From the moment Luther Russell’s new album, Repair, began playing in my headphones I knew I was in for a treat, but I also felt a wave of frustration overtake me. On the one hand I was grateful there was this wonderful voice and talent being introduced to me, but I couldn’t help feeling sad I’d never noticed Russell before. There is a part of me that prides myself on being fairly experienced as a fan of music, and it just kills me when I find I am late to discovering good music.
On a side note, that same part of me causes my wife no end of headaches, as it often drives me to purchase everything this new artist — new to me, leastways — has ever recorded in their entire life. And yes, I’ll admit to being an obsessive twit, dear wife, as I know you’ll eventually read this review and shake your head at me.
At least in the case of Russell and his music, though, I can claim a legitimate excuse as to why I’m late to the party. When faced with the breakup of his marriage, the former front man for the Freewheelers, dealt with the heartache and depression by stepping away from the world of music, entirely.
“After I moved back to Los Angeles, after a tough separation and divorce, I was a bit lost creatively,” Russell explained to Indie music blog, Obscure Sound.
Luckily, Russell found his way out of his creative funk, thanks to a chance meeting of Ethan Johns, producer of such artists as Ryan Adams and the Kings of Leon, while in a record shop. Mutual admiration led to the both of them talking and eventually getting together to allow Russell a chance to find a musical outlet to the stress and emotions that had been bottled up within him.
Slowly at first, and with more surety as things began to sound better than Russell feared, the two continued work and eventually ended up with the completion of Russell’s fourth album, and judging from repeated listens to his earlier three — I told you I was obsessive! — his best work to date.
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