#beforethisworld

           When choosing which album to review each week, it’s a toss-up between if I researched what was being released that particular week or if I just “winged it”. This week’s selection happened to be one of the latter, as it just happened to intrigue me while I was perusing the new release wall – posing a slightly bigger challenge since I am honestly not familiar with this artist at all. Since then, I have done a lot of digging and discovered the impressive career that American singer-songwriter James Taylor has carved out for himself thus far. Through his forty five years as a recording artist, Taylor has overcome some incredible obstacles, including bouts of severe depression, heroin addiction, a major motorcycle accident that broke both of his hands and feet, and the loss of multiple friends due to addiction. Even more impressive are his accomplishments that have resulted from his seventeen studio albums, many of which feature guests such as Paul McCartney, George Harrison, ex-wife Carly Simon, as well as Paul Simon and Art Garfunkel. On top of his multiple honorary degrees in music and chart topping hits, Taylor has also been awarded with five Grammy Awards – and he is still forging on, releasing another successful album this past June. Debuting at number one for the first time, “Before This World” proves that not only is James Taylor a musical legend, but that his work is truly timeless.

               Coming in with a country vibe, complete with twangy guitar and violin, the first track reminds me of the small town jamborees I attended as a child with my grandparents. Utilizing a simple, repetitive structure, it eases the listener into the record with an inviting and familiar sounding song that has you at least tapping your foot by the middle of the first verse. Although some of the lyrics touch on some dismal topics (“Somehow I haven’t died”), it closes on a positive note; looking back on life and embracing the present – “Today Today Today”. Renowned European cellist Yo-Yo Ma accompanies a romantic nylon string guitar and piano melody, adding depth to the instrumental portions of “You and I Again”. Abandoning the country feel that precedes this song, an “adult contemporary” label would be more fitting – mostly due to the easy listening nature and instrument choice on this track. Musically and lyrically comparable to ABBA’s “Slipping Through My Fingers”, the vocal melody has a smooth, pulsing flow to it, as it crescendo and decrescendos without changing notes. It tells a nostalgic story of longstanding love, unfortunate timing and the perseverance that eventually allowed the relationship to blossom – “In the time we have here, this time we have it all – you and I again”. Highlighting the true singer-songwriter aspect of Taylor’s style, “Angels of Fenway” follows a narrative concept, outlining his Nanna’s love for the Red Sox and how they bonded when she passed this interest down to him. The chorus-type lines (starting with “Angels of Fenway…”) briefly punch-in with a fittingly angelic aura to break up the cheery guitar lick. Henry, whom I assume to be Taylor’s grandson, appears during the second verse, mimicking an exchange between James and his Nanna – a neat, full circle type detail. The fourth and fifth tracks, “Stretch of the Highway” and “Montana” respectively, complement each other in the sense that they explore the highs and lows of being on the road. The first is an upbeat tune that exudes a Sunday afternoon drive type vibe, complete with a lazy brushed snare beat, a peppy bassline, and bright horn section. On the other hand, the latter can be described as a folk-inspired waltz. More subdued instrumentally and melodically to match the subject matter, the track is also primarily guitar and piano based, once again allowing the vocals and narrative to be in the spotlight. Lyrically, the two are also polar opposites, as Taylor describes “My favourite thing is to miss my home” in “Stretch of the Highway” while in “Montana”, he longs to be in the comfort of his home (“I wish to my soul I was back on Montana, high on my mountain and deep in the snow. Up in my cabin, over the valley. Under the blankets with you”).

               Kicking off the second half of the record by returning to a faster paced tune, “Watchin’ Over Me” hints at some the biggest obstacles that Taylor has overcome throughout his life. For example, the first line, “Watchin’ over me when I was high”, is most likely about his aforementioned heroin habit. But instead of dwelling on the serious negative impact this had on his life, this song shows his gratitude and appreciation for life – “Guess I got to say it’s a lovely day”. Musically, the acoustic guitar riffs and rhythm section combined create a bit of a tropical destination vibe, grounded by the subtle clean guitar noodling in the right channel as well as the addition of staple folk music instruments (like the violin, accordion and organ). Upon the first listen, the seventh track, “Snowtime” was admittedly conceptually confusing to me. Evident in the opening line “Oleana, Via del Norte, O Canada”, Taylor uses a mixture of Mexican and Canadian imagery into his lyrics, and supplements the musical component with traditional Mexican instruments. Once the chorus hits, however, everything falls into place: “Someone summoned up summer just strumming on an old guitar. And every note was the antidote to December” – essentially describing the ability to use music as an escape. Packaged as a two-part piece, the title track consists of another Yo-Yo Ma collaboration in conjunction with a gorgeously harmonized folk singalong – and features artist Sting accompanying Taylor on vocals. “Before This World/Jolly Springtime” is an ode to creation with subtle religious undertones. Focussing on the creation of the earth in the first half and the beginning of new life in the springtime during the latter, the track follows suit musically – employing powerful instruments to drive home the deep questions behind existence and a lighter, more carefree sound to represent the spring. Atop a drumroll beat and powerfully strummed guitar, Taylor sings about America’s blinding patriotism in “Far Afghanistan”. His thought that “The enemy’s no different” stands out to me, as most war-related songs written by Americans tend to be brutally overdone. Similarly, a musical fusion of American folk and traditional Middle Eastern instruments binds the song together; integrating the sound of the sunny shehnai into the mix for added effect. “Wild Mountain Thyme” closes out the album with a calming Scottish folk song written by Irish musician Francis McPeake in the early to mid-twentieth century. With other musical greats, such as Bob Dylan, putting their stamp on this classical tune, it only fits that Taylor takes a stab at it as well. Also, besides the fact that his rendition is a beautiful arrangement, he also pays respect to McPeake and gives credit where it is due, unlike Mr. Dylan.

Overall Impression:

               With an impressive music career spanning nearly half a century, it’s no wonder that this expertly written album by James Taylor has received such high praise among critics and fellow musicians alike. So much so that the fact that it was recorded in a converted barn in rural western Massachusetts is not only unbelievable, but slightly humorous. Chock full of guest artist appearances and vivid story-telling, “Before This World” is best described as easy listening with major credentials. Although there is no apparent climax or highpoint of the album, this release is thoroughly soothing and serves as the perfect antidote to a hectic day.

“Before This World” on iTunes: https://itunes.apple.com/ca/album/before-this-world/id980668059

“Before This World” album teaser: https://www.youtube.com/watch?v=Tfwf14gIsNk