B-Side Guys

On his latest self-produced album “Civilianaire,” James Margolis navigates personal and political waters with a deft touch that draws from his decade-plus of experience in Philadelphia and New York’s folk scenes. The nine-track collection showcases Margolis’ versatility as both a guitarist and songwriter, moving between intimate confessionals and broader social commentary without losing his distinctly personal perspective.

Opening track “Eternally Grateful” sets an immediate tone of raw honesty, with Margolis processing his own COVID-19 experience through spare guitar work and direct vocals that recall early Phil Ochs. Rather than dwelling in darkness, the song transforms a brush with mortality into an appreciation for life’s basic gifts – a theme that resonates throughout the album’s 45-minute runtime.

The production maintains an organic feel that serves the material well. Margolis, who previously worked as a sound engineer at The Django in New York’s Roxy Hotel, brings that technical expertise to bear without overcrowding the arrangements. His guitar work – influenced by diverse sources from Skip James to Wes Montgomery – provides a versatile foundation that adapts to each song’s emotional demands.

“Tryna Divide Us” marks one of the album’s strongest moments, examining social media manipulation and political polarization through a personal lens. Rather than preaching, Margolis grounds the commentary in specific details – a shared car ride from Philly to Brooklyn, a conversation about misinformation that feels pulled from real life. His background in jazz improvisation shows through in the way he lets the narrative breathe and develop organically.

The sequencing demonstrates careful attention to pacing. After the sociopolitical weight of tracks like “How Many Guns” (which directly confronts American gun violence), Margolis offers moments of relief through more introspective pieces like “Life is Short” and “Just Different.” This emotional ebb and flow prevents the heavier themes from becoming overwhelming while maintaining the album’s throughline of seeking connection in divided times.

Margolis’ vocal approach has evolved since his earlier releases “Stars & Satellites” (2014) and “Live Fast Die Young” (2018). While his phrasing still carries hints of Sinatra’s influence, as noted in his bio, he’s developed a more conversational style that serves these narrative-driven songs well. The vocals sit naturally in the mix, prioritizing clarity of expression over technical flourishes.

“Warning,” the album’s closing track, encapsulates many of “Civilianaire’s” strengths. Beginning with the lines “Don’t you trust me until you see me / ‘Cause a wise man once told me,” it weaves together personal wisdom with broader observations about truth and perception. The arrangement builds gradually, demonstrating Margolis’ skill at using dynamic shifts to support his storytelling.

Throughout “Civilianaire,” Margolis’ guitar work reflects his diverse musical background – from those teenage years at Philadelphia blues jams to his stint at Berklee College of Music and time spent hosting Brooklyn’s “The Healing” improvisational sessions. The instrumental passages serve the songs rather than showcasing technical prowess, though moments of genuine virtuosity emerge organically when the material calls for it.

If there’s a criticism to be made, it’s that occasionally the directness of the political commentary overshadows the more nuanced storytelling Margolis excels at. However, this feels less like a misstep and more like an authentic reflection of processing life during particularly charged times.

“Civilianaire” represents a mature step forward for Margolis as both producer and songwriter. The album successfully balances personal and political elements while maintaining a consistent artistic voice – no small feat given the range of topics addressed. His years of experience in various corners of the East Coast music scene, from live sound engineering to performing at venues like The Purple Fiddle and Jalopy Theatre, have clearly informed both the technical and artistic choices throughout.

This collection will likely resonate most strongly with listeners who appreciate folk music’s tradition of social commentary alongside personal narrative. While Margolis works within recognizable folk and singer-songwriter frameworks, his jazz influences and production choices help these songs carve out their own sonic space. “Civilianaire” stands as a document of an artist processing both personal experiences and broader societal tensions through careful craft and honest expression.