Vents MagaZine Music and Entertainment Magazine
Related Articles
Gregg Hill’s Bayou St. John is the fifth album release from the New Orleans-based singer/songwriter and arguably his finest moment yet. It builds on the considerable merits of its predecessor Born Liar by demonstrating Hill’s continued artistic growth and his deep understanding of the rock, roots, folk, and country strands running through his work. Originally hailing from Chicago, Hill has called assorted locales his home before settling in New Orleans, though he still travels a great deal. Much of that travel pertains to his dual role as a sculptor with his highly praised work appearing in galleries throughout the United States.
You can hear the attention to detail marking his sculptures present in his songwriting as well. Bayou St. John opens with “Places in Between”. Tight focus balanced against minimalist accompaniment gives this first song a warm, affable gait without ever delivering a loose, flabby performance. Hill doesn’t have the greatest technical skill as a singer but nonetheless communicates his lyrical content with inviting emotive nuance.
The languid pacing of “New Orleans Again” gives Hill ample time to develop his ode to his adopted home. It has a strong folk song vibe without reducing the track to the level of cliché. Many listeners will be taken with the elongated way Hill draws out the words “New Orleans” and it’s indicative of the emotional emphasis he applies to his vocal performances. “One Minute Song” is a literal title as the track clocks in at exactly sixty seconds – no more, no less. Many will believe it is a throwaway number based on its duration alone, but Hill incorporates an astonishing amount of lyrical depth into that time.
“Magnolia Bridge” opens as a brisk duet between the percussion and bass. Acoustic guitar enters the picture and adds an upbeat melodic signature to the piece. The guitar melody has a circuitous feel, wrapping around itself, and the decision to include an instrumental track this late in the album’s running order is a fairly audacious move that pays off for listener and artist alike. The blues-via-New-Orleans texture of “Big Blue Moon” and its patient unfolding helps make it one of Bayou St. John’s more memorable performances. Hill’s singing has a laid-back demeanor, as well, and practically quakes with sensitivity.
“Old Like Me” concludes the album on a playful note with a dash of underplayed seriousness lurking as a subtext. The song has a bit of a risqué sense of humor, though it’s never crass, and you get the feeling that Hill’s smiling throughout the performance – or at least smirking. The musical arrangement has the same playful mood as the lyrics. Bayou St. John certainly owes more to the folk music side of Hill’s influences than any other, but it isn’t a collection lacking diversity.
It’s a solid album that doesn’t need to beat its chest in order to garner your attention. Instead, its humanity is what pulls you in and holds your ear rather than flashy or otherwise unnecessary touches along the way. Gregg Hill has a winner on his hand with this fifth album and you won’t regret giving it your time.
Jennifer Munoz
