EVERGREEN

Description

Beth Bombara’s album Evergreen began thousands of feet above sea level. Looking to gain some perspective and clear her head after a long tour, the American rock & roll-influenced artist tucked herself away in the Rockies, in an isolated cabin. The cabin’s name? Evergreen. She spent her time wandering among acres and hectares of virgin forest around the cabin, on steep rocks that bore no resemblance to her native Michigan or her adopted city, St. Louis. Almost by accident, the songs on her sixth album began to take root. From Tom Petty’s heartland rock and roll to Aimee Mann’s quirky indie-folk band, Evergreen draws its inspiration from iconic sources. Even so, it is the unique work of Beth Bombara, a singer-songwriter who, with more than half a dozen albums, recalls the traditions of the past while seeking new horizons. Evergreen is her latest mark of success: an album that matches her craft with the nuanced stride of her most powerful band to date. The album’s first two tracks set the mood for the whole record. The aforementioned whistling guitar riffs on “I Only Cry When I’m Alone” rise to meet Beth’s gravelly contralto, over knotty bass lines and a frantic rhythm. The assured melody and instrumentation create a solid façade to mask a real sense of self-doubt; “Feeling out of place, planning my escape, it’s not the truth that sets you free, a perfect smile is all you need.” By contrast, there is an urgency to “Upside Down,” which suggests that the confidence crisis has eased; the sharp chords, driving bass and stunning rhythm reflect a love affair gone wrong. But the sweet chorus strives to rise above the hard times. “24 hours and we’re back, same old story turns it upside down / Leave behind those ‘could have been...’ and we’ll go somewhere else.” Caustic guitar riffs on the reconciliation of breakup signals. A few songs push Beth and her band out of their comfort zone, reaching back to the 70s for what Tenacious D. calls inspirado. “Good News” snaps, crackles and pops with a satisfying tightening of Southern Boogie. Going back even further, the title track calls up the specter of Phil Spector. “Evergreen” is a bit of a girl-group blend of 60s pastiche, with propulsive Jangle Pop and touches of Country Rock. Electric and acoustic riffs echo over descending bass lines, arrowed keys and a slippery dotted rhythm. The lyrics draw strength from the resilient evergreen, which is “always bent, never broken.” The rubbery rhythm guitar blends with supple lead riffs during the break, underscoring the song’s pliant feel. The standout tracks here are “Does It Echo” and “Criminal Tongue.” The former is a bluesy lament, recalling Fleetwood Mac’s Mystery To Me era. Bright guitar notes evoke the dark colors of the organ, gossamer bass and a phased rhythm. This time, nature is used as a metaphor for a volcanic relationship. Beth’s versatile touring band includes her husband Kit on bass, backing vocals, percussion and synthesizers, Samuel Gregg on electric guitar and backing vocals, and Mike Schurk on drums and percussion. Beth handles the acoustic and electric guitars as well as lead vocals. With the addition of their friend John Calvin Abney on piano, organ and harmonica, they head into the studio. After fine-tuning these songs on the road, they had no trouble settling into a live room and cutting the album in less than a week. They even handled the production duties themselves. With Evergreen, Beth Bombara & company added new colors to their sonic palette without really sacrificing their signature sound. Her voice echoes the bluesy grain of the two Bonnies (Raitt and Bramlett), as well as folkier antecedents like Natalie Merchant and Aimee Mann. This album puts in a lot of effort, but still manages to feel light.