REVIEW: Jon Pozzuto — Valley of Empty Cities (EP)
Jon Pozzuto’s Valley of Empty Cities is the evocatively titled debut of Singer. Songwriter Jon Pozzuto. The four-song EP, recorded in the winter of last year, takes its songwriting cues from seemingly disparate influences. Pozzuto’s reference points of artists as diverse as Dee Dee Ramone, Lou Reed, Leslie West, and Johnny Thunders, among others, coupled with his personal experiences make for an individual mix. There’s no slavish imitation or a heavy-handed, though well-intentioned, tribute here. Valley of Empty Cities attempts to position him as working within those traditions and incorporating the best of both worlds.
FACEBOOK: https://www.facebook.com/jon.pozzuto
He, without reservation, succeeds. “Dead End Train” definitely has an autobiographical tone. He keeps things universal enough, however, that it isn’t a stretch for listeners to connect with Pozzuto’s “narrative”. The mark of his lyrical talents is subtle; it doesn’t announce itself with flashy poetic turns but, instead, it’s there in how he works key lines into the track that brings its message home on multiple levels. Pozzuto ramps things up during the song’s second half in a manner that reminds me of Leslie West’s old band Mountain. I wish the vocal mix was a little more out front, cleaner, but it still comes through with plenty of power.
“Love and Death” dials down the first song’s bombast in favor of a bluesy approach. There’s a smattering of harmonica in the introduction is a nice touch and the sustained organ color helps further flesh out the cut. It’s another outstanding lyric with measured and precise language. Pozzuto puts her voice a little further out there this time around and the chorus is especially memorable. The inspired bass-heavy approach during the song’s bridge puts an exclamation point on the song.
He has a great take on the weightier subject matter. “Cemetery Grove” grapples with adult concerns and questions just like its predecessors and Pozzuto never fails to frame these issues in a superb musical setting. It can’t be unremittingly dire, or no one will listen. This track has a clear affinity with singer/songwriter rock, largely dispensing with the heavy rock artillery we’ve heard in the first two songs, but it nevertheless pops with energy. The title song takes us back to the full-on rock fireworks of the earlier tracks and I’m grateful.
Pozzuto finds his stride fast with this track and delivering his sharp lyrical imagery seems to further fire his singing. It certainly focuses. Keyboards are an important component in his songs that might get close in the din but make it a point to note how they add small but significant touches to the title cut — it really pushes the song harder into one of Pozzuto’s best guitar solos. A high-octane EP like this deserves a much longer release and stat — Pozzuto’s songwriting vision sounds like he’s either near or at the peak of his powers. There’s nothing to suggest he couldn’t sustain this sort of creativity for 10 songs without losing his audience. Valley of Empty Cities delivers more than many full-length albums do and holds up under repeated listens.
Colin Jordan
