"The fourth song was called "Offerings." After the first listen, I put it on a loop and kept listening all the way home and for the next several weeks. I don't know what it is about that song-I guess if a song is any good, you never do-but it is flat-out touching. It has this mesmerizing cadence and old-world language, and the execution is effortless, languid, and deeply optimistic. One could call John an outsider artist, but he is more outside than that. If his music were any more quiet, you would have to play it yourself to hear it." 

Taken from Gentlemen's Quarterly May 2006  page.196
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Spitfire Artist Makes Digital Debut with Songs...

review by dave
California-based singer-songwriter John R. Williamson carries the title "Spitfire Singer/Songwriter," based on his approach to his musical craft. He's no stranger to the industry, having released numerous albums on cassette and hanging out with the likes of Robert Deeble, Mandy Troxel, and others. With his first CD release, Songs from the Crescent Vale, Williamson looks to make a name for himself among the coffee house crowd nationally. And while the lack of a giant promotion machine or music video means Williamson most likely won't become a household name, you might want to do yourself and your household a favour by introducing Williamson's intelligent lyrics and catchy hooks to your ears.

Williamson's unique vocal delivery accentuates the first cut on Songs From the Crescent Vale, a guitar and harmonica tune called "Lines of Demarcation." This is followed by the quirky "Special Thing," a song which responds to a trend in Christiandom to package Truth in a cheap, marketable way: "I heard you had a dowdy friend/who died of Christian poetry/it's a mediocre way to end/like a cheeseball in the trachea."

"Offerings," a sleepy sing-songy tune features Mandy Troxel on background vocals (credited as "singing along"), as does several other songs on this disc. One of these other songs, "Big Ol' Car," is a fun, bouncy number that sticks in my mind, and I like it there. With Troxel and David Finley adding vocal support, Williamson sings fun lines like, "Twisted straw, twisted straw/whatcha got there is a twisted straw/take a big sip through your sealed up lips/whatcha got there is a twisted straw."

Other stand outs from Songs From the Crescent Vale include "Mississippi," a sweet, traditionalish folk song that makes me want to visit the state, "When His Book Gets Better..." a fun, sing-songy tune, that I can only fault for being too short, and "Naked," another song featuring Mandy Troxel singing along. This is a fragile song, aided by Troxel's delicate vocals. At the end of the song, a Harrod and Funck-like harmonica solo brings a lively feel to the tune. Thematically, "Naked" would probably fit in well with the Book of Ecclesiastes.

The last listed song on ...Crescent Vale is called "Execution Blues," a deceptively happy sounding song. The actual last song on the disc is something unlisted called "Easy Come Home" which is a traditional-sounding tune with a pleasant melody.

Songs from the Crescent Vale was my introduction to John R. Williamson. For those who believe intelligent lyrics can be married to catchy tunes, this disc is proof. This is the kind of disc that bears repeated listening, as the full effect of this record is likely to spread itself out over time, instead of hitting the listener at once and then giving way to tedium with multiple listenings. I'm looking forward to hearing more from the Spitfire Singer/Songwriter.
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John R. Williamson is a friendly Bob Dylan with a normal voice.  Mostly picking, sometimes strumming his acoustic guitar and blowing on his harmonica, Williamson joins a long tradition of stripped-back, laidback singer/songwriters following the '60s vibe into the future.  Your head is kept nodding to the eclectic percussion and bass rhythms that accompany his organic old school singing storytelling.  And most of the songs are good, evoking memories of Simon & Garfunkle, Leonard Cohen, Dylan, Nick Drake, and the like (though never equal to their best).  "Big Ol' Car" and "Special Thing" even stray into Jonathon Richman style lounge folk, as do lines like "it's easy to be someone less than who you really need to be" (from "the hypoglycemic milkman").

Robert Deeble joins him on African drum, shaker, and electric guitar for a few songs, and provides his raspy background vocals on "A Miracle."  Fans of other distinctive Christian acoustic adventurers like Jesse Sprinkle, Dan Donovan, Lost & Found, and Mike Knott should also make time to track down Williamson.  There are no overt spiritual themes, but plenty of human tales and lessons learned. 

The imperfect production lends the album a smiling downhome atmosphere.  A variety of different recording methods give each song a different sound, whether it's an echo, static, or some other tone. You get the feel of a back porch, a smoky coffeehouse, a crowded home studio, a big empty club...it's almost as interesting noticing the different lo-fi production touches as it is listening to the music.  The only real fault found is that some methods allow the bass to overpower the words in the mix.

At 16 songs, this is about half an album too long, though.  There's a lot of good stuff spread thin.  Too much of a good thing can actually get old, and Williamson pushes the limit.  Still, he's a great songwriter with real promise.  This disc has been out for awhile, so it's about time you found a copy.
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After a lengthy string of six cassette-only releases that saw him collaborate with the likes of Robert Deeble, Mark Krischak (Lifesavors), George Matamala (The Vegas Nerve) and Steve Guiles (The Vegas Nerve, Pushstart Wagon, Honeymooner) California based singer songwriter John R. Williamson has finally ventured into the digital realm with his first CD, Songs From Crescent Vale.

Named for the studio it was recorded in Songs From Crescent Vale is packed solid with Williamson’s acoustic based, bluesy looks at life. Littered with literary and pop culture references, strongly confessional and jumping from point to point in a nearly stream of consciousness style Williamson is, at points, reminiscent of either a less cynical Dan Bern or more cynical Mark Olson depending which perspective you prefer. Williamson’s unusual voice, both deep and airy much along the lines of Robert Deeble’s, is matched well to his straightforward guitar work and light production touch. The supporting cast is strong, with longtime friend Robert Deeble lending some vocals, guitar and percussion work, but subtle allowing Williamson’s writing to take the spotlight.

Williamson is the kind of performer who won’t overwhelm the listener with pop hooks or flashy musicianship but will strongly reward repeat listening as new depths of meaning unfold. "Lines of Demarcation" explores the reasons for God’s limits on our behavior with an uncommonly insightful touch as he sings, "those lines of demarcation / are not so comforting / the kiddies want to run / the birds want to take wing / depravity is searching for temptation / can you question, question lines of demarcation?" He skewers passive religiosity in similar fashion in "All Saint’s Day" and shows his wry sense of humor while attacking the degrading of Christianity through marketing in "Special Thing" where he sings, "I heard you had a dowdy friend / who died of christian poetry / it's a mediocre way to end / like a cheeseball in the trachea / it's easy to be something less
/ than who you really need to be / you find the form that seems to sell / and lose your only specialty". A strong effort from a seasoned performer.
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