Ghost of Paul Revere

The single most prominent aspect of the Ghost of Paul Revere’s debut full-length “Believe” is their vocal harmonies. It’s the thing that sets them apart from all the other Americana bands scattered across the pop and indie landscape these days: GOPR has three lead singers, not one singer with other bandmates that harmonize with him. This diversity of voices puts them much more in league with The Band, rather than Mumford & Sons, and for that, we listeners are most lucky, as it makes “Believe” an unusually mature, engrossing listen, as well-played as it is, often, quite simple and stripped down. There are no drums to speak of; just guitar, banjo, bass and mandolin, and big slabs of multi-instrumentalist Matt Young’s harmonica splashed around. There are few barn-burners, aside from the sexy “Hey Girl” and the troubled mind epic “The Storm,” and even the Led Zeppelin-esque “Fire In The Sky.” In fact, most of the album is surprisingly meditative, with the band choosing to focus on exploring those beautiful harmonies and how they interlock and blend with the instrumentation, instead of trying to make pop anthems. Jonathan Wyman’s production is crisp and even-handed; everything’s right up front, so there’s nowhere for a mis-step or lesser turn of phrase or chord to hide. GOPR aren’t afraid to put it all out there, and what they’re giving us is among the strongest work to come out of Maine in years. Watch out for these guys. - Bangor Daily News

orth, the impressive debut CD of Portland, Maine-based The Ghost of Paul Revere, is an all-too-brief EP of what the band itself has dubbed “holler folk”—a robustly played, masterful amalgamation of bluegrass, folk, and gospel for the Millennial Generation. Over the course of six original songs—from guitarist Griffin Sherry’s earnest, tempo-changing “San Antone” to the gospel stomp of banjoist Max Davis’s “Spirit”—the band joyfully weds three-party harmonies to fresh and bracing melodies. Far from being folk purists—their live sets have included a roots-rock version of Snoop Dogg’s “Gin and Juice”—these guys frequently rock harder than any string band this side of Old Crow Medicine Show, whose “Wagon Wheel” they have also covered. Old-timey music never sounded like this.

“That old tree, it creeks just like your chair,” sings Davis on the gentle tune “Grandpa’s Chair.” “That old tree, it smells like autumn air.” The lyrics exemplify the evocative nature of the music itself, as earthy as it is ethereal, teasing the senses as it conjures up images of dilapidated farmhouses and hellhounds that “hunger for our meat (“Wolves”).” Though young, the members of Ghost seem to understand that darkness and light—a duality that has always characterized the best country and folk music—are mutually dependent, in art as in life. As the late Townes Van Zandt wrote, “There ain’t no dark till something shines,” a truism that obviously is not lost on songwriters Sherry, Davis, and Sean McCarthy, who also plays bass.

As the title of the EP suggests, fidelity to a beloved true north emerges as a recurrent theme here. “San Antone,” a paean to place and true love, soars with Sherry’s declaration that “my heart is in the Great White North,” while, in the haunting “Kodiak,” Davis cryptically sings “we’re all heading north.”

Sherry, Davis, and McCarthy grew up together in Buxton, Maine—not exactly a hotbed of indie roots music, but who says it has to be? While mountain music is often associated with the Deep South, the songs of Ghost remind us that the Appalachian Trail runs north as well as south. Like The Band, four of whose members were Canadian, The Ghost of Paul Revere prove that superior roots music can come from anywhere. - No Depression

I’d heard “San Antone” by Portland’s The Ghost of Paul Revere on 98.9 WCLZ’s Music from 207 show. I didn’t know it was their song at the time, but I’d pulled into my driveway while it was playing, and I liked the song so much that I sat in my car with the engine off until it ended. I was immediately sold. GPR is a five piece of old friends who play an array of instruments that include acoustic guitar and bass, banjo, horn, mandolin, and harmonica. Matt Young on harmonica (and mandolin) impresses, but really wowed the crowd with his killer dance moves. You can’t teach that. GPR calls their genre “holler folk,” which is an apt description for what I saw during their set. Check out this BDN feature on The Ghost of Paul Revere that will give you plenty of background. The Ghost of Paul Revere stole the show. I was so impressed with them. Their harmonies, stomping percussion, and vocal power were stellar. Their songs progressed from mellow to powerhouse. They were funny (especially bassist Sean McCarthy, who I have a total crush on), interacted comfortably with the crowd, and were clearly having a great time. I felt like I was part of the show while they were onstage. I so look forward to seeing them again soon. Check out this review of their album North on The Equal Ground and check out their live show. - What Bree Sees

Holler-Folk? I was unaware this genre existed but apparently this is how The Ghost Of Paul Revere describe themselves. I think you can describe it as a mix of bluegrass, folk, and older country music from the 50’s and 60’s. The notion of “Holler” is a tip of the hat to the old field hollers that workers would sing in unison that were used to get through the work day. After listening to their latest entitled North you start to understand why they used this term. The first thing that jumps out at you is the vocals in these songs. They are soulful, harmonized, and would often probably sound just as good without any musical accompaniment.

Remember that movie with George Clooney called “Brother Where Art Thou?” – the kick ass Coen brother film that had a great soundtrack? The music here has a similar type of vibe and a very innate emotional center that will never be able to replicated by computer software ( at least not in the not too distant future). Banjos, mandolins, and acoustic guitars create beautiful cascade of strings on a song like “Wolves” while other songs are a bit more sparse such as “Kodiak.” The strings are gorgeous and played by talented musicians but ultimately serve as a background to the stellar vocal performances.

The first track “San Antone” starts with the line “I lost my heart in the heat of San Antone” in which the delivery immediately drips with heart and emotional reverence. I would have been fine with the song repeating the intro for three minutes but instead they opt to speed up the song which is something that will make even the most callous of individuals feel the unbridled joy of Holler-Folk. Second at bat is “Grandpa’s Chair” which takes things up a notch. It is a soulful number that contains some harmonica and mandolin. Other songs like “Mountain Song” have poignant lyrics about the sweat and blood poured during the vigorous days of living of the land. The album ends with “Spirit” which felt like a walk back home after a long day’s worth of work. It’s a song that revolves around the human condition and ultimately leads to the salvation of the soul. Simply put North is an album that shouldn't be missed. - The Equal Ground

Here we have another band that knows how to hook someone. “The Ghost of Paul Revere? What does a band with a name like that sound like?” is what I found myself asking. Well, if you thought the same thing, and even if you didn’t, give The Ghost of Paul Revere a listen. These guys from Maine call themselves “holler folk”, but if hollering sounds this good, I think everyone would be doing it.

Believe begins with a beautiful, a cappella harmony with “After Many Miles,” a song about finally meeting after death. It’s a song that sees each member singing about different aspects of a final reunion and the different voices and beautifully done song about a dark topic makes for an amazing kick off. The second track, “San Antone,” laments the differences between North and South with lines like “I lost my heart in the heat of San Antone,/ I found my love in the cold of the great white North.” It starts slowly and eventually makes its way to a full blown bluegrass love song. “Andra” is a really interesting track. It’s a song about identity and what defines a person. When you listen to the banjo and the sad, lonesome, Old-West style harmonica right before you hear “I always wanted to be a better man,” it’s hard not to find something to relate to. It’s a confessional song, perfectly accompanied by instruments that mirror the feelings of the lyrics.

There’s a faster more upbeat section towards the end of the album that changes tone into the “holler folk” territory. “Fire in the Sky” is a traditional bluegrass style song with lyrics filled with regret and sadness. “Because I know on the day that the judgment comes,/ Sure as hell not going up.” The song that I would most like to see live is “The Storm”, a fast, banjo picking song that seems like it would translate best to the stage. The real treat on this album though is “Ghostland”. Beautifully arranged guitar, banjo, and harmonica supplement a song about loneliness. “Thunderstorms and bad news, they always make it through,/ When you find yourself screaming, ‘Are you living in a ghostland too?” The combination of the music and lyrics make this track in particular really stand out. When you hear, “Will I see you later?/ An answer only dead men know”, it’s hard not to get chills.

We rarely come across a folk/bluegrass album that can do so many things so well as The Ghost of Paul Revere. Every song has something to offer and, perhaps more importantly, every song betrays their label as “holler folk”. This album contains some of the best songwriting and harmonies that I’ve heard in a long time. - Ear to the Ground Music

The Ghost Of Paul Revere had big shoes to fill and an even bigger crowd to entertain. With each artist, the crowd seemed to morph into a larger and larger sea of people. This was especially surprising to me, as rock trio Los Lonely Boys were performing about three blocks away at the same exact time. As the set of GOPR continued, it became evident to me that the giant crowd wasn’t by default. Most of the people in the crowd knew every lyric to the rag-tag band’s songs. The band, comprised of a banjo, an acoustic bass, an acoustic guitar, and a harmonica, asserted themselves as a power presence in their hometown of Portland. The result of this acoustic band was a Lumineers-esq sound, with very modern-folksy lyrics about whiskey and cigarettes and ghosts, but so unique and blunt that you can’t help but listen to their songs over and over. They performed two of my favorite songs, “Ghostland” and “This Is The End,” which were just as amazing live as they are blasting through the surprisingly sturdy speakers in my burnt out ’94 Subaru. You could tell this band had a great following for a reason: they kept the attention of the crowd and forced everyone to sing their hearts out. If you weren’t clapping your hands or tapping your feet, you just weren’t at the concert. Their music speaks for itself. - Infectious Magazine

Simply put, this band is one to see live... A gorgeous blend of bluegrass, folk and good old fashioned rock and roll... their performance takes on a boot-clacking brilliance that transforms each song into a full-on participatory event, sending an electric surge about the room that’s near impossible not to feel. Add to that a layered three part harmony coursing through each soulful song, and The Ghost of Paul Revere demonstrated they not only had the chops, but the heart to reach their audience and leave an undeniable impression as well. As the floorboards shook with each pounding stomp, one thing was certain: the band announced they had arrived, loud and clear - Dispatch Magazine

The Ghost of Paul Revere don’t waste any time on their debut full-length, Believe. From the very first vocal notes on the opening “After Many Miles,” they announce that this is the best collection of harmonies since Tumbling Bones’ Schemes in the summer of 2012. They are tasteful, measured, precise, and sometimes thrilling.
This opener serves as both introduction and a flag in the ground, as they rotate through each of the three main vocalists — Griffin Sherry, Max Davis, and Sean McCarthy — with a solo a capella verse (well, there’s a stomp-clap rhythm by way of accompaniment) and then come together for harmonied chorus: “Oh, lover, I’ll see you there/ Waiting in the willows with your auburn hair.” If that doesn’t catch your attention, don’t bother with the rest of the disc. This is what they do and who they are and they’re all in.
Because they’ve got a banjo player (Davis), Paul Revere have maybe been pegged as bluegrassy, or at least tied in with the string-band locals, like the Tricky Britches and North of Nashville they played with on New Year’s, but they’re often much more in line with bands like The Head and The Heart or Typhoon, which put a lot more emphasis on vocals, have less traditional song structures, and are more rooted in the rock tradition.
“San Antone” starts slow with a repeating guitar run that stays low and then arcs up for the harmonics behind a chanted, “I lost my love in the heat of San Antone/ I found my love in the cold of the great white north.” Right. Pretty trad. But then the tune ramps right up at the 1:20 mark into what you think is the chorus on the first listen, but never actually slows down, like quick indie rock without plugging in.
This is also our first introduction to Matt Young’s harmonica, which here is really bassy and low down for a mouth harp. The repeating “whooah-whoah” vocal bit it introduces may cause those who’ve tired of Of Monsters and Men and what some see as the shambolic trend among dirty-hippy bands to cringe, but it suits me just fine, and when they ratchet up the pace yet again, it’s pretty damn hot:
“I watched my lover roll me over like a riverstone ... You’ve got pain in your bones/ You know you are not alone.”
They shake things up a bit later in the 11-song album, though. “The Storm” would fit nicely on a Mallett Brothers record, opening with an isolated banjo and dressed-up vocals, but then settling into a guitar strum and transitioning to a song with a piece of grass in its teeth.
Sure, they walk an anachronistic line like a lot of other string bands, but when they sing “my father died in his house/ It’s all he left to me,” you really do imagine a house bleached out on the great plains, with waves of reddish-brown grass and rolling hills and just maybe a solitary tree next to it with an old tire swing, and a fading white picket fence around the whole thing.
It’s most obvious here, too, how the harmonica plays the shuffling role usually taken up by the fiddle in this kind of band. But Paul Revere seem to revel in throwing curveballs, like the up-stroke rhythm they introduce late in this song, turning it reggae-bluegrass for a few measures.
And “Fire in the Sky”? It’s basically a Sabbath tune played with acoustic instruments, fueled by Southern rock and stuff about how when the flood comes he’s going to make it out alive and that the devil can come and take him and whatnot. There aren’t any big stacks of amps and the a capella finish might be outside Ozzie’s wheelhouse, but that harmonica brings the whole thing back to metal’s bluesy origins.
If there’s a misstep here, it’s “Hey Girl,” probably the closest thing to contemporary country at least in its material (every top-40 country tune seems to have the phrase “hey girl” in it these days) and very similar to early Old Crow Medicine Show, with Young’s harmonica standing in for Ketch Secor’s frenzied fiddle. The repeated three-part build of “hey” could use some subtlety and the fever they work up falls a little flat.
But they certainly have the feel of “Funeral,” with a particularly melancholy tone in the banjo and pretty falsetto in the finish of the open. At times, the vocal arrangements are as delicate as any string parts Dave Noyes is writing for Rustic Overtones. And while the electric bass doesn’t quite work perfectly for “Woodman’s Stead,” it’s still a great change-up for the album, a quick waltz with Celtic undertones and a staunch determination: “I’m going to tear down your walls, until I have you all.”
The cowboy giddy-up of “Andra” makes for a wonderfully sad loner tune, pulling off the difficult task of being simple and working class without being condescending, and it’s mirrored by the appropriately closing “This Is the End,” which has some shades of Neil Young and Crazy Horse, with Avett Brothers flavor.
Without question, this is an early contender for album of the year locally; if there’s any justice people will come to know this record far and wide. - The Portland Phoenix