Reviews:: Justin Rutledge Man Descending

Two years ago, Nic and I powered South (well as much as you can power in a Yaris) and explored the Oregon coast. We stopped in little towns, drove past farms and tried to avoid any road with more than two lanes. Undoubtedly, the record that backed our trip was Josh Ritter's masterpiece, Animal Years. I can already tell that Justin Rutledge's new record - Man Descending - is going to be one that gets played over and over again on our next excursion.

I don't want to throw in a generic, sounds like comparison (although when St. Peter starts the record and the mandolin dances just behind the melody, Justin's voice reminds me a lot of Josh's and the song has the same powerful affect on me) because it cheapens how strong Justin's record really is. For me, the more glaring similarity to Ritter's work is how well they both tell a story over well constructed melodies. Every image Rutledge creates is pure and vivid and complimented with the perfect instrumentation.

Justin's arrangements are well thought out, and thanks to a huge collection of talented friends, each song feels complete. While it may seems obvious to listeners, taking the time to find the right sound is something most bands don't do. Throwing 15 layers onto a song doesn't make an arrangement work and it's not just the stable of musicians Justin uses that makes this record so nice. Sure they add great elements to the songs, but it's how Justin seems to find the exact texture (no matter how big or small) to complete the story that is so remarkable. Whether it's the long pedal steel notes that run up the melody of The Wire before retreating like waves on a beach or the chorus he adds on the standout track Greenwich Time, you know that Rutledge left everything he had in the studio.

I could write a page about every song on this record. I love the way his voice intertwines with Nova Scotia's Catherine MacLellan on The Wire or how the gentle crescendo that makes Greenwich Time such a perfect driving song (adding Jim Bryson and Jenn Grant to the mix certainly doesn't hurt). It's hard not to appreciate that even with the beautiful strings and vocal help from one of Canada's most respected singers (Ron Sexsmith) that beef up the piano led A Penny for the Band, Rutledge and his band absolutely own the song.

It's a combination of all these things that helps Rutledge prove that his name is one to be noticed. He paints with bold strokes - the mix of big bending steel and quick hitting mandolin on San Sebastian really help you become a part of the sad cowboy tale - but understands the details that are needed to finish the painting. Songs like Everyone's in Love and the emotional epic Alberta Breeze (Hawksley Workman shows up to offer some great backing vocals) shine the spotlight directly on Justin, which he gladly runs with, but steps back at just the right time to let his band finish the track. The way the band kicks in at the three-minute mark of Alberta Breeze sounds huge after the spare instrumentation he used to draw you in.

I honestly haven't stopped listening to this record since it showed up in my mailbox. Easily my favorite Canadiana release of the year, I would be shocked if this isn't on my Best-of list at the end of the year. In a homer type way, this record feels like Canada; the song titles, the subject matter, the musicians, the autumn tones that creep in on almost every song. He's on tour with another great Canadian song writer (Kathleen Edwards - review here) and I think you'd have to be a fool to miss them.



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It must be pointed out that Six-Shooter records is making some nice moves and really beefing up their roster. With acts like Jenn Grant, Justin Rutledge and Hawksley Workman, the ceiling for the label keeps getting higher.