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. 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