What is “Within Tension”, exactly? Ross Neilsen describes it as the pressure an artist feels, in-studio, as well as referring to the actual barometric pressure within the studio. Older era production giants like Jim Dickinson and Sam Phillips believed that the success of the recording process was influenced by the actual in-studio barometric pressure at the time of the session, based on its instantaneous effect on the recording artists themselves. Recording his 11^th release in Sam Phillips’ renowned Studio in Memphis, Neilsen has tackled this notion of tension – on both levels – with an eye to arriving at the perfect balance at this stage in his life. Within Tension, too, is the product of an acutely-focused attempt to reduce the stress of recording, if not a strong attempt to control its influence. His latest release brings you 9 original songs and 1 cover which – when absorbed in one sitting – delivers a progress report on where this chameleonic singer-songwriter is today.

I first met Neilsen in Fredericton, where he was an up-and-coming local hero, given his strong talents as a writer and performer, together with his built-in blend of energy and enthusiasm. Based on his popularity, it seemed to trumpet the fact that this guy was going somewhere. And go somewhere he did – following his muse to various stopping points across the country and beyond, forever seeking a strong sense of place, if not belonging.

This seasoned road warrior has represented both Fredericton and Saskatoon at the International Blues Challenge in Memphis, together with multiple nominations in music competitions across the country. At the same time, between raising a family and touring constantly, Neilsen lives to play and steadily improves at what he does, evolving his substantial talents as a singer, a guitarist and a songwriter. To namecheck key influences, I once saw Neilsen burn up a Fredericton stage while teamed up with Cody Dickinson and the rest of his Hill Country Revue while time invested into Steve Earle’s Camp Copperhead songwriting school in New York in ’15 has only paid big dividends in Neilsen’s ability to craft a smart lyric and glue it to a muscular melody.

There have also been bumps in the road – big bumps. Every artist goes through serious soul-searching when immersed in the largely thankless task of performing live music, getting there and back in one piece and slugging it out with venues for every dime promised. At the same time, these experiences, trial and tribulations not only build character – they provide the very meat and potatoes behind quality songwriting.

Enlisting friends and Memphis-ites John C. Stubblefield on bass, Rick Steff on all keyboards (both of Lucero) and Jay Sheffield III on drums, the chemistry seemed instantly in place. Mixing in the horns of Marc Franklin and Art Edmaiston (Little Feat) and added percussion from co-producer Kevin Houston on a few tracks and the barometer quickly pointed to fair weather.

Launching with the hard-hitting “Rock Ranger”, you’re immediately reminded of Neilsen’s Rawk heritage. Always the rocker, Within Tension boasts both the bold, balls-to-the-walls component of his musical personality with the soft, tender side across these wide-ranging originals. Aside from Neilsen’s big guitar sound (with tasty slide), a large presence from Steff’s B3 and crack drumming from Sheffield III, this will scare the children – especially as it erupts into an extended jam.

“Best For You” cranks the speed even more, reminiscent of down’n’dirty ZZ Top with its hard rock pulse, underlining lyrics which tout total devotion and deep-set dedication.

Few know the “Road To Memphis” as well as Ross Neilsen – quite literally. He has created a tasty travelogue in praise of place, adding signature slide to Steff’s standout piano. Perhaps their tourism board should be notified?

One might expect a sense of homesickness for the east coast with “Salt & Sea” – but you’d be wrong. A total change of gears as horns are harnessed to create a slightly cosmopolitan feel, while added piano and Neilsen’s vocal (with a reverb effect) to punch a lyric which espouses ‘lightening up’, for lack of a better phrase.

The next track – “Come To Be” – marks a sharp turn in the direction of this record and is the very best song on the album. Neilsen’s elastic vocals allow him to roar with power or gently croon with the intimacy of a caring lover. Everything clicks – from the hook-ish melody to the soft instrumentation supporting the singer. The lyrics are the hero. A dash of B3 offsets acoustic guitar – the end result being a deep planting of an earworm which refuses to go away.

And then – “Devil’s Picasso” – a complete turnaround as Neilsen and company erupt with guns a-blazing. It’s a guitar and B3-driven rocker which, to me, conjures both Thin Lizzy and Uriah Heap (if you can believe it). Again, Neilsen’s strengths on guitar are not to be understated as his beefy lead suggests here.

With a little tongue-in-cheek, Neilsen’s perky “Troubled Mind” incorporates a little bit of quirky fun as it rocks back and forth, compliments of a sturdy rhythm section, while Neilsen’s guitar spars with Steff’s burbling B3.

Those familiar with Eddie Hinton’s reputation won’t be surprised by Neilsen’s cover of a lesser known “Something Heavy”. Like Hinton, Neilsen sports a soulful vocal whenever he wants to while, like Hinton, Neilsen’s guitar-playing would command serious attention if he couldn’t sing at all. So, in the spirit of Muscle Shoals, this comparably gentle, rhythmic track enjoys a sensitive reading from a fellow soul-searcher as the band follows suit. A stand-out vocal.

The horns return to add some majesty to “Good Enough” – another highlight track which makes the most of subtlety and a strong lyric as the song’s intensity builds, paced by Neilsen’s extremely soulful vocal. Again, the lyrics work like poetry while Steff’s piano and minimal guitar serve the song. This is a beautiful composition which seemingly revels in heartbreak and lost love.

Likewise, the bittersweet “Bold & Beaten” begins with fingerstyle acoustic guitar and B3 backing while Neilsen turns in yet another gem, his vocal steeped in the sadness that comes with living life, taking its punches yet appreciating every minute of it. Neilsen shines in the light of the heart he wears on his sleeve.

Without doubt this is an album of extremes, yet it’s all bound together by an artist who is searching for his rightful place. At the same time, he’s already arrived there, driven by his deep desire to make bewitching music which speaks to everyone who hears it. This is an album – like many of his others – deserving of an extended audience. And, while some of the 70’s-style rockers may not be for everyone, his softer side remains his ace in the hole. (Eric Thom)