Jill Jackson – Curse Of The Damned
Scottish singer-songwriter Jill Jackson is, talent-rightly, a well-known and well-respected artist in the International Americana scene.
But she also has a penchant for country, genuinely heartfelt balladeering and hook-laden pop (for the latter, check out the Jackson fronted, noughties alt-pop rockers Speedway and 2004 album Save Yourself).
It’s a crossover of styles that serve Miss Jackson well, and while influences range from Dolly Parton and Patsy Cline to Emmylou Harris and Joni Mitchel (with whom she shares insightful storytelling traits, from the observational to the personal) the results are always Jill Jackson.
All such influences and blending of styles were heard to lovely effect on 2022’s Yours Aye (No.1 on the UK Country iTunes Chart), which made a fine argument for being Jackson’s best solo album yet. Or at least did, until Curse Of The Damned turned up.
While Americana and crossover country once again lead the way, there is a discernible pop sheen attached to many of the songs on Curse Of The Damned, including the opening number and title track.
Featuring album co-producer & multi-instrumentalist Paul Crawford (who appears on most of the songs) and Ron Block on banjo (the latter giving the song a folksy vibe), 'Curse Of The Damned' is a hooky mid-tempo that lyrically calls for understanding towards those suffering behavioural conditions, in this case (although never directly referenced), ADHD.
'Standing At The Edge,' which follows, mixes delicate atmosphere and Nashville balladeering in equal measure.
Underpinned by Johnny Mackinnon’s piano and subtle pedal steel from Conor Smith (kudos here to the mix by Paul Visser, and throughout) Jill Jackson’s beautifully delivered vocal sits between plaintiveness and lyrical melancholy ("Standing at the edge of the world, can you see me? Hanging on your every word, but you never hear me").
The big-beat, pseudo-glam of 'Knock Next Door' presents yet another side of Jill Jackson while the pedal steel and piano backed 'Back When I Was Wilder,' with its reflective "older and wiser" lyricism, returns to the simple but beautifully effective balladeering style Jill Jackson excels at.
Such is the sixties country-pop authenticity of love song 'Avalanche' that you could be forgiven for thinking it came from that very era; Jill Jackson then returns to the present day for the western tinged, harmonica backed (courtesy of Fraser Spiers) ballad 'Lonesome Lament,' which lyrically mourns the loss of late and great Scottish folk singer-songwriter, Rab Noakes, who we lost in 2022.
The melancholy continues with 'Misunderstood,' a deeply personal piano & pedal steel accompanied ballad that and lyrically reflects upon the fact we should be accepted for who, and what, we are, and any demons we carry ("Please just love me like you should, I’m just so misunderstood").
Acoustic rockabilly-country number 'Wake Me Up' (featuring Jill Jackson on all instruments except Paul Crawford’s drums) lifts the tempo before 'The Runaway Lady' provide's the album’s most contemporary and atmospheric moment (a repeated drum loop from Crawford and banjo interjections from Jackson give the song a vibe like no other song on the album).
The gospel shaped 'Kaleidoscope,' which closes the album, starts in gorgeously voiced a cappella before shifting to a delicate acoustic guitar, bass and drum sequence; it then closes out much as it opened, with Jill Jackson accompanying herself on acoustic.
'Kaleidoscope' also acts as a metaphor for the singer – Jill Jackson has been open and honest about her mental health struggles of the past, but Curse Of The Damned points to an artist who should now only see positive patterns and colourful, multi-faceted creativity.
Ross Muir
FabricationsHQ
Jill Jackson – 2024 live shows in support of Curse Of The Damned
31st August - Mill Town Music Festival, Paisley Town Hall
5th September - La Belle Angele, Edinburgh
6th September - Beacon Arts Centre, Greenock
7th September - The Boarding House, Howwood
10th October - Behind The Wall, Falkirk
11th October - Perth Theatre, Perth
28th November - Acoustic Music Club, Kirkcaldy
29th November - Harbour Arts Centre, Irvine
1st December - Tay Acoustic, Tayport
But she also has a penchant for country, genuinely heartfelt balladeering and hook-laden pop (for the latter, check out the Jackson fronted, noughties alt-pop rockers Speedway and 2004 album Save Yourself).
It’s a crossover of styles that serve Miss Jackson well, and while influences range from Dolly Parton and Patsy Cline to Emmylou Harris and Joni Mitchel (with whom she shares insightful storytelling traits, from the observational to the personal) the results are always Jill Jackson.
All such influences and blending of styles were heard to lovely effect on 2022’s Yours Aye (No.1 on the UK Country iTunes Chart), which made a fine argument for being Jackson’s best solo album yet. Or at least did, until Curse Of The Damned turned up.
While Americana and crossover country once again lead the way, there is a discernible pop sheen attached to many of the songs on Curse Of The Damned, including the opening number and title track.
Featuring album co-producer & multi-instrumentalist Paul Crawford (who appears on most of the songs) and Ron Block on banjo (the latter giving the song a folksy vibe), 'Curse Of The Damned' is a hooky mid-tempo that lyrically calls for understanding towards those suffering behavioural conditions, in this case (although never directly referenced), ADHD.
'Standing At The Edge,' which follows, mixes delicate atmosphere and Nashville balladeering in equal measure.
Underpinned by Johnny Mackinnon’s piano and subtle pedal steel from Conor Smith (kudos here to the mix by Paul Visser, and throughout) Jill Jackson’s beautifully delivered vocal sits between plaintiveness and lyrical melancholy ("Standing at the edge of the world, can you see me? Hanging on your every word, but you never hear me").
The big-beat, pseudo-glam of 'Knock Next Door' presents yet another side of Jill Jackson while the pedal steel and piano backed 'Back When I Was Wilder,' with its reflective "older and wiser" lyricism, returns to the simple but beautifully effective balladeering style Jill Jackson excels at.
Such is the sixties country-pop authenticity of love song 'Avalanche' that you could be forgiven for thinking it came from that very era; Jill Jackson then returns to the present day for the western tinged, harmonica backed (courtesy of Fraser Spiers) ballad 'Lonesome Lament,' which lyrically mourns the loss of late and great Scottish folk singer-songwriter, Rab Noakes, who we lost in 2022.
The melancholy continues with 'Misunderstood,' a deeply personal piano & pedal steel accompanied ballad that and lyrically reflects upon the fact we should be accepted for who, and what, we are, and any demons we carry ("Please just love me like you should, I’m just so misunderstood").
Acoustic rockabilly-country number 'Wake Me Up' (featuring Jill Jackson on all instruments except Paul Crawford’s drums) lifts the tempo before 'The Runaway Lady' provide's the album’s most contemporary and atmospheric moment (a repeated drum loop from Crawford and banjo interjections from Jackson give the song a vibe like no other song on the album).
The gospel shaped 'Kaleidoscope,' which closes the album, starts in gorgeously voiced a cappella before shifting to a delicate acoustic guitar, bass and drum sequence; it then closes out much as it opened, with Jill Jackson accompanying herself on acoustic.
'Kaleidoscope' also acts as a metaphor for the singer – Jill Jackson has been open and honest about her mental health struggles of the past, but Curse Of The Damned points to an artist who should now only see positive patterns and colourful, multi-faceted creativity.
Ross Muir
FabricationsHQ
Jill Jackson – 2024 live shows in support of Curse Of The Damned
31st August - Mill Town Music Festival, Paisley Town Hall
5th September - La Belle Angele, Edinburgh
6th September - Beacon Arts Centre, Greenock
7th September - The Boarding House, Howwood
10th October - Behind The Wall, Falkirk
11th October - Perth Theatre, Perth
28th November - Acoustic Music Club, Kirkcaldy
29th November - Harbour Arts Centre, Irvine
1st December - Tay Acoustic, Tayport