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Sam Russo – Refuse to Lose
Red Scare – Release Date: 4/23/21
Last month, Sam Russo released a surprise EP via Red Scare, called Refuse to Lose. With his previous full-length, Back to the Party, being released in March of 2020, Russo wanted to show his appreciation for everyone who listened to the album during the pandemic. So, he recorded these three songs, all of which are full band interpretations of tracks from Back to the Party. In addition to Russo, the lineup on this EP consists of Chris Stockings on guitar, Garth Vickers on drums, and Alkaline Trio bassist Dan Andriano.
The first entry is an energetic rendition of “The Window.” Despite the added instrumentation, Russo’s voice is still the most prominent element and his assured vocals pave the way during the anthemic chorus. The rest of the band provides a spirited and lively arrangement, elevating a song that was already great and making it even better. “The Basement” is a solemn, introspective number that’s reminiscent of early 2000s emo. Its lyrics are especially personal and read almost like a confessional as Russo reflects on an impactful relationship from the past. The rhythm section really shines on this track, delivering a multitude of unique tempos that keep things interesting throughout. The final song, “Young Heroes,” is upbeat and undeniably catchy, but the earnest nature of Russo’s songwriting is still retained. The song fittingly builds to a rousing sing-a-long and in the best possible way, leaves the listener wanting more.
Refuse to Lose demonstrates the quality of Russo’s songs, as they’re equally enjoyable in either a solo acoustic style or with a full band. Given how well this EP came together, it should be interesting to see what direction Russo opts for on his next release. Until then, those that have yet to sample his two most recent offerings should definitely take this opportunity to do so.
Sam Russo – Back to the Party
Red Scare – Release Date: 3/27/20
Solo folk/punker Sam Russo returns with his third full-length, Back to the Party, from Red Scare Industries. It’s been five years since we’ve heard new music from Sam and the title has me wondering if it’s a double entendre. Is this a return or does he have his back turned? Eagerly listening, Russo introduces himself gradually, with a somber cello at first, a building electric guitar and then switches to his trusty rhythmic acoustic chords. He contends with his own stagnation and breaks through his familiar parameters to reach for something more. But it isn’t always easy or feasible, and “The Window” successfully conveys this. It is only appropriate that this melodic song, laden with hooks, is the album’s highlighted single via music video.
Russo visits familiar motifs to his songwriting such as reconciliation and leaving, in “Good and Gone.” At his August 29th show at the GMan Tavern in Chicago, he laughingly clarified that the line, “and you can tell Ray I said fuck you / He can stick his job up his ass,” is not in fact about Ray Carlisle from Teenage Bottlerocket. His sincerity is cut with a crass brazenness, making sure the most serious of songs remain unpretentious and honest. “Darkness” serves as something of an interlude; the album’s shortest song with no chorus. Almost dreamlike, Russo laments in solitude, but not just physically. Rather, he recalls drowning as your friends surround you, and none of them notice. This is a sobering track of solemnity; evocative and deeply personal.
I believe one of the greatest songwriting talents a musician is capable of is the ability to vividly walk the listener through a lived scenario, so that we may experience it with every bit of detail as they did. Russo surrenders to that honest candor and achieves this. In “Anne,” the protagonist takes off on a train and the listener is taken on a lonesome, teary-eyed walk up the station’s stairs, feeling the freezing weather and chilling winds – a complement to the profoundly emotional lyrics. Who the hell is she? The second single is the album’s closer, “The Basement.” Russo ebbs and flows as he emotes, trading off between softly and loudly, and channeling a pop punk energy thus far unique to his songwriting style.
Back to the Party is an empath’s breath of fresh air. Russo delves deep into himself and does not wrap it up with a bow. Alas, I’m left wondering about the double entendre.
– Jason Duarte
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