Ergo, I caught his last few songs, recalling the upbeat, happy-go-lucky and amusingly fruity Make Some Hay, which though on the album, I realise after gorging myself on it’s sublime observations, portrayals and wonderful Dylan-esque folk-rock, happy-go-lucky and amusingly fruity songs is only the tip of the iceberg.
First impressions were, while Bob Dylan-like vocally, even the most troubled of Jol’s characters have escape plans. They aren’t totally dejected and beyond hope like many of Dylan’s. This gives a much more sprightly and sanguineness vibe, and I’m leaning more in nature to the likes of the wild romanticisms or optimism in the face of misfortunes of Springsteen’s storytelling. Either way, despite Jol’s prolificness at an album annually since 2019’s My Nebraska, there’s clearly a lot of time, effort, and thought put into his songwriting. Surely the key to any amazing acoustic folk artist.
Being on the gatefold is a call to “free Julian Assange,” a subject Jol blogs about on his website, rallying his local MP, I realise I must dive deeper into the meanings of his songs, as he has proficiency in weaving poignant narratives, far from simply “making hay!” Still, only subtle political nods in his themes, I detect, are unlike the bluntness of Guthrie. The only exception to this rule I noted, is a closing tune When the Day and Night Collide, for this is truly blowin’ in the wind.There’s defeatism yet hope, over Dylan’s usual bitter and derisive foreboding, yet romantic interludes are not often forthcoming, as in the opening tune, All Alone Again. It hankers the pit of your soul, an honesty pleading she takes him back home, even if he has trudged all over her flowerbed! Metaphorical or not, Jol, you need to get yourself to Homebase and replenish those Rhododendrons pronto!
Then comes the aforementioned light-hearted upbeat tune, Make Some Hay, followed by an absolute marvel. Meet me in Berlin, tormented touring dreams of it all coming together again, Romeo a personification of his hopes it’ll freshen up, it’s homecoming, delivered with amazing passion; thus the album persists this way, and it’s stunning.
Featuring Rachael Birkin on fiddle, award-winning pedal steel player Holly Carter, keyboardist Jon Buckett and Lewis Lord-Jenkins on drums, Drew Di Fiore on bass and Jason Serious on harmony vocals, this is twelve tunes strong, which does exactly what it says on the tin. There’s authentic Americana throughout, country folk, country blues, and if tunes weave in and out of pace, it flows like a fresh Red River valley song. The Carter Family would save him a space at their dinner table.
Tracks like Let it Roll aren’t the complex riddles of cliché Americana, rather facile sing-a-along, rolling into folk-rock. Other, more cleverly intertwined tunes require thought, often I’m deciding if Jol is subtly reflecting metaphorically, or more simply this romantic longing in the face of doubt. This open-ended prose is the key to the magic, as you interpret it as you will, hopefully bearing relevance to your own affairs, and that’s when the music takes you away. It’s a skill only the best singer-songwriters can muster, if Jol’s music doesn’t take you there, none of the others will. Come on Home, nine tracks in, is the perfect example. Though there’s a running theme of wishing to return home, it’s sublime and as congenial as home itself. It’s a painting on a wall, a permanent fixture hung with love.
I thought Jol was good, I didn’t dream he was this good; Peace, Love, Americana is a keeper alright! Bag yourself a copy HERE.