Darryl Hattenhauer
Venerated Member
I Was So Much Older Then,
I’m Younger Than That Now
by Jerre Haskew
I’ve listened to this album so much that I know it by heart. That is, I know it not only in my mind, but also in my soul.
This album is like a memoir, with each song a chapter. Jerre Haskew gives a retrospective not only on his life in particular, but also on life in general. Journeys to love, loss, aging, heaven—all of these phases, plus a review of the music central to the lives of many, receive wonderful treatment.
The covers are right up there with the famous versions. The album starts with “My Back Pages,” and Jerre rocks new depth to the versions by not only Dylan but also The Byrds. Similarly, Dylan’s “When the Ship Comes In” gets the best version of this song since I heard Danny Cox sing it live fifty-seven years ago. Likewise, Ian and Sylvia’s “Four Strong Winds” is as poignant as ever, especially Jerre’s delivery on that most heartbreaking line, “I’ll look for you if I’m ever back this way.” He also gets the most out of John Prine’s tragic tale in “Bruised Orange.” A very different Prine song, “Grandpa Was a Carpenter,” captures the moment when Prine first sang it to his father. Similarly, two by Gordon Lightfoot are elegant. “If You Could Read My Mind” is a particularly evocative version. He even brings new heights to Dolly Parton’s “Coat of Many Colors,” and Crystal Gayle’s “When I Dream.” Jerre’s version of Eddy Arnold’s “Molly Darlin’” could be the theme to the movie Forrest Gump. And Jerre brings high energy to “Who Says You Can’t Go Home” by Jon Bon Jovi and Richie Sambora.
Fine songs by lesser-knowns also stand out, for example, “Forever and a Day” by upcoming star Jens Kruger. Likewise, in “I Feel My Burdens Ease” by Fred Grittner, who has several fine albums in his own right, you indeed feel your bundle get lighter. Mary Gauthier’s “Mercy Now” is so poignant that I sent it to several of my friends. “Words,” by the miraculous multi-instrumentalist Mike Headrick, exemplifies just what great lyrics—and great playing—can do. Mike is so impressive that I wrote to him, and he sent me some sheet music for a spiritual. And Jerre’s rendition of “Darcy Farrow” by Steve Gillette and Tom Campbell accurately renders the mysterious landscape of Nevada. At night, Yerington really does look like a small light. The atmosphere of that area is perfect for an old medieval kind of folk song about the fair maiden. In addition, some songs recall many other singers and songwriters. For example, “Pilgrim” forms a fine pair with Leonard Cohen’s “Passing Through.”
Jerre’s delivery is moving. When he sings a line, you know he means it. Take for example “This Old House,” which is a finely developed metaphor of an old house being deserted like an old person: ”Let your boy slide down my banister once more.”
Thanks for the ride, Jerre. See you on the far side banks of Jordan.
Darryl Hattenhauer
Phoenix, Arizona
I’m Younger Than That Now
by Jerre Haskew
I’ve listened to this album so much that I know it by heart. That is, I know it not only in my mind, but also in my soul.
This album is like a memoir, with each song a chapter. Jerre Haskew gives a retrospective not only on his life in particular, but also on life in general. Journeys to love, loss, aging, heaven—all of these phases, plus a review of the music central to the lives of many, receive wonderful treatment.
The covers are right up there with the famous versions. The album starts with “My Back Pages,” and Jerre rocks new depth to the versions by not only Dylan but also The Byrds. Similarly, Dylan’s “When the Ship Comes In” gets the best version of this song since I heard Danny Cox sing it live fifty-seven years ago. Likewise, Ian and Sylvia’s “Four Strong Winds” is as poignant as ever, especially Jerre’s delivery on that most heartbreaking line, “I’ll look for you if I’m ever back this way.” He also gets the most out of John Prine’s tragic tale in “Bruised Orange.” A very different Prine song, “Grandpa Was a Carpenter,” captures the moment when Prine first sang it to his father. Similarly, two by Gordon Lightfoot are elegant. “If You Could Read My Mind” is a particularly evocative version. He even brings new heights to Dolly Parton’s “Coat of Many Colors,” and Crystal Gayle’s “When I Dream.” Jerre’s version of Eddy Arnold’s “Molly Darlin’” could be the theme to the movie Forrest Gump. And Jerre brings high energy to “Who Says You Can’t Go Home” by Jon Bon Jovi and Richie Sambora.
Fine songs by lesser-knowns also stand out, for example, “Forever and a Day” by upcoming star Jens Kruger. Likewise, in “I Feel My Burdens Ease” by Fred Grittner, who has several fine albums in his own right, you indeed feel your bundle get lighter. Mary Gauthier’s “Mercy Now” is so poignant that I sent it to several of my friends. “Words,” by the miraculous multi-instrumentalist Mike Headrick, exemplifies just what great lyrics—and great playing—can do. Mike is so impressive that I wrote to him, and he sent me some sheet music for a spiritual. And Jerre’s rendition of “Darcy Farrow” by Steve Gillette and Tom Campbell accurately renders the mysterious landscape of Nevada. At night, Yerington really does look like a small light. The atmosphere of that area is perfect for an old medieval kind of folk song about the fair maiden. In addition, some songs recall many other singers and songwriters. For example, “Pilgrim” forms a fine pair with Leonard Cohen’s “Passing Through.”
Jerre’s delivery is moving. When he sings a line, you know he means it. Take for example “This Old House,” which is a finely developed metaphor of an old house being deserted like an old person: ”Let your boy slide down my banister once more.”
Thanks for the ride, Jerre. See you on the far side banks of Jordan.
Darryl Hattenhauer
Phoenix, Arizona
