“When I look back on it, I still feel like gratitude is the theme. ‘The Lucky One,’ ‘Warren Zevon’s Birthday’ and ‘Sophia’ have threads of gratitude that run through them. Then, there’s some curious pondering of things, like ‘The Only Thing,’ and ‘Voices’ is a little bit mystical,” said Jewett, who recently retired after a long career in program management.
“Yeah, I think almost everybody can probably relate to it in some way, but ‘Guilty’ is the outlier, and I have a fondness for dark music.”
Whether dark or uplifting, Jewett’s insightful music beckons listeners to reflect on their life’s purpose, their favorite moments and the people who surround them. His third release, The Lucky One, provides a thoughtful, folky passage through time across nine astute, indelible tracks.
“There have been a lot of changes in recent years that have caused me to step back and think, ‘Wow, it doesn’t seem like it’s been very long since that happened,’ or ‘Wow, it seems like it’s been forever since that happened,’” Jewett said. “And how you get both of those feelings about similar events, it’s just kind of mysterious to me.”
For Mark Jewett, Jan. 24 elicits feelings of sadness and appreciation.
The landmark date carries personal significance for Jewett – the 18th anniversary of his father’s passing and the 74th birthday of the late Warren Zevon. The coincidental intersection of those two events inspired Jewett to reflect on both and the lingering impact they’ve had on his life.
“They had a lot of similarities – the dry, dark sense of humor was probably the biggest one. They were both pretty hardcore drinkers, and they were both fascinated with unconventional things they could do with words. They would put them together in different ways that made people stop and think about them. And to a degree, I think they were both a little misunderstood. It became the impetus for a song,” said Jewett, a Plymouth Americana singer-songwriter.
That impetus ultimately produced “Warren Zevon’s Birthday,” a nostalgic, introspective folk rock ode to influential, supportive fathers past and present. Spirited organ, reflective electric guitars, pounding drums, soft cymbals, calm bass and glistening piano accompany Jewett as he shares fond memories, warm feelings and irreplaceable moments.
Jewett sentimentally sings, “Dad served his country in the second World War/When he was only 20 years of age/He kept it all inside/A place where he could hide/Secrets he carried to his grave/Warren had an appetite for living/Living large, a thing he did so well/Like a feral buckaroo/Some alcoholic Xanadu/He rode the Double E straight through hell.”
“I started thinking about the two of them, and there were some similarities and radical contrasts. I thought, ‘Well maybe that’s worth structuring a song around.’ And the song has kind of an odd structure,” said Jewett, who shared the track with Gurf Morlix and sought inspiration from Crystal Zevon’s I’ll Sleep When I’m Dead: The Dirty Life and Times of Warren Zevon.
“It’s an intro, a chorus, three verses in a row, no bridge, a solo, another verse, another chorus and an outro. It was necessary to build it that way for continuity of the story. Sometimes rules are just meant for breaking.”
Throughout “Warren Zevon’s Birthday,” Jewett eloquently breaks the rules with producer-drummer Billy Harrington, Michael Harrington (guitar, bass), Dale Grisa (piano, organ) and Amy Petty (vocals). The quintet intricately constructed a solid cinematic foundation to support, build and evolve Jewett’s thoughtful paternal tribute ballad.
“It was a challenge to decide if this song was supposed to be huge sounding. It’s a very sensitive subject; does it need to be more subdued or heartfelt in that way? Or is it more heartfelt when there’s a blazing guitar solo? What do we do with it exactly? We had talked about doing two versions of it, a stripped-down one and one that’s more rocking with a full band,” said Billy Harrington.
“I didn’t want this song to fall in the middle. If we wanted to go big, then we really had to go all the way there and then some. I didn’t want it to be 50 percent on both sides. If this was gonna be a big, epic Pink Floyd stately sort of ballad thing, then we did it. I really think we got that on this one.”
One late August night Mark Jewett stumbled upon an enigmatic vision while heading home from a show in Port Huron.
That vision illuminated the night sky while its reflection danced on the water and beckoned Jewett to stop and observe.
“As I drove south out of Port Huron on Military Street, which runs close and parallel to the St. Clair River, I looked out my side window, and I could see the Canadian shoreline, south of Sarnia,” Jewett said. “I saw a spectacle that lit up like something from a sci-fi movie. All I could think was, ‘What was that?’ I was stunned.”
Jewett turned his car around, drove up to the river’s shoreline and saw the “industrial monstrosity” known as “Chemical Valley,” which is home to more than 60 refineries and chemical plants in Sarnia, Ontario.
“The vibe I got standing alone on a dark river bank in very peaceful quiet was very calming,” said Jewett, a Plymouth-based Americana singer-songwriter. “I thought to myself, ‘Wow, in spite of this hideous pollution-spewing industrial megaplex in very close proximity to a population of people, everything will be all right.’”
Jewett captured that peaceful, nocturnal moment in his latest single, “Saint Clair’s Promise,” a twangy, torchy ode to beauty, mystery, faith and hope that’s available via Bandcamp. Billy Harrington (drums, percussion), Michael Harrington (pedal steel, electric guitar), Ken Pesick (bass) and Dale Grisa (piano) accompany Jewett on the track.
The track features a driving bassline and a mellow slide guitar beautifully intertwined with Jewett’s Johnny Cash-inspired vocals while Amy Petty provides soothing harmonies – “It might have been the water/It might have been the light/It might have been a silent voice calling out to me that night.”
“Saint Clair’s Promise” is one of two new tracks that will be featured on Jewett’s untitled third album, which will drop in spring 2020 and serve as the follow-up to 2016’s “Tending the Fire.” Produced by Billy Harrington, Jewett’s new album will sonically immerse listeners in personal tales about different moods, feelings and experiences.
“When Billy heard my demos, he said he could imagine taking these tunes down a sonic road similar to Robert Plant and Alison Krauss’ ‘Raising Sand,’” Jewett said. “Ironically, I see my sound growing by getting simpler. With exceptions, I feel like music that I write for a conscious purpose needs room to breathe.”