Sail Away
Amy & Adams
Okay Today Records
1998
12 tracks
At first, I wasn't sure what to make of Amy & Adams. The words and music are simple, perhaps deceptively so, but it's hard to define the precise character of these songs. I considered other songwriter couples. Some songs seem to suggest Terry and Susan Jacks, but the songs here have a softer centre, less folk-rock and more pop. Many songs have the sentimentality of Jon and Sondra Steele, but not the country flavour. At least one song, but not the others, reminded me of early Les Paul and Mary Ford. Some of the song titles and imagery caused me to seriously consider the possibility this is a very low-key Christian release. Although those elements are present, it is probably not. What, then, are Amy and Adams about?
Taken at first listen, the music on Sail Away has a certain folkish singer-songwriter ambience about it. At centre, though, the music here is much more pop than folk. The melodies, more than anything, are what at first brought to mind The Poppy Family and the subsequent hits of Susan Jacks and Terry Jacks. Rather than folk-rock with a social message, though, the lyrics here are sentimental love poems set to music, the very stuff of teenage pop music. With their sweet and sometimes lush arrangements and their even sweeter vocals, Amy & Adams come across as a contemporary Paul and Paula, singing sweet love songs to each other. What saves the songs from saccharine is that this Paul and Paula seem to have conspired with Jimmy Buffet, setting their sweet words and melodies to jumpy and often Caribbean-sounding rhythms.
"Whippoorwill" caught my attention because it stands out from the others. Simpler musically than other songs on this release, "Whippoorwill" is a traditional country waltz ornamented by bits of penny whistle, including a solo on the bridge. In its lyric, in it's melody and arangement, and in the general feel of this song, I was reminded of "Mockingbird Hill" as it was originally recorded by Les Paul and Mary Ford. This song has the same sort of inherent nostalgia and sentimentality.
Like some songs in the old rock-operas, most of the love songs here hold enough images from the Christian canon that they can be taken as sung either to God or to a human lover. Some songs clarify that the words are intended for a lover, but most tend to leave the listener to decide. "Surrender" seems clearly a song of human love, and "Oh Amy" clearly is. As just two examples, "Sail Away" and "Holy Boy" are not so clear in their intent. In fact, several songs on this release could be as easily hymns as love songs.
"Holy Boy" especially reminds me of the work of Susan Jacks some thirty years ago on her solo releases. Here Amy's voice has the same quiet confidence and fullness of expression which was so attractive in Jacks' recordings. The simple arrangement, carried by piano and bass, enhances the effect. This is one of the prettiest songs on this album of pretty songs.
The title song, "Sail Away" epitomizes the unique vocal harmonies that show up throughout this release. A dialogue between the two singers, the vocals slip from male or female solo into sweet harmonies. The structure of the song is quirky, ranging from soft love dialogue through edgy rock and roll and back to a gentle reprise, with several variations in between. Here, it's Adams who seems a bit like Terry Jacks, moving effortlessly from sweet pop lover to edgy rock and roller and back.
"Oh Amy" especially has that Paul and Paula sound. This is an unabashed pop love song of the sort that would have made the hit parade easily some forty years ago. Who can be objective? I'm still a sucker for those songs.
If they ever hear it, "Teddy Bear" should be picked up in a flash by Sharon, Lois, and Bram. While there may be something very adult between the lines, this is an ideal song for children's televison. It has a bright, bouncy rhythm that's sure to get the toes tapping and the kids dancing. With jumping bass and irresistable piano and clarinet parts, how can it lose? Even better, the song has a gleeful, playful vocal that can only add to the feeling established by the instrumental. And it's all about a teddy bear. I can already see it on The Elephant Show.
"Let Me Be" is another song that has a very Christian feel to it. Here, the lyric sounds as though [again, back to those rock-operas] it was written in the voice of Christ, inviting those in need to allow Him to be their support. Yet, again might it again be a song of a lover offering support to his beloved. An interesting tension is created that gives the song more apparent depth than it might otherwise have.
That there are certain Christian images built into the lyrics of these songs is clear. On a philosophical level, I think this is neither a positive or a negative thing. On an artistic level, the use of these symbols and metaphors adds substance and interest to lyrics which might have become maudlin in their sentimentality. Their inclusion adds a certain resonance to the words which will draw listeners in and hold them. Both Amy Adams-Westin and Mark Adams-Westin are talented lyricists, each with a story to tell.
Sail Away is a well, written, well produced effort that is certain to be well-received by what may be a niche audience. The music tends to fall between genres and so may not find a home among any specific audience category. However, this music is the stuff of middle-of-the-road radio and could potentially receive a lot of airplay there. It will be interesting to hear what Amy and Adams release next.
To learn more about Amy & Adams and their music, you can visit their internet home at AmyandAdams.com.|
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