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Days Are Mighty
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Days Are Mighty
Current price: $17.99
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Days Are Mighty
Current price: $17.99
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Expatriate artist, singer, and songwriter
Jeb Loy Nichols
began making records to some "Americana" fanfare and press hype for
Capitol Records
back in 1997. He had a killer single on the
Lovers Knot
set called
"As the Rain,"
which combined reggae, folk changes in a minor key, and
Nichols
' lovely, dry, laid-back voice with some high lonesome slide guitars and a bubbling bassline. The label even paid for a promo-only remix of the track by dubmaster
Adrian Sherwood
. Trouble is, everyone was looking for
Robert Earl Keen
,
Lyle Lovett
, and
Abra Moore
, and anyone who sounded like a "nice" version of
Townes Van Zandt
(someone who had gone to college, could write a half-decent song, and could entertain the large, white, "feel good about us" types who filled yuppie folk venues). The funny thing is that
left Austin so he could get away from all that macho boy's-club yuppie stuff. He went to London because of his love for reggae and "lovers rock."
dropped off the Yankee radar and wasn't heard from on these shores again until 2008. He never stopped making music, though; in fact, every record he released after
(seven) was better than its predecessor. It's obvious as to why:
is not exactly obvious. He's quiet, has a lovely but uncommon voice (a dead cross between
James Taylor
's and a young
John Martyn
's), and writes gentle, poetic songs that "paint" their stories rather than announce them. He's a genteel but unpretentious sort whose songs are so intimate you could blink and they'd go right by you. They don't assert; rather, they request that you actually listen to them.
Days Are Mighty
is another step in the songwriting development of
. The first thing is the genuine surprise that, had he been signed to a label like
Blue Note
that goes out of its way to find pop singers who write like this, he would have been a star -- inasmuch as anyone is these days. He doesn't seem too concerned though: his effortless, beautiful song poems are as airy and as full of suggestion and gorgeous if skeletal melodies -- they need nothing extra -- as ever. At just a shade over 33 minutes,
doesn't provide any padding; the tracks either work or they don't. Mostly they do, in spades. The accompaniment behind
' voice and guitars is by bassist
Andy Hamill
, pianist
Jennifer Carr
(she also plays Fender Rhodes and sings backup), drummer/percussionist
Jonathan Lee
Lorriane Morley
on backing vocals. Check the opener,
"My Kind,"
where the Rhodes, hand percussion, a harmonica, a spindly wah-wah guitar line, and a warm bubbling bassline weave together the vibe of early
Steely Dan
John & Beverley Martyn
(if they both sang on
"Solid Air"
), and wispy, funky Caribbean soul. With its painterly rhymes, ringing piano tones that are covered in warmth and echo, and that strikingly clear, gentle harmonica solo, it's worth the price of the album all by itself just to play that track while driving along the beach, or on a hot, muggy summer night. The set changes up fairly radically but not jarringly with the slow blue-eyed low-voiced soul of the title track, with acoustic and Rhodes piano, a steady pulse that accents the loping, quietly grooving electric guitar, and the trio of voices --
and his backing singers affirming the small wonder of life as it unfolds day by day. Even the sadder tunes are wrapped in such relaxed -- but hardly tedious -- atmospheres that they capture the listener almost subliminally: check the cuts
"Lay Down and Cry"
and
"25 Years Too Late."
The
Vince Guaraldi-esque
piano intro that commences
"Poor Little Barn"
with only the quietest acoustic guitar offers a stunning juxtaposition of a picaresque natural scene and the kind emotional upheaval that can change a life.
The less pop-oriented numbers like
"That's Not What She Said to Me"
are so rooted in folksy old-time country that modern country wouldn't recognize them. The words, however, reflect the human condition in the 21st century. The winter waltz of
"After November"
brings all the above elements together in a seamless warm blanket of gray images delivered in a melody that may be spare, but is infectious and irresistible. The offbeat pop reggae in
"Let's Not Fall"
offset by the jazzy rhythmic softness of
"Almost"
sounds like the group
America
hanging out with
the I-Threes
and a relaxed
Sly & Robbie
. The knotty intro to the closer,
"I Need You So,"
is deceptive because it's such an airy pop tune, with a weighty, bittersweet, almost desperate narrative that reveals the hard truth that great beauty can be found in everyday pain and suffering and loneliness. American audiences may not "get"
this time around either, but that would be too bad, since this is the best recording he's issued yet. He has no gimmick, no schtick; his artful, unpretentious songwriting is accessible to virtually anyone, and is so precise in a musical sense that it is poetic and spacious without having to venture to reach very far. In other words, he's a songsmith of craft and refinement, who will continue to make records and go on following his artist's way whether you find a way to listen to him or not. But if you don't at least make the attempt to encounter him, it will be your loss that is greater; you will be deprived of a tremendous if unassuming artist who seems to offer a view of life that is so intimate and good-natured that it could be your own. [Released by
Tuition
in the U.K.,
is released through
Compass
in America.] ~ Thom Jurek
Jeb Loy Nichols
began making records to some "Americana" fanfare and press hype for
Capitol Records
back in 1997. He had a killer single on the
Lovers Knot
set called
"As the Rain,"
which combined reggae, folk changes in a minor key, and
Nichols
' lovely, dry, laid-back voice with some high lonesome slide guitars and a bubbling bassline. The label even paid for a promo-only remix of the track by dubmaster
Adrian Sherwood
. Trouble is, everyone was looking for
Robert Earl Keen
,
Lyle Lovett
, and
Abra Moore
, and anyone who sounded like a "nice" version of
Townes Van Zandt
(someone who had gone to college, could write a half-decent song, and could entertain the large, white, "feel good about us" types who filled yuppie folk venues). The funny thing is that
left Austin so he could get away from all that macho boy's-club yuppie stuff. He went to London because of his love for reggae and "lovers rock."
dropped off the Yankee radar and wasn't heard from on these shores again until 2008. He never stopped making music, though; in fact, every record he released after
(seven) was better than its predecessor. It's obvious as to why:
is not exactly obvious. He's quiet, has a lovely but uncommon voice (a dead cross between
James Taylor
's and a young
John Martyn
's), and writes gentle, poetic songs that "paint" their stories rather than announce them. He's a genteel but unpretentious sort whose songs are so intimate you could blink and they'd go right by you. They don't assert; rather, they request that you actually listen to them.
Days Are Mighty
is another step in the songwriting development of
. The first thing is the genuine surprise that, had he been signed to a label like
Blue Note
that goes out of its way to find pop singers who write like this, he would have been a star -- inasmuch as anyone is these days. He doesn't seem too concerned though: his effortless, beautiful song poems are as airy and as full of suggestion and gorgeous if skeletal melodies -- they need nothing extra -- as ever. At just a shade over 33 minutes,
doesn't provide any padding; the tracks either work or they don't. Mostly they do, in spades. The accompaniment behind
' voice and guitars is by bassist
Andy Hamill
, pianist
Jennifer Carr
(she also plays Fender Rhodes and sings backup), drummer/percussionist
Jonathan Lee
Lorriane Morley
on backing vocals. Check the opener,
"My Kind,"
where the Rhodes, hand percussion, a harmonica, a spindly wah-wah guitar line, and a warm bubbling bassline weave together the vibe of early
Steely Dan
John & Beverley Martyn
(if they both sang on
"Solid Air"
), and wispy, funky Caribbean soul. With its painterly rhymes, ringing piano tones that are covered in warmth and echo, and that strikingly clear, gentle harmonica solo, it's worth the price of the album all by itself just to play that track while driving along the beach, or on a hot, muggy summer night. The set changes up fairly radically but not jarringly with the slow blue-eyed low-voiced soul of the title track, with acoustic and Rhodes piano, a steady pulse that accents the loping, quietly grooving electric guitar, and the trio of voices --
and his backing singers affirming the small wonder of life as it unfolds day by day. Even the sadder tunes are wrapped in such relaxed -- but hardly tedious -- atmospheres that they capture the listener almost subliminally: check the cuts
"Lay Down and Cry"
and
"25 Years Too Late."
The
Vince Guaraldi-esque
piano intro that commences
"Poor Little Barn"
with only the quietest acoustic guitar offers a stunning juxtaposition of a picaresque natural scene and the kind emotional upheaval that can change a life.
The less pop-oriented numbers like
"That's Not What She Said to Me"
are so rooted in folksy old-time country that modern country wouldn't recognize them. The words, however, reflect the human condition in the 21st century. The winter waltz of
"After November"
brings all the above elements together in a seamless warm blanket of gray images delivered in a melody that may be spare, but is infectious and irresistible. The offbeat pop reggae in
"Let's Not Fall"
offset by the jazzy rhythmic softness of
"Almost"
sounds like the group
America
hanging out with
the I-Threes
and a relaxed
Sly & Robbie
. The knotty intro to the closer,
"I Need You So,"
is deceptive because it's such an airy pop tune, with a weighty, bittersweet, almost desperate narrative that reveals the hard truth that great beauty can be found in everyday pain and suffering and loneliness. American audiences may not "get"
this time around either, but that would be too bad, since this is the best recording he's issued yet. He has no gimmick, no schtick; his artful, unpretentious songwriting is accessible to virtually anyone, and is so precise in a musical sense that it is poetic and spacious without having to venture to reach very far. In other words, he's a songsmith of craft and refinement, who will continue to make records and go on following his artist's way whether you find a way to listen to him or not. But if you don't at least make the attempt to encounter him, it will be your loss that is greater; you will be deprived of a tremendous if unassuming artist who seems to offer a view of life that is so intimate and good-natured that it could be your own. [Released by
Tuition
in the U.K.,
is released through
Compass
in America.] ~ Thom Jurek
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