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James Sasser always seemed to transcend the typical country stereotype. There are no pickup trucks here; there are, however, plenty of broken hearts. What sets Sasser apart, as far as my limited experience with country music can tell, is that Sasser doesn’t write country songs. He writes your standard rock tune but puts it to a country sound. Dip Your Beak, then, follows along the lines of prior releases The Melcliff and Southside Of Sorrow. Songs like “Lonesome Eyes” and “I Don’t Want It Told” include that southern swagger, while tracks like “Beautiful” find Sasser dropping in rock-based riffs and, perhaps most surprisingly, harmony vocals. What isn’t surprising is that Sasser continues to make country music fit for the non-country fan. His drawl backed by the occasional hand-clap and highly distorted guitar riffs in “If You Think You’re Mine” are telltale signs that Sasser is in rare territory. This style has grown from the early days, and it continues, progressively, with Dip Your Beak. - Andrew Fenstermaker FensePost (May 2009) |
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“The Melcliff shimmers, vibrates and swirls as if it was recorded in the halcyon folk-rock days of Los Angeles in the 1960s, not Portland in 2006. Sasser combines a soft croon with minor chords, chiming acoustic guitars and a warm reverb. Think an Everly Brothers record without the harmonies or a Mamas and Papas record, with just one Papa. Sasser’s engaging songwriting makes The Melcliff one of the terrific surprises of the year.” - Jeff Weiss - Miles of Music (April 2007) |
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“The title of this self-released CD is a reference to the apartment building where James Sasser lived and wrote most of the songs on the album. It’s an apt title, as these warm, homespun country and folk tunes have the intimate feel of a small living room performance. What is immediately striking about this album is its simplicity. The playing and recording style of most of the material on it is free of any fancy fretwork or studio trickery. In fact, the lo-fi production sounds like it was actually put together at The Melcliff. This feature isn’t a limitation, however, as it gives the songs the immediacy of eavesdropping on a conversation in the next room. The accompaniment (brother Greg Sasser on drums, Phoebe Osborn on bass) adheres to a “straight line” policy, as well, adding only the barest essentials to move the songs forward. This tendency is especially true of the percussion - Greg Sasser’s drumming is wisely restrained, bolstered instead by a healthy dose of tambourine and shakers. It is actually the rare moment of indulgence that drags everything down. The most blatant example is the over-the-top Southern rock song, “Ouija Board With Linda McCartney.” Unlike the rest of the album, this track features a crunchy guitar line reminiscent of Lynyrd Skynyrd and a more punchy vocal attack by Sasser. It seems so out of place alongside the pleasant, unadorned songs that precede it. Thankfully, it is the only blot on an otherwise spotless piece of work and something that can be easily avoided with the skip button on a CD player. Every other song can and should have the opposite effect, encouraging listeners to skip back and listen again to the inviting, invigorating songs by Sasser and his band.” - Bob Ham - West Coast Performer Magazine (March 2007) |
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“After a stint under the name Lostine, the James Sasser fronted group has resorted back to its original name: James Sasser. One listen to Sasser’s croon in “Chinatown” and it is easily apparent how much he as a musician and they as a group have progressed since Southside of Sorrow - both in songwriting and performance. From the harmonic Wooos in the opener to the electric guitars and experimentations with space in “Your Side of the Stone,” Sasser meshes his previous country-folk sound with one much more rock. In “Practical Pistol,” Sasser enhances the song with slide guitar while the percussion shuffles lightly. Heavy tambourine and an ever-present shaker match the drums stride to stride. A wailing distorted guitar screams in “Get It On” as a harmonica blazes, creating a clashing mix of high pitched wails. “Ouijaboard with Lina McCartney” utilizes the tonal harmony vocals mentioned earlier and features Jeff Wood on a terrific guitar solo. The Melcliff blends many genres, from the psychedelic in “Ivory” and “Radio Cab,” to the rock in “Give It Time,” to “Drugsore Blues’s” blues - all with Sasser’s original love of country. It works well for the group, creating a depth within the album and keeping the mix of songs interesting. In some aspects Sasser comes out sounding similar to fellow Northwest folk-country artist Kasey Anderson. But where Anderson embraces the folk side of country, Sasser feins much of the quiet sound for one distinctly psychedelic and rockabilly.” - Andrew Fenstermaker FensePost (January 2007) |
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“Honest and Soulful.” - Bend Bulletin (April 2006) |
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“This James Sasser band really rocked; really tight, great harmonies, and original songs. I was so impressed. I really think this kid might make it big.” - Blue Rodeo.com (February 2005) |
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“As it stands, there is no weak number on this album (Southside of Sorrow) and it proves James Sasser is to be recognized. First class album. 4 stars.” - Rootstime.be (February 2005) |
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“Southside of Sorrow is the kind of disc that remains a pleasure time after time.” - Ctrl. Alt. Country.com (November 2004) |
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On this CD, it is “That Kind of Day,” with distorted harmonica soloing wildly in the background; this is the kind of song you can let loose to. And if country contributed anything to American music, it’s songs that beg a hearty “Yeehaw!” -Music Liberation Project June/July 2004 |
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This local gent markets himself as Modern-Vintage Country. The title simply means that Sasser has salvaged the best of Dwight Yoakam’s drawl and Buddy Holly’s pop from the country music junk pile. -Willamette Week May 2004 |
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Very impressed with the organic honesty of his songs crafting and performance…(James Sasser) has a unique voice which is quite signature and individual -Taxi.com June 2004 |
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