In the wake of my recent post extolling the virtues of the new Storyhill album, I had a few people email me and ask about them, wondering what other albums of theirs worth checking out. I did a bit of research, and found no other online resource that delved into this issue, so I thought I’d do it myself. This post isn’t really intended for most of the JLP’s regular readers - it’s just something that might be helpful for some people to have online.

So here you go, reviews of every Storyhill album. The good, the bad, and the dippy.

Excellent Albums

Miles & Means: Simply put, this album has 3 or 4 of my favorite songs of all time. The sound is immaculate and clear, the guitar work is sharp, and the singing (while at times a bit soft) is outstanding. The album would be helped by cutting about 3 songs, but for an effort by a couple guys just out of college, it’s pretty amazing. This, for me, is the quintessential music for driving and reflecting on days gone by.

This Side of Lost: Released in 1996 at the height of their touring (and subsequent interpersonal conflict), this album pulsates with tension, nervous energy, and difficult questions. This was the first album of theirs that I picked up, and it initally took a while to soak in. At the time I got the sense that a lot of their older fans didn’t dig it as much, because the material was a bit more difficult than their previous work had been. That’s precisely why it holds up so well, in my opinion. “Good Rain”, the album’s heartbreaking closer, is perhaps the best song in their catalogue.

Dovetail: Their first studio album recorded after their breakup, this 2002 effort is a wonderfully recorded collection of strong, heartfelt songs. Tunes like “Angel”, “Homeland”, and “Honesty” flow beautifully with the help of the tight harmonies, steel guitars, mandolins, and solid band performances. Hermanson produced this album, and if there is a criticism to be had, it would be that perhaps his sonic fingerprints overwhelmed Chris Cunningham’s musical input. This minor point aside, this is a great album that started to get Storyhill noticed more prominently in the local music press.

Self-Titled: Read my thoughts here.

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Strong Albums

Clearing: This 1995 follow-up to Miles & Means has some of the best songs they’ve ever recorded. “Somewhere in Between”, “Steady On”, and “Stillwater” are excellent tunes, and the production choices are tasteful. They were branching out, using mandolins, violins, and other rootsy touches. Unfortunately, the sound of the album is a bit distant and muddy - like you’re listening to it through a layer of gauze. Basically, it’s great as long as the volume is turned way up.

Live: This is a gorgeously-recorded live album from 1996, with a tracklisting aimed at their fans. A few rare gems, some dramatically different versions of older songs, and strong performances throughout.

Reunion: Released in 2001 in response to pent-up fan demand, this is a double-album of their reunion show. I was at this show, and it was a fun, emotional night. It’s worth checking out, as it’s a great representation of what their live shows are like. Not as nicely recorded as the Live disk, but plenty more material.

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Albums to Be Avoided by All But the Most Ardent Fans

Shapeshifting & Different Waters: Both of these were recorded while Chris and Johnny were in college at St. Olaf. While the albums have their fans, I’m not one of them. The recordings are too saccarine and precious for my taste, like their name should have been The Perfect Boyfriends. Some of the better songs from these albums have lived on in superior live versions.

Echoes: This double-album documents their “final” concert before their 4-year breakup in 1997. Because of tension, nerves, or whatever, the performances are sloppy, and John’s voice is shot. I remember him at one point telling me that he thought the album was unlistenable. I agreed.

Duotones: This album was a suggestion by the owners of the company who distributed Storyhill’s albums before their new record deal. It’s a collection of covers from 1970’s recording duos (Simon and Garfunkel, Seals & Crofts, Neil Young & Stephen Stills, etc.). There are a few good nuggets here (”Long May You Run” is a gem), but generally, the album feels a bit overproduced and overly overdubbed. It just fits awkwardly with the remainder of their catalogue.

Note: I have not reviewed “Live at the Grand” because:
A) it is out of print, and
B) I’ve only listened to it once.