FAME Review: Jace Everett - Terra Rosa
Jace Everett - Terra Rosa

Terra Rosa

Jace Everett

Haywood Group Productions - CD-HGP-527

Available from Jace Everett's web site.

A review written for the Folk & Acoustic Music Exchange
by Mark S. Tucker

This one arrived just in time to make my Best Of list here in FAME…and also in Perfect Sound Forever…and was exactly the stunner I needed in order to see the year out properly. The promo lit portrays it as "a hallucinatory hybrid of blues, country, boogie, gospel, and rock" then moves on to claim Jace Everett possesses "remarkable artistic range and always-impressive songwriting", and I wouldn't dream for a second of disputing an inch of that. I'd never heard of the guy, but he wrote the song Bad Things which runs as the theme to the TV vampire show True Blood, so it's not like the cat's unknown either. His music, though, is of a rare sort, and Terra Rosa is fascinating in any number of ways.

First of all, Everett's another Tony Carey, and Terra is a concept album. Carey was the multi-instrumentalist and singer who'd joined up with Ritchie Blackmore's Rainbow as that esteemed group wound down its existence, and he also put together the band Planet P Project, which released exactly two LPs, the second of which was Pink World, a more than obvious play on The Who's Tommy but far more in line with Jeff Wayne's War of the Worlds sonically, a lush, smooth, rockin' progressive masterpiece, in this not so humble critic's opinion. None who know of it have anything but glowing reviews, and they're going to be just as enthusiastic here, as Everett's one very talented gent, and his approach to Christianity and its issues, which is the subject of Terra, is a very Jesuitically styled blend of faith and cynicism, as witness:

My sister's at your beck and call
Guess every table's got its crumbs
You save the sick, the blind, the deaf
Then left me cold and dumb
You said you came to save the world
But you won't save us all

…and then further on, this:

There was faith
There was hope
There was just enough rope
To hang on

Not exactly Billy Graham, is it? But it isn't meant to be. Unlike the charlatan Graham, Everett is, in his own words "going back to [his] closet and pulling all the skeletons out". That, my friends, is where religion must meet reality, and a reconciliation needs to be had. Is that tension resolved, though? No, and, despite what I just said, it shouldn't be because we're more in the archipelago wherein Dante and Vergil both doubted and thus stood on the brink:

There was laws, and there was rules
Some for kings and some for fools
We all tried to understand your pretty good plan
I gave mine and you took yours
Hid behind your golden doors
It all gets strange when the moneys changing hands
Thought it was a pretty good plan

Doesn't that ring too solidly true of God, religion, government, capitalism, and just about everything right now? But the magic's in the music while the narrative runs its course, and the music is stunningly good, starting with the elegiac In the Garden, a prog-bluesy angst song that, though positive, has a double-bind catch-line: "I don't want to be free", and therein lies a world of thought and the necessity to confront the self and its contractions. Mr. Everett is being a lot more subtle throughout this CD than the frequently Humanist lyrics might otherwise indicate. You won't read and hear this from other Christian ensembles and solos (Petra, Wes King, Phil Keaggy, etc.) and it may very well be that Everett's contemplating a post-Erasmian Humanist spiritualism.

Aren't we all.

The band is a highly integrated ensemble wringing explicitly imagistic environments to matrix poetry and philosophy in a continuous narrative of laconic reflection that can't help but entrance and bewitch. In the Garden is followed by a chain-gang work song, No Place to Hide, with strong gospel overtones in a slo-rockin' folk bedframe. Everett's authoritative in his many shades of singing, and his numerous strengths show up everywhere. In a trice, he switches to carny barker cabaret valence in Lloyd's Summer Vacation, warm and exuberant but taunting, almost verging on Mephistophelian, atop a bouncy bass-anchored flounce that soon bogs down in a molasses chaos refrain, a deliciously almost neoclassical arrangement in populist terms. No matter where you go in this release, everything is 100%+.

Track List:

  • In the Garden (Jace Everett)
  • No Place to Hide (Everett / Deray)
  • Lloyd's Summer Vacation (Everett / Raspante / Cohen / Beasley)
  • Beyond the Wall (Everett / Cohen)
  • Pennsylvania (Everett / Cohen)
  • The Great Fish (Wave After Wave) (Jace Everett)
  • Rise Up (Jace Everett)
  • Love Cut Me Down (Jace Everett)
  • Like a Song (Everett / Jones)
  • Sapphira (Everett / Raspante)
  • Pretty Good Plan (Everett / Lloyd)

Edited by: David N. Pyles

Copyright 2014, Peterborough Folk Music Society.
This review may be reprinted with prior permission and attribution.
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