Ten studio albums and one greatest hits package into her career, Madeleine Peyroux continues to break new ground. Let’s Walk reflects a continued artistic growth seldom seen by veterans in the music industry.
The LP was co-produced by Peyroux, her long-time guitarist Jon Herington and Elliot Scheiner, who also engineered. Despite only sparingly flexing her compositional muscles before, Peyroux also co-wrote the 10 songs with Herington. Together, they’ve created a daringly diverse group of songs with sympathetically spare arrangements that only enhance Peyroux’s extraordinary voice and artful song delivery.
“Find True Love” opens the album with vivid imagery of the bayou and gentle acoustic guitar work by Herington. Andy Ezrin (piano, Hammond organ, Vox Continental, harmonium, Rhodes, Wurlitzer and orchestral bells), bassist Paul Frazier and drummer Graham Hawthorne contribute expertly to the setting.
“How I Wish” adds new imagery with dark and brooding lyrics. Along with the tremolo effect of Herington’s electric guitar, a gentle shuffle by Hawthorne paints a vivid picture. Then Peyroux shakes things up with the title track. The gospel vocal intro on “Let’s Walk” features Catherine Russell, Cindy Mizelle and Keith Flit, and they perfectly complement Peyroux’s delivery. The song is full of enthusiasm and spirit. It gets the listener ready for what is coming. Stabs of Hammond B-3 organs, Fender Rhodes, and Herington’s bluesy licks add to the march.
When we arrive at “Please Come On Inside,” an unmistakable energy is on display. Touches of volume pedal swells, Fender Rhodes passages and daring vocals passages by Madeleine Peyroux punctuate the song. The unexpected talk box guitar and solo only adds to the song’s mystery. Peyroux and company do not take their foot off the pedal for the remaining six songs on the album, except the Caribbean-flavored song “Me and the Mosquito.”
“Blues for Heaven” is a delightful vamp where Herington’s acoustic guitar, Ezrin’s Hammond Organ, and Frazier’s bass provide a laid-back bluesy foundation for yet another dynamic vocal from Peyroux. Sprinkled backing vocals make for an involving contrast.
“Et Puis” takes us to Paris with its French lyrics and Peyroux’s delicate acoustic guitar. The song finds Jon Herington on bass guitar in addition to the band’s gentle brushwork and Fender Rhodes. The title translates to “And Then,” whether you read the translated lyric sheet or rely on your interpretation of the words, the song will transport you to another place.
“Nothing Person” actually seems quite personal, and its brooding music matches the compelling lyrics. Clarinetist Stan Harrison makes a guest appearance on the song. “Showman Dan” follows and things are suddenly looking up. The vampy shuffle gives Peyroux an opportunity to deliver an inspiring message to a fictional colleague. Erzin’s piano rises to the challenge, and Herington provides a bluesy solo, which leaves another lasting impression.
Upon reaching the quirky “Take Care,” you realize you’ve reached the end of an album that ranks among Madeleine Peyroux’s very best. That’s high praise for such a stellar artist.
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