My Friend Wrote a Great New Record
A time will come when all will be forgotten...
The opening line of Mike Quick’s new record is a reassurance to those feeling weary-hearted in despairing times that “this too shall pass.” It promises a coming opportunity to practice the compassionate art of letting by-gones be by-gones, and reminds us just how far acting with forgiveness can go in healing anger and resentment. And then...
Like we were never even born at all.
But that second line comes in hot with the greater (and admittedly tougher to embrace) truth and call to action of Folklore Stories—which is that oblivion awaits, and that should be enough to free us from the doomed cycle of dangerous claims, grievances, actions, and the resulting anxiety affecting us every day. Yes, one day, all of the trumped-up conflict and division that has made neighbors so suspicious of one another will fade into nothing—erased as if we never existed.
So, what will it even all mean then? Quick’s songs are invitations to wonder about things like: Why fight instead of fellowship? Why consume instead of create? Why punch down instead of lift up? Why not peaceful coexistence?!
These songs return to top of mind, the universal truths that can be easily forgotten when every day brings a new obfuscation, if not obliteration, of common sense. They encourage listeners to identify opportunities to redirect their energy in ways that foster human connection, nurture the natural world that sustains us, and honor the spiritual forces that guide us. They are reminders that it is critical to tend to our blessings—our relationships, the living earth, and even sacred mysteries—so that we can build light against the darkness while we still can.
Now, I know no one likes a record review that eschews the usual comparison to other songwriters and performers, but you’re going to be okay without it! You’ll immediately hear the acoustic-guitar-forward instrumentation, and the earnest, straightforward vocal delivery. Meaning that if you’ve been listening to Quick for any amount of time, you’ll recognize this sharply-produced set as an evolution of his signature amalgam of blues, soul, and gospel-inflected style.
That said, I will add that longtime fans might be surprised by the lack of any formal drum set being played on this record, especially if you’re accustomed to the big back beats on most of Quick’s previous blues and funk records. But, as Chet Baker once said, “It takes a pretty good drummer to be better than no drummer at all.” Quick proves that here by foregrounding his guitar, lyrics, and voice, though his carefully curated selection of percussion instruments serves each song nicely. I promise you won't miss the boom baps or fours on the floor at all.
Oh, another quick note here (pun intended) on instrumentation! Full disclosure: I played bass on one of Quick’s earlier records, Mission to Mars, with organ player Jeremy Baum, and the mighty Adam Nussbaum on drums. On this new collection, Quick makes a second trip to the red planet with the track “Life On Mars, Peace On Earth.” I bring this up only to say (with my eyes popping out of my bobbing head and my countenance stuck on what musicians call stank face), “Dang, Quick... that bass part is on fire!”
In fact, Quick absolutely nails it on every instrument he played on this record, and he played everything, from finger snaps to accordion. Shout out to Shankh Lahiri, Quick’s single guest on the record, who sang and played tabla on the track “Grace & God.”
But, as I was saying, his choice to forego the drum kit puts this batch of songs squarely into another one of Quick’s favorite genres, folk. Quick’s up-front guitar and vocals here, along with timely and topical (cough*antiauthoritarian*cough) lyrics, place the songs of Folklore Stories within the tradition of outspoken poet strummers like Woody Guthrie, Pete Seeger, Phil Ochs, Bob Dylan, Richie Havens, and Tom Morello's Nightwatchman.
The family resemblance is most obvious in Quick’s traditional folk-talk-singing approach to the tune “Throw It Away,” which uses the ubiquity of plastics as a lens to examine consumption, waste, and what feels like the ongoing corporate-funded encouragement of both. And from a political standpoint, tracks two and three mince no words in laying out Quick’s feelings about the state of American politics.
Come join a death squad for a badge and a gun... Don’t need experience or a conscience to slow you down... ICE tras las máscaras.
Behind the mask, indeed!
And then there’s “NRA No Friend of Mine,” which offers a nice Dylan Easter egg from his Christian era, asking the listener, “Who do you serve?” Because you gotta serve somebody, right? And, if you listen to the refrain of “NRA” with your ears set just right, I challenge you NOT to hear, “Adolf ain’t no friend of mine.” Purposeful? Only Quick knows for sure, but it works.
If politics isn’t your thing, try the nostalgic trip down memory lane that is, “Gas Was a $1.89,” about the COVID lockdown. It motors along with a driving progression on guitar and resonator, putting Quick’s studied and seasoned blues chops right in the spotlight. It will transport you back to all of the delightfulness that defined life in 2020. No, I’m kidding, that one’s also political, too; a pretty clear examination of consumer manipulation.
Hey, speaking of that, there’s also “Haves and Have Nots.” With a beautifully finger-picked guitar part supporting a gentle melody, poses the question, “What the fuck is up with this unprecedented income inequality?” Whether someone’s personal take on class leans toward “wealth trickles down” or “shit rolls downhill,” this song encourages reasonable consideration of why the world is on the verge of creating its first "trillionerror."
You needn't guess where Quick stands, just ask track 8.
I’d like to make a crazy amount of money just to give it all away.
Alas, no one should be put off from listening to Folklore Stories because of their political loyalties. Don’t let myopia keep you from enjoying some quality time with thought-provoking art. Quick has put together a collection of songs that are deeply personal and universally resonant. They are politically pointed and spiritually expansive. This is music that refuses to look away from the world, while still holding fast to hope. It’s a record that will reward every listener with something new to discover... maybe even their own humanity.
Jason Upchurch - Writer, Musician, PR & Communications Director