Album Review: Murray Attaway – [tense music plays…]

I grew up in the 1970s and ‘80s in metro Atlanta. That meant I had a front row seat to the development and rise of bands like Dixie Dregs, Kansas, Starbuck (the yacht rocking “Moonlight Feels Right”), Mother’s Finest, R.E.M. (from nearby Athens), Swimming Pool Q’s, The Coolies, LMNOP, The Producers, The (Georgia) Satellites… and Guadalcanal Diary. The last-named group never quite got the success it deserved, though a dalliance with a major label (Elektra) did help bring “Watusi Rodeo” to a wider audience. I saw the Marietta-based group live on several occasions, and always thought they were destined for the Big Time, even with their unwieldy name.

But by 1989 the group had split. Leader Murray Attaway inked a solo deal with Geffen Records, and in 1993 recorded and released the superb In Thrall. That album featured big-name guest players including pianist-to-the-stars Nicky Hokpins. But In Thrall sold in meager numbers. A crime, that; both “Allegory” and “Fall So Far” were easily the equal of the best Guadalcanal Diary cuts.

Setting aside the matter of an unreleased followup, Attaway hasn’t been heard from on record since as a solo artist. Until now, that is: the cleverly-titled [tense music plays…] signals a welcome return for the singer-songwriter-guitarist.

When such a long period elapses – and this is merely an anecdotal observation, so your mileage may vary – too often the aging artist is found to have moved in an overtly twangy, mellowed-out Americana direction. When that happens, I’m largely put off. Happily, that’s not the case with Murray Attaway. Right out of the gate, “Breath” displays the same virtues as his material of decades past. His voice seems not to have aged, and his melodic skills are as sharp as ever. Perhaps thanks to its one-man-band approach, [tense music plays…] has a more up close and personal sonic character than the big-budget In Thrall. The vocal melody of “Breath” is in counterpoint to the instrumentation, providing a nice contrast that works.

“Star Behind the Moon” has a contemplative, British folk-feeling character. The subtle violin work from guest artist Ana Balka gives a Roma/Eastern European flavor to the lovely song. Attaway’s gentle guitar picking suggests some of Jethro Tull’s subtler moments, with a bit of Richard Thompson for good measure.

“Hole in the Ground” opens with a Stonesy guitar figure; the tune hearkens back to Guadalcanal Diary’s salad days. Some inventive chord shadings add interest to the vaguely sinister melody. The spare arrangement of “Better Days” shines a light on Attaway’s skills as an acoustic guitarist, and on his vivid way with lyrics. “Never Far Away” applies a similar aesthetic to a gently amplified guitar. “Old Christmas” suggests field blues, but folds in some unexpected textures – cello, splashes of combo organ, gong(!) – for a spooky, old-time vibe. The extended acoustic feel continues on the guitar-and-voice “Stranger.” The electric instruments and rock arrangement return for the closing track, “You Were There.”

Once again, Murray Attaway delivers on the promise of his previous band and solo efforts of decades ago. In total, [tense music plays…] marks the triumphant return of a valued artist. Enthusiastically recommended.