JD Souther,  now in his late seventies, has released the best work in this career after his commercial peak. Souther, who had big hits in 1979 and 1981 ( with the songs “Your Only Lonely “ and “Her Town Too”, respectively) , released the critically acclaimed and commercially ignored 1984 gem, Home by Dawn before taking a career break until 2008’s, If The World Was You.

Souther continued to write hit songs for his compadres and occasionally perform live but he jumped into acting and focus on raising a family.

Luckily Souther, approached by Slow Curve records returned to recording his own music. 

If the World Was You is not Home By Dawn. The album contains brilliant Souther lyrics with wonderfully arranged jazz melodies.

The album, released September 14, 2008 was part of a one album deal Souther had with Slow Curve. It was primarily recorded live in studio with a five-piece combo. Working with a small budget and self-produced, Souther and engineer Niko Bolas created a work which sounds both classic and contemporary. 

“I’ll Be Here at Closing Time”, the album opener, may well be the best Souther composition. High praise for the man who wrote “Faithless Love” and co-wrote “New Kid in Town.” The opening chords from Jeff Coffin and tenor sax and Rob McGaha on trumpet snap the listener to attention. Souther’s acoustic guitar provide conspires with Jim White’s tasteful brushwork on drums to lock in the rhythm while the bassist ( Dan Immel or Jim Mayer) provides sparse acoustic bass passages. Chris Walters, a long-time Souther accompanist, joins the mix on an acoustic piano. Lyrically, Souther, ever the romantic, paints a scene of a young man waiting for his love to join him in the parking lot after she gets off work. The lyrics are vibrant, as is McGaha’s trumpet solo. Nothing is wasted in the sonically perfect song.

“House of Pride” picks things up in fine fashion. Guest Bela Fleck’s acoustic banjo is a perfect foil to Souther’s spry vocal. The rhythm section matches Fleck’s enthusiasm with Walters hitting home the main theme on piano. The interaction of the live band seems to have inspired Souther’s vocals which seem recorded with no touch-ups or auto-tuning. The songs moves forward with an uneasy tension which is both joyous and and foreboding.

“Journey Down the Nile” reels things in a bit. Walters’ piano locks in with the horn section to press the main theme. Again’s Souther’s lyrics are vivid yet not a word is wasted. The song transport you to an exotic place where you observe the flirting and action. The coy acoustic bass, taunt rim work on the drums underscore the theme. McGaha gets to make the big musical statement with his midsong solo but by this point, you are drawn into a world that you don’t want to leave. On his 2009 live album, Rain: Live at the Belcourt Theatre, Souther and the band conjure a version of the song which is even more enchanting. 

Perhaps the most rock like song on the album is “One More Night”. Souther provides a acoustic guitar solo which lays atop a rather conventional pop rhythm. Jeff Coffin’s soprano solo could fit on a Dave Matthew’s album. While the song is a entertaining jaunt, it’s weighed now by unnecessary female vocals.

Perhaps “One More Night” is a palette cleanser. “In My Arms Tonight” again threatens to rival “Go Ahead and Rain” and “Faithless Love” as the best JD Souther song. The piano vamp which interplays with the the bass and drum work, sets the scene of love, loss and regret. Souther leaves nothing on the table with his vocals. He works his range like a grizzled jazz veteran taking the listener for a slow burning wooden rollercoaster ride. 

“Now the world around me is sinking
But I’m no worse off than I’d be thinking
That it’s you who’s knocking at my door

Baby, I don’t wanna kiss you much
I don’t really miss your touch
Now that’s just not right, here I want you in my arms
I can feel you in my arms tonight, tonight”

“Rain” conceived on a cultural visit to Cuba has a the latin feel provided Walter’s piano and the drum/bass interaction. Lyrically Souther’s theme is more obtuse and he continues to press the point with powerful

Yes laid back vocals. The female vocals ( en espanol) are a nice if unnessesarry touch.

The vamping “A Chorus Of Your Own” continues the rain theme, but drops the optimism of the preceding song. The extended trumpet solo carries the anquich and the band builds the intensity. Aingts has never sounded so powerful. 

The radio release from the album, The Border Guard” doesn’t have a sound that one would claim is radio-friendly. The mid tempo adult comppeoary song, is gentle and elegant with Souther’s guitar and Walter’s piano establishing theme. Souther delivers an earnest vocal with lyrics which focus on the boundaries of relationships and love. The horn sections is apprprorpiately restrained with McGaha providing a melodic muted trumpet solo. 

Coffin and McGaha set the tone on the upbeat “Brown ( Osaka Story)”. Coffin in particular is inspired with his off kilter soprano solo while the rhythm section bounces along. Lyrically Souther gives splashes of his story which reveals why  Osaka in the raw flame. As the song breaks down at the end, I’m not sure I have the entire picture, but maybe that’s the point. 

The epic album closer, “The Secret Handshake of Fate” combines the adventurous arrangements of the live, adventurous lyrics, rousing solos and powerful vocals in an over twelve minute show stopper.

The song has a distinctly live feel with all the members of the band in one room. Souther, handling electric guitar, provides a Detroit like R&B vibe. Despite over ten verses, Coffin, Walters and McGaha get time to stretch. Coffin seems particularly inspired which in term boost Souther’s vocals 

“Doubts and fears would rise 
Like a duster in Texas
Cushion my deadly fall.

The problem is worse 
If you?re religious
What keeps your head in its place?

They think what they think
But you know what you know
The secrete handshake of fate.”

“The Secret Handshake of Fate” is a daring end to Souther’s most daring album. This and his two studio releases after demonstrate even such a great artist inn the second half of his career can still deliver compelling work.