It’s time for me to write another Retro CD Review. This happens when an album from the past jumps up and grabs my attention. This time it’s Philip Pemberton’s 1999 Dreamers, a work of sophisticated boogie influenced by old school R&B singing as well as good old fashioned rock and roll. Pemberton combines these elements to arrive at a strong vocal presence, like Meatloaf meets Steely Dan, James Brown meets Stax. Through it all, Pemberton shows he’s clearly a world class singer of true range and tasteful restraint.
“When Angels Fly” jumps right in with a larger than life vocal presence. Smooth, Pemberton’s depth of expression is never flashy. He only uses as much as he needs, yet each assertion of voice, every sustain hits a tender spot with its soulful clarity. Percussive hits adds to the hip quality while lead guitarist Tommy Osuna, who also produces the album, presses out an intriguing line.
“Shine” finds Pemberton’s high sweet voice drawling with a soulful power over a tastefully restrained band. His call to shine gets support from sensitive players who understand how get behind his beauty of an understated delivery. Sid The Kid places a classy saxophone line into the tune, and that phrase rides nicely alongside Pemberton’s upper range croon.
“Bright Lights, Big City” gets a smoky atmosphere from a slowly smoldering saxophone and a light touch of electric guitar. Pemberton uses that quiet lounge feel to emote over all with his coolly serious vocal. Again, Pemberton sings with a tasteful application of voice, only as much soul as each meter needs. His considerate voice creates a vibe for this visionary song about after dark urban happenings. Combined with the dusky atmosphere around his voice this one reaches out from its atmosphere to make one feel the isolation of a cold and indifferent concrete jungle, the way a looming city makes a soul feel alone.
A funky kick motivates “Hollywood,” a song that inspires dancing as much as serious listening. Pemberton’s free style vocal assertions feel just right amid the layering of lead guitar joy and horn glides. His chorus becomes another fine expression of voice as that lead guitar becomes more fiery and the rest of the band kicks up a stronger party vibe.
An exceptionally soulful number, “Fly” requires Pemberton to unleash more of his vocal power. He croons with an untouchable oomph as a forlorn lead guitar furthers the emotional heft, contrasting its understated manner with the emotive eruptions in the voice. Pemberton’s golden vocal reach heights of sensitivity, impacting the listener by using his voice to help them feel what he felt when he wrote this. Every player behind him is also sensitive to what the song needs, and each instrument, from the slow burn lead guitar to the dollops of bass to the well placed drum fills keep this in the proper spiritual plain.
With a rockin’ vibe, “Day After Helena” develops into a catchy piece to follow. Breezy, it hits the listener just right. From there, Pemberton’s supple voice contrasts well with a wiry lead guitar phrase and John Moriconi’s exuberant trumpet blasts. This should’ve been the radio hit when this album was released because it gives all the best of the singer and his support players in one hot plate of light heart joy.
Opening coos draw the listener right into “Crazy World,” the most tender piece on this album. Pemberton mines his lyrics for all the hot emotive coal he can dig. His mournful observation of the world we all inhabit balances well with the beauty of how he delivers the feeling he has for it. The song is also notable for its old school Stax recording influences, Pemberton keeps it at that level of quality while raising the song’s emotional stakes with a persistent vibe.
“Matter Of Fact” puts Pemberton’s oily smooth vocal smack dab in the middle of a rock and roll party. A foundation of acoustic guitar pluck., electric guitar huskiness, and strikingly attractive drum fills build things up. A lead guitar edge wrapping around this piece grips the listener as the vocal pretties up the center, a calm eye of the storm that manages to anchor the fire power jumping up around it.
A gentle vocal and mellow electric piano opener tease the listener’s attention on “Rhythm.” Pemberton eventually ushers us into a brief, slow boiler segue before developing a more forceful dynamic. This classic rock sensation is quaintly busy with instrumentation, sassy lead guitar phrasing and aggressive rhythm guitar work. Throw in plenty of moody (Rider McCoy) keyboard, speedy drum fills, and subtle bass bits, and there are plenty of sparks heading into the colorful finale. Each section is a special cruise.
Title track “Dreamers” closes out the album with an arcing sweep from Pemberton’s world view. The singer and lyricist sings of Jack Kerouac, James Dean, and astronomy. Pemberton’s world weary view comes to life as he take his time stretching his bluesy timbre, the point man leading the charge with his hopeful imagination. A rock and roll backbone from bass player Kyle Russell and drummer Jay FitzGibbons give wide nudges to this sprawling work. Meanwhile, guitarist Osuna lets loose a sharp line of light from his ax. That guitar phrase plays in a cyclical motion that keeps as much rumble in this song as the man at the microphone.
Dreamers is a classy album written and recorded by a class act with high class players assisting. Pemberton displays a flair for gritty, realistic songwriting as well as the fine voice of someone who gets to sing with highly in demand combos and name venues. This album, if available copies remain, would make a fine stocking stuffer this upcoming holiday season. As it gets even better with repeated listens, Pemberton’s Dreamers album on CD could be the gift that keeps on giving. Speaking of giving, sales of this recording can help Pemberton pay down some medical expense he incurred over the few recent years.
Copies can be purchased at Emily Pemberton’s Venmo account: Wombles1972
