Deservedly celebrated as a founding member of The Dream Syndicate, guitarist-vocalist-songwriter Steve Wynn’s solo output is extensive. Fresh out through Fire Records, Make It Right his first solo disc in a decade, the set coinciding with the publication by Jawbone Press of his memoir I Wouldn’t Say It if It Wasn’t True. Completed with a bevy of Wynn’s friends old and new, the ten songs share an engaging depth that’s a little rootsy but never retrograde. The record is out now on clear vinyl as a standalone item or bundled with the book and a limited edition silver foil leather bookmark. Compact disc and digital options are also available.
Given the size of Steve Wynn’s solo discography and the high regard in which it’s held, it might register as a wee bit inappropriate (or perhaps just overly predictable) to begin this review with yet another mention of Wynn’s key role in shaping The Dream Syndicate. Except it’s surely worth noting that The Dream Syndicate recommenced activity in 2012 with three albums recorded since. And with Wynn the memoirist clearly in reflective mode, it’s impressive that Wynn was disinclined to rest on his laurels.
Instead, he added to his workload by cutting a new record, and one that’s intrinsically tied to the process of writing I Wouldn’t Say It if It Wasn’t True. The list of contributors for Make It Right include numerous individuals who figure prominently in the story Wynn has told, including Dream Syndicate members Dennis Duck, Mark Walton, and Jason Victor.
There’s also Mike Mills of R.E.M., Vicki Peterson of The Bangles, Scott McCaughey of Young Fresh Fellows and The Minus 5, Chris Schlarb of Psychic Temple, Chris Ekman of The Walkabouts, Emil Nikolaisen of Serena-Maneesh, Rob Mazurek of Exploding Star Orchestra, and Linda Pitmon of Filthy Friends and The Baseball Project alongside Mills, McCaughey, and her husband Wynn.
This is only a portion of those who played and sang. Records with guests numbering into the dozens can be fun but often lack focused momentum. Make It Right is cohesive as the songs exude the personality of their writer, but the thrust is not too autobiographical, even as the anthemic riff-grooving opening track “Santa Monica” is about Wynn’s home town.
A full-bodied tune complete with keyboard, shakers, and backing vocals, “Santa Monica” establishes a template of boldness for the record. With its countryish vibe of pedal steel and strummed guitar nicely offset with electric piano, the title cut is next, playfully lingering halfway between a honkytonk and a motel lounge.
“What Were You Expecting” throws a nice curveball with its programmed rhythmic backdrop and a noirish feel, while “You’re Halfway There” slowly rises up on some sleepy country-tinged folk rock with gentle touches of psych. And from there, “Making Good on My Promises” is raw and punkish as it thrives on the appealing disdain for standard form moves that has distinguished Wynn across so many releases and projects.
Landing betwixt a couple of Raymonds, namely Carver and Chandler, and both as interpreted by Robert Altman, “Cherry Avenue” is Make It Right’s apex in terms of songwriting, ensemble delivery, and production (credit due to Eric Ambel), it hints at the late ’70s roster of Asylum Records and the first solo album by Robbie Robertson, but is still very much Wynn’s own thing.
“Then Again” extends this mode toward a similarity to Vic Chesnutt, but with a light touch. The border town dive bar at 11am ambience of “Madly” is another highlight, hitting the ear on first listen as a cover (it’s just has to be), but no; it’s a Wynn original. “Simpler Than the Rain” returns to a zone similar to the title track, hitting not like Asylum Records but Warner Reprise circa 1972 as Wynn sings like he’s about to book his own nationwide bus tour.
“The Roosevelt Avenue” strips it down, roughs it up, and spreads it out for Make It Right’s close. Steve Wynn has had a hand in some of the finest rock music of the last 50 years. Hs latest makes it clear he hasn’t lost his creative spark.
GRADED ON A CURVE:
A-
