Lost & Found
Grammy-nominated contemporary artist Raul Midón released his newest album, Lost & Found, on April 26th. This the second album he has released on his own label, ReKondite ReKords, but his thirteenth album overall. It’s clear that Midón possesses a wealth of music knowledge, drawing together genres like jazz, blues, Latin and gospel. Frequently, alternative percussion instruments like the wood block, cowbell, or steel drums bubble thorough, to add crucial elements that embody different genres. Most tracks primarily feature Midón on acoustic guitar, but he also likes to play with the relationship between electric and acoustic instruments. He has a sweet, smooth tenor vocal tone, making Lost & Found a light listen, perfect for a slow Sunday morning.
The album begins with the titular track, “Lost & Found.” Setting the tone, it showcases a bright melody carried by a piano and acoustic guitar. A grooving bassline and upbeat drums lift you up, making it impossible not to dance along. As Midón assures that he will always help if you feel lost, the warmth of the song wraps around, almost like standing in the sun on a summer day. Keeping the vibes high, Midón rolls into “Going Away.” It’s a song about adventure, throwing caution to the wind and just getting on a train without thinking about where you’re going. An acoustic guitar and dreamy harmonies float by, keeping with the theme, but grounded by a sassy keyboard organ and bass-heavy funk beat. Piano runs and a slow fade end the song, as if Midón is pulling away in his midnight train to anywhere.
Lost & Found Album Artwork via www.raulmidon.com
Gentle acoustic guitar starts to trickle in, and with a determined chord, “Next Time” lands. A more passionate track, lush acoustic guitar fills the space, while slight reverb in the vocals complement the inviting tone. Through the bridge, Midón’s words soar, egging us on, encouraging us to take the leap. Under the acoustic arrangement, a subdued electric guitar adds tension, before giving way to a Latin-inspired guitar solo. It expands through the second half, underscoring the yearning message in the lyrics, before settling in at the end. Pushing forward, Midón moves on to the inspirational “Keep on Keeping On.” Upbeat and groovy, the keyboard organ returns, joining a bluesy bassline. The keyboard accents twinkle throughout, like stars leading the path. The arrangement draws inspiration from gospel music, too, as Midón details the importance of driving through the bad times.
Changing pace, “Ocean of Doubt” slows the album down, opening on a slow, swirling synth, invoking imagery of cresting waves. Midón explores the deeper end of his vocal range, disappointed that he and his partner have different perspectives on the world. Introspective lyrics and earnest vocal harmonies tell a story of someone trying to find common ground, but instead floating away in an “ocean of doubt.” Twinkling piano notes and shimmering synth accompany a surprisingly upbeat acoustic guitar. Two thirds of the way through, the key changes, becoming hopeful, as Midón exclaims “I’m free!” As the track winds down, the phrase “I believe in love” is repeated and held out, laying the foundation for Midón’s view on the world. Bringing the energy level back, “Anything At All” immediately hits with Latin-inspired beats from a cowbell, maracas, and a cabasas. Midón’s vocals are subdued, supported by calming harmonies while he offers a metaphorical helping hand. A pizzicato melody from the acoustic guitar grooves along, inspiring you to dance. A short, acoustic guitar solo mirrors the melody from the vocal line, but in the last 90 seconds, a gritty, electric guitar solo kicks on. It takes over the melody, adding gravity to the track.
The next track, “When We Remember,” brings an entirely new sound to the album. More of a bluesy folk tune, harmonica and banjo lines set the tone. The vocals are a bit melancholy and wistful, as Midón reminisces about better days. The lyrics try to keep hope alive, with tighter harmonies than the previous tracks. Tambourine and harmonica rise and fall between lyrical phrases, filling any empty space, before the track slowly fades out. Midón keeps the blues influence, this time with the R&B-inspired “A Condition of Love.” Percussion here comes from snaps and claps, an upright bass, and muted acoustic plucking. Instead of the supporting backing vocals we’ve come to expect, the harmonies are higher, adding some brightness to this dreamier track. As Midón sings about slowly drifting away, into “a condition of love,” slight reverb in the chorus makes it sound like he is relaxing on a cloud, completely surrendering to the journey.
Raul Midón via www.raulmidon.com
Before the final song, Midón drops in the ska-inspired “The Ganja Song.” An unyielding rhythm and quick bassline bump along underneath dancing lyrics and staccato guitar. As he sings about the personal and cultural benefits of weed, twinkling piano notes and steel drums accent the accompaniment, bringing levity and joy. Backing vocals croon behind him, capturing the laidback essence of a high. After a quick solo in the electric guitar line, all of the elements start to blend together like a drug trip, bringing us to the final track. Midón winds down Lost & Found with the wistful “Wall of Indifference.” A bit somber, this track would fit perfectly in a jazz lounge on a late night. The instrumental focus lies in the piano and upright bass, with a subdued countermelody from the acoustic. There are no vocal harmonies, instead leaving Midón’s vocals stripped back and vulnerable as he pines over lost hope and a sense of directionlessness. He briefly steps back, allowing an arrhythmic piano solo to swim through, but returns before the end. Finally, the album is brought to a close with a piano run, and a final fade out.
