I love music born in the Midwest, and music doesn’t get much more Midwestern than the brilliant mix of jangly rock, bluesy Americana and sweet folk of Milwaukee’s Peggy James. Yeah, I know it’s not metal or prog, but longtime Genesis guitarist (and fellow Milwaukeean Daryl Stuermer) made a cameo on James’ 2020 album, Paint Still Wet, and production, mastering and musician credits on her seventh album, Till I Turn Blue, include Jim Eannelli and Gary Tanin -- whose collective resume includes working with Utopia’s Roger Powell, Talking Head Jerry Harrison, Violent Femme Victor DeLorenzo, BoDeans, The Shivvers and more.
Even without all the name-dropping, Till I Turn Blue stands on its own -- and just might make other singer/songwriters turn green (with envy). In an achingly confident voice that recalls Joni Mitchell, Bonnie Raitt and even Linda Ronstadt without sacrificing her own originality, James opens the album with one of the finest songs I’ve heard this year in any genre. “Compensation” tells a gut-wrenching tale of one woman’s poor choices and the man who never deserved her, set against a roots-rock melody as shiny as the Southern California sun. Subsequent songs pack similar punch, with images that sear and arrangements that linger.
Eannelli’s guitars add more character, and the warm production gives Till I Turn Blue a rich, timeless sound -- as if this record could have been released yesterday or in 1977.
Track Listing
1. Compensation
2. There Must Be Gold
3. So Over You
4. First Kiss
5. Eyes on the Horizon
6. A Walk With You
7. Loneliest Girl
8. Stuck on the Track
9. Till I Turn Blue
10. O. Winston Link
11. You’re Still the Highlight
12. Isn’t Anybody Coming?
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