JAIMIE VERNON – TIME ENOUGH AT LAST
CD Review by D.M. Wells (copyright 2007)
The concept behind (and running through) this recording is, not surprisingly, time. Not just the time expended in creating it (or the unavoidable delays in same) or the time “to do what I’ve undone…to learn what I’ve unlearned”. It’s also about stopping the clock, not just the “Clock of the Big Now”, as Brian Eno refers to it, but our individual clock – the one that we use as an excuse to prevent us from accomplishing what we really want to leave behind as our legacy.
Apart from its melodious musicality, which revisit the best innovations in that art from the last four decades, particularly the late ’60s and early ’70s classic rock era, it’s also an interesting educational tool for the technically-inclined makers of music. Compare the originals with the additional demos included from the early ’80s to see (or hear) what I mean.
The demo of “Cast Iron Pillow” actually had a different appeal for me in its rawness, not that I don’t love the anthemic, almost blues-rock, radio-ready format. Although Jaimie performs the demo using only an electric bass and his wildly chameleon-like vocals, the visual image it inspired was that of a group of traditional bluesmen, one twanging away on a Jew’s harp, one weaving in and out with a slide guitar, and another one chanting renunciative phrases à la John Lennon’s “God (I Don’t Believe In…)”.
On the other hand, the original recording of “Follow Me” is marred with white noise, which is effectively eliminated in its final versions - Part 1 and Part 2”. The listener is offered the same song - one patterned after Don Noseworthy’s rolling style of finger-picking guitar and the other, dominated by piano, with both containing orchestral strings. The few lyrics concisely nail down the overall theme: “I know the sands of time follow you; Follow you…now; I know the seeds of life follow you, Follow you…now.” The sands represent your past, and the seeds of life are the future, in the form of your children, but molded by you, the present. Or, at least, that’s my take on it.
Despite the obvious pensiveness in the lyrics, some which deal with loss, disorientation, mental illness and addiction, the music sounds lightweight (deceptively so) and therefore it’s immensely enjoyable for mainstream and more sophisticated listeners. That’s a sign of brilliant production by both Jaimie Vernon and his musical partner, Brian Gagnon, along with the help of executive producer Jim Hoeck.
Vernon introduces the musical talent of his daughter, Danielle Benson-Vernon, who originally composed the lyrics of “Give Me Your Hand” as a poem highlighting the importance of tactile communication to retain our sense of humanity. Although she does play piano and sing in the background with her father on “Give Me Your Hand”, I felt her vocals were too low or else blended in too closely with her father’s to really distinguish in the mix. I’m trying to be complimentary here.
Apart from its melodious musicality, which revisit the best innovations in that art from the last four decades, particularly the late ’60s and early ’70s classic rock era, it’s also an interesting educational tool for the technically-inclined makers of music. Compare the originals with the additional demos included from the early ’80s to see (or hear) what I mean.
The demo of “Cast Iron Pillow” actually had a different appeal for me in its rawness, not that I don’t love the anthemic, almost blues-rock, radio-ready format. Although Jaimie performs the demo using only an electric bass and his wildly chameleon-like vocals, the visual image it inspired was that of a group of traditional bluesmen, one twanging away on a Jew’s harp, one weaving in and out with a slide guitar, and another one chanting renunciative phrases à la John Lennon’s “God (I Don’t Believe In…)”.
On the other hand, the original recording of “Follow Me” is marred with white noise, which is effectively eliminated in its final versions - Part 1 and Part 2”. The listener is offered the same song - one patterned after Don Noseworthy’s rolling style of finger-picking guitar and the other, dominated by piano, with both containing orchestral strings. The few lyrics concisely nail down the overall theme: “I know the sands of time follow you; Follow you…now; I know the seeds of life follow you, Follow you…now.” The sands represent your past, and the seeds of life are the future, in the form of your children, but molded by you, the present. Or, at least, that’s my take on it.
Despite the obvious pensiveness in the lyrics, some which deal with loss, disorientation, mental illness and addiction, the music sounds lightweight (deceptively so) and therefore it’s immensely enjoyable for mainstream and more sophisticated listeners. That’s a sign of brilliant production by both Jaimie Vernon and his musical partner, Brian Gagnon, along with the help of executive producer Jim Hoeck.
Vernon introduces the musical talent of his daughter, Danielle Benson-Vernon, who originally composed the lyrics of “Give Me Your Hand” as a poem highlighting the importance of tactile communication to retain our sense of humanity. Although she does play piano and sing in the background with her father on “Give Me Your Hand”, I felt her vocals were too low or else blended in too closely with her father’s to really distinguish in the mix. I’m trying to be complimentary here.
There are a few other feel-good songs, including “Hold On (To Your Karma)” and James Warren’s “Everybody’s Gotta Learn Sometime”, featuring especially nice electric guitar work. As Vernon and Gagnon both perform on electric guitar, among other instruments, I have no idea whose guitar work belongs to whom. (I'm waiting for the video.)
Ivan Judd, Jim Greeley and Jamie Vernon collaborate on the quixotic lyrics of “Pillars of Time”, but Jaimie goes it alone, vis-à-vis creating the music and lyrics, on “Time Enough at Last”, “The Kiss” and “Rest in Peace”, the latter being my least favourite track. But family men are known to be overly-schmaltzy when it comes to their wife and kids, so he’s entitled to indulge; I’m just not a big fan of the gospel format, even with the great background vocals and instrumentation.
Vernon’s musical background as founder of Canoe.ca’s Jam! Canadian Pop Music Encyclopedia, manager of classic rock legends Goddo (who could pull off a credible take of “Heart Attack”, one of the harder rockin' tunes here), and founding President of Bullseye Canada Records gives him a definite edge when deciding what works in the composing/recording process and what does not. Brian Gagnon has produced records for Frank Soda, Shania Twain and Velvet Hammer, to name a few, so it’s a winning team, along with help from executive producer Jim Hoeck.
As a final note, The Church’s “Unguarded Moment” (Kilbey/Parker) gets a rocket-boost rendition here, and “Time” is a superb homage to its original creators - Eric Woolfson and Alan Parsons - the latter who is still alive and well and involved in the newer technological aspects of music-making.
You’ll get your money’s worth and more from this collection, so I’d advise you to get a copy now, before time runs out on the clock.
Vernon’s musical background as founder of Canoe.ca’s Jam! Canadian Pop Music Encyclopedia, manager of classic rock legends Goddo (who could pull off a credible take of “Heart Attack”, one of the harder rockin' tunes here), and founding President of Bullseye Canada Records gives him a definite edge when deciding what works in the composing/recording process and what does not. Brian Gagnon has produced records for Frank Soda, Shania Twain and Velvet Hammer, to name a few, so it’s a winning team, along with help from executive producer Jim Hoeck.
As a final note, The Church’s “Unguarded Moment” (Kilbey/Parker) gets a rocket-boost rendition here, and “Time” is a superb homage to its original creators - Eric Woolfson and Alan Parsons - the latter who is still alive and well and involved in the newer technological aspects of music-making.
You’ll get your money’s worth and more from this collection, so I’d advise you to get a copy now, before time runs out on the clock.
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