Clark Paterson - American Suburban (2024)

This is an often self-deprecating look at the life of a man who may not have achieved all he hoped in life or, at least, someone who has the lyrical ability to capture that outlook (observations from the outside or from the inside). I was reminded at times of some of the material of Todd Snider. Paterson has had a hand in the writing on all of these songs, mostly solo, but on three of the ten he is joined by a co-writer. They certainly raise a smile and also, on occasion, some pause for thought. He grew up in rural Michigan but has relocated to Nashville to ply his trade, and his lyrics draw from both environments. In recent times, it is reported that he has had some serious medical issues, a divorce, and the negativity around custody that that can raise. All, no doubt, have contributed to his outlook and world view.

Musically the album also holds its own with some fine playing from all involved, whether the song is more acoustic and folk-oriented or whether it is more country style in tone. Another feature is the use of female vocals and harmonies, which work well to bolster Paterson’s own delivery. Sierra Ferrell, Mandy Contreras and Luella Matthews are all credited in this welcome capacity. Some nine Nashville players are credited on the album, including producers Eric McConnell and Shawn Byrne - the former also plays stand up bass and the latter guitars and musical saw. Also present and very correct are Paul Niehaus, John McTigue and Billy Contreras, names that will be recognised as musicians who have worked on some of Nashville’s more independent and interesting releases.

What Keeps A Fool asks you to hang on and continue when “it all feels like I’m paddling upstream”, allowing a natural-born fool to carry on, while S-10 is about his mode of unreliable transport, a Chevy S-10, and its transmission giving out so he has to walk to work again. Small time lives are the subject of Good Ole Boy and how things are stacked against a person in that situation. “… Got me a wife, have a nice little life” was the aim and to be a good ole boy alongside the rest. “Never wanting to be the best, never wanting to be the worst” is his summation of his intentions. The final track The Deputy is more of a story song, about the way life can become an opposing situation between two people from different sides of the law divide.

Then those themes continue, such as life on the road for the travelling musician on On The Road 2 Long, while the title of the song Life’s A Bitch just about sums up its downbeat attitude. It takes a more folky route to tell its meaning of life, “you know me I like to complain, some things just never change, drinking form an empty cup, I never knew when to shut up.” Equally considering the backside of life is Man Of The Year, wherein he reckons he got too big for his britches and now he’s running for 'man of the year'. He reasons that “I’m always talking a real big game, that I ain’t feeling no pain.” Making no gain or reaching no real understanding would seem to be the protagonist's lot here.

All of the ten tracks have some quotable couplets, demonstrating that Paterson is following in the footsteps of some of those notable troubadours who can sure pen a song and sing it well. He may not be up there with them yet, but the indications here are they that he could be. This album may help gain him some further recognition after his previous releases and it’s one worth spending time absorbing the overall attributes that it has to offer.