WALKING IN THE WILD LAND

As a keeper of the flame of the first incarnation of Renaissance and of the songwriter and male vocalist for the later Illusion projects, namely Jim McCarty, I would be remiss if I failed to review his latest offering from 2018 titled Walking In The Wild Land. With songs written in a similar philosophical vain to the proceeding album from 2009 titled Sitting On The Top Of Time, I can quickly say that it's another quality offering from McCarty. However, this time most of the songs are arranged and performed in a more straight up singer/songwriter style that one would have encountered in the 1970's and '80's. That doesn't make the songs bad but they are less intriguing from those found on Sitting On The Top Of Time as they are somewhat stripped of their moody, atmospheric and, at times, esoteric musical themes and general vibes.

That said, the acoustic guitars return along with tasteful piano and keyboard playing from several guests, including the incredible John Hawken, as well as the hypnotic bass playing of producer George Koller. Where McCarty had Steve Hackett guest on electric lead from one song on Sitting On The Top Of Time, the great Alex Lifeson does a similar turn on this album's fifth track titled "Soft In A Hard Place". It has a smoking Santana-like "Smooth" tone and really wakes up this sleepy song. How great it must be top be able to call upon such stellar friends to contribute to one's album projects! Amazing. Other Standout tracks include the title track which features a stirring violin accompaniment. The Renaissance-like "Mountain Song", "Right On The Road" and "Dancing Leaves" are quite good due to their reliance on captivating piano and bass interplay. Oddly, for this album, the up tempo "Charmed" could have been a Smile era Beach Boys song in some alternate universe, with it's cheery use of a flugelhorn to steer the melody between the song's catchy verses and chorus, along with it's swooping vocal harmonies. As I stated above, Walking A Wild Land doesn't have quite the charm of it's predecessor, but it's still a valuable addition to the growing McCarty solo canon. Yes, quite amazing indeed.

This is the third solo album from McCarty, but he will always be thought of as the drummer of The Yardbirds, the only man who stayed true to that group through all its different versions since they first came together to support Cyril Davies in 1963 (as a side note, if you have never come across this amazing blues harmonica player you need to do so!). His vocals may not be as strong as they used to be, but in fairness he is 75 later this year! Here he provides vocals, acoustic guitar and some drums, and he has been joined by fellow Renaissance co-founder John Hawken on a couple of numbers with delicate piano. Mind you, probably the most surprising guest is Alex Lifeson, who provides lead guitar and synth guitar on 'Soft In A Hard Place'.

In many ways this is an album of its time, and that time was probably either the late Sixties or mid Seventies. But, Jim is producing psychedelic pastoral folk with hints of folk, and it is obvious that he is doing so because he wants and needs to, as opposed to being forced to. There is a gentle flow through the songs, and it is incredibly easy to listen to. This is never going to set the world alight, but for someone who has been involved with the music scene for 55 years he is showing that he has lost none of his knack of writing good material, even if it may not have the punch of his heyday. Obviously fans of his previous bands, and possibly even Rush completists, will search this out. But actually, if you just want something to play on a summer's day that isn't going to tax either the ears or the braincells, then this could be the perfect sonic tonic.

Having a mid septuagenarian Jim McCarty still around and recording is so much better than no Jim McCarty at all that every new release is a bonus gift in itself. His solo works are sparse even as he remains involved in collaborative projects. "Walk in the Wild Land" is the first in 9 years, since "Sitting on the Top of Time".

This time around the arrangements are a bit sparser, mostly acoustic guitar and his expressive voice. A few tracks are more upbeat, and appearances by Alex Lifeson and John Hawken do not disappoint. Overall this is the least traditionally progressive of the three records in his name, even allowing for the new age forays of its predecessor.

Lyrically, the themes of connection to nature juxtaposed with detachment from materialism remain, with an appreciation for healthy life into later years. He is expressing more concern over the tendency of elders to live in the past, now that the generation of free love has hit its twilight years in full force. "I don't want to talk about 69" barely conceals a double entendre that is perhaps innocent perhaps wholly intended. He seems to have breached the fuzzy border between the necessity for centering oneself in an increasingly dysfunctional world and baby boomer egotism. While "Charmed" is the quintessential statement of this subtle shift, it's also one of the most enjoyable numbers, so there you go!

While a simpler and at times more simplistic McCarty is presented here, he remains a genial and reassuring companion for an occasional real or virtual walk in the woods.