Customer Reviews

Day the River Sang

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4 star:		(2)
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Somehow, it's easier to keep the faith just knowing that John Stewart is still out there, writing tunes and recording CD albums. Stewart provides shelter for those of us who long for truly grown-up music, for hard-lived imaginings of heartache and resurrection, and for songs of the weathered, deep-rutted road. "Havana" came out three years ago and offered immediate classics like "Rally Down the Night" and "Dogs in the Bed." Now, Stewart has crafted another gem, crisp and polished, straight from his noble, weary heart, with at least five songs that could take up immediate residence near the top of the Stewart catalog. He's got three distinct voices these days--plaintive on "Sister Mercy," robust on "Amanda Won't Dance and "Baby It's You," forthright on the title track--and he uses each with refreshing integrity. And, oh my, what a gorgeous guitar this man doth play. Spin this CD in concert with any of Stewart's best album work--be it "California Bloodlines" or "Punch the Big Guy"--and there is no doubt about it...the Lonesome Picker is still going strong.

If you read my review of Stewart's The Complete Phoenix Concerts, you know that I have been listening to this guy for almost 40 years, from his first solo effort, Signals Through the Glass (imagine using a wonderful quote from John Updike on the cover of your first solo album). I love his work, his humor, his songs of both hope and despair; on the other hand, I would not stamp every one of his recordings with the highest rating. At his worst, he is very good. At his best, there is no one better.

The Day the River Sang is a fitting valedictory to this man's career, his experiences, and his beliefs. It's no secret that Stewart, nearing 70, is not only still writing but is still performing, both here in the states and in the British Isles. His lovely and lilting homage to the sweet seduction of the road is found here in the song "Jasmine." Now Stewart has handled this topic before, as early as in "Freeway Pleasure" with the warning that "as long as the tires still cry on the highway, as long as the dogs still die on the road" he will always think of the road as his home. And as sharp as those images are, Stewart at least matches them in "Jasmine" as he sings "and, oh, here come those highways again, and, oh, here I go. And, oh, here comes 'I'll find you my friend' in roses and canyons" where "night blooming jasmine" still grows.

Stewart's "Broken Roses" gives word and music to the bittersweet truth of life that can only be learned by living it, by suffering through it, by finding the miracles among the madness. "I don't know what it means," he admits, "but I'm playing it through."

As with virtually all of Stewart's recordings, there seems to be one song that should have found a huge audience, should become part of this country's intellectual and emotional currency. His early "Armstrong," his Mount Rushmore like "Mother Country," his truly political and wonderfully populist "Survivors" all come to mind. On this recording, it is "New Orleans." Every time I listen to it, I recognize it for what I think it is--a soundtrack for both the glory and the ultimate tragedy of that great city. His voice is soft but plaintive; the New Orleans piano accompaniment is both chilling and sweet. And I swear that I can hear a light chuckle in Stewart's voice when he sings of "Voodoo Alley and Sweet King Cake, Confetti rain, for heaven's sake." Parts of the melody are familiar, as Stewart borrows from another early song, "Kansas," which, in its first incarnation, was bleakly existential yet, because this is Stewart, marginally hopeful. The same can be said of so many songs in his canon and on this recording.

John Stewart has suffered as much as most, and more than many. From his early days writing songs as part of the post-Dave Guard Kingston Trio, until now, 40 years later, he has had the good eye, the saving sense of humor, and the open heart.

Buy this cd. And then buy a whole bunch more of Stewart's recordings. He is nothing less than a gift in what always seem to be troubling times.

Born in 1939, this man is now 67 yrs of age and to create an album as truly wonderful as this one is nothing short of magnificent. Remember that John had to curtail touring for a while last year after suffering a concussion as the result of a fall. Remembering lyrics to his songs were a problem as well as suffering from vertigo. He is now back writing, and signing and we are all the better for it. The album is full of songs which you can immerse yourself in close your eyes and see the vivid picture he has painted with his words. Havana was a bad blip on the radar. He is back with a vengance. Tell all your friends to get this album even if they never heard him sing before. If radio had a soul John would be heard daily.

I was lucky enough to get an advance copy of this album and have been listening to it non-stop for weeks. There is not a song on this album that I don't like and many that are automatic replays. If New Orleans doesn't get wide spread airplay, then there is something wrong. It's a great song with just the right piano backing from John Hoke. The real heart and soul of this album is with New Orleans, The Day the River Sang, and Sister Mercy. But then there are songs like Jasmine, East of Denver, Slider and Naked Angel on A Star Crossed Train which you just can't get out of your head. John himself says it's his best album, because weeks after it was finished he wouldn't change anything! That's pretty strong praise when you've recorded classics like California Bloodlines, Willard, Phoenix Concerts, Cannons in the Rain, Punch the Big Guy, etc., etc. Buy it! You can't go wrong!

Probably the best album of the year 2006.

A bit early, you think, but I find it hard to imagine that any album yet to come could surpass this gem. Yes, of course I am a big fan (have learned, together with two good friends, about 230 of the songs the Big Guy wrote in his long and distinguished career) - but still, for me The Day the River Sang is John?s best album since Punch the Big Guy, and that masterpiece was released back in 89 (I think). It?s all there - the fast songs with the great licks (Baby, It?s You, Amanda, Midnight Train), the melodies, brand new, that sound as if they had been around for a hundred years or more (Jasmine and The Day the River Sang), the topical songs (the beautiful and bittersweet New Orleans and Golden Gate Fields), the metaphysical songs (Naked Angel and Sister Mercy, probably the most beautiful new song I heard this millenium), the shining, world-weary ballad Broken Roses and the jazzy Slider, a tribute to jockey Julie Krone.

Love that great cracked voice that can convey all those shades of meaning and emotion. The sparse production shines, and so do the sidemen (especially Dave Batti, bass and accordion and John Hoke, drums and keyboards). Excellent, gentlemen!

Now, dear reader, do yourself a favour - order this cd.

Thank God the distinctive John Stewart voice is back. It's not as vibrant as it once was, but then neither are any of us who grew up with his music. I would love to see him re-record the "Havana" album so we could hear the power of the songs.

This record is the highlight of the year. I thought we would never hear the greatest voice in popular music again, but we have that chance. Anyone who appreciates excellence in music instead of the "Americam Idol" type of drivel should grab this in a hurry.

Stewart is in a small stable of talented singer/songwriters who have been neglected by the masses. Others include Neko Case, Christy McWilson, Mary McBride, and the Nields. That's exclusive company, and John Stewart ranks at the top of the list.

I defy anyone to listen to "Amanda Won't Dance" and not get a smile in their heart. The moving "Broken Roses" makes you stop and think back on your life of "broken roses, weathered dreams".

The songs here are pure and honest, not manufactured and packaged for the masses. If all you know of John Stewart is "Daydream Believer", check this out. If all you know of John Stewart is Kingston trio, check this out. If all you know of John Stewart is "Gold", check this out. If you thought this had something to do with Jon Stewart and the Oscars...you're wrong, but check this CD out!

John Stewart's 2006 release "The Day the River Sang" is as much a classic as his fantastic albums of the late 1960s, 70s and 80s. Although he doesn't have the voice he did back then, he magically uses his current older voice to great effect here. Although some of the songs require multiple listenings, once they are familiar you will listen to them over and over again (this is true of most great albums). Especially for those who have ever listened to an album of his but were unsure whether he had lost his touch, pick up a copy of this album and enjoy!

I always approach new JS albums with so much history and so much hope, and he meets and exceeds expectations so regularly it's just amazing. The idea that the man can have this much to say and this many musical ways to say it 36 years down the line from "California Bloodlines" is simply staggering, and I would say unprecedented. I guess that's why he's John Stewart and no one else is.

This is undoubtedly Stewart's best effort since his 'Punch the Big Guy' which I think was released in the late 1980s. There are some real gems; 'The day the river sang', `New Orleans', `Sister Mercy' and `Broken roses' all rank with the best material from a career that spans well over 40 years. Even the more lightweight and trivial songs such as `Amanda won't dance', `Baby it's you' and `Midnight train' have an edge that has been missing recently.

John Stewart's rich and growling baritone has long since disappeared and while the fragility of his voice has caused him to struggle recently, on this album it seems to add a sincerity and empathy which is improved by some excellent support and production work.