. Often his tunes, which are easy to sing along with, settle into a gentle groove where the lyrics can reverberate memorably. “You’re so wonderful,” for example, is driven by bluesy electric-guitar, and a tight rhythm section, building around the repeated phrase, “You’re so wonderful/ so wonderful to me.” From here, Graham leaps into verses that affirm his theme.
The album features rich harmonies and soulful lead singing—including the guest lead on “Like Joshua of old” from Lianna Klassen.
Back in his native United Kingdom, Ord fronted the band the Wesley Brothers for a dozen years. He is now a full-time musician living in Vancouver. (www.grahamord.com)
D.S. Martin is a Canadian poet and writer. For years he’s been fascinated with the many roots and branches of contemporary music, particularly from a Christian perspective.
