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Chris St. John’s new release When Dreams End is a polished and major statement from a songwriter and interpreter backed by big league talent. Producer Stephen Wrench contributes potent writing to the collection without ever shifting the spotlight away from St, John and the array of top session musicians playing on When Dreams End support rather than struggle with serving the album’s songs. Professionalism dictates the day here, of course, but there’s ample inspiration as well – Chris St, John treats these songs as if they are the most important musical moments of his life.
It isn’t difficult believing that they are. There’s light-hearted fare present during this album. But St. John’s songwriting isn’t afraid of wrestling with thorny and decidedly mature human frailties. This third album strikes the same ultimately triumphant note heard on St. John’s 2021 debut I’m Dreaming while expanding his catalog in a meaningful way.
The unmoored dream-like wafting of the opener “Lost Without Your Love” benefits from several instrumental touches. The guitar is especially evocative, but it’s the production that ultimately sets the song apart. Wrench has invested a light amount of echo around the cut’s tried and true turns, and it layers the song with a satisfying theatrical veneer.
Those theatrical inclinations continue in songs such as the second track “Oh Papa”. Introducing strings into the mix, however, doesn’t dilute the conviction of the material but gives it a quasi-baroque quality. This is rootsy and country-inspired, but it’s pop, and yet it’s something else too, even then. St. John flips through the pages of his own autobiography for this track but, despite that intimacy, it never comes across as stilted or embarrassing. It is, instead, one of When Dreams End’s finer moments.
The fiddle-led and slowly evolving eloquence of “What’s Wrong with Me?” sweeps listeners along without ever sounding false. St. John drops a piercing electric guitar solo deep in the track and it doesn’t sound like an unnecessary adornment or overkill; it is perhaps a bit surprising given the album’s character thus far but short. The clean and wonderful grace of the title song makes it stand out as one of the album’s most affecting cuts; it’s a song well in keeping with the light James Taylor-ish vibe audible in St. John’s work.
The elegant melancholy of “Her Name Was Lily” rates as one of the album’s most memorable moments. St. John’s songwriting focus drifts again towards orchestration, but it is to his credit as a composer and performer that it never sends such songs off-track. The sharp characterization underlining this tune, reflected by the song title, is another reason why it is a highlight.
“Bitter Tears” concludes When Dreams End on the same introspective note propelling the previous seven tracks but, again to his credit, never veers into melodramatic histrionics. The clarity of the recording is another strong suit – the guitar playing sounds like it’s right next to you and crackles with gritty authenticity. It ends a cohesive and intelligent release that creates a mood from the outset and sustains it throughout. Chris St. John’s When Dreams End follows up his debut with a real winner.
Jennifer Munoz
