The Salesman and the Shark

The songs on The Salesman and the Shark fall somewhere between folk balladry and acts of catharsis, providing Sean Rowe with dark scenarios that perfectly fit his cellar-deep rumble of a voice. Rowe applies his baritone gravitas (reminiscent of such ‘60s R&B icons as Brook Benton and Lou Rawls) to tormented, slightly surreal lyrics about damaged love, shadowy crimes, and uneasy redemption. Producer Woody Jackson deftly varies his sonic strategies, giving “Bring Back the Night” a midnight gospel feel, “Joe’s Cult” a Tom Waits–esque rhumba groove, and “Downwind” a surf guitar–tinged melodrama. Most arresting is “Horses,” a cinematic narrative dressed up in swirling strings. Rowe commands the spotlight throughout, whether he’s relating a sinister traveler’s tale (“The Ballad of Buttermilk Falls”), embracing mystical angst (“The Lonely Maze”), or pairing with Inara George on a bittersweet duet (“The Wall”). Flashes of hope appear in “Old Shoes” and “Flying.” All told, Rowe matches the evocative presence of his singing with vivid, soul-bearing material on this haunting breakthrough release.