The Jayhawks - Tomorrow the Green Grass (1995)
The Jayhawks may have made their definitive album in 1992 with the alt-country masterpiece Hollywood Town Hall, but it’s the opening track of their subsequent effort that gives the band their definitive song. In fact, “Blue” might just be the summit of the band’s career, not just because it’s their biggest hit to date, but because it stands at a musical crossroads, the calm before the band’s relative storm. With its surprisingly smooth acoustic guitars (less twang), and keyboard/string buildup, “Blue” is a rich departure from anything prior, a sure sign that its residence, Tomorrow the Green Grass (1995), is a different kind of Jayhawks masterpiece.
In addition to having one of the better album titles ever, Tomorrow the Green Grass boasts a sort of anticipation in its music and concept (certainly apparent when comparing its lush spring-like album cover to that of Hollywood Town Hall’s stark winter scape), and the contents reflects that. The austere twang is largely absent here, replaced with subtle piano and occasional strings; however, nothing here feels overproduced. Tomorrow is still very much an alt-country album; it’s just been augmented with more melody. And in the hands of core songwriters Gary Louris and Mark Olson, the results are nothing short of masterful. While Tomorrow might not be as arresting as Hollywood, it’s certainly more accessible. The clear winner is “Blue,” but the expert arrangements and executions of songs like “I’d Run Away” and “Bad Time” give the album secondary gems against a backdrop of muscular song craft. However, the real secret weapon of Tomorrow is the new addition of pianist Karen Grotberg. The combination of more pronounced keyboards and female vocal harmonies with the standard Louris/Olson vocals makes for a much more eclectic and flushed out album. Indeed, the band rocks a little harder on “Real Light,” but then digs a little deeper on “Two Hearts,” only to soar a little higher on “Nothing Left To Borrow.” All in all, there is not a weak track to be found; only differing musical avenues that ultimately end up at the same satisfying destination.
In addition to having one of the better album titles ever, Tomorrow the Green Grass boasts a sort of anticipation in its music and concept (certainly apparent when comparing its lush spring-like album cover to that of Hollywood Town Hall’s stark winter scape), and the contents reflects that. The austere twang is largely absent here, replaced with subtle piano and occasional strings; however, nothing here feels overproduced. Tomorrow is still very much an alt-country album; it’s just been augmented with more melody. And in the hands of core songwriters Gary Louris and Mark Olson, the results are nothing short of masterful. While Tomorrow might not be as arresting as Hollywood, it’s certainly more accessible. The clear winner is “Blue,” but the expert arrangements and executions of songs like “I’d Run Away” and “Bad Time” give the album secondary gems against a backdrop of muscular song craft. However, the real secret weapon of Tomorrow is the new addition of pianist Karen Grotberg. The combination of more pronounced keyboards and female vocal harmonies with the standard Louris/Olson vocals makes for a much more eclectic and flushed out album. Indeed, the band rocks a little harder on “Real Light,” but then digs a little deeper on “Two Hearts,” only to soar a little higher on “Nothing Left To Borrow.” All in all, there is not a weak track to be found; only differing musical avenues that ultimately end up at the same satisfying destination.
While the album displays no feeling of finality, it would end up being Mark Olson’s final outing with the band, where he amicably left in 1996 to spend more time with his then wife, musician Victoria Williams (who is paid tribute on this album via “Miss Williams’ Guitar,” which feels like bittersweet irony in retrospect). Therefore, Tomorrow the Green Grass marks the end of chapter one in the Jayhawks story, but it also provides us with a distance glimpse of what was to come in chapter two. While the continual distancing from alt-country is not necessarily suggested here, its eventuality seems logical considering the bands evolution up to this point. That being said, this is a comfortable Jayhawks album, with the band at its most realized, before any of the upheavals or true sonic shifts. It’s their lesser masterpiece, but a masterpiece none the less.
4.5/5
"Gave all of my mercy/ Gave all of my heart / Never thought I'd miss you / That I'd miss you so much"
McS
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