Both members of the band are probably familiar to Oklahoma music fans. Both guitarist/vocalist/husband Shane Henry and pianist/vocalist/wife Maggie McClure have solo albums to their credit; Henry in singing and playing guitar-based blues and McClure piano and vocal pop. And although their collaboration is probably a little closer to Henry's basic style than McClure's, it clearly brings out both of their strengths.
Over the last few months, the duo have released some music videos for a few tracks, giving a preview of the whole album being released today. The first, "Revival," was entered as a short film in some regional film festivals; its surrounding story of a Bonnie-and-Clyde-like duo who decided to change their ways gave a good background for the track. It's also a good guide for the way the combination mixes their strengths and draws them out past their respective comfort zones a little. Although Henry lays down acoustic blues licks to open the song it moves into a full-band gospel mode. McClure's always been a lovely singer but here she adds touches of brassy belting that match the story of two sinners seeking redemption from their dead-end path.
That same willingness to experiment with what her voice can do beyond just flawlessly nailing a note help propel other songs as well. The swampy declaration of faith "Geronimo" and funky rocker "Enough of You" meld Henry's rawer tones and electric work with her style as each pulls the other a little more their way. And that openness to experimentation lets them put a range of songs on the album as well. "Blue Sky" dances and trickles around as the husband and wife reminisce about their move to California from their native Oklahoma as well as their return.
"The Imaginaries" is not overtly an album of religious music but both band members are people of faith who draw on it for song themes as well as language and imagery. "Geronimo" references an untameable lion and the falling walls of Jericho, and the album closer "You Remind Me" gently swings through a list of reassuring qualities of a partner -- who could just as easily be a savior as a spouse -- and "One Life" declares a conviction that today's hard times are in tomorrow's rearview mirror and the power to survive them can be given to us.
Publicity for the album categorizes it as "Americana," the catchall gumbo category that leaves room for bluegrass, country, southern rock, blues and at least a half-dozen other genres. Since it crosses through most of those boundaries it's as apt a description as any. What's certain is that even as enjoyable as the pair have been as solo artists -- and in their livestreamed shows they've played several of each other's tunes as well as some good covers -- this collaboration adds up to more than the sum of the two considerable parts.
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