Jeffrey Gaines 3: Galore

The music scene in the ‘90s was all about survival of the fittest. Major labels no longer had the patience to nurture artists like they used to, so if you didn’t sell, you were dropped. Jeffrey Gaines had the good fortune to be noticed by the music fans at Rykodisc, who gave him a second chance by signing him.

Four years might have passed since his last album, but Galore picks up where he’d left off, even keeping his standard typeface. His style hasn’t changed, balancing the light and heavier approaches of his previous albums, and he even managed to get a few names to help out (including then-recent Bowie veterans Reeves Gabrels, Zachary Alford, and Gail Ann Dorsey, plus David Sancious on piano).

“First Chapter’s Last Page” has one of those melodies that sounds so familiar, with a lyrics about someone who needs some kind of help. “Right My Wrongs” has a good dose of soul without saying much, but “A Simple Prayer” overcomes the danger of being too maudlin with a nicely evolving melody and string arrangement. “Step By Step” expresses a determination to help somebody, a little on the plodding side, which contrasts with the chromatic descent on the slightly psychedelic “Belle De Jour”. The phased vocals on “Everything” bring an unfortunate comparison to Lenny Kravitz, who was much more successful without being as original. “Praise Or Blame” seems to take on the American history of destroying cultures of color; political commentary doesn’t really suit him, and the chorus needs work.

Things get back on track—or more specifically, to singing about relationships—for “Toast And Tea”, from the first-person perspective, “Goodbye”, a warning to a less-than-appreciative spouse, and “To Love Her Inside”, which might as well give a description of the woman scorned. “Anything New” unfortunately doesn’t offer much of the sort, though “Alone” appropriately has him playing all the instruments. “Leave Her To Me” offers a more personal variation on the message in “Goodbye”, demonstrating that that song should have been left off in favor of the superior closer.

Rykodisc really did want Galore to sell, and even offered a bonus in the first pressing. More Galore consisted of five covers, starting with the popular 1992 live recording of “In Your Eyes”. “Villier’s Terrace”, “Win” and “Riot Act” show his debts to Echo & The Bunnymen, David Bowie and Elvis Costello respectively. “Make Him Believe” sends some royalties the way of a friend, though it might as well be his own song.

Galore is good, but not enough to surpass either the debut or the expectations of the new label. Next time we heard from him, he was on another indie imprint, re-recording “In Your Eyes” and “Hero In Me”, and covering “First Time Ever I Saw Your Face”. He’s still out there doing shows, as proved by the two live albums that have appeared since his last studio album a decade ago.

Jeffrey Gaines Galore (1998)—3
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Jeffrey Gaines 2: Somewhat Slightly Dazed

The role of acoustic troubadour was a convenient and cheap was to spread the word, but deep down, Jeffrey Gaines wanted to rock. The first suggestion came with a re-recorded version of “Headmasters Of Mine” featuring the Boston band The Neighborhoods. (The CD single included a live acoustic performance of Peter Gabriel’s “In Your Eyes”, of which he’s probably received the most notoriety.)

He turns up the volume for the bulk of Somewhat Slightly Dazed, not just layering more guitars but having the drummer hit harder. Luckily, that approach doesn’t crush the potential of the opening three songs, each of which had featured in his sets for a few years. “I Like You” is a wonderfully happy valentine; “Sweet Janine” brings to mind classic ‘60s psychedelia; and “I Know A Man” sympathizes for a victim of an unspecified accident, without specifying who exactly that man is who would “know what to do”. “Safety In Self” takes a folkie direction, with a waltz tempo and uilleann pipes. There’s a quick transition to “You Believe In Me”, which returns to the solo format. Things get edgier on “All The Will In The World”, another portrait of someone fighting some kind of burden.

The second half of the album isn’t as striking, but still holds up its end of the bargain. “Nursery Rhyme” is an infectious little number about the end of a relationship without being at all bitter. The chorus sports a descending vocal, leading right into the musical twist at the end. “Elliot” could be about AIDS or an unwanted pregnancy; he’s typically vague. We hear more echoes of Elvis Costello in the arrangement of “Talent For Surrender”, particularly in the “and you would/said you could” section. “What Can I Do” is more morality on the lines of the debut, and he harmonizes with himself again, nicely, on “Just One Thing”. “In Her Mind” and “Wish It Away” are overwrought and aggressive, making the unlisted alternate mix of “I Like You” something of a reprieve.

Outside of the appearance of guitarist Reeves Gabrels, we can’t find a more blatant Bowie connection for Somewhat Slightly Dazed outside of the nod in the album title. The album should have been huge, but the world wasn’t really interested. Used copies abound on eBay, or it can be downloaded à la carte.

Jeffrey Gaines Somewhat Slightly Dazed (1994)—3½
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Jeffrey Gaines 1: Jeffrey Gaines

The singer-songwriter had his work cut out for him (or her) in the early ‘90s—write songs that cut to the heart of the matter, and be sincere about it. Jeffrey Gaines supposedly gave up a chance to front any of a handful of bands to pursue his own dreams, which he’s still doing today.

Everybody has to start with a self-titled album, and Jeffrey Gaines pretty much presents what he had to offer. His live shows at the time were showcases for his songwriting, with a song or two that weren’t on the album, and a certain arrangement of a cover that would stick him in a slot for the duration.

Not all of the album is a lament for failed relationships, but those are the songs that stand out. “Love Disappears” is as vivid as it gets, expressing the doubt in a relationship described in “What It Is” and ends with “No, I Don’t Think So”. What does emerge from the program is the pro-choice debate, as spelled out in “Didn’t Wanna Be Daddy” and “Choices”. The fatherhood conundrum is explored even deeper in “Sorry The Next Day”.

Jeffrey Gaines has a husky, full voice that owes an acknowledged debt to Elvis Costello and other singer-songwriters, balanced with a delicate acoustic touch around the usual chords but with fingerpicked variations. That’s what songs like “Hero In Me”—his own theme song, if he has one—“Scares Me More” and “Headmasters Of Mine” have to make them so memorable: emotion, passion and expertise.

His approach was mostly acoustic, so thankfully there’s not much in the production that gets in the way of the songs. There is a rhythm section on most tracks, with some coloration, but the most elaborate embellishments come from his own harmonies. That’s what’s made his live performances so engaging—he simply plays the songs, chats up the crowd, and finds levels upon which he can expand. He’s managed to do it for twenty years, and if anything, success hasn’t come close to spoiling him.

Jeffrey Gaines Jeffrey Gaines (1992)—3½
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