You can trace several recurring themes in Sam Green’s songwriting. The Australian-born poet and composer embraces Americana forms, without question, but there’s likewise a strong sense of place, even regionalism, present in his writing. Melodic abundance is a key component of Sam Green’s art but, as well, his willingness to broach any subject with equal parts sensitivity and honesty marks him as an unique talent. His brazen predilection for surprising listeners scattered across his discography is another attractive part of his talent. Longtime fans need no introduction to Green and the Time Machine while newcomers will likely believe they’ve stumbled across a long neglected artist with prodigious gifts.
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Songs such as “The Ned Kelly Song” from 2013’s I Think It’s About Time, “Manly Harbour” from There’s a Tree that same year, and “Down Tullamarine”, another entry from the same year, are among the many songs he’s penned about his Australian homeland. It’s instructive comparing how American songwriters approach writing about the United States with how Green views his home – there’s little if any sense of drawing distinctions between the harbours, outlaws, and metropolitan suburbs of Green’s Australia with anywhere else.
The pairing of low-key instrumentation with lightly atmospheric production gives a cinematic flavor to “The Ned Kelly Song”. It builds up momentum as it progresses and it isn’t difficult to imagine Kelly in full stride, fleeing across the Australian plains, a pistol at his side. “Manly Harbour” is much different. Green uses the geographic location as a setting for a painterly lyric much more concerned with invoking lasting images for listeners rather than telling a story. It is also a much more straight-ahead folk song. “Down Tullamarine” is as well but has a bouncier gait than the preceding cut. The chorus’ backing vocals underline its easy-going grace and the light press of keyboards fleshes it out an added splash of color.
Few tracks are as attention grabbing as Players All Are We’s “Have the Seasons Changed?” from 2013. Its acapella architecture is an obvious reason why, but it may fly under the radar that the song’s words essentially establish a thematic template for many tracks on later releases. Anyone who thinks his voice is insufficient for carrying off such a performance will be pleasantly surprised. He has an affinity for Spanish-flavored textures, driven by the guitar, evident in several tracks. “Angel of the Morning”, from the aforementioned album, is one. The melodic bassline snaking through I Think It’s About Time’s “Life Is So Fine” from the same year is provides another satisfying twist on his formula. The call and response vocals are spot on as well.
His influences often take on a distinctly American taste. Elements of classic country are present in the songwriting for 2018’s Ten Parts of the Journey and he handles its bluesy inclinations with ease. “I Carry the Load” leads off the release for good reason, it’s among his best songs, but “Day of Peace” reinforces the pedal steel presence and pierces your heart. This most recent Spotify release is bursting with great music and deserves consideration as his best work yet. Listening to these albums, however, you get the sense Sam Green and the Time Machine are far from done.
Chadwick Easton