John Oates – Reunion
At first album title glance Reunion is a strange name for the new studio album from John Oates, given the recent schism with his long-time rock and soul partner Daryl Hall (initiated in 2023 via a lawsuit by Hall to block Oates from selling his share in their joint publishing venture to Primary Wave Music).
But John Oates has, in his own words, "moved on" from any such issues and has now followed last solo offering, 2018's Arkansas (a roots-based album featuring traditional Delta, country blues and ragtime numbers along with a couple of new songs) with what is, in effect, an acoustic-based 'reunion' with his former, pre Daryl Hall & John Oates, self.
Reunion is also the logical follow-on and perfect companion piece to Arkansas, featuring as it does a similar ensemble of top-notch Nashville session players including guitarists Guthrie Trapp and Tom Bukovac, pedal steel player Russ Pahla and bassist Steve Mackey.
Nor has it done any harm that a few of the songs benefit from collaboration with banjo virtuoso Béla Fleck, renowned Dobro player Jerry Douglas and progressive bluegrass mandolinist Sam Bush.
The album opens with the title track 'Reunion' (written with A. J. Croce), a gorgeous country-blues tinged number that features one of John Oates' best/ most inspired vocals of his entire career.
It’s followed by a cover of the late and still lamented John Prine’s 'Long Monday,' which trades the original’s melancholic folk clothing for slightly more up-tempo, acoustic Americana dressing.
The genuinely touching 'Sonny Terry and Brownie McGhee' is a lovely tribute to the partnership of those two great Piedmont Blues/ folk musicians; downtempo numbers 'This Field is Mine' (a poignant folk lament to family land lost to progress) and 'All I Ask of You' are no less impressive.
Elsewhere you’ll find traditional, country-folk charm in the rerecorded 'Dance Hall Girls' (originally from 2011 solo album Mississippi Mile), gorgeous pedal steel atmospheres on folksy ballad 'When Carolina Comes Home Again' and acoustic delicacy on the poignant 'All I Am' (a co-write with Adam Ezra, 'All I Am' first appeared on Ezra’s 2017 album Hurricane Wind).
There’s also a perfectly fitting place for a remix of folksy Americana number 'I Found Love' (from 2008 solo album 1000 Miles Of Life), a stripped back "Coffee House Version" of 'Reunion,' and live versions of two Arkansas tracks, the bluegrass picking 'Anytime' and full a folk band rendition of the title track.
With Daryl Hall & John Oates now almost certainly a legacy duo of the past, it was interesting to note that both released their sixth solo studio album within a month of each other.
While Daryl Hall’s D album lies four-square in trademark Daryl Hall soul-pop territory (and the sound of the duo’s highly successful 80s period) John Oates has returned to his roots (in both senses).
More importantly, he’s delivered a delightful, quite personal and heartwarming album that showcases a musician, singer & songwriter very happy, and extremely comfortable, in his new, old skin.
Ross Muir
FabricationsHQ
But John Oates has, in his own words, "moved on" from any such issues and has now followed last solo offering, 2018's Arkansas (a roots-based album featuring traditional Delta, country blues and ragtime numbers along with a couple of new songs) with what is, in effect, an acoustic-based 'reunion' with his former, pre Daryl Hall & John Oates, self.
Reunion is also the logical follow-on and perfect companion piece to Arkansas, featuring as it does a similar ensemble of top-notch Nashville session players including guitarists Guthrie Trapp and Tom Bukovac, pedal steel player Russ Pahla and bassist Steve Mackey.
Nor has it done any harm that a few of the songs benefit from collaboration with banjo virtuoso Béla Fleck, renowned Dobro player Jerry Douglas and progressive bluegrass mandolinist Sam Bush.
The album opens with the title track 'Reunion' (written with A. J. Croce), a gorgeous country-blues tinged number that features one of John Oates' best/ most inspired vocals of his entire career.
It’s followed by a cover of the late and still lamented John Prine’s 'Long Monday,' which trades the original’s melancholic folk clothing for slightly more up-tempo, acoustic Americana dressing.
The genuinely touching 'Sonny Terry and Brownie McGhee' is a lovely tribute to the partnership of those two great Piedmont Blues/ folk musicians; downtempo numbers 'This Field is Mine' (a poignant folk lament to family land lost to progress) and 'All I Ask of You' are no less impressive.
Elsewhere you’ll find traditional, country-folk charm in the rerecorded 'Dance Hall Girls' (originally from 2011 solo album Mississippi Mile), gorgeous pedal steel atmospheres on folksy ballad 'When Carolina Comes Home Again' and acoustic delicacy on the poignant 'All I Am' (a co-write with Adam Ezra, 'All I Am' first appeared on Ezra’s 2017 album Hurricane Wind).
There’s also a perfectly fitting place for a remix of folksy Americana number 'I Found Love' (from 2008 solo album 1000 Miles Of Life), a stripped back "Coffee House Version" of 'Reunion,' and live versions of two Arkansas tracks, the bluegrass picking 'Anytime' and full a folk band rendition of the title track.
With Daryl Hall & John Oates now almost certainly a legacy duo of the past, it was interesting to note that both released their sixth solo studio album within a month of each other.
While Daryl Hall’s D album lies four-square in trademark Daryl Hall soul-pop territory (and the sound of the duo’s highly successful 80s period) John Oates has returned to his roots (in both senses).
More importantly, he’s delivered a delightful, quite personal and heartwarming album that showcases a musician, singer & songwriter very happy, and extremely comfortable, in his new, old skin.
Ross Muir
FabricationsHQ