Released in 1992,
Hollywood Town Hall
wasn't a hit, but it received enough rave reviews to considerably raise
the Jayhawks
' profile, and it certainly heightened expectations for their next album. On 1995's
Tomorrow the Green Grass
,
found themselves in the tricky situation of trying to match the quality of
without simply repeating themselves, and they came remarkably close to achieving that daunting task. Rather than simply mimic the warm and unaffected sound of
reached for a broader and more eclectic approach on
; with the presence of new keyboard player
Karen Grotberg
and the addition of strings on several tracks, the album certainly sounded fuller and more artful, but
Mark Olson
and
Gary Louris
' harmonies were still the band's secret weapon, and were as pure and emotionally compelling as ever, while
Louris
' electric guitar solos gave the songs real rock & roll muscle without disturbing the essentially gentle nature of their music. And the best songs on
are every bit as good as anything on
, especially the opening hat trick of
"Blue,"
"I'll Run Away,"
"Miss Williams' Guitar"
(the latter a joyous love letter to
Olson
's new bride,
Victoria Williams
). But while nearly every song on
seemed like a classic in context, the greater stylistic variety of
had the consequence of making a few of the songs in the second half of the album seem less than essential, most notably
"Ann Jane"
"Pray for Me,"
though they hardly counted as disappointments, and the album rallies to a rousing finale with
"Ten Little Kids."
If
is inarguably
' best album,
runs a very close second, and though it was to be the group's last album with
, the eclectic approach pointed the way to the sound and style of the fine records the
-led version of the band would go on to make. ~ Mark Deming