The Norman Transcript
May 09, 2008 12:25 am
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Port O'Brien
"All We Could Do Was Sing"
American Dust Records
By Jeff Johncox
pop writer
Port O'Brien's first full album effort, "All We Could Do Was Sing," is at times wistful, thought provoking, moving and frustrating.
Wistful, because much of it reminds you of some of the great acoustic work done in the early- to mid-1990s. Thought provoking because the lyrics make you re-examine your own views on life, your own goals and how you see the world around you. The album is moving in songs like "Stuck on a Boat," because we've all felt that inability to be where we want when we want. And "All We Could Do Was Sing" is sometimes frustrating because as brilliant as some of the tracks are, there are a few that are missing that one last piece of the puzzle, which is nothing new in first album efforts.
Port O'Brien formed in 2005 as a two-part collaboration between Van Pierszalowskie and Cambria Goodwin.
Goodwin, who according to the band's bio page on their Web site, portobrien.com, is the Head Baker at Larsen Bay, and Pierszalowski, who summers on his father's fishing boat, discovered something special in their collaborations.
When they added Caleb Nichols and Joshua Barnhart as a rhythm section, the band found an original, wonderful voice that is part Eddie Vedder, part Neil Young and part '60s folk band.
Not that "All We Could Do Was Sing" can be compared to anything, really.
The multi-tonal singing in "I Woke Up Today" and, especially, "Fisherman's Son" works perfectly with some incredible acoustic guitar and string parts, rolling the tempo along while not drowning out or taking attention away from some pretty poignant lyrics.
Port O'Brien even goes a little bit southern country in "Don't Take My Advice." Songs like "Advice" and the aforementioned "Stuck on a Boat" probably work best on the album, when Pierszalowski's haunting voice matches his lyrical sensibilities. When Pierszalowskie sings alone, the songs are really, really good.
Pierszalowski channels Eels in "Alive for Nothing," and the song's lyrics would have made Jim Morrison proud.
But there are some misses.
"Pigeonhold" starts out promising enough, but turns into a toned-down White Stripes song with heavy distortion and an experimental jam-band instrumental interlude that makes you wonder if this is even the same band.
But the solemn "Will You Be There" brings you back, and the groovy "The Rooftop Song" keeps you loving this little band that could.
"In Vino Veritas" lets Goodwin take control of the lyrics, and her voice combined with the poppy acoustic strumming combines for one of the most upbeat and surreal songs on the album. "Somewhere over the old rainbow, I lay awake for my eyes to close," Goodwin sings. The song is about being alone, and finding the truth in yourself.
"Close the Lid" is a little minimalist at the start. Guitar, tambourine and Pierszalowski's voice open it up, but when the rhythm section kicks in, this turns into possibly the best song on the album.
"Valdez" closes the album. It's about the area around Valdez, Alaska, which, of course, is where the Exxon Valdez had its famous oil spill in 1989. It was one of the worst ecological disasters in American history and killed much of the marine life Valdez depended on.
Port O'Brien sings that no matter the settlement money, Exxon could never fix the damage it caused.
The band is exceptionally witty and stylish in "All We Could Do Was Sing," and it's a wonderful first effort. While some songs seem like independent film background music, others reach a new level and produce deep and emotional connections between the listener and the group.
"All We Could Do Was Sing" will be released Tuesday.
3 1/2 of 4 stars
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