Album Review: Sally Jaye - You'll Be Okay, Baby
Plain and poetic, Sally Jaye lyrically harnesses the basics of life in a collection of songs oozing with sweet connective melodies. This Georgia native may not have hogged the limelight as a solo singer-songwriter, preferring other performing routes, however all the credentials are evident to place her at the pinnacle of this craft. YOU’LL BE OKAY, BABY is a tight array of cleverly mastered songs shining a light on ordinariness in a style only a fabled songwriter can covey. Working with accomplished musician Brent Cobb, who undertook a co-production role, has handsomely paid off with an optimum sound spilling out of ten lean songs smoothed without a lack of substance.
Jaye’s principle playing partner is Brian Wright who co-wrote nine songs with her and plays guitar on the full set. The outlier in a writing context is perhaps the one track that burns the brightest. ‘Love on the Road’ is a recent song written by Aaron Lee Tasjan packed with guile capturing the essence of seventies sensual American songwriting. The line ‘loneliness is only love with nowhere to go’ is pure gold-plated lyricism. On this occasion Jaye’s impeccable vocal presentation is her contribution, yet elsewhere her writing assets illuminate the page.
‘Making Pretty Babies’ is a template of considered kitchen sink nostalgia and kickstarts the album with ease. Each line paints a picture and summer in South Georgia is depicted. ‘Lovin’ and Losin’ is an archetypal character song portrayed from a sad perspective with a realistic tint and resemblant of Angaleena Presley at her best. The opening trio is completed by ‘Faraway Feeling’, a reflective song reaching gentle peaks as life is philosophically contemplated.
A lovely lilt adorns the enigmatic ‘Your Brother’s on the News Again’. This time contemporary likeness leans towards Brandy Clark as a jaunty soundtrack houses punchy writing. Jaye aims for songs that her audience will resonate with and the underlying theme here will have some takers. The aforementioned ‘Love on the Road’ holds court as the album reaches its mid-way mark leading you to more riches.
The second half begins with darker overtures to ‘Fast Talkin’ Jackie’ as we delve deeper into character analysis. A distinctly different tone gives the album a rounded feel within a recognisable remit. Like elsewhere, a short instrumental burst on electric guitar acts as an energiser. ‘Bird Dogs and Fence Lines’ is a drooling tale of event aftermath with a killer chorus up there with the album’s memorable best. More characters come to the fore in the utterly adorable ‘Till It All Makes Sense’ commencing with the instantaneous clear line ‘Shelly is a girl from across the street’. You immediately want to learn more and are duly informed three minutes later.
Penultimate track ‘Win Some Lose Some’ exhibits the basic instincts embedded in the record’s theme and contains the album title ‘you’ll be okay, baby’ in the chorus line offering solace to life’s travails. It’s job done as closer ‘Baby Bear’ ushers us towards the final curtain with another example of not a word, breath or note wasted. Metaphorical maybe, it’s the sort of song you could have envisioned the late Dolly Parton including in her canon.
Wise words will boost the credentials of this album across multi-media. Sally Jaye has nailed simplicity in a succulently cultured way. YOU’LL BE OKAY, BABY offers reassurance while rewarding the endeavours of those seeking the holy grail of accomplished songwriting.
