Terry Lee Nichols – Love Is… Feat. Rebekah Eden & John Riesen

Terry Lee Nichols – Love Is… Feat. Rebekah Eden & John Riesen – Album Review

Feels like I just woke up in paradise!  Or at least like…you know…right outside the pearly gates before I get assessed as to whether I do or don’t belong behind’em.  “Is This All Just A Dream (Moon River Variations)” is the serene sound you’ll hear at the beginning of the new album from Terry Lee Nichols, and it’s definitely a great start to the set.  To me, “Moon River” is pretty much the textbook definition of perfection as a song – I know that might come as a surprise to many of you out there that know I was born Grunge, but I’m tellin’ ya the truth.  It’s right up there with other tracks you probably wouldn’t assume I like half as much as I really do…”Moonlight Sonata” by Beethoven…”Nothing’s Gonna Stop Us Now” by Jefferson Starship…we’ve all got songs well outside our normal diet that we can’t get enough of right?  “Moon River” is fantastically composed and has delivered time and time again throughout a true wealth of different variations out there over the years since it was written…it’s one of those songs that would almost take more effort to mess up than produce a decent version, because that’s how strong the writing genuinely IS.  Of course, that being said, there are going to be some versions that are better than others, that’s just the nature of the game…and I feel like we’ve got one here from Nichols.  I love the sheer & shimmering dreaminess that it begins with, the sleek & subtle fluidity that “Is This All Just A Dream (Moon River Variations)” has as it flows along, the soul-soothing musicianship and the beautiful vocals this cover has – it’s all as equally fascinating as it is a compelling start to the lineup on Love Is….

I think one of the most understated qualities of great composers & compositions is how much that same skillset leads to a stellar listening experience.  I know what you’re thinking – seems like a given, right?  What I’m really getting at though, is that musicians/artists like Terry have an even broader understanding that one song is but one piece of an entire album, and when you’re looking at a larger scale composition like that of an album, each song becomes its own movement within it – make sense?  Trust me…I might not be putting this correctly into words because it’s a little hard to define, but you’ll know what I mean from the very second you hear the first song transition into the second.  “Friendship” takes over in such a seamless way that it’s astounding and inspired.  The robust tones from the piano, the gentle percussion, the stunning details all throughout the background…it’s honestly amazing to listen to.  Like…what is that?  Is that literally a triangle?  Some kind of chime?  Both?  I’m not nearly as well-versed in the instrumentation of it all, but again, you’ll know what I mean when you listen to “Friendship” for yourself – it’s an exquisite addition that really helps tying this whole song together.  It’s gorgeous no matter how you slice it though…”Friendship” sounds like it is built of everything beautiful.

As I was saying, you’ll learn soon enough that beauty in the art of making music is exactly what Nichols is all about, and the superb fluidity of Love Is… will be revealed track after track after track.  Some of the incredible emotions threaded into the music are so remarkably moving and sensory that you’ll find you feel this album on a whole other level than most.  Like…c’mon…”Lying Next To You” for example – this is simply one of the most captivating and endearing songs you’ve ever heard, right?  I’m presuming that you have functional ears upon your face of course…but if you are blessed with a decent pair, they’re going to come to the same conclusions I had in listening to this song.  “Lying Next To You” is wonderful stuff…from the cello in the distance of the background, to the bold & evocative notes of the piano melody, to the absolutely incredible way the vocalizations within this song play such a significant role too…it’s layer after layer of mesmerizing atmosphere and audible enchantment from start to finish here.

Like I’ve maintained from day one in being a multi-genre online music magazine – the best of the best can reach any of us, no matter what it is that we’d typically listen to.  Terry clearly has a gift that is well beyond words…a connection to the craft that can’t be faked, combined with inherent professionalism and a drive to do everything he can to the best of his abilities.  “Morning Glory” continues to confirm his high standards of excellence, and it has a real warmth to it that I would imagine most listeners will truly love.  I probably wasn’t quite as much of a fan of this particular song as I was by comparison to the first three I suppose, but we’re really splitting hairs if I’m being honest with ya.  The same synth glow that gives “Morning Glory” a warm and dreamy identity was probably the same individual component that I didn’t respond to quite as much as I did to everything else surrounding it.  So on the one hand, I get it – I don’t think “Morning Glory” exists without that synth-glow sound at the core of it all, but yeah…I’d also argue that it was all the surrounding elements that felt like they were more important contributions to what makes this song work, from my perspective.  Anyhow…don’t get me wrong, the facts are all pretty straightforward – if you like or love something on Love Is…, you’re probably going to like or love it all.

There are points along the way that will certainly speak to the strengths found in the most stripped-back moments…that sometimes less can definitely be more & such.  Like, listen to “I Remember Her Smile” for example – there is plenty of beauty to be found in this song no matter which parts you’re listening to along the way…but when the majority of the elements are removed at points, revealing just Nichols and his piano…it can shift into outright breathtaking terrain.  I suppose that’s the advantage of playing an instrument from the time you were FOUR, right?  It’s quite clear in listening to “I Remember Her Smile” that Terry discovered a whole different way to communicate through music before he was likely to even be able to hold a full-on conversation…and that the powerful connection he found with the piano so long ago is still as lively as ever to this very day.  I like everything I hear on “I Remember Her Smile,” but you betcha, I’m in love with what I hear this man doing from the piano bench.  Dude’s a remarkable talent no matter what he chooses to play, but you can’t beat what Terry can do when he’s playing piano.

So…look…I think I’ve pretty much made myself clear – I’d sit and listen to Nichols play for hours on end and you’d never find me complaining.  I love piano-based tunes to begin with, and he’s obviously a major talent that has a ton of technique & an authentic ear for melody.  That doesn’t mean I’m not just like YOU or the average everyday listener – I still want hooks and aspects of a song to spark my interest.  When it comes to a track like “Finding Annie,” you’d probably consider this to be one of the ‘deep cuts’ on an album…as in, not the single, you know what I mean?  That’s not to say that there aren’t parts of “Finding Annie” that have some hook & pull to them, so much as it’s a comment on that not being the dominant trait of listening to a song like this.  This is a point on Love Is… that you’re listening more for the technique and compositional aspects as opposed to something that more easily moves you.  Ain’t nothing wrong with that of course – and don’t get me wrong, I’m not suggesting you won’t feel anything – I’m simply saying it’s a different kind of feeling compared to the more tangibly evocative sounds and songs he’s presented to us so far throughout the course of the lineup.  Is it well-played?  Absolutely.  Is it going to be the first song that comes to mind when the average everyday listener is talking about this album?  Probably not.  Terry’s peers and fellow musicians will get it though – “Finding Annie” is written with a firm grasp on composition, and there’s zero doubt about the skill it would take to play it this well.

The overall consistency in the musicianship has been nothing short of impressive.  “Trinity” is a bit more of a discernable departure when it comes to the sound of the songs I suppose, but in a very welcome way.  Whenever Rebekah Eden’s vocals have been included into the music on Love Is…, I feel like she’s gone on to provide a remarkable highlight each and every time.  The sparing use and restraint is what I find truly amazing – I’m almost kind of shocked that Terry didn’t have her leading the way on each and every song on the album, because that’s how great she really is…but of course I get it…you want the material to be different from track to track and as a result of not overusing her incredible talent on every song, we really appreciate it even more when she shows up.  Even on tracks like “Trinity,” she’s not necessarily direct in the center of the spotlight, so much as she finds this uncanny way to accentuate the music surrounding her like another instrument would…that’s the real professionalism she brings to the table.  When she does have her most significant breakthrough moments like you’ll hear in the finale of “Trinity,” believe me when I tell ya, you can’t miss the spellbinding technique and tone she possesses.

How do I feel about “Lullaby,” let’s see, let’s see.  Hmm.  Ultimately, I stand by what I said earlier – if you like or love something by Terry Lee Nichols, I’m confident that you’ll like it all well enough.  I like the added touches like the ambient nature sounds in the mix & such…I think those kind of details are great – unless that’s just sound legitimately coming through my open windows here in the midst of summer, in which case, I’d still like it…it complements the video of “Lullaby” nicely.  Anyhow.  I think we’ve got a case of a more split-personality track here when it comes right down to it, which doesn’t necessarily have to be any kind of bad thing whatsoever.  I think you get one side of the song’s personality at the start, but it quickly dissipates from a more moody melancholy to a sweetness that’s more decisively universal.  It’s another completely well-played tune of course, which is no real surprise at this point on Love Is…, but I guess I’d say this track for me felt like it was missing a bit of that needed spark or reason to run back to it; I’m hearing a good song on this album, but maybe not a great one by comparison to the rest I guess.  I feel like Terry has set a high bar for himself, which is an awesome thing obviously, but at the same time, it’s in our nature to compare this to that, especially in the course of one album’s set-list.  “Lullaby” is well done without a doubt, but presents itself as another kind of low-key energy track.

It’s been neat to read the backstory on these songs, which you can find by visiting Terry’s official website online.  Apparently, “We’ve Had A Good Life” is somewhat of an homage to The Notebook, while also being paralleled to circumstances in Terry’s own family.  So this is personal, which I appreciate.  I think you can hear the emphasis put on getting this song to come out right, but at the same time, the endless professionalism of Nichols has been on display the entire time too.  Man time flies.  The Notebook came out back in 2004 – the year my wife and I started dating.  We were both working in a video store at the time, so believe me, we heard endless amounts of great things about The Notebook and of course it was a fully revered love song by everyone that watched it.  I never saw it believe it or not.  I should check it out for myself one day.  In any event, it’s not based on MY life so much as it’s based on things that Terry and his family have experienced…the joys and triumphs along the way…I feel like “We’ve Had A Good Life” echoes that gratitude and majesty all in one…so yeah…for me, I’d say this is pretty much a thumbs up.  I’m realistic in the sense that this feels like another supportive type of tune, whereby it needs some visuals or something to completely bring out its meaning, or at least have it enhanced by people reading the backstory to it & such…I don’t always advocate on behalf of doing that, but it’d probably help here.  I do feel like you get a very special finale that’s bound to move the hearts and minds listening to the end.

When in doubt, grab the song of a legendary composer like Ennio Morricone, right?  Look…to be honest with ya, Terry doesn’t NEED any assistance in what he does – this dude is already aces all around.  Still, to hear him take on a cover of “Nella Fantasia” ain’t gonna hurt ya.  I’m guessing that this is where the vocals of John Riesen come in…that’s my ears tellin’ me that…the credits are a little…sparse in the detail we need, but that’s okay.  If I’ve got it wrong, believe me, someone out there on the internet will always take the time to correct me, that’s the beauty of it.  For the moment, I’m rolling with the vocals being supplied by John, and man oh man, the guy’s voice is truly profound to listen to.  GIANT notes and a real amazing voice…quite honestly, the singing in “Nella Fantasia” should definitely get considered when it comes award-season.  I suppose you’d say this is a lot more akin to classic soundtrack material or Opera-based music, especially when you conside that Morricone is the source for the writing.  This turns out very strong for Terry – it’s a wonderful rendition.  I think we could probably have more of a debate about whether it does or doesn’t fit into the context of this particular album…but at the end of the day, I feel like the performances on this song are so strong that no one will likely complain about its inclusion.

“The Winds Of Time” made for an excellent conclusion and set the album down on what has been its main strengths all along – the musicianship from Terry.  Specifically on the piano.  “The Winds Of Time” has a bit of that slightly melodramatic inclusion of the synth-glow…and…I dunno…I could probably take or leave that, though I do appreciate that it tends to bring the cinematic level of sound to a much higher degree.  Heck, it might not even be synth-anything…Terry’s got access and knowledge and he could very well be playing those parts on analog equipment, so don’t take what I’m saying as the complete gospel.  In any event, I’m more than happy with how the final track of Love Is… worked out, and he should be too.  There’s a whole lot of heart in this record, genuinely stellar instrumentation & melodies on display, and a real sense of music that matters overall.  As I’ve long maintained, the more YOU put into your music, the more WE get out of it on the other side of the speakers.  Terry’s done an exceptional job of bringing us into his world, and I have no doubt that fans of Classical, Cinematic, and Orchestral tunes will find a whole lot to love within the depths of the compositions found all throughout this album.  It’s all come out shining, full of emotion, and capable of moving everyone listening – can’t ask for much more than that, right?  Love Is… is a wonderful example of passion and purpose combined – check it out.

Find out more about Terry Lee Nichols from his official website at:  https://www.terryleenichols.com

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