Ray LaMontagne's Gossip in the Grain

Ray LaMontagne is famous for being obscure. Clad with Jesus-beard, the singer/songwriter frequently declines interviews, refuses to make music videos, and still lives on a farm in Maine with his wife and two kids. The breathy acoustic guitar of his first two albums suggests that LaMontagne could have recorded Trouble and Till the Sun Turns Black at the farm with a few friends playing violin. Fans and reviewers alike draw quick comparisons to Bright Eyes, Damien Rice, and other one man/one guitar powerhouses.

With such roots, Gossip In the Grain can be considered an artistic elaboration for LaMontagne. Mixed by the acclaimed Ethan Johns (Kings of Leon, Ryan Adams), who has produced all three of LaMontagne’s albums, this third effort explores a more lighthearted facet of the artist. Notably including his road band in the recording studio, LaMontagne uses his new accompaniments (clarinet, banjo, trumpet, saxophone, and Mellotron, among others) to tap into countless genres, owning them all. At moments, LaMontagne seems reminiscent of Bob Dylan and Bob Marley simultaneously; he encompasses the best parts of John Mayer and often channels The Band. His raspy voice evokes the blues and has a similar resonance to Joss Stone. Gossip In the Grain is most simply characterized as folk, but its range of influences is staggering.


The opening track “You Are the Best Thing” sounds like a New Orleans anthem, immediately announcing the vivacious tone of the whole album. Up-tempo horns and female backup singers propel the song in a celebratory vein. On following tracks “Let It Be Me,” “Sarah,” and “I Still Care for You,” the lyrics evoke classic LaMontagne: laments about love. But they’re conveyed with such haunting authenticity that the guy seems genuine. The ability to juxtapose New Orleans horns and brooding acoustic guitar is a refreshing novelty for Ray LaMontagne.

The most memorable song on the album is “Meg White,” dedicated to the female half of the White Stripes, which begins with whistling from a spaghetti western showdown (think Kill Bill) and picks up with prominent drums reminiscent of Meg White herself. LaMontagne’s lyrics are tongue-in-cheek here: “Meg White, / You’re alright / In fact I think you’re pretty swell / Can’t you tell?” The comedic irony of his words will surprise listeners expecting the gloomy LaMontagne. It exhibits an emotional maturity that includes, for the first time, a sense of cool amusement.


Some folk fans have prematurely disparaged this album, hearing the many new instrumental tones as overproduction and interpreting Ray’s newfound lighter side as selling out. LaMontagne’s third album is in fact his boldest, most cohesive work yet, and the aspects of it that seem unfamiliar to his repertoire are in fact what make it such a sophisticated effort. Even if we see Ray Lamontagne finally break down and shoot a music video or the cover ofSpin, Gossip In the Grain will still be an expansive artistic success. -Mark Guiducci