John RalstonNeedle BedGrade: B
Singer-songwriters are in plentiful supply these days. From the old hands like Bob Dylan and Tom Petty to the newbies like John Mayer and Jack Johnson, the music scene certainly possesses an abundance of solo musicians who aren’t afraid to be big softies.
For fans of another big musical softie Dashboard Confessional frontman Chris Carrabba and his whisper-yell ballads and melodic confessions, record label Vagrant offers up another option for the sensitive and sentimental masses in the form of Florida-based John Ralston.
John Ralston’s appeal is that, unlike Carrabba, he utilizes a folkier, country-fied approach to songwriting. For some people, their distaste of Carrabba stems from his over- the-top vocals and angsty arrangements that many people deem far too “emo” or emotional to stand. Ralston, on the other hand, pays obvious homage to artists and bands such as the aforementioned Dylan, Bruce Springsteen, and the Beach Boys. The Lake Worth, Florida native does well in blending these influences into something both independent and commercially appealing. Of course, there are very specific reasons why Ralston is on the same record label as loved-or-hated Chris Carrabba.
At times and like Carrabba, Ralston himself treads a bit too deep in the murky emotional waters. In addition, his voice sounds like he’s attempting to be more road-weary, jaded, and cynical than he actually is. Songs like “Gone, Gone, Gone” might be too much for some listeners to take in terms of whiney, self-pitying lyrics.
“The memories are bittersweet; the taste you leave is still stuck in my mouth.” What might make the song even more unbearable is Ralston’s delivery of the chorus which qualifies it as a contender for the “Angstiest Chorus in a Solo Performance” award.
Luckily, his lifesaver consists of the lovely and waltz-like arrangements of his songs. Ralston injects his music with a very classical element that is both haunting and comforting, particularly on “I Believe in Ghosts” where the creepy verses push us into the melancholic choruses. In these choruses, the narrator takes full responsibility for the failed relationship being addressed.
“Sweetheart, baby, I’m sorry for bringing these black clouds wherever you are.”
Lyrically, the songs vary from clever plays on clichés to just plain cliché. On “No One Said It Was Easy,” Ralston compares life to a game, which, as we all know, is a tried-and-true expression for any sports buff or father wishing to explain the world to his kids. However, it’s the sincerity and earnestness of Ralston’s delivery and melody that makes these worn-out metaphors so convincing.
When it comes to inserting a metaphor that’s not so overused, Ralston proves to be quite innovative. On the waltziest track of the album, “Time for Me to Ruin Everything,” Ralston states, “We’re a perfect match, but matches make fire.” It’s a simple yet effective way of conveying the self-destructive tendency of a relationship that’s gone up in flames (Sorry for the cliché).
Ralston’s debut appears to be turning heads, especially on the internet where all kinds of people are getting exposed to his music. With an upcoming tour alongside Rooney and Ben Lee, we may have more to hear from John Ralston.