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| Review: Jill Jack's 'The Love Hotel' |
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I have so many local CD's waiting for reviews, some discs sit for months before I get to them. So I'm grateful guitarist / producer Billy Brandt e-mailed to remind me I had a copy of Jill Jack's "The Love Hotel" somewhere - because I didn't know exactly where it was. I searched my office, my CD collection and the stacks of discs piled on around my computer and eventually found it hiding in the map bin of my truck - where it's been sitting since last June! How embarrassing! So, without further ado - please enjoy this review of Jill Jack's "The Love Hotel" complete with sound samples and a track by track analysis. Click "Read More" below. - Mitch
CD: The Love Hotel
Artist: Jill Jack
Executive Producer: Billy Brandt
Label: Drum Dancer Records
Studios: Tempermill (Ferndale) & Big Sky Studios (Ann Arbor)
Engineered by: Jim Kissling
Year: 2001
Musicians: Jill Jack (vocals); Emma Jack (backup vocals); Billy Brandt - Guitars & Mandolin and background vocals; Chris Colovas - bass guitar; Nino Dmytryszyn - drums; Tim Diaz - keys, pedal steel & background vocals; Jason Jr. Fisher - additional guitars; Caleb Greyson - ambient guitar on track 10.
The Love Hotel is yet another solid collection of alt-country pearls from local favorite and multiple DMA award winner Jill Jack. Wrapped in a first-class, retail-worthy production by engineer Jim Kissling, this disc is yet another great musical product to come out of Tempermill Studios. This is Jill Jack's third full-length release since 1997's critically acclaimed, "Watch Over Me" and may be her best work to date. Jack's trademark vocal arrangements and organic harmonies (this time with daughter Emma by her side) matched with Billy Brandt's adept understanding of guitar textures, a guttural-thumping rhythm section from Chris Colovas and Nino Dmytryszyn, and Tim Diaz sweetening the mix on B3 and you've got the ingredients for a extremely satisfying musical experience.
But none of that would matter if it weren't for the intuitive sensitivity of Jill Jack's songwriting. She's not afraid to risk vulnerability for her art and, as the years pass and her career ripens, she seems even more resigned to let it all hang out -which is a boon for the listener because she explores darker elements of her personality and ventures slightly beyond commercial appeal in songs like "My Lost Dreams", "Too Much" and "She Aint Breathin'". There's also a sweeter, sentimental quality on this record with tracks like the sweet waltz of "Bye Bye Baby" and the retro-countrified crooning of "Broken Hearted Waves." Of course, you still get some vintage Jack that appeals to a mass audience, particularly the title track, "The Love Hotel", "Tennesee Train" and one of my personal favorites, "Old Man."
Yeah, I know what you're thinking. 'This guy's got a thing for alt-country bands fronted by females; first it was The Wrenfields, then it was Radiocraft and now he's going-on about Jill Jack...What is he, lonely?' I'm telling you, It's a happy coincidence. I really believe that the best MOR song-writing done locally is by alt-country bands and those few talented bands that I've been exposed to just happen to have female singers. But who knows, maybe it takes female sensitivity to cut through the pop cynicism that's become such a boring cliche'. In any case, in any other genre (unfortunately) I don't hear the attention to melodic and lyrical detail that I hear in local alt-country. So while the world is going on and on about Detroit's gloriously hip garage scene, it's typical of me to look elsewhere for fullfillment. In this case, the outer suburbs' rich alt-country scene.
I will say, for balance, that I'm mystified by some of Jill Jack's lyrics (Exactly, what is a Broken Hearted Wave? And why does the ringing of the Love Hotel bell stop time in its place?), but her voice is so striking and the melodies, chord progressions and brilliant vocal arrangements are so emotionally charged, I can't help but express my admiration for the work she and her band have produced in "The Love Hotel." Garcon', I'm checking in.
Track by Track
1. Love Hotel - Jack's lyrics are as cryptic as The Eagles "Hotel California" but her rhythm section has deeper pockets than Warren Buffett. Great stuff. Head-bobbin, hip-swaggerin', two-steppin' thumper with Jack's signature vocal harmonies.
2. Tenessee Train - Extremely satisfying bridge in which Jack confesses, "...it's time for this little Dorothy to leave and be on her way." Download this track from Jill Jack's Website. One of my favorite tracks.
3. Gave Up On Love - Catchy pop gem with southwestern hot-sauce and Jimmy Buffet-style swing. Another deep rhythm pocket by bassist Chris Colovas and drummer Nino Dmytryszyn. I can't help but play air-bass and rubber-neck to this jam.
4. Bye Bye Baby- Sweet, slow-dancing waltz with soulful performace by Jack and tasty guitar work by Billy Brandt and B3 work by Diaz.
5. So It Goes - More great vocal arrangements from Jack. It's no wonder Jill Jack is in such high demand by other top acts, including Robb Roy who used her voice on "Roll On", their first single off the new record and their Hummer 2 jingle. More passion in this performance, she sings, "and so it goes, and so it goes, until there's nothing left of me."
6. Silence - Melodramatic tune about the evil "silent treatment." Jill Jack 's performance sounds closer to Grace Slick on this cut rather than the little 'ole country girl we usually get. Brandt breaks out the whah-whah. Not the best tune on the record, but an harder side of Jack I haven't heard before.
7. My Lost Dreams - Like Bye Bye Baby, this is another beautiful waltz with exquisite chord choices and a wistful melody. A three-quarter time signature really works for Jill Jack. Gorgeous song.
8. All My Tears - The only track not written by Jack, Julie Miller's, "All My Tears" is nearly indistinguishable rhythmically from The Love Hotel's verses. But the "Whoa" section of this track is ultra-cool and reminds me of a Daniel Lanois production (during his Robbie Robertson era). Great stuff.
9. One People - Continuing in the Danial Lanois vein, "One People" is closer to one of his U2 creations. Optimistic and epic-sized chorus with a gripping performance. And again, a vocal arrangement second to none. Man, she's good.
10. She Aint Breathin' Hypnotic, melodramatic and probably the most uncharacteristic song from Jill Jack. "She Aint Breathin'" begins with a whisper and crescendos into a bad trip. The addition of mountain dulcimer reminds me of a Fleetwood Mac tune (can't remember which one at the moment). Someone's been eating the toadstools from the holler ag'in.
11. Miss Emmy Lou - Homage to alt-country icon Emmy Lou Harris which features a clunky mandolin introduction. This tune's reminds me of another local female alt-country dedication: Noreen Novrocki's crowing in the song "Cheryl."
12. Broken Hearted Waves - Broken Hearted Waves (whatever they are) reminds me of the sentimental, full-production country of a late-seventies, ala Connie Francis. This is the kind of tune you need a bouffant hairdo, blue eye shadow and an entire deck of Fairlight strings to wash it all down. Sentimental, syrupy but in retrospect, quite beautiful.
13. Old Man - Jacks' voice rings like a bell in the chorus of this song about substance abuse, specifically, liquid emotional pain management. She sings, "Old man, can't you see that what's been lost can be found?" A strong single for the crossover crowd.
14. Too Much - Major to minor chord melancholy depicting the artist's emotional fatigue? It's always a risk to brave vulnerability. Jack sings, Maybe I wanted it too much / Maybe it's right there in my hands / maybe I looked the other way 'cause I'm afraid / I always thought it would be hard. Who can tell me it's not right to run out that door / who can tell me that they've never felt this way before? Not me; I'm right behind you.
15. WIth Only True Love - Casual guitar and voice duet by Jill Jack and Billy Brandt, in which Brandt is forever memorialized in digital clarity as being, "...full and constipated." Bodily functions aside, Brandt's voice takes on the quality of Elvis Costello in this cuddly track.
If you'd like to read Mitch's review of Jill Jack live at PB Putter's, Click Here
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Average Score: 4.85
Votes: 7
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