lambchops's Full Review: Wrong-Eyed Jesus by Jim White (Folk)
Every once in a while, I am fortunate to stumble upon somebody who gets all too little recognition. . . an artist whose incredible talent oozes from out every note, every pore of their being. Such a creative being can be found in Florida singer-songwriter Jim White.
During the nineties very few singer-songwriters made a real impact in music. Most supposed artists are just as concerned with their images as they are with their songs. Not so with White. He without question creates music to please himself, and if just a listener or two along the way stumbles on to the disc and at some level is pleased then White has accomplished his goal. His brand of folk-rock-pop-country is unique and innovative, though probably not quite what most people are accustomed to hearing from contemporary artists. Even as strange as the music may seem on the surface, White is a timelessly gifted man similar on the surface to Neil Young, but just beneath that layer visceral and twisted.
White has a distinctive imagery that comes directly from his sheltered childhood steeped in mysticism and religion in a strictly Pentecostal community on the edges of Pensacola. In the wake of childhood, White tried his hand in many professions ranging from taxi driver and drug addict to surfer and model. In retrospect, not one of those ventures is at all fitting. This man was born to be an artist regardless of whether he has an audience.
White made his debut amidst devious, bizarre laments on Wrong-Eyed Jesus in 1997. An unlikely talent, his work soon caught the attention of David Byrne who would later help to create an entirely different and somehow even freer sound on the second album. But with that said, Wrong-Eyed Jesus is an important though unfortunately unknown album. But it is this relative anonymity that allows White to be liberal with his words and not concern himself with what certain mainstream outlets might have to say.
Is White appealing to all listeners? Unfortunately, probably not. This debut is melodic and quiet only complete with his inconceivably haunting lyrics. As already mentioned this is a combination of rock and folk. But toss in the fact that White reinterprets musical ideas from Appalachia and other rural backwoods areas. But he is not making fun of the ideals of these places, rather he holds them in high regard and intelligently expounds upon their idiosyncratic notions. So to anybody with an open mind, soft heart, and thoughtful streak both White and Wrong-Eyed Jesus are most important discoveries.
Upon first glancing at Wrong-Eyed Jesus, soon-to-be-fans will notice the complete title The Mysterious Tale of How I Shouted 'Wrong Eyed Jesus'. A reference to the short story contained within the pages of the CD booklet, it sets the stage nicely for the conceptual elements of the eleven following songs. A neatly produced although appropriately low-key affair, the album boasts lovely melodies, smooth vocals, an off-kilter banjo, various unexpected percussion, a harmonica, and even horns. Aside from the vision that White possesses, the album is in part a product of Joe Henry, David Byrne and Victoria Williams among a few other names.
But White needed no help in the talent department. With or without the aid of established artists he is one of the most deserving singer-songwriters in recent memory to gain a major label deal. To listen to his albums, and in this case Wrong-Eyed Jesus is a uniquely invigorating experience. Upon inserting the disc, be advised that you should sit back and relax. . .although not too comfortably, White‘s music require attention to words.
To choose favorites here is an impossible challenge. As with all great albums, White has a conceptual notion that carries through to each of the eleven songs. Some tracks are probably friendlier to new listeners while others are fascinating and eccentrically beautiful. Wrong-Eyed Jesus kicks off on a deceptively light note on Book of Angels. The first noticeable element will undoubtedly be White‘s smooth, warm, boyish vocals. But on further inspection, the song isn’t meant to be taken lightly:
'Cause when you're free, well you’re just free,
ain't that scary, ain't that wild?
And don’t you feel, feel just like
chucking freedom out the window?
The album doesn't get better or worse as it progresses…it is impossible to improve upon perfection. But White does present a variety of ideas and soundscapes. . .usually still strange and uneasy but yet absolutely gripping. Burn The River Dry is on one level a sweet sing-along marked by a light banjo and understated percussion. What makes the song important is the restless, edgy feeling it elicits.
Still Waters is a haunting, disturbing vision. And it is because of songs like these that certain individuals will be repulsed by White's lyrics. However, Still Waters is probably one of the best songs here. The protagonist here has powers…he wishes a person gone and away they go. . .to their death be them sailor, old man, or girlfriend. The real genius in the song is how the words are assembled. They make you think, they make you hurt.
Yes and there are projects for the dead and there are projects for the living...
thought I must confess sometimes I get confused by that distinction...
and I just throw myself into the arms of that which would betray me.
I guess to see how far Providence will stoop down just to save me.
Probably the single most bizarre track, When Jesus Gets A Brand New Name is insanely rich. Insane because White speaks about an obviously mentally disturbed man who has broken free of jail and is now being pursued by both chirping crickets and the law. Which one is more problematic is a toss-up, but I'm apt to believe in the context of the story that the crickets (a product of mental illness) are probably the worst. White's voice is distorted to the point of near-croak as he croons along side a flute, horns, and drums.
A story of isolation, Sleepy-Town is comforting and beautiful while also crazed and creepy. This dichotomy is what should draw listeners to White. And then again, it is hard to deny the power of some songs like A Perfect Day To Chase Tornadoes. Musically and lyrically airtight, the song is something special. White sounds wonderful, the music is iridescent, the words are thought-provoking:
And I wish it wasn't so, cause the only thing that anyone should ever know
is that today’s a perfect day to chase tornados.
Yeah, when the wild wind whips around your head you know,
that you have found a perfect day to chase tornados.
Wordmule is the heaviest song of the album with a distinctive country/blues feel. And while the song is infinitesimally better than the majority of songs out there, it's probably also the weakest of Wrong-Eyed Jesus. The vocals are a bit too warped, the melody a bit too convoluted. But these most minor wrongdoings are made up for by Stabbed In The Heart. Darkly wistful, the words relay the story of lovers of which one has now been literally Stabbed In The Heart, though according to the story it came as no surprise. As the story progresses, he is dying:
Over the hill there is a highway, now I hear a truck is stopping...
she’s flagged somebody down and asked 'em for a ride.
And I would try to follow her, but I don’t seem to be able
to lift this heavy body anymore, as the light fails, and the darkness falls
into my heart
White's words are more poetry than lyrics. But set to music, they take on more real meaning. Angel-Land is a sympathetic song about death, religion, and of course madness. It works well, especially considering the duet between the artist and Williams. But as far as truly entertaining songs go, Heaven Of My Heart ranks in the top position. In fact, it is a good preview to White sophomore release No Such Place. Consisting of the typical guitar, harmonica, and percussion the reason why it is a special song is because of the words and melody. White seems to be having great fun…and in contrast to the other tracks on the album this one is about hope and love.
Clocking in at over an hour in length, Wrong-Eyed Jesus wraps up with The Road That Leads To Heaven. Continuing in the same depressing, though brilliant, vein of the rest of the album White makes another strong, pensive contribution.
Wrong-Eyed Jesus is perfect. Yes, you read it here first…this album is complete from beginning to end with only a minor (and absolutely forgivable) slip here and there. It rivals the most brilliant releases of the masters and should be considered along side 1990's classics like Jeff Buckley's Grace. But in contrast to Buckley, White is alive and still making music. Not just that, he possesses a great talent for making hearts weep and minds believe. Wrong-Eyed Jesus should be heard to be believed.
Rating: an enthusiastic 5/5 stars
Track Listing:
01. Book of Angels | 02. Burn The River Dry | 03. Still Waters | 04. When Jesus Gets A Brand New Name | 05. Sleepy-Town | 06. A Perfect Day To Chase Tornadoes | 07. Wordmule | 08. Stabbed In The Heart | 09. Angel-Land | 10. Heaven Of My Heart | 11. The Road That Leads To Heaven
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Check out my review of Jim White's second album, No Such Place:
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