Logan and the Legendaries

More than just a music album, Logan and the Legendaries’ debut album Waxing is a collection of songs that detail a songwriter’s memoir, a tip-of-the-hat to the lessons of Logan Lewis’ past and the joys of his present.

article by VANELIS RIVERA | photography by ANDREW BAILEY

From behind studio glass, General Keith Patterson, a local veteran guitarist, addresses studio captain and local purveyor of music Dan Sumner along with four members of the North Louisiana band Logan and the Legendaries. It’s a tracking day at Fort Sumner. Sounds are being layered and fleshed out. Logan Lewis dresses in a black fitted tee, dark blue jeans, and brown dress shoes. He leans back in a chair, legs crossed, immersed in the guitar parts being added. “That was nasty,” he says with a smirk, following with, “He sounded like Chuck Berry there for a minute.” Matt Abrahm nods in agreement as he opens a pack of all-red Starbursts. “That’s it right there,” chimes in Jacoby Phillips, tapping his Jordan’s to the track. Meanwhile, Morgan Decelle sits contemplatively on the floor, cross-legged, sipping on a roughly made screwdriver. These self proclaimed “moonlighters from all over north Louisiana” are in the closing stages of their first LP Waxing. More than just a music album, this collection of songs detail a songwriter’s memoir, a tip-of-the-hat to the lessons of Lewis’ past and the joys of his present.

The “Genesis,” says Lewis of Logan and the Legendaries, happened last year during the first Titopalooza, a musical homage celebrating the life and music of local and beloved musician Thomas Bradley “Tito” Duncan who passed that same year. It was thanks to Tito that Ruston natives Lewis and Abrahm forged their way into the Monroe music scene. A chance meet-up with Tito and Decelle lead to an instant connection based on their love of pro wrestling. They formed the band Slawdawgs, an acoustic percussion group with Tito and Lewis on acoustic, Decelle playing congas, and Abrahm playing djembe. “It was like lightning in a bottle,” says Lewis. “When Tito passed away it brought everything to real life. Made us do stuff. We can’t be a cover band our whole life,” says Decelle. After playing at Titopalooza, Lewis played Tito’s record on his drive home to Shreveport. “I felt a lot of guilt. I’ve been writing music for thirteen to fourteen years. Maybe I was afraid or just didn’t want to do the traditional [album] release. This guy was such an example to everyone. He was at least able to get something out. It put a sense of urgency in my mind.”

Lewis’ urgency turned into a “revolving door” of some of the most talented musicians in the area. “The ethos of the Legendaries is everyone rallying around the project I want to do. That’s why I have so many musicians,” says Lewis. His constants are Phillips on saxophone and Decelle on congas. But no one is really considered permanent. “They are hired guns,” says Lewis. “It’s fun to switch people out. That’s why they are the legendaries.” Self-described as Tom Petty and the Heartbreakers meets Incubus with a sax player, it’s hard to categorize this band’s sound aesthetic, and that’s how they like it. Lewis’ role is to create a “groovy growling guitar sound” that the other musicians can “paint on top of,” particularly when it comes to the sax and the congas, which add a sense of diversity to an already indescribable sound. Jacoby plays by ear and Lewis just lets him riff, trusting his instinct to figure out where his sound fits. When they play live, Decelle sings harmony with Lewis, creating a full sound that allows Lewis’ vocals to “punch out.”

The overarching theme of the record, consisting of about thirteen years of material, is Lewis’ viewpoints and experiences. “Kind of tongue and cheek in a sense,” he says. The title of the LP alludes to the phrase “waxing poetic,” which can be defined as verbose, flowery, and poetic speech. “It only makes sense that I would be waxing about those experiences,” explains Lewis. He admits that in that way he’s also taking a dig at himself. The record is dedicated to Tito and Lewis’ late grandmother, Patsy Lewis. She bought him his first guitar. His grandmother is also his muse for the artwork of the album and the cover of the singles that have already been released, particularly because he considers his grandmother’s generation a reflection on the golden era of America. Artist Paige Powell uses this idea to create retro inspired collages that fit the motif of vintage Americana.
Waxing is a songwriter’s album. “Songs will start with just a feeling,” says Lewis. At times, songs seem to write themselves, suggesting that he lets the music flow through him. He waits for inspired moments, focusing on the parts of the music and songs that connect with people. The songs in this album chronicle parts of Lewis, transforming the album into a memoir of sorts. “It’s a chronological map of where he was at one point in his life. It shows how he’s grown as a songwriter and as a human being,” says Abrahm, from the perspective of longtime friend. Reflective songs abound, like in “Breakaway,” where Lewis sings about looking back over decisions, having a fresh perspective, and breaking with traditions. In “No Ordinary Pearl,” Lewis’ creative force is his wife Elizabeth Earl Lewis: “No ordinary pearl. With temporary curls. In this feminine world. I’m in love with a girl named Earl.”

Varied in sound and influence, the album doesn’t follow any certain style. They’re hitting different parts of the music spectrum like southern blues, alternative rock, college rock, indie rock, then taking it to another level by adding saxophone and congas, creating a form of soulful rock. “It brings another element and color to the music,” says Phillips. As the only brass musician in the group, he acknowledges that it’s kind of taboo in rock culture to include a saxophonist, especially since the sax is a solo instrument. It’s important to have form, stay melodic, and maintain a harmonic foundation. “You have to know where you’re going. Stay in line with them. Keep the energy and flow moving,” says Phillips.

In Fort Sumner, Phillips gears up to fill a few songs and refine others that were “too busy.” In “Decidedly So,” he adds a slow grind to a song that begins with melancholic guitar licks and intensifies with an electric guitar and drums medley, culminating with the sax’s noodling sounds dancing with a steady drum beat. “There’s no kinda time to take creative pauses,” Dan reminds Phillips, referring to both notes and time—the nature of the process. The song “Best of Us” is about Tito. After refining the sax fills, the song can play in full. Lyrics like, “I kept waiting for your call, even though it will not come” swim with the orchestral sound of the cello. The room seems to still until the last note. “I need a f—ing cigarette after that one,” deadpans Decelle, walking out of the studio. Logan takes a beat before his feedback. “I like the tightness of this song. Like breathing in tension. I don’t want to take away from that feel,” he says to Dan. In “Mojo,” a song that can be described as a monologue set to music, Phillips adds a hauntingly moving sax solo, adding to the flamenco meets folk meets blues sound. “It’s kinda like a guitar solo,” Lewis remarks to one of Phillips’ sax fills.

“Making music is more about exposing yourself. There is always that uncertainty that people might not like it. But that’s kind of the thrill of being a musician,” says Decelle while talking about contributing to original music. In Waxing, relatability of songs is packaged in an unexpected manner. From loss to songs about love and everything in between, this debut album is fearless in its exposition and exploration of lyrical content and music form. Each song is a self-discovery of sorts, a reminder that what we create is what we leave behind.