Lyrical & Melodic Singer-Songwriter Is Effective & Magical As Ever

Always an artist who is a master of melody and lyric Texan Beth Nielsen Chapman has always maintained a high level of quality through her long career and with her new LP – continues with this 11-track collection — her 13^th album: “Hearts of Glass.” Five songs have been refreshed from past albums and kicking off this endeavor Beth immediately asserts herself with a strong melody on “Come to Mine.”

Don’t expect fireworks, sparklers, or blistering lead guitars — just expect the affirmation that an abundance of absorbing notes will unravel with a pleasant momentum.

In the past Beth has performed many poignant and sincere songs – many I still play today. She occupies a special place alongside such singer-songwriters as Eleanor McEvoy (“Only a Woman’s Heart”), Mary Chapin Carpenter (“This Shirt”), and the former Cindy Bullens (“Somewhere Between Heaven and Earth” – an entire album dedicated to her 11-year old daughter who died from cancer with contributions from many major artists and a stirring album).

“Old Church Hymns and Nursery Rhymes,” (an early BNC song covered by Waylon Jennings) — has an upbeat presentation but it has a respectable restraint to it that elevates its importance to a special place in Beth’s repertoire. Ms. Chapman doesn’t just have a good, pleasant and warm sounding voice she has a quality that is endearing. Again, nothing is performed bombastic or showboat performing trappings. It’s all controlled through the message she wishes to convey. From the Jeff Taylor pump organ to the gentle notes squeezed from his accordion. Sam Ashworth’s touch on the acoustic guitar is clean throughout the showcase. This is a classic in the making – maybe 100 years from now someone will play this on their back porch or in a small white chapel. This is the difference between a good songwriter, a great singer and someone who is simply a fine artist. “Singing old church hymns and nursery rhymes, from the days way back before my time…” — is just a single line of truth and reminiscence that is gold.

Many writers try to write something profound and for some, it comes naturally. Ms. Chapman has visited this genre before. This song is not folk, not country, not a ballad in the truest sense of the word. After all my years listening to Beth Nielsen Chapman – this song is a Beth Nielsen Chapman song. It’s her signature style, and its complexion is smooth. Beth has shaped her style so profoundly that it doesn’t come off sounding like anyone but – her.

I can understand a listener’s need for pop music, for something musical confection, sweet and loaded with escapism. But with that delightful distraction sometimes it’s worth listening to a composition that has nutrition for the mind and heart.

“Epitaph for Love,” features gentle acoustic guitars and a fine controlled vocal by Ms. Chapman. It’s a song that has meaning and substance. Songwriters usually want you to come away from their material with a little more than just a pleasurable listening experience. Instead of just penetrating your ears they’d like to reach your heart. 

Pacing her album wonderfully — track 4 is more upbeat with an irresistible guitar and steady retro drum fix. “Enough for Me,” embodies that commercial-single magic. What is so amazing is how Beth can sing with more power and never come across as embellishing her material. The power that’s there evokes the meaning and the substance of the song. She gets in and she gets out and there is no smoke from her warmth.

For me, two of her strongest moments in the past were: “Say Goodnight,” and “Sand and Water” off the album “Sand and Water.” On this new LP she continues with that same melodic richness in “Rage on Rage,” that begins with a lightly touched acoustic guitar over lyrics like “…this is the last time, this time he swore, she forgives him, just this once more.” A relationship that has slipped into abuse and see-saws back and forth between continued love and continued rage. By the conclusion, there’s an imitation that suggests optimism through a Beach Boys type momentum in the background singers. However, the damage may have been done. Profoundly sad there will be listeners who will probably relate to this tale.

A little more European in style “You’re Still My Valentine,” has the sadness of an Edith Piaf song running through it. This is where Beth’s creativity and wealth of talent solidify her place in music. Jeff Taylor’s accordion does not come off as Nashville – but Parisian. Sam Ashworth’s brushes shuffle across the snare and Beth sings with confidence and affection besides the mere proficiency of her voice. I have visions of men in uniforms, and with all the war around them they are drinking wine, slicing cheese and salami and laughing in the face of what tomorrow may bring. All because a lovely chanteuse has come to sing for them in the ruins.

Not satisfied with the valentine song, Beth has the momentum of nostalgia and she sings “All for the Love,” with the same voice of the person she was with “You’re Still My Valentine.” This is quite a strong song off the album. This is constructed with so much songwriting beauty. It’s absorbing and transformative. Beth just understands how to bring emotions to the shallows of her work but never breaks surface – it’s all there to suggest its beauty and allow the listener to interpret it.  Each song seems to have its own unique assortment of currents.

“Child Again,” is simplistic but it’s in a lullaby form. Quite different from the other songs on this album so far. The melody and the instruments build slowly upon each other but never crowd in. There are songwriters who write pleasant enough melodies and little sets of lyrics but they miss out on the most important ingredients: the magic of poignancy, the strength of expression, the worthiness of storytelling through choice words and not clichés. Beth is magical when it comes to this craft. It seems that none of her songs are ever boring or just filler. Each track has a story to tell. And Beth does not sing each in the same voice – her voice is hers and we can recognize it. But, each set of lyrics brings forth a newly decorated tone that has a special garnish to each Chapman interpretation.

Headed into a more country flavor is “If My World Didn’t Have You.” (an earlier BNC song covered by Willie Nelson). And Bath’s voice is dressed for the occasion. Rodney Crowell shares the vocal on this beautiful country infused melody. The song is nothing special – it’s just typical of the ingenious country story told with traditionally inspired lyrics. Yet, having said that, the song does not have much in the way of clichés and it never slides into…corniness. It is serious and it’s meaningful in its best country-expressive way. This has been an album of songs that for nothing else holds tight to the continuity that is to be expected from an artist of Beth Nielsen Chapman’s caliber.

“Life Holds On,” is another ‘hold on’ song and there are millions of those. Yet, in the hands of Ms. Chapman, it’s not just another ‘hold on,’ song. She has avoided the “cliche” of such a phrase and injected some intense lyrics into the song. The progression has a nice Beatles’ “I Am the Walrus,” type impact as she continues through the composition and its back up voices. The back and forth electric guitar notes is absorbing. It punctuates the important words perfectly Beth tries to sing with optimism and succeeds. But the persistent back and forth between the notes is like the redundancy of life itself. This song was originally recorded in 1992 and charted in the US adult-contemporary charts at #33.

“There was a third-grade boy that we knew in school…he was found face down in a swimming pool…” – a powerful scene for a song lyric. Not what you would expect from Beth. But when those “I Am the Walrus,” “Strawberry Fields Forever” sounds take hold in the melody – the song becomes masterful in a simple way. It’s what sets Beth apart from the average female singer-songwriter. Singer-songwriter Allison Moorer used a similar style in her brilliant and beautiful “Cold In California,” which sounded very Beatles-inspired yet maintained Ms. Moorer’s distinctive style. Beth’s song is also firmly Beth’s song. Her own influence and manner over her own music are strong and assertive despite any sound that may remind you a little of another. There are, after all, just so many notes in music. But, I guess what I am saying, is that the arrangement may remind one of the other forms. But if those other forms are beautiful — why not apply them? This is what makes exploring music — fun.

The final track has that redemptive feel and one of Beth’s finest vocals – “underneath the drum of his mother’s heart…” these little lines in their simplicity are signatures of Beth Nielsen Chapman’s art. “Dancer to the Drum,” is sung with eloquence. I can’t describe it any other way. Maybe this is more in the neighborhood of folk singer Buffy Sainte-Marie but nonetheless, it’s a powerful conclusion to a well-constructed album of relevant songs. Relevant songs. What Beth Nielsen Chapman does best. There aren’t many female singer-songwriters today who are actually surfacing with the meaningful songs of this woman. She possesses the creative strength of Joni Mitchell with the playfulness and intensity of a Melanie Safka. The determination and musical genius of the late Judee Sill, the soulfulness of Laura Nyro.

There are a few younger female artists who try – boy, do they try. But they don’t seem to break down any barriers. They play it all too close to their vests. They play it safe. They sing with defiance but they leave behind crudeness. They haven’t refined their lyrics to carry weight without grunting. Beth is not necessarily a protest singer but she has developed a charge to the beauty in her words that gets her messages and stories across that’s to be admired.

The other singer-songwriters seem to have songs that are good to listen to but — there is no mystique that makes them special or worth revisiting years later. Or, maybe I expect too much. After all these years, I still hear Mary Chapin Carpenter, I still hear Lucinda Williams, a little Janis Ian and Tracy Chapman. However, it’s a miracle when I hear Toni Childs, Shona Laing (from Australia), Nanci Griffith, and Joan Armatrading.

I do continue to hear Beth Nielsen Chapman – and that gives me hope. I still listen to “Sand and Water,” many, many times. This is a small classic of music and lyrics. In my ears at least. It’s not even just the importance and sad beauty of the tune itself — it’s her voice — and how she sings it. The silent strength in its poignancy. It’s beyond mere singing. And she passes it along to other people who need it but can’t express it. She did it to Elton John’s ears. 

Those college stations at least have some exploratory quality in their playlists and Ms. Chapman never…ever disappoints. And that’s where I find her many times. If those young college students on their radio stations play Beth — that’s refreshing. Ms. Chapman’s songbook has been tapped by dozens of major artists throughout the years (including Elton John who sang “Sand and Water” — and was written about Beth’s husband’s passing). When an Elton John covers your song — you are someone. Elton said in an interview that this song made him cry and helped him get through some grief. He has sung it in concert and Elton does it proud — and credits Beth loudly to the crowd. The tune was written about Beth’s husband’s passing.

Why am I mentioning this now, here? Because these new songs on this new album by Beth are of that same high water mark — that caliber — they are resourceful and maintain a poignant quality. She is as magical as I previously mentioned. She has always written her songs aiming for that peak where “Sand and Water” is. I don’t have to hear her songs first. If Beth’s name is under the title I know what I am going to get. 

All the musicians performed excellently on this album including singer Ruby Amanfu (who appeared on five tracks). The eleven song CD at 42-minutes was Produced by Sam Ashworth (who also played all guitars, some percussion and drums, some backup vocals, synths, whistles, ukulele, and piano). The collection was recorded in Nashville, TN.

The CD package is a beautiful die-cut four panel full color fold out with an insert with lyrics. A real handsome package that befits this artist. The CD photography: Patricia O’Driscoll and the graphic design layout was by Rocky Alvey.

Why this artist is not still on a major label is a mystery to me. But if it’s because they stifle the artist – then let Beth do as John Prine has been doing – release the work yourself. We will find it.

Website: https://bethnielsenchapman.com/

Facebook: https://www.facebook.com/bethnielsenchapman

Disclaimer: The opinions expressed in this review/commentary are those of the author and do not necessarily reflect the official position of No Depression. All photography is owned by the respective photographers and is their copyrighted image; credited where photographer’s name was known & being used here solely as a reference and will be removed on request. YouTube images are standard YouTube license.

John Apice / No Depression / Originally written June 2018 / Posted July 2018