By Brian Rock
Yarn weaves light from the darkness on their tenth album, Born, Blessed, Grateful and Alive. A “Hero’s Journey” cycle, like Marty Stuart’s The Pilgrim, this album explores tragedy, loneliness, resilience, and hope. The album follows one man’s search for meaning in a world that seems to be spinning out of control. Each of the eleven songs plays like a chapter of a novel. The musical rhythms convey and sometimes contrast the deep emotions of each song. With influences from The Flying Burrito Brothers, The Grateful Dead, Stealer’s Wheel, and Poco; Yarn captures the easy-going vibe of 70’s west coast country. Generous additions of pedal steel and Hammond organ heighten the emotional, and occasionally spiritual impact of the music. Gorgeously arranged music and poignantly provocative lyrics make this one of those rare albums that gets better with each listen.
“Grieve On,” begins the journey in muted minor keys. Bassist Rick Bugel strikes a repeating note like the tolling of a funeral bell, while Robert Bonhomme lightly whisks his drums to mark the passing of time. Joining the dirge, lead singer/songwriter Blake Christiana moans, “Feeling guilty and mad ‘cause you left me real sad. Sleep all day, cry a lot. Curse Jesus or some other God.” The depth of his pain is unmistakable even as its cause is a mystery. Trying to cope with his loss, he considers numbing the pain with pills or drink. But even in the depth of this sorrow, he still senses, “It’s gonna take a long time. It’s gonna be all right.”
“Heart So Hard,” answers the questions of the first song and sets the tone for our character’s journey. Against uncharacteristically cheerful Jerry Garcia inspired guitar riffs, Christiana sings, “Daddy said he was leaving. I didn’t believe him, but he’s gone all right. Momma said she was dying. We’ll I didn’t buy the crying, but she’s dead all right.” Feeling abandoned and alone our hero decides to harden his heart and, “don’t count on nobody else.”
“Down At The Dancehall,” finds the protagonist in a state of denial. Unwilling to confront the pain of his loss, he seeks to distract himself with the pursuit of pleasure. The dancehall rhythms and honky-tonk pedal steel provide the perfect sonic escape from his sorrow. Trying to cope Christiana sings, “I aged fifty years in a few short months. I ain’t nothing but skin and bones. And my phone is ringing off the hook with wishes of peace and love.” The melody rambles merrily along as he continues, “Now I’m 21 and I’m going on dead. It’s a tune I heard before. But I accept my fate and I’ll do it my way down at the honky-tonk.” Despite the lyrics, the rhythm is unbridled joy. If it weren’t for the story unfolding before us, this would be the happiest boot scooting country shuffle ever written. If you’ve ever danced to a country song, one will find this irresistible.
“Travelin’ Kind,” continues the theme of running away. Again, the music is upbeat and uptempo. Another dancefloor worthy honky-tonk; this one sees the hero’s mindset in sync with the rhythm. Happy to be free of the past, he revels in his freedom. Singing, “Hell, I never get lost. No, I always get found. I never find myself on the wrong side of town. I’m always in the right place, and I’m always on time. My home is on the highway. I’m the travelin’ kind;” he seems to be at peace with his solitude.
“I Want You,” shows that no matter how comfortable the road gets, there’s always a yearning for companionship. The tender ballad reveals an awakening of the heart. A lone hollow body electric guitar and sparse piano create a romantic backdrop as Christiana shares how his new love, “Dug me out of my hole. My heart became a red, red rose with your sweet sugar pumping through my veins.” Harmony vocals by Heather Hannah emphasize the intimacy of the moment. An organ gently layers subtle high notes above the score, giving an almost reverent feel to the scene.
“Play Freebird,” is a devastatingly beautiful follow up to the intimacy of the previous song. Singing, “Well, you asked me if I would play Freebird like your daddy used to do;” Christiana recalls a moment when he and his lover bond over a shared love of music. But in a tragic twist of fate, the lyrics of that iconic song awaken the dormant road lust of his lover and he finds himself alone again. The song is a heartbreaking tribute to both lost love and the musicians who have left us too soon.
“Nomad Man,” circles back to the theme of “Travelin’ Kind.” But now the tempo has slowed and a somber tone sets in as Christiana sings, “Oh, I’m ready to board that train to anywhere again… And where I lay my head, I don’t even care. ‘Cause the only home I see is the journey there.” Back on the road, the hero is back on familiar ground. But this time it feels different. The mournful steel guitar shows how the freedom he once loved now feels like a burden.
“Something’s Gotta Change,” once again captures the honky-tonk feel of a saw-dust covered Texas roadhouse. Reflecting on his journey so far, Christiana sings, “I’ve turned every stone over down every road I’ve ever roamed. I’ve moved heaven and earth trying to make it work, but it don’t. So bend me over backwards and throw me to the wolves. If a change don’t come, I’m already done anyway.” Unhappy with his past circumstances, he has a choice to blame others or look to himself. If others are at fault, he is powerless. If he is to blame, then he also has the power to make things better.
“These Words Alone” finds the hero at a crossroads. Gospel organ and steel guitar combine to create a transcendent tone as he finally faces the inner demons he’s been running from. Christiana sings as if offering confession, “I lost everything. Then I lost my mind. Four days in a motel room, slipping further each night. No food, no drink, no sleep, just this demon in my mind. Four days in a motel room, and I almost said goodbye.” Having tried things his way with no results, he feels at the end of his rope. Releasing his pride and fear, he breaks down and pleads, “Please help me Jesus. Help me somehow. I am not strong enough and I need you now.” A soaring Hammond organ bridge by Damian Calcagne serves as a heavenly altar call for souls who have lost their way. Hearing the call, Christiana surrenders to a higher power singing, “Well I lost everything and that’s all right. Four days in a motel room to show me the light. I am born. I am blessed. I am free. I am grateful and alive.”
“Maybe Someday,” finds Christian greeting the sun after his long, dark night of the soul. Singing, “It takes a lot of work to feel so sad. It’s the hardest full-time job I ever had. ‘Cause it’s so phony trying to be someone else;” he finally feels secure enough to take off his emotional suit of armor. The honky-tonk, two step rhythm echoes his optimism as he sings, “Maybe someday it’ll get better. All the heartache, hurt and failure won’t feel the same.” For the first time he feels there’s a better way out there, and he finally has the faith to seek it.
“Turn Off The News,” represents the first small step towards that better way. Capturing the mellow, country-rock feel of the Allman Brothers, Christiana sings, “All we got is right now. Tomorrow ain’t certain, so turn off the news and that poison in your head.” In an age where people are more connected to their cell phones than to their neighbors, the nightly news adds to the feeling of isolation with its constant division. The news presents every event as a battle of liberal vs conservative, or man vs woman, or black vs white. After watching the news, one may live in a constant state of suspicion towards everyone around you. So, Christiana and company remind that, “There ain’t no destination, there’s only the ride. So you better get on and start steering; and tune out that noise and turn up the music… Hallelujah! Go find your light. Hallelujah! It’s time.” If one simply shifts focus from everything that’s wrong with the world to everything that’s right, the whole world changes. If ever there was an anthem for this troubled generation, this is it.
“Wake Up,” is the culmination of the hero’s quest. Joyous guitar and organ set a triumphant tone as Christiana sings, “You gotta wake up – wake up for the good stuff.” Refusing to be ruled by fear, he continues, “when you’re lying low, and your body’s like stone, and you’re feeling the weight of your mind; you’d be a fool not to choose to fight and to lose, than to not fight at all.” Like a Drew Holcomb Folk anthem, Yarn proclaims a joyful message of liberation. Yes, life may have hard times, but those times pass, and people are free to choose how to react to life’s ups and downs. And in doing so, people get to create their own life story.
The word “Yarn” has two definitions: 1. A continuous strand of intertwined threads 2. A long, often elaborate narrative; an entertaining tale. The band Yarn manages to combine both definitions on this album. By showing humanity’s common thread of searching for meaning; the band shares an intimate first-person account of one soul’s search. In doing so, they highlight the trials everyone must face, the degree of faith that helps people overcome their troubles, and the joy that comes from releasing the illusions of the ego and reclaiming ones personal power. Blessed and grateful, indeed; this magnificent album truly and deeply captures the pains and pleasures of being alive.
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Brian Rock
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