REVIEW: The Jayhawks "Sanctuary Park" • Americana Highways

The Jayhawks Sanctuary Park

The Jayhawks are celebrating their 40-year anniversary and seeking solace with the release of their twelfth studio album Sanctuary Park. For those not in the know, The Jayhawks consist of bandleader and chief songwriter Gary Louris (vocals, harmonica, and guitars), Marc Perlman (bass, mandolin, and backing vocals), Karen Grotberg (keyboards and vocals), and Tim O’Reagan (drums, percussion, and vocals), which has been their steady line-up for more than three decades. Guest musicians this time around include: producer Bob Ezrin playing ukulele on “Leap of Faith,” Todd Lumley on accordion (“Kingston Girl”) and harmonium (“Leap of Faith”), and Mike Johnson on pedal steel (“Hands Upon the Wheel” and “It’ll Be All Right Tonight”).

The album cover artwork – a frame within a frame – is an apropos depiction of the divisive and convoluted times we are living through, and provides the background and backdrop for the band’s insightful and introspective lyrics and musical vibe on this album, which attempts to reassure listeners that in troubled times “it will be all right,” we will get through this together with “a leap of faith” and by “keeping our heads above water.” The band reunited with legendary producer Bob Ezrin – noted for his work with Pink Floyd, Kiss, Alice Cooper, Peter Gabriel, among others, and who produced The Jayhawks’ 2000 SMILE album. Although it may seem like a kinder, gentler Jayhawks album on the surface, with Ezrin’s palatable pop polish and overall themes of longing, getting by, and searching for solace, but Sanctuary Park is no simple “Minnesota nice” endeavor, as this effort still has their trademark sound and distinct synergy (they road-tested some of the songs on prior tours, and recorded the songs as an assembled cohesive group live in the studio), those marvelous melancholy undertones, and subversively sardonic and enigmatic lyrics that leave just enough mystery, darkness, and intrigue (and yes, damsels in distress) that make Louris’s cinematic song-storytelling vignettes so compelling; for instance, the hauntingly murky and slinky title track “Sanctuary Park” – is it a song of young unrequited love, or is it a murder ballad? Or “Mr. Lincoln” written from the perspective of a Ford Theatre musician present at Lincoln’s assassination (co-written by Emerson Hart of the band Tonic).

Because he is an admitted fan of their music, Ezrin seems to bring out the best in the band, highlighting each of their individual talents and how they come together as a whole to create their unique and singular sound, with a particularly keen focus on vocals: the three part harmonies (like in the acapella opening to “Hands Upon The Wheel”), the backing Ooos, Ahhs, Oh-ohs, and the do do do do do vocal melody that bookends and accents the catchy “Kingston Girl,” which is reminiscent of classic Crosby, Stills, and Nash. Louris never sounded better, seemingly channeling his younger self whether conveying an authentic vocal performance or playing some fiery guitar solos on songs like “American Midnight” and “Always And A Day” (which has some serious Buffalo Springfield vibes). Drummer O’Reagan – whose driving beats and earthy percussive style reminds one of the late great Levon Helm – creates a sound rhythm section with stalwart, steadfast, and stoic Marc Perlman’s powerful, punchy, pulsing, and precise bass playing, but also delivers yet another lead vocal performance highlight on “Mr. Lincoln.” O’Reagan’s vocal stylings and timber blend so beautifully with Louris and Grotberg throughout the album. Besides her lush vocals, Grotberg augments these songs with her dexterous and dynamic honky-tonk piano flourishes, beautifully spotlighted on songs like “Leap of Faith,” “Familiar Strangers,” the classic country “It’ll Be All Right Tonight,” and “Sanctuary Park.” It is no wonder they refer to her as The Jayhawks’ “secret weapon.”

Although the encouraging and congenial “Keeping Our Heads Above Water” (co-written with Mat Kearney) and the brilliant subversively upbeat “American Midnight” (with its “How Long? How Long?” nod to Neil Young’s “Southern Man”) have been getting much deserved attention and airplay as official pre-releases, Sanctuary Park is solid from start to finish, a complete full-album listening experience. Whatever Jayhawks album is your favorite, there is something on this record for you, as the band faithfully taps into multiple aspects of their variegated roots while forging forward, one well-crafted and catchy song after another sounding so familiar yet fresh at the same time from the lead off track “Keeping Our Heads Above Water” to the (far-too-short, sublimely simple yet poignant) closing epilogue “Rowing the Boat.”

More information and tour dates at: https://jayhawksofficial.com/

Enjoy some of our previous coverage here: Show Review: The Jayhawks Bring Warmth to TCAN

Production & Engineering Credits:

Producer: Bob Ezrin

Mixing: Bob Ezrin and Brian Moncarz

Mastering: Robert Vosgien

Recording Studio: Canterbury Music Company (Toronto, Canada)

Label: Thirty Tigers

SANCTUARY PARK TRACK LISTING:

Keeping Our Heads Above Water

Kingston Girl

Mr. Lincoln