What The Critics Say
The Jayhawks' seventh album backs away from their "super-pop" releases like Smile and the underrated Sound of Lies and looks back to their earlier, rootsier sound. The band has whittled itself down again following the departures of keyboardist Jen Gunderman and longtime guitarist Kraig Johnson, leaving behind core songwriter and vocalist Gary Louris, founding member Marc Perlman on bass, and longtime drummer Tim O'Reagan assisted by newcomer Stephen McCarthy on guitar. Produced by Ethan Johns (and overseen by Rick Rubin), Rainy Day Music goes back even further than the band's first albums, channeling the ghosts of the Byrds, Crosby, Stills & Nash, and Buffalo Springfield, and interpreting their '60s folk jangle and lazy, sunny harmonies through the Jayhawks' own sweetly awkward formula. "Madman," in particular, gives the listener a sense of Déjà Vu, sounding like a long lost CSNY demo, and the chiming Rickenbacker 12-string guitar of the leadoff track, "Stumbling Through the Dark," could've been lifted right from the master tapes of "Mr. Tambourine Man." The first six tracks are all vintage Louris gems -- trembling and honest, with warm melodies and hooks for days. Unfortunately, the album stumbles in the second half with the inclusion of two O' Reagan compositions (which try too hard to evoke John Lennon's world-weary mumble and Bob Dylan's nasal whine), and an unsuccessful stab at heartland gospel on "Come to the River." Although the summertime love song "Angelyne" and the waltzing "Will I See You in Heaven" provide bright spots near the end, the album never fully recovers. This is a real shame, since the whole affair starts so strong, and it seems as though if side B could've been trimmed by about four songs (and 15 minutes), Rainy Day Music would stand alongside their strongest albums. Still, fans who complained that their last two albums were "too poppy" or "not rootsy enough" should be pleased with this direction, and it's certainly an album that gets better with each listen, so it may yet prove to be worth its weight in acoustic gold. ~ Zac Johnson, All Music Guide
What The Critics Say
With Smile, the Jayhawks drop yet another sizable chunk of their alt-country sound by the roadside, adding in its place healthy doses of power pop and modern electronic music. Almost half of Smile's songs feature looped percussion, overdubbed drum tracks, or flat-out, funky backbeats. Little blips of sound skitter underneath the mostly acoustic guitars on the wistful "What Led Me to This Town" and make "Queen of the World" a worthy candidate for a dance remix (if the Jayhawks were ever to consider such a thing). Their second record since the departure of founder and leader Mark Olson, Smile is meant as a direct reaction to the pessimism of Sound of Lies, their underappreciated, moody offering from 1997. Ironically, with the charismatic Gary Louris now fronting the group alone, they sound more like a band than ever before. Despite the modern touches, though, the fact remains that Smile retains just enough of a distinctly Americana feeling. On the warm and twangy "Better Days," one of Louris' best songs in years, he sings with genuine regret and heartache the way he treated a long ago lover, and on "Break in the Clouds" he celebrates the comforts of domestic contentment, complete with pedal steel and soaring harmonies that recall the band's landmark work Hollywood Town Hall from 1992. The general shift in direction may alienate a few long-term fans, but much like friends Wilco achieved with their adventurous Summerteeth, Smile's modern touches may bring even more people into the band's orbit. What never changes on the Jayhawks' albums, it seems, are the blissful melodies and well-constructed tunes, and that may just be enough for even the toughest critics. ~ John Duffy, All Music Guide
What The Critics Say
Following Mark Olson's amicable departure, the remaining Jayhawks reconvened under the direction of Gary Louris to record Sound of Lies, the band's most ambitious album to date. Like Wilco's Being There, Sound of Lies uses country-rock as a foundation and wanders off into a variety of different sonic territories, including surf rock and Beatlesque pop, bringing the music closer to the sound of adult alternative pop/rock. Although the surface of the album is pleasant and melodic, Louris has written a uniformly harrowing set of songs, inspired both by the dissolution of his partnership with Olson and a recent divorce. The lyrics have a naked, emotional honesty which would have been more affecting if the music echoed its sentiment, yet the record still has a subtle grace and power, proving that the Jayhawks remain a distinctive band without Olson. ~ Thom Owens, All Music Guide
'Tomorrow the Green Grass'
What The Critics Say
The Jayhawks' final record with singer/songwriter Mark Olson, Tomorrow the Green Grass is also the group's finest. While the band's earlier efforts perfected a more traditional brand of country-rock, their fourth record is marvelously eclectic, both musically and emotionally; never before had they rocked as hard as on "Real Light," dug as painfully deep as on "Two Hearts," or hit quite the same peaks of exuberance as on "Miss Williams' Guitar," a tribute to Olson's new wife, neo-folkie Victoria Williams. The addition of keyboardist Karen Grotberg brings rich new layers to the Jayhawks' sound, as does the inclusion of a string section on cuts like "Blue" and "I'd Run Away," a soaring pop song that's quite possibly the best thing the group ever recorded. A fitting legacy, indeed. ~ Jason Ankeny, All Music Guide
'Hollywood Town Hall'
What The Critics Say
It was one of the more unlikely major label releases of 1992 -- nothing to do with grunge, certainly not a last holdout from '80s mainstream sludge. On the flip side, it wasn't really the incipient alternative country/No Depression sound either, for all that there was a clear influence from the likes of Gram Parsons and fellow travelers throughout the grooves. This wasn't a sepia-toned collection of murder ballads or the similarly minded efforts that were almost overreactions to Nashville's triumphalism throughout the '90s. At base, Hollywood Town Hall found a finely balanced point -- accessible enough for should-have-been success (sclerotic classic rock station programmers were fools to ignore this while still playing the Eagles into the ground) but bowing to no trends. Its lack of variety tells against a bit -- while there are certainly stronger moments than others, most of the songs do have a tendency to blend into each other -- but the core strengths of the group come through. George Drakoulias fleshed out the sound just enough, with the side help of performers like Benmont Tench and Nicky Hopkins adding fine extra touches without swamping the identity of the group. Piano and organ may be prevalent, but it's really Olson and Louris' great harmonies that are the core of things, giving songs like "Crowded in the Wings" and "Settled Down Like Rain" a high-and-lonesome sparkle. Callahan's a good drummer, if not particularly noteworthy, but he keeps the pace steady without dominating the tracks, Drakoulias keeping him back in the mix a bit. Olson's eventual departure isn't really explained by this disc -- he might have been tired of the attempt to aim for commercial success, but this sounds more like something made for the group's own satisfaction that connects beyond it as well. ~ Ned Raggett, All Music Guide
What The Critics Say
The songs which make up Blue Earth originated as demos, and save for some minor studio tinkering, are presented here in their original embryonic state. As a consequence, the record lacks punch; spare and economical, the songs are simply too primitive to come to life in this setting. Nonetheless, the growth of the band's songwriting skills over their debut is substantial; while many of the themes -- drifting, drinking, and lost love -- remain the same, they're handled with greater insight and clarity than before, with a keen eye for detail and nuance. ~ Jason Ankeny, All Music Guide
