Santo & Johnny - Santo & Johnny (Album Review)

 

Santo & Johnny - Santo & Johnny

(1959)

My copy: 1959 mono press by Canadian American Records, LTD. 

Born Italian-American Brooklyn natives, brothers Santo and Johnny Farina learned to play lap-steel guitar from a young age at the request of their father. They quickly gained an affinity not only for lap-steel, but traditional guitar as well, even modifying several guitars to experiment with sounds similar to lap-steel. Santo & Johnny is their first full-length endeavor following the massive popularity of their number one single “Sleepwalk.” While the full album received less praise than the single, it contains prime use of lap-steel guitar across several covers and three originals, proving that the instrument has far more potential beyond just background ear candy. 

Their stripped down take on the classic “Caravan” is one of their finer displays of the unique dynamic between the lap-steel and their standard guitar, though the slow sunset saunter of “Summertime” might be more convincing for its addition of emotional strings - adding a touch of tension to a cool scene, like the unshaking hand of a cowboy hovering over a holster, ready for any situation. The bubbly rhythms and mischievous lead melodies of original “All Night Diner” give levity as both guitars skate around each other like a playful game of cat and mouse. “Blue Moon” is a slow romantic waltz adapted for lap steel with fluttering strings and sighing flutes, debuting their graceful approach to lullabies. 

Chuck Berry’s “School Day” breathes new life into the record with Motown call & response jamming. While the more traditional rock & roll songs help to vary the pacing, these can feel like novelty renditions at times. Then comes their hit, “Sleepwalk” which deserves its allotted love and more for crafting one of the most impressively atmospheric mainstream hits of all time. The song is perfectly balanced, showing off the beautiful height of the lap-steel melodies while not over-indulging or overshadowing the waltz rhythm - a beautiful song prime for a slow dance with your sweetheart. The more rhythmically focused “Tenderly” is shrunken when placed after “Sleepwalk,” though light strings alter the mood enough. “Slave Girl” is their final original piece, using then exotic scales to compliment a more aggressive performance for the lap-steel, working better than most of their rock & roll covers.

“Dream” and “Harbour Lights” play to their signature mellow atmosphere, but start to feel redundant when so many subtle lullabies are played in such rapid succession. “Canadian Sunset” does manage to break up the aforementioned tracks with bouncing bass and steady melodic confidence. The record closes with their take on Bill Justis’s “Raunchy” which feels closest to traditional 50s rock for it’s roaring sax and syncopated guitar attitude.

Santo & Johnny’s first long playing record is faced with hurdles given their reliance on the lap-steel sound as their primary gimmick. The brothers do, however, elevate the instrument to new heights with a palpable confidence that is easy to get lost in - you just have to try and not fall asleep with so many tender ballads on the record.