12 years in the making, this country-soul collection is the first with Reid being joined on record by longtime songwriting partner, manager and wife Carolyn Victoria Mill. A true labour of love, this creative couple wrote and sang every song together, and are joined by a full band that includes Anne Lindsay (Blue Rodeo, James Taylor) on fiddle, John Sheard (Vinyl Cafe) on piano, and Paul Rigby (Neko Case) on pedal steel. A little Johnny & June meets Fleetwood Mac – and all about the songs.
“The diversity on offer raises the bar….lovingly crafted, very memorable.” – FolkRadioUK
“The harmonies can be counter-intuitive, she often takes the low harmony and he take the high. There isn’t anyone else that quite sounds like this.” – BC Musician Magazine
“This one sneaks up on you….seductive.” – Vancouver Province
TRACK LISTING
1. Drive 4:41
2. Rail 4:06 (JLSC winner)
3. Not Making History 3:36
4. This Much I Know 2:46
5. The Way You Look At Me 2:09
6. Slow Motion Kiss 3:20
7. Timing Is Everything 3:22
8. Take Me to the Sea 3:55
9. Impossible Shoes 2:35
10. Fall 3:23
11. Biggest Fan 4:24
12. Words With You 2:38
CREDITS
All songs written and performed by Reid Jamieson & Carolyn Victoria Mill. Produced by: Michael Holland at Wiggly Toes Studios, West Vancouver. Additional recording and engineering by Reid Jamieson and CVM at home in Vancouver, BC Canada. Keith Rose, bass. Anne Lindsay, violin. John Sheard, piano. Paul Rigby, guitars. Jon Arason, drums. Photos by Justine Warrington. Design by CVM
LYRICS
DRIVE
Something for the GPS lady for keeping us alive and our marriage a happy one.
Reid Jamieson - Vocals, Guitars
Carolyn Victoria Mill - Vocals
Keith Rose - Bass
Jon Arason - Drums
pick me up let’s take a ride
don’t care anywhere just drive
windows down I feel alive
the engine’s hummin' makes me high
tell me all your reasons why
or don’t say anything just drive
sing along and cruise the dial
me I'm all for killin’ time
hold on, don’t say nothin’s wrong
I don’t wanna be lonely
don’t wanna be blue
I said hold on, don’t say nothin’s wrong
I don’t wanna be lonely
Don’t wanna be lonely with you
it’s not the night to stay inside
wide awake I chase the light
in black and white across the sky
fallin stars they catch my eye
run away with me tonight
too hot sleep so why just try?
let a million miles go by
light em up all neon bright
and I said
hold on, don’t say nothin’s wrong
I don’t wanna be lonely
don’t wanna be blue
I said hold on, don’t say nothin’s wrong
I don’t wanna be lonely
Don’t wanna be lonely
with you
in my life, I need nothin, all is right
So just drive
SOLO
drop me off its almost time
not too close, or in the light
these spinning wheels
in time with mine
the road another crooked line
just hold on, don’t say nothin’s wrong
I don’t wanna be lonely
don’t wanna be blue
I said hold on, don’t say nothin’s wrong
I don’t wanna be lonely
Don’t wanna be lonely with you
pick me up let’s take a ride
don’t care anywhere just drive…
RAIL
A re-imagining of our award winning tune (and first full co-write) - Anne Lindsay kills on fiddle here.
Reid Jamieson - Vocals, Guitars
Carolyn Victoria Mill - Vocals
Keith Rose - Bass
Jon Arason - Drums
Anne Lindsay - Violin
John Sheard - Piano
Put your ear to the rail,
you can hear my love come down
Where hearts and heroes fail,
I won’t be turned around
Sleepwalking these rails,
I let the grass grow long.
Oh my memory fails,
and I forgot my song.
Blackberries grow wild,
smell of pitch in the sun.
Weeds roll over my mind,
and they almost won.
But I said
no more, no more,
no more, no more
Put your ear to the rail,
you can hear my love come down
Where hearts and heroes fail,
I won’t be turned around
Tearing up these weeds,
blow the smoke in my stack.
The sound of steel on steel,
and there’s no going back.
I got a head full of coal,
hear the lightning crack.
Light a fire in my soul,
and get me back on track.
Put your ear to the rail,
you can hear my love come down
Where hearts and heroes fail,
I won’t be turned around
No more driving this blind,
time to throw that switch.
Drives a spike in my mind,
and makes my fingers itch.
You better get on board,
or get out of my way.
Hauling heavy and slow,
but I’m leaving today.
And I said
no more, no more,
no more, no more
And I know
that I’ve been here before,
And it’s taken its toll on me.
And I know
that I’ve been here before,
And it’s taken its toll on me.
And I know
that I’ve been here before,
And it’s taken its toll on me.
But I’m not giving up anymore,
No I’m not giving up on me…
NOT MAKING HISTORY
Wrote this on the morning of Reid’s 40th birthday. Not an artist alive who won’t feel this one deep down.
Reid Jamieson - Vocals, Guitars
Carolyn Victoria Mill - Vocals
Keith Rose - Bass
Jon Arason - Drums
Paul Rigby - Pedal Steel Guitar
Michael Holland - Piano
Monday morning calling me
6am comes too early
Waking from my fantasy
Kinda take its toll on me
But at least it pays a piece
Plenty people left in need
Lots of hungry mouths to feed
Oughtta count myself lucky
Friday night another scene
On the stage of broken dreams
Another hotel gig for me
Only here I play for free
Not where I thought I would be
A long way from easy street
Nothin like you wanted for me
Not makin history
Meant to star in every scene
Break through every dream
I'd make every one of them see
Just to make you proud of me
Cause I got something
bigger than me inside
And I’ll die trying, tryin to win this fight
But I just sit here battling with my pride
And I’ll be back at work tonight
Look at me to proud to crawl
But like the clock there on the wall
The big hand makes every call
Yeah, time can make a man feel small
Not a winning year after all
I had my chance and I dropped the ball
That kind of pressure makes my engine stall
With every race too close to call
Guess I kept my order too tall
Too high, so far to fall
I thought by now I’d have it all
Looks like I missed last call
Not where I thought I would be
A long way from easy street
Nothin like you wanted for me
Not makin history
Meant to star in every scene
Break through every dream
I'd make every one of them see
Just to make you proud of me
Cause I got something
bigger than me inside
And I’ll die trying, tryin to win this fight
But I just sit here battling with my pride
And I’ll be back at work tonight
Monday morning calling me,
6am comes too early,
Waking from my fantasy,
Kinda take its toll on me…
THIS MUCH I KNOW
Wedding vows a la Every Brothers, only we ain’t brothers.
Reid Jamieson - Vocals, Guitar
Carolyn Victoria Mill - Vocals
This much I know
Today with all my heart, I love you so
And we will never part,
our love will grow
And we will make a start,
With seeds we sow
In the garden of our heart
Just so you know
While grass is green
and petals put on a show
The beauty unseen
in the roots down below
Is what it takes to hold my heart here
Let it be known
I’m not afraid of making plans,
I won’t let go
As long as we are holding hands
That’s where I call home
So stick around, we just got started
This much I know
Today with all my heart, I love you so
And we will never part,
our love will grow
And we will make a start,
with seeds we sow
In the garden of our heart
Let everyone know
We’re digging deep,
The harvest in time will show
Seasons will change,
Together we will grow old
As long as we two tend this garden
This much I know
Today with all my heart, I love you so
And we will never part,
our love will grow
And we will make a start,
with seeds we sow
In the garden of our heart
This much I know
Today with all my heart, I love you so
And we will never part,
our love will grow
And we will make a start,
with seeds we sow
In the garden of our heart
This much I know
THE WAY YOU LOOK AT ME
Nevermind ‘Jackson’ – we wrote our own barn burner of love!
Reid Jamieson - Vocals, Guitars, Percussion
Carolyn Victoria Mill - Vocals
Keith Rose - Bass
Jon Arason - Drums
Anne Lindsay - Violin
Lewis Melville - Dobro
I love the way you look at me
Like a bumble bee with honey
It something only you can see
And it’s how I know you love me
I love the way you look at me
Like a picnic when yer hungry
It something only you can see
And it’s how I know you love me
Every mornin faithfully
I say your kisses still taste
Sweeter than before
And when I think you’re foolin me
Never doubt I’ll always
Be the one who'd only
Ask for more
I love the way you look at me
Like a sleep-in on a Sunday
It something only you can see
And it’s how I know you love me
Others look for something new
Might sound crazy but its
True I never do
I am such a lucky fool
I'm so glad I’m stuck with
You upon this love boat
Built for two
I love the way you look at me
Like a bathtub full of money
It something only you can see
And it’s how I know you love me
Oh I’m so happy to be seen
I'm so glad that lookin's free
And it’s how I know you love me
SLOW MOTION KISS
The magic of dreams mean never having to say no…
Carolyn Victoria Mill - Vocals
Reid Jamieson - Vocals, Guitars, Organ, Percussion
Keith Rose - Bass
Jon Arason - Drums
its good inside
outside it hurts
little dreams will run away if
you dont catch them first
try to write it down for you
put it on a page
maybe just go back to sleep and
dream the day away
close your eyes for one more
slow motion kiss
nobody cries tonight, no
nothing exists
I’m holdin' back time for one more
slow motion kiss
nothin the daylight brings will
ever feel like this
its good inside
outside it hurts
little dreams will run away if
you dont catch them first
when I lay me down to sleep
it’s for this I pray
why cant we just go back to sleep and
dream our day away
crawl back inside the sheets
playback the show
pretty things will fade away if
you just let them go
close your eyes for one more
slow motion kiss
nobody cries tonight, no
nothing exists
I’m holdin' back time for one more
slow motion kiss
nothin the daylight brings will
ever feel like this
doo doo doo doo
doo doo doo doo
doo doo doo doo
its good inside
outside it hurts
little dreams will run away if
you dont catch them first…
TIMING IS EVERYTHING
From unrequited love to long held goals…truer words were never spoken.
Reid Jamieson - Vocals, Guitars, Percussion
Carolyn Victoria Mill - Vocals
Keith Rose - Bass
Jon Arason - Drums
John Sheard- Organ
I know it takes time,
and nothins a given
So I keep running,
I just never get far
Here on the ground,
reaching for heaven
Standing here staring,
at a sky full of stars
Oh it’s taking so long
For the light to shine on…me
Timing is everything
Finding the heart of things
a moving target
Behind all apology
A reason for everything
under the sun
I'm learning to live,
with what I’ve been given
I’m willing to give
everything thing that I’ve got
I’m ready to fight
for my own kind of heaven
I know that I’ll find it
if I never give up
But timing is everything
I know that I try;
I know that I’m willing
It’s just that it’s killing me
this standing in line
Am I reaching too high?
Hitting the ceiling
Am I one in a million;
am I one of a kind?
Oh it’s taking so long
For the light to shine on…me
Timing is everything
Finding the heart of things
a moving target
Behind all apology
A reason for everything
under the sun
I'm learning to live,
with what I’ve been given
I’m willing to give
everything thing that I’ve got
I’m ready to fight
for my own kind of heaven
I know that I’ll find it
if I never give up
But timing is everything
Finding the heart of things
a moving target
Behind all apology
A reason for everything
under the sun
I'm learning to live,
with what I’ve been given
I’m willing to give
everything thing that I’ve got
I’m ready to fight
for my own kind of heaven
I know that I’ll find it
if I never give up
But timing is everything
TAKE ME TO THE SEA
A song about cremation…or retirement…same thing for some.
Reid Jamieson - Vocals, Guitars, Percussion
Carolyn Victoria Mill - Vocals
Keith Rose - Bass
Jon Arason - Drums
Anne Lindsay - Violin
Lewis Melville - Banjo
Sam Parton - BG Vocals
Take me to the sea
Take me to the great and rolling green
That’s where they'll bury me
Just another treasure of the deep
When my days are over
I'll roll into the sea,
I'll wait there for you
Tears of saltwater,
returning to the blue
Never lost at sea
Tossed upon the waves I’m ever free
The tides they anchor me
Mending nets with
Jacques and old Davy
When my days are over
I'll roll into the sea;
I'll wait there for you
Tears of saltwater,
returning to the blue
SOLO
When I was just a child
I recall my mother taking me
We'd slow the sands of time
As we collected seashells on the beach
Now that we are older
We'll roll into the sea;
I'll wait there for you
Or you wait there for me;
I'll wait there for you
Tears of saltwater,
returning to the blue
When I grow old, Ashes cold
Just let the waves roll over
Let them roll over me
When I grow old, Ashes cold
Just let the waves roll over
Let them roll over me
When I grow old, Ashes cold
Just let the waves roll over
Let them roll over me
All hands may visit me
Standing on the shore of any sea
It’s where I'm meant to be
Oh can't you hear the
mermaids calling me
When our days are over
We'll roll into the sea,
I'll wait there for you
Or you wait there for me,
I'll wait there for you
Or you wait there for me,
I'll wait there for you
Tears of saltwater,
returning to the blue…
IMPOSSIBLE SHOES
Dedicated and written for the ladies of the RCMP, Armed Forces and women in uniform everywhere. True superheroes.
Carolyn Victoria Mill - Vocals
Reid Jamieson - Vocals, Guitars, Percussion
Keith Rose - Bass
Jon Arason - Drums
Lewis Melville - Banjo
Tryin' to walk a straight line
in impossible shoes
Play their game instead of mine,
I’m only gonna lose
They try to push me over,
keep me in line
Take me down a notch,
Make me change my mind
I'm on my own,
Wrong way down a one way street
with no headlight on
And no one knows,
Can’t turn around or miss a beat
or it'll all be gone
The queen is just a face card,
and the joker makes the rules
When a king among men
rules a house full of fools
The cards are stacked against me,
and the stakes are getting high
But I’m bettin’ everything I've got,
not bluffing with my life
I'm on my own,
Wrong way down a one way street
with no headlight on
And no one knows,
Can’t turn around or miss a beat
or it'll all be gone
I thought that they had my back,
I thought my time had come
All they saw was second best,
when I was eyeing number one
I'm on my own,
Wrong way down a one way street
with no headlight on
And now I know,
Can’t turn around or miss a beat
or it'll all be gone
But my mama told me
never back down girl
you stay strong
So if yer betting on me giving up,
baby you'd be wrong
Tryin' to walk a straight line,
In impossible shoes
FALL
Commitment – maybe the most freeing thing you can ever do.
Reid Jamieson - Vocals, Guitars
Carolyn Victoria Mill - Vocals
Keith Rose - Bass
Jon Arason - Drums
Don't throw in the towel
you've barely broke a sweat
please respect your vows
lord knows the ink's still wet
Before there's broken trust
keep your eye on the prize
temptation might give us
the chance to turn a new leaf over
Fall, I'll catch you when you fall
I'll try to catch it all
anything you can throw at me
don't buy their silver lines
let em turn your pretty head
don't leave the gold behind
or down that path be led
don’t tell me what's been lost
tell me how much you've learned
forget about the cost
and bridges we have burned
Fall, I'll catch you when you fall
I'll try to catch it all
anything you can throw at me
if you fall
I won't turn you away
you know
through it all
I’m here to stay
Fall, I'll catch you when you fall
I'll try to catch it all
anything you can throw
Fall, I'll catch you when you fall
I'll try to catch it all
Anything you can throw at me
BIGGEST FAN ~
First song CVM ever wrote – and proof that even a crappy ex is good for something. (note: Back in the day this song received the Distincton Award in Taylor Swift's Time Turns Flames to Embers Songwriting Contest.)
Carolyn Victoria Mill - Vocals
Reid Jamieson - Vocals, Guitars, Percussion
Keith Rose - Bass
Jon Arason - Drums
Paul Rigby - Pedal Steel Guitar
Michael Holland - Piano
I guess it's been a long day
Much too long to talk to me
Tell me how things are going
Tell me how it's gonna be
Now I've gone and done it again
I've made you turn away from me
Caught up in this foolish habit
Of trying hard to make you see
That you don't have to
kiss my crooked mouth,
hold on to my hand
You don't have to talk to me for hours
or try to understand
You don't have to share your fears
Or risk your pride, or even be my man
But I wish you would,
If you think you can
And yes it's been a long night
Longer than it needed to be
Let’s hide that hurt and
pain inside us
Underneath these dirty sheets
Seems everything has changed
Cause I'm not
who you want me to be
Never mind what I saw
Were you even looking at me?
But you don't have to
kiss my crooked mouth,
hold on to my hand
And you don't have to
talk to me for hours
or try to understand
You don't have to
tell the truth every time
and you don’t have to
try to be a man
But I think you should
If you think you can
And all the things you never said
Things that happened
outside our bed
They're packed in bags
with faded clothes
And all the things I think I know
I guess I've been awake all night
And it's much too late to talk to you
Too late for us to have that fight
Find out what was really true
To tell you how I'm really doing
Show you what I'm going though
Instead I'll take a
page from your book
And write this fearless song
for you
So you don't have to
kiss my crooked mouth,
hold on to my hand
Talk to me for hours
Try to understand
You don't have to reach for me
when you're down my dear
But believe me if you can
I've always been
Your biggest fan
Talk to me,
If you can
I’ll always be
Your biggest fan
WORDS WITH YOU
A little marital advice we hold dear.
Reid Jamieson - Vocals, Guitars, Organ, Percussion
Carolyn Victoria Mill - Vocals
Keith Rose - Bass
Jon Arason - Drums
I'll have words with you
I know you want me to
After all we've been through
Put you fears aside
Of just another fight
When there's good work to do
It never has to be
a bad thing that we talk
About everything and nothin,
nothin can be something
I always wanna be
the socket you draw energy from
Put your plans aside
Of losing sleep tonight
Over worrisome things
Let your mouth decide
That there's nothin left to hide
Only understanding
It always seems to be
a good thing that we talk
About everything and nothing
Nothing can be something
I always wanna be the rock
that you're depending upon
Rock it in a good way
This boat will sail along
Talk to me, any day
It’s true that the truth
can't be wrong
I'll have words you
I know you want me to
And it’s the right thing to do
Put your hand in mine
Look me in the eyes
And tell me everything true
It always seems to be
a good thing that we talk
About everything and nothing
Nothing can be something
I always wanna be
the topic you're expanding upon
I'll have words with you
I know you want me to
The history of Juniper…
CVM never really wrote, and certainly never sang a note in public before they met. Back in 2002 Reid asked her to join him for a song at a Valentines Day benefit at the Rivoli in Toronto. At the end of the song (Billy Joel’s ‘You May Be Right’) they had their first kiss right there on stage, and history was made. It was Valentine’s Day and the two have not been apart since. A dozen ditties have sprung from their love and you can hear it in every tune.
They began writing together not long after that fateful night, with CVM taking on the job of manager, webmistress, and pretty much every other task needed to help Reid start his career. More of a behind the scenes gal, what began as minor edits of existing lyrics and arrangements, turned into a full fledged songwriting duo the day that Stuart Mclean called to ask Reid to join him on a cross country train trip. They didn’t have an original train song for the voyage, and CVM (affectionately nicknamed ‘the colonel’) was having none of that. And so the two sat down and wrote RAIL together in one sitting, she on lyrics, he on music. That song made the show something more than anyone intended. It saw Reid placed as a finalist in a local radio contest, as well as the song being featured in a popular tv series. Rail then went on to win them the grand prize for folk in the John Lennon Songwriting Contest. That song is re-imagined here on Juniper’s Kitchen, and set on fire by the blistering violin work of Blue Rodeo’s Anne Lindsay. The old country flavour is further highlighted on various tracks with the pedal steel of Paul Rigby (Neko Case) and Lewis Melville (dobro/banjo).
While CVM was keen to contibute much of the lyrics on many of their new songs, and even some of the music and arrangements, she still wasn’t a live performer. A few years back Reid encouraged CVM to join him at house concerts, where her saucy stories added a certain spice to the shows and kept him company on the road. Their unusual harmonies, where often she takes the low and he the high, weaving in and out (thanks to Reid’s impressive harmonizing abilities) created a compelling performance that audience members wanted to take home. This combination was yet to exist on disc, and so Juniper’s Kitchen was conceived. Every song on the record was written and performed together. Even the vocals were recorded at the same time so that the energy of the live show was better represented. The two struck gold when they hooked up with Michael Holland, who really believed in the songs and encouraged them to capture their vocals (and all that feeling) at the same time. The support, experience and energy he brought to their recording went a long way to making it the magical musical marriage they hoped it would be. Recorded at the home studio of Michael Holland in West Vancouver, as well as in their bedroom studio over the summer of 2014, the intimacy captured makes for a record unlike any other.
FOLK RADIO UK – REVIEW
Reid Jamieson & Carolyn Victoria Mill (Live Review)
written by Paul Woodgate 28 November, 2014
Gig: What’s Cookin’ – Leytonstone Ex-Serviceman’s Club, November 26
On the gig swing-o-meter, ‘Monday – Royal Albert Hall; Wednesday – Leytonstone Ex-Serviceman’s Club’ may take some beating. Jackson Browne’s tenth and triumphant return to the Kensington landmark may still be ringing in my ears, but the beauty of writing for Folk Radio UK is that it takes me off-grid to various oases of roots music in and around England’s capital. On a damp and misty evening – where did the Autumn go? –I head north to Leytonstone, birthplace of, amongst others, Alfred Hitchcock and Damon Albarn. The former would have delighted in the weather, no doubt using its Stygian gloom to design a suitably horrid ending for someone. No such worries for me however, the Serviceman’s Club playing host to the highly successful and congenial What’s Cookin’ promotion, a regular evening of Country Fried Folk n’ Roll that’s been propping up various bars in London since 2004. In that time What’s Cookin’ has hosted the great and good and accumulated plaudits from its peers in the press and radio. I’m here to see Reid Jamieson and his wife, Carolyn Victoria Mill, touring the UK for the first time to promote new album Juniper’s Kitchen and reviewed on Folk Radio here.
I’m fortunate to bump into Carolyn in Leytonstone’s Red Lion before her and Reid sound-check. It’s their final gig of the tour and they head back to Vancouver next week, so there’s some excitement mixed with relief and no doubt some tiredness, but you wouldn’t know it; Carolyn is as bubbly in person as her voice is velvet smooth on record. I’m given an update on their whirlwind visit; the tour’s been very successful, they’ve had lots of fun and the reception has been great. On a deeper note, Carolyn has met some of her family for the first time – she was born in Sunderland – and the trip has taken a profoundly emotional turn for her. They’ll have just 40 minutes to persuade the crowd that a trip of 4700 miles was one worth taking, but I suspect Carolyn has the weight of many years family history to accommodate too.
They start with Drive. Their harmonies are instantly in place on this, their ode to ‘..the sat-nav lady’. It’s slightly slower than on the album, Reid turned towards Carolyn and coaxing sounds from his guitar, swaying gently as his weight transfers from foot to foot, completely immersed in the melody. Carolyn uses her hands to frame her expressive vocal, addressing the crowd with a practised smile. She introduces the songs with a mixture of background and story. Words With You is an affectionate admission that married couples travelling the world together for their job aren’t always in sync. Take Me To The Sea – ‘Here’s a song about cremation, ‘cos there’s not enough of those!’ transfers well from the record, the upbeat country shuffle about seeing death in an optimistic light raising the first whoop! from the audience as their counterpoint harmony draws the song to an end.
Carolyn excuses herself for Fall, a personal favourite and a beautiful ballad. It’s another opportunity to wallow in his voice as it demands a little more of him without his wife’s assistance. It’s a song that tips its hat to the 50s duets and I can’t help but think of My Darling Clementine when I hear it; it’s wonderfully executed. Despite not having much time, Carolyn returns to dedicate the next song to her mother, who, she says, is convinced it’s about her. It’s going to be difficult to confirm that unless anyone knows Leonard Cohen, but their version of Suzanne is glorious anyway. Not Making History, a clever and honest lyric written when celebrating Reid’s 40th birthday, is all about the realities of making it in music and the fight to continue doing what it is that excites you, regardless of how tough that might sometimes be. That level of awareness is indicative in a lot of their music – you understand just how much they care about it and what a privilege they think it is to be able to write and perform it for others. They finish with an emotionally charged This Much I Know, the stately waltz an open love letter to each other and, on this particular night, clearly aimed at Carolyn’s expanded family. It turns out the mileage is immaterial; when something’s worth doing, halfway around the world is a small step and Leytonstone may not be Kensington, but you get the impression that for Reid and Carolyn, it may just find a place in their list of go-to memories.
ForTheCountryRecord (blog)
Reid Jamieson is the typical busy musician, working hard on a wide variety of projects that range from Leonard Cohen, to Elvis Presley, to rap, all the way to string band music and gentle folk. However, in 2014 he ticked off yet another first: recording an album with his wife Carolyn Mill, who has been performing alongside him for many years but never officially collaborated on a record. ‘Juniper’s Kitchen’, the result of this studio collaboration, is a wonderful 12-track offering that showcases the duo’s excellent harmonies and a fondness for minimalist country, Americana and folk music. Reserved and well-crafted, even the up-tempo tracks have a quiet, relaxing charm about them.
The set opens with the gorgeous ‘Drive’, an invitation to go driving with a lover that benefits from a rather lovely melody and heartfelt delivery. ‘Rail’ follows, setting a train-like pace adorned with virtuosic fiddle, but even at its peak moments the production remains sparse and subdued, retaining the record’s sense of calm. Pedal steel laces many of the tracks while subtle drums on the likes of ‘Not Making History’ keep listeners’ attention, and the pair owe instrumental duties to Keith Rose (bass), Jon Arason (drums), Anne Lindsay (violin), John Sheard (piano, organ), Michael Holland (piano), Paul Rigby (pedal steel), Lewis Melville (dobro), while multi-talented Reid takes on many of the guitar, organ and percussion, and Sam Parton contributes background vocals on ‘Take Me To The Sea’.
Carolyn, who is more of a behind-the-scenes person in Reid’s career, really comes into her own on this record with her co-writing credits on every song and delightfully rootsy, pretty vocals and harmonies. It’s the duo’s dynamic that really makes this record a special one. In addition to writing all the tracks together, their vocal interplay is the constant focus and they often hardly need any of the other instrumentation (although it certainly adds some nice textures and points of interest). They sing love songs to each other, most notably ‘The Way You Look At Me’, ‘This Much I Know’, ‘Fall’ and ‘Words With You’, reflecting on marriage and commitment through the years. They also reveal some learned truths on the nature of life, seen in the likes of the soulful ‘Timing Is Everything’ that teaches patience and trust in fate, and the aforementioned ‘Take Me To The Sea’ that expresses a wish to return to the sea when life comes to a close. They also include a tribute to the troops on the curiously chipper, island-esque sounds of ‘Impossible Shoes’, which admittedly loses its meaning a bit when a grim lyric is given a cheerful accompaniment.
For the most part, ‘Juniper’s Kitchen’ is a feel-good record full of positive and simple narratives, set to a backdrop of gentle country, folk and roots melodies and arrangements. Their performances are pure and perfectly blended, and Carolyn in particular shines just as brightly as her established musician husband. While it is expected that she will return to behind the scenes from now on, it is a shame, and perhaps she would consider stepping out of her comfort zone once again in the future.
JUNIPER’S KITCHEN
The Reid Jamieson Band
Independent – OCT 2014
Catalog: RAJ008 | UPC Barcode: 875531010756