SOD: Adam Levy "In The Morning"

As Matty put it to me, "Adam Levy is the guy everybody knows, but nobody knows it." Most famous for playing guitar on Norah Jones' albums, Adam Levy has a very distinguished and distinguishable sound. It's never pompous or in your face, often reserved, and always perfectly balanced, from the selective listening I've done. His tone is gorgeous, and his style is a soulful blend of blues, jazz, country, and folk. This makes sense when you look at the lineup of players he's supported. Names like Amos Lee, Sex Mob, and Tracey Chapman (he did the solo that everyone knows on "Give Me One Reason") accompany the aforementioned Jones.

Levy is a great sideman, that much is clear. He never demands attention, or fights for the spotlight. His playing is clean, understandable, and very easy for a vocalist to tap into and use to enhance their own sound. He's the full package in that regard. However, Adam Levy has tried his hand in the solo world as well, and I have to say, I'm quite impressed. His album, Washing Day, has found itself on a cyclical path through my ipod in the past, and it was about due for a return. It's a very relaxed sound, demanding little of the listener. However if you do listen more astutely, you can hear just how complete a player this guy is. Tracks like "I Shot Her Down," take on an edgier style, belying the fact that there may just be a true blues rocker in there somewhere. The title track is reminiscent of an Amos Lee tune itself, and on the whole, I think that's where his style tends to fit overall. But why try and fit him into any mold? It's unnecessary. The album is good for what it is, and doesn't need to be overanalyzed. His playing certainly isn't, and I mean that as a compliment.

"In The Morning" is a textured song, that has a little something extra to it. The lyrics will actually sneak up on you if you don't pay attention to them. Though they may seem simple enough at first, with appropriate repetitious play, you'll find that there is a lot more going on than meets the eye.


Dark like the shady corners,
inside a violin
Hot like to burn my lips
I know I can't win
In the mornin'
baby in the afternoon.

There's a lot more imagery in a line like this, than most of your standard tunes these days that care little for lyrical idiosyncrasies and metaphors.

Funny how my favorite shirt
smells more like you than me
Bitter traces left behind
stains no one can see
In the mornin'
Baby in the afternoon

If you've ever been in a relationship, you know exactly what that line smells like. You know it as an emotion, and a feeling. It's simple, but it taps into something a bit deeper.

The studio version of this track is mixed very cleanly and compartmentalized nicely. Each instrument is leveled out very smoothly, and pops only when necessary. But in this live version, I think you get a better feel for the man himself. It's got personality. I can't help but move in my seat with it. And he doesn't have the greatest voice in the world, there's some inconsistency to it. But I believe that makes it all the more natural and genuine sounding. Its a simple kind of lovely. Then comes the solo. That's when you can tell this guy knows how to do his thing. He's no simple strumming sideman, though he can play that role when its called for. That in itself is humble skill, not to be overlooked. And for a three piece, these guys really do make a nice sound, don't you think?

That brings me to my last point. As I am always interested in the incestual nature of good music (yes, "incestual" is now officially a word in my dictionary), and I know there are others out there who are as well, it's worth mentioning who he's playing with. Adam Hess, of Gov't Mule (One of Warren Haynes' other bands outside of Allman Bros.), steps in on bass. He lays down some ridiculous lines in this version of the song that are subtle, but would be sorely missed if replaced. The guitar and bass work hand in hand with each other on this track, their sounds and direction are intertwined. And based off of Gov't Mule's sound, you know that Hess has the ability to "turn it on" in a major way when he wants to. But his relaxed yet technical play on this track, is just the right balance between groovy, and easy listening. Tony Mason rounds out the trio on drums, and he was actually one of Jones' drummers on the album Not Too Late. Obviously he's acquainted with Levy, and his style meets the atmosphere of this song with a casual perfection.

A final note, the song was originally written for Norah Jones' second album, as Adam Levy wrote it whilst they were on tour. Her version is quite different. It's good, but I unquestionably prefer his.