Friday 26 April 2024

Album Review: Ben Glover - And The Sun Breaks Through The Sky

 


Share the words anonymously with the poetry-inclined and approval is forthcoming. Share the musical nuances detached from the lyrics and sound geeks offer a nod. Combine these two essential elements and the result is Ben Glover back at the peak of the singer-songwriter mantle. A past canon of carefully curated songs left this Nashville-based Northern Irishman heavily stocked in the credit bank and at ease to decide whether a resume would further furnish the pile. Major winners in this return to form include those with the forensic demeanour to extract multiple nuggets from the past work, whether on solo records, co-writing with the  acclaimed or joining forces in the Orphan Brigade. Without glossing over 2020s short EP, it's been six long years since diving deep into a full length solo Ben Glover album. Roads may have branched off elsewhere in the intervening years, but AND THE SUN BREAKS THROUGH THE SKY brings things right back into focus with a compelling collection of nine finely crafted songs.

A quick scan down the credits reveals familiarity in abundance. Co-writing has been a fruitful path for Ben Glover and all but one materialise from that route. It's fitting that 'Make My Way Own' opens the album as the sole solo write due to the personal flavour pouring from the lyrics. Being greeted by the lines: 'Life can be a sweet conversation/between the dark and light' heralds a constant thread of poignant phrases spun like a poet web. A familiar name in Jaimee Harris lends her vocals to a track elaborately decorated. This links sleekly into a a couple of songs co-written with Harris' associate Mary Gauthier. This powerful partnership of pedigree prospers again with 'The Meadow' laced with southern sentiment and 'Till We Meet Again' proving the set piece closer awash with a lyrical structure synonymous of Danny Schmidt at his best. Both these songs appeared on Gauthier's DARK ENOUGH TO SEE THE STARS album, a continuing trait of co-written songs have multiple lives. 

We are accustomed to albums of this nature being produced by Neilson Hubbard. Not on this occasion though as Glover and Dylan Alldridge (another familiar names behind the controls) share the production duties. Hubbard does appear as the writing collaborator on title track 'And the Sun Breaks Though the Sky'. Keeping the East Nashville theme ticking is the usual link with Kim Richey. The two have been a touring combo in the past and team up with a pair of tracks on the record. 'One Fine Day' emerged as an early pick and the poetic intent in the writing marks the card whether wrapping your ears around the song or taking time to read the lyrics. 'Break For You' blossoms in the closing stages of the record with the mood for savouring excellence bedded in. 

Two names not recognised in the writing stakes take their place suggesting a move to keep the process fresh. 'There's a River' written with Eliot Bronson adopts a wealth of imagery that once again met with approval in poetic circles. Kent Agee assisted in the creation of 'Lifetimes Apart', a piece with a slight sound deviation courtesy of some faint strains of flugelhorn enhancing a lighter produced number. 

Trading songs with the greats has long been a Ben Glover forte. 'Arguing with Ghosts' did have a second life in 2020s low key EP release, but it's 2024 re-surfacing will further elevate the traction that is one of the integral reasons Gretchen Peters is a giant among song writing peers. It is interesting to note Matraca Berg made this a triple co-write in the day, a name we don't hear much of these days but is sorely missed. Together an absolute gem was created that lavishly opened Peters' masterclass project DANCING WITH THE BEAST. A sketchy memory somewhere in the distant past links the song to Peters' mother. Either way pouring over the majestic writing and six-year update on the production is a fine pursuit. It is also interesting to assess how a different version can be vocally owned. Ben Glover is adept at this as exemplified elsewhere on the release.

With such a strong record marking a celebrated return to the present array of astutely delivered song writing albums, the next stage is to re-establish some live presence. Always the part of the game with the most logistical challenges, yet when overcome unfiltered sharing becomes the icing. However you can separate the live from the studio, and the songs meticulously wrapped in the various formats of AND THE SUN BREAKS THROUGH THE SKY penetrate willing ears in the record form. Poetically dreamt, creatively produced - it is good to welcome the music of Ben Glover back. 

Album Review: Pi Jacobs - Soldier On

 

www.pijacobs.com 

SOLDIER ON is the tenth release from Californian singer-songwriter Pi Jacobs and represents an artist at the peak of their powers. The eleven track-forty minute effort often checks in to the bluesier side of the American roots spectrum. This eases immediately into the listeners's lap with some nifty guitar work hailing further catchy credentials wrapped in album opener 'Hallelujah'. This slips seamlessly into an harmonica blowing start to 'Too High Too Low' with Jacobs' gutsy vocals refining an ear worm piece adorned with the relatable lyric sounding like 'we share a few laughs, three chords and the truth'. Sage words in the title chorus also suggests a balanced approach to life. Coincidentally, her last album in 2020 was ironically titled TWO CHORDS AND A LIE. 

'Coyote' picks the beat up a tad and comes across as an affable listen pitching itself to be savoured by many without ditching a roots undercurrent. This possesses one of many memorable melodies on the record. 'Something To Lose' brings a sedater presence to the proceedings with a voice, simple guitar and a bunch of heartfelt lyrics all that's needed to move the album along. The classy credentials of Pi Jacobs come to the fore in the poignant track 'Smoke Signals', dealt with a punchy beat while elaborately sung. 'Shoo Fly' represents the funky pivotal mark of the record with all the hallmarks of grammy producer Eric Corne being in charge of twiddling the knobs to bring the best out of Jacobs and her band. 

Pi Jacobs has had a much travelled career criss crossing her homeland acquiring an amalgam of sounds and styles that embed a core of Americana. You sense being in the company of a distinguished musician highly capable of finding the listener's sweet spot. 

'Mermaid' kicks off the album's second phase (or track #7 for the digital listening experience) and builds on the serene qualities displayed in the first half. Once again a mild dose of twang enhances the roots-tinge. For the first time, a slight edge in a contemporary country direction appears in the opening bars of 'My Last Day' and remains as the track rolls out to further develop a resolute album. Jacobs' dips into character writing for 'Charlene', which comes across as a personal song, almost in a lullaby style with added strings detected. The album title track appears in the penultimate slot with perhaps a kind of straightforward message emanating from the mid tempo 'Soldier On'. Maybe something all artists have to so at some stage of a lengthy career. The curtain comes down in the secure hands of 'I Don't Feel Lonely', a tribute to music itself and a fitting finale to an album stacked with sounds forming a pleasurable dive into the music of a consummate professional. 

The undeniable class of Pi Jacobs consistently stands out throughout the duration of SOLDIER ON. While longstanding admirers will savour this effort, an open door is there for new arrivals. Good musicians don't dwell and reaching new parts can stimulate a career to greater heights.