REVIEW: David Wilcox, Underneath (Vanguard)
- Jon Steltenpohl
In the world of modern folk music, there are two hemispheres. One seems destined to make simple music in a simple way. It's a world where live is the only way to play, and studios never seem to capture the magic. The other hemisphere is aimed at getting on the radio and VH-1. Rarely do the two hemispheres merge to form music which moves easily between stage and studio.
David Wilcox is one of those artists who's never had a problem with either world. Like James Taylor and Joni Mitchell before him, Wilcox's music is flowing, soothing and lyrical. In concert, you're likely to get goose bumps and feel a connection that transcends the normal barrier between the audience and the performer, and on album, you get a recording that you don't get tired of. Underneath is no exception.
Wilcox emerged from the generation of late 80's folk artists and singer/songwriters who rode to the major labels on Suzanne Vega's coattails. Only Shawn Colvin kept her major label ties long enough to win a Grammy. The likes of Michelle Shocked, Sara Hickman and Wilcox were dropped when the sales never materialized, and the artists went back to a life of apparent obscurity. But outside the corporate world, small labels like Rounder, Flying Fish and Vanguard supported this sort of music before the majors were interested, and continue to support it to this day. The singer/songwriter world may not make Billboard headlines, but it is an industry dominated solely by performers with remarkable skill and intensity.
It is for this reason that an album of such incredible simplicity and emotional depth could be considered commonplace. Fans of the folk genre have come to expect such things. Underneath is Wilcox's 7th album, and all of the adjectives have already been used to describe his previous work. The music is soft and beautiful. Wilcox plays guitar with rolling, fingerpicked chords. The arpeggios roll and swirl in a calming mix with the accompaniment. Steve Buckingham's production is masterful, and guests like Jennifer Kimball and Alison Krauss add soft background vocals perfectly tailored to Wilcox's soft, expressive vocals.
Wilcox tackles both sides of love, childhood, society's ills and the music industry on Underneath. Of all of the topics, those dealing with love have the most impact. Granted, songs such as "Leaving You" and "All My Life" don't cover any new ground when it comes to subject matter, but Wilcox and his co-writers capture fleeting moments in unexpected ways.
Consider the opening of "Leaving You": "I've got nothing to say. You've been leaving all day," sings Wilcox. "Now it's time that you go, and let me cry. You've got somewhere to be; you're still waiting on me, but there's no reason to say good-bye." In six phrases, he captures not only the reality of the end, but the subtle lines that transcribe the relationship. You can see the regret of the moment, the awkward pause for the final word that refuses to materialize, and the futility of the situation.
"All My Life" encompasses the beginning of a relationship just as deeply. Asks Wilcox, "Do you believe in signs that whisper inside your mind 'till you have to follow through, leading you home again to someplace you've never been? Well I feel that way for you. For how can it be true, the first time I see you, I look into your eyes, and suddenly I knew you all my life." If ever a song was begging to be included in a soundtrack, this is it. The songs on Underneath cry for two lovers to share a slow dance in the twilight shade of the early evening.
Wilcox's only misstep on the entire album is an indulgent swipe at the music industry on a track called "Sex and Music." An interviewer's nerdy voice at the start asks, "Does it bother you that this kind of music doesn't usually sell millions of units or are you hoping there will be a new trend...?" It's a somewhat silly song, and Wilcox talks and mumbles over a funky beat that doesn't really go anywhere. The real problem is that "Sex and Music" breaks the calming mood set by the rest of the album.
Still, a perfect David Wilcox album is easy to obtain: just program the last track out of your playlist, and enjoy the first 12 songs. It's certainly not a reason to avoid such a good album. There are so few artists that make great music as consistently as Wilcox does that it's tough to pass up an album like Underneath. Fans of Wilcox should rush to embrace this one, but for the uninitiated, if you've always liked James Taylor and are looking for something mellow to add to your collection, David Wilcox's Underneath is an easy choice.
