CD Review: J.D. Whittenburg’s J.D. Whittenburg

by Chad Jones

This past Friday at Sons of Hermann Hall, Dallas singer/songwriter J.D. Whittenburg and his band celebrated the release of their first album, the aptly-named J.D. Whittenburg.

Though the band—composed of Eric Grubbs on drums, Josh Warr on bass, Bruce Johnson and Travis Hopper on guitar and Whittenburg on lead vocals and piano—actually released the CD several weeks prior, it's of high enough quality that they should be allowed to celebrate however late and however long they'd like.

The twelve-track album is a pop/alt/Americana mixture produced downtown at Salim Nourallah and Rip Rowan's Pleasantry Lane Studios, with the former lending his talents on the bass and keyboard and electronica whiz Rowan rocking the triangle and tambourine. Musician Chris Holt contributes his piano and guitar know-how. Cellist Sara Donaldson does her thing. And not to be forgotten, local music blogger Amanda Newman (better known as BocaTinta) provides backup vocals. Did I forget anyone? It seems so, but I gotta move on. . .

On the whole, the album is charming, piano-laden and effervescent. Whittenburg and band put their fastest, hardest-hitting and most poppyish (mmm . . . poppy) songs out front (Tracks #1-4: "Half Things," "Secrets That You Keep," "Keep Me Honest," and "I Miss Your Face"), followed by his notably softer and solemn tracks, including "Can't Stay In Love" and "It's Been A Long, Long Time." While I'm a die-hard fan of lighter rock, the first third of J.D. Whittenburg is arguably the better portion (with an exception as noted later).

If the S.S. Whittenburg were sinking (don't worry; it isn't) and I could only fit three songs with me on the lifeboat, "Secrets That You Keep" would be tucked tightly under my arm. It has a snazzy, up tempo sound (complete with computerized clapping—love it) and clever if not quirky lyrics:

What can I say? Anyone who can name drop 19th-century Russian authors and famous female Egyptian rulers and not make it feel forced has got something going for them.

With that song in tow, under my other arm I'd carry to safety Track #5, titled "Give And Take," and on my back I'd lug Track #12, the cumbersome "Gospel Music." In regards to the former, it is infectious and bubbly, with elements of both Salim Nourallah and Johnny Lloyd Rollins (they're all buds, of course), and its recurring organ is fondly reminiscent of Strawberry Fields*; while the latter is, for a sincere lack of better words, some really heavy stuff.

In my opinion, "Gospel Music" is the biggest surprise of the album: a mostly instrumental, seven-minute homage with a haunting chorus and an all-around soulful sound (which other Peg staffers have enjoyed).

My only critique for Whittenburg is that he should sing a little louder, stronger and more clearly in some of his songs. It could just be his personal style (and, by all means, enunciation doesn't equal success), but there are times throughout the album where he sounds either meek and or simply buried.

Additionally, as much as I enjoy J.D. Whittenburg, there are a few songs I'd let go down with the ship. Particularly, "Saint Someone" (Track #9) and "Just Another Saturday" (Track #11) sort of wander and wane and seem to be, as far as I can tell, the same elongated song, give or take a burst of electric guitar.

But, overall, kudos to J.D. Whit and his ragtag rockers on an album well-made.

*Beatles worshipers (a.k.a. my Dad and his friends), please note that I only say the organ is similar. No one can touch your idols.

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