Fall
J. C. Porter
Independent
1999
12 tracks
Listening to J. C. Porter, it quickly becomes apparent that here is a man whose music is influenced by an eclectic range of sources and whose lyrics reveal the poet inside. While their quiet feel and comfortable tempos will make the songs on Fall disarming background music, they really deserve a closer listen.
One nice touch is that this release includes a sixteen page booklet with Porter's lyrics set up as poems. Like Cohen's, these are lyrics that read well off the printed page as poetry. Much of the imagery, especially the Christian allusions, tends also to remind the reader of Cohen, but the phrasing leans more toward the writing of Kris Kristofferson, John Prine, and other country lyricists.
Unlike many so called singer-songwriters, J. C. Porter actually is able to sing. Mostly presented in pared down guitar and singer arrangements, these songs highlight Porter's evocative interpretations of his own songs.
Porter has a solid history as a songwriter and performer, including stints with The Cropdusters [a folk-rock group that especially impressed me] and Motherfunction. Even with his extensive background, Porter still tends somewhat to wear his influences on his sleeve. His work is not at all imitative or derivative, but the echoes remain and are easily identified.
Set against this collection of mostly folk-country arrangements, I found "Run On" especially interesting. "Run On" sounds like Jerry Jay doing Elvis Presley's "Don't Be Cruel," complete with fake Jordanaires filling out the background. The throbbing bluesy bass carries the music uncompromisingly forward while some neat guitar licks add character to an already stylish treatment. It's quirky, but I like it.
"G Blues" is another song that shows a rock influence, but from a later era. Carried again by the thump of the bass, in tempo and vocal style "G Blues" might have been pulled direct from The Doors' songbook. Some of the breaks are also reminiscent of a slowed down Sir Douglas Quintet. Although it harks back to an earlier time, "G Blues" maintains its identity as an original, contemporary song.
"Fever" could be a Neil Young song. Porter's imagery follows closely the sort of images Young often chooses, and Porter sings the song with those high peaks we've become so used to in Young's work. If one doesn't listen to closely to the lyrics, one can almost hear that "white boat coming up the river" in this song.
A real country sounding song, "Dearest Companion (Judgement Day Rain)" sounds very much like Kris Kristofferson, especially echoing the tempo and melodic structure (at least in places) of "Why Me?" Even Porter's lyrics are Kristofferson style poetics of despair probably closer to "Sunday Morning Coming Down."
Even with these apparent influences shining through, J. C. Porter's writing and performance is original and interesting. It might even be said that these allusions to other artists strengthen Porter's work and give it depth it might not otherwise have.
Fall will make an interesting addition to any collection of contemporary releases, whether folk or country. It's worth having just for the poetry, a true bonus when included with this well-crafted music.
Those who want to know more about J. C. Porter and his music will find information at jc-porter.com.
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