The Trinity Session

The production is excellent- it sounds like the band is in the room with you, from every whispery note from Margo- to every hushed drum beat. Admiteddly, this is something one comes to expect from the CJ's- even when I don't care for their albums (Lay it down), they still always 'sound' great. On this one it sounds especially great: Everyone clicks on this. Everyone knows their place and does a fine job. This Cd is the perfect mix of country, blues and poetry. From Margo's evocative and ever-soulful voice to Michael's lucid and luminous guitar-work. The steady bass (it must be said that Alan Anton is one hell of an anchor)and drum work, always holding down the fort... Oh, the guest musicians hand in nothing short of exquisite performances. The harmonica is so sweet.

The covers are the heart of this album and they are gorgeous- the cover of Sweet Jane that every would-be hipster from my generation knows by heart, as well as the slooooooooooow-waltzing version of 'Blue Moon Revisited,' (quite possibly my fave song by them) which has one of the most wonderfully understated guitar solos I've ever heard. The not-so-well known cover of Hank Williams' I'm So Lonesome I Could Cry,' that sounds nothing like the original yet demonstrates how reinterpretaion can be an act of creation all its own. Reinvention, not immitation, is the highest form of flattery- the CJ's know this and deftly make whatever they handle their own.

The originals are among the best and bluesiest tunes ever penned by the band (you can tell from their first album- the CJ's were born to play the blues, though it's a night-shade of blue all their own). They segue easily and sweetly into each other. This is one of those Cds that suits damn near any occasion- a date, washing the dishes, driving all night, editing a novel, working out, nostalgic musings... It's just fine for all activities or the lack thereof. 'Dreaming my Dreams with You,' sounds exactly like what it means- a particularly masterful use of titular onomatopoeia. 'Postcard Blues' slips so languidly and sweetly into 'walkin After Midnight'- you almost miss the fact that they're two different songs. 200 More miles is a weary gem of a tune. They're all top-notch. No sleepers. Everything pleases. In the Empty-Vee world we all inahbit CDs like this are beyond rare. They have almost gone extinct: This is the high-water mark of one of the best bands in the last 20 years. If you're gonna get ANY of the CJ's albums- this is the one you want. Start here. I, and every other of the 60-odd five star dropping reviewers will guarantee you- you won't be let down with this. And seeing how cheap copies abound in the used section- how can you not pick one up?

And Hey, for all you die-hard fans out there, if you didn't know- there's a version of 'Me & the Devil' on the 'Pump up the volume' soundtrack (and it's NOT the bare bones version from their first CD- it's a longer more sustained chaotic gypsy-sque, blues-from hell, version) that is one the best songs I've ever heard, hands down, period. It would be completely in place if it were on this CD. I don't know why it hasn't been put out on a comp of some kind- maybe it has but I'm in the dark.

There are so many outstanding tracks on this CD it's hard to pick out the highlights. The two traditional tunes - "Mining for Gold" and "Working on a Building" - would certainly be among my favourites. "Mining for Gold" opens the album, and is sung unaccompanied by Margo. Although only about a minute and a half long, it's beautifully delivered with a real sense of melancholy. "Working on a Building" is the other traditional tune. This time, the rest of the band are allowed to join in (!!) and the song is played with a slight jazzy feel. Alan Anton's bass playing, excellent throughout the album, really adds to the atmosphere on this song.

It was "Blue Moon Revisited" that first brought the band to my attention. Entirely different in sound and style to the original "Blue Moon", it's a beautifully laid back number with a hint of sadness and regret. "Sweet Jane", written by Lou Reed, has become a huge favourite of the Junkies' fans, and has been referred to as the band's signature tune. Alan's bass, again, contributes greatly to the mood on both songs.

Of the songs written solely by members of the bands, "Postcard Blues" and "Misguided Angel" are, for me, the best. A guest musician, Steve Shearer, provides the harmonica on the former - a contribution that allows the song to live up to its name.

The album was captured live, using a single microphone and cost only CDN $250 to record. It's also a great example of how keeping production work to a minimum can, at times, help the album. Admittedly, the quality of the songwriting, the playing and the singing is also a big help ! Margo, like the Irish folk / trad singer Cara Dillon, has a beautiful voice - it's something that really strikes home when a song is sung unaccompanied.

While the Junkies' best known song here was probably their somnambulant cover of "Sweet Jane," the brother and sister writing of Margo and Michael Timmins held its own. "Misguided Angel" could have easily been a Patsy Cline song, as it is, it companions "Walking After Midnight" flawlessly. Like the best of country blues, they know how to make you cry into your beer (or whatever you may have at the bar). The gentle sadness of their version of "I'm So Lonesome I Could Cry" could make a room full of Coal Miner's fathers drip tears in their beers.

That "The Trinity Session" came out in 1988 and still sounds idiosyncratic and original should tell you how essential this record remains. It is a quiet treasure.