The album Underground Railroad begins with the title track and a warning that “The following song will offend some ears; skip it if you must”, a bit controversial and it may indeed offend. It is a political song dealing with Mexican immigrants coming to America and not being welcome here – in fact, being sent back to Mexico in a brutal and heartless fashion. Underground Railroad also takes several stabs at America as Earl Rivard sings, “Give me your tired and your poor!’ Cried the lady with the torch, but then she slammed her iron door.” This is sure to rattle the cages of Americans near and far, but it also provides the listener with an idea of how it feels to be on the other side.
Aside from the controversial lyrics, Rivard’s voice is strong and the composition of this piece is powerful. Regardless of whether one agrees or disagrees with the premise of the song itself, the music is riveting and it is clear from the start that Earl Rivard has talent and a voice that commands attention. The album continues on with the melodic and haunting piano work that opens the listener to the track “Till I Met You,” which is one of the most beautifully composed love songs to have graced the music world in some time. It evokes emotion and vivid imagery as Rivard’s smooth voice soothes and comforts all but the broken-hearted. To the broken-hearted, this song is painful and yet strangely beautiful, compelling us to listen even as we shed our cold tears.
Along these same lines, the third track, “Coldest Place,” is another love song of sorts. This piece is about love gone bad; or perhaps not bad, exactly, but more of a love that has simply gone. The sound quality of this track is pure and clean, especially Rivard’s exceptional vocals. The guitar solo is phenomenal and saves this song from being too melancholy and heavy. In stark contrast, the next track, “The Sun Finally Rose,” is upbeat, optimistic and brimming with confidence. The sheer talent that Rivard possesses in those vocal chords of his is made evident in this track and the passion in his voice is unmistakable.
“Nobody Knows” begins with hauntingly beautiful flute playing and the sweet tinkling of the piano that continues throughout the track to give this piece an aura of sadness that, coupled with the lyrics, provides the listener an insider’s perspective into the life of the woman that Rivard is singing about. This is one of the more thought-provoking pieces on the album and it tells a sad story of unrequited love. Wonderfully composed, this track is gentle. Rivard once more proves that his voice is soothing to the tortured pain that resides within the people about whom he sings so soulfully in this song.
“Magdalena” is a song that Rivard sings in Spanish, which is a wonderful thing for non-Spanish speaking listeners. This allows the listener to focus solely on the music and the range of Rivard’s vocals. The musicianship is spectacular, the sound is flawless, and the rhythm of the Spanish language is enticing. This proves that Rivard’s music is universal, and that the listener can enjoy it even without being fully aware of the content. The guitar work in this piece is reminiscent of Santana and it is fantastically performed. After the artful “Magdalena,” the listener may be a bit shocked to be shoved so rudely into the abrupt beginning of “Unfinished Songs,” but the sense of abruptness does not last long. “Unfinished Songs” has a touch of humor to it that anyone who has ever procrastinated can understand. There is a bit of a country music flavor to it and one may feel the urge to sway back and forth, dreaming about all those projects that once held such promise and then petered out for one reason or another. This track will make one smile indulgently and enjoy the easy rhythm of it, right up until the end, when Rivard proves his point and leaves “Unfinished Songs” unfinished. A brilliant touch.
The album continues on with “Lady, Sweet Lady,” which is a romantic ballad, a poem set to music. This piece is rife with imagery that has a medieval essence, such as castles and knights and a fair lady waiting at the window for her prince to come to her. The gentle guitar work compliments the flute perfectly and Rivard sings the words with feeling and emotion. While listening to him perform this piece, one may get the impression that this song is one that Rivard holds very dear. “Vuélvete” is another Spanish number that allows listeners to focus on his extraordinary voice and the composition of the song itself. Rivard seems to let loose a bit in this song and he hits hard with his almost operatic voice. The track flows smoothly and seamlessly to its soft end and then “This Time Around” begins with more of an upbeat tempo than Rivard has shown on the album yet. There is a decidedly rock’n’roll vibe to this track and it’s what most would consider a dancing song. This would be a great live number and a sure crowd pleaser.
“Sometimes Love” slows the pace down again and it begins with some beautiful acoustic guitar work. This is another Rivard specialty; a love song that is guaranteed to touch the soft spot in the heart and stir up emotions and memories. It’s a simple track, with nothing more than Rivard and his guitar, and that makes it all the more endearing to the listener. “Sometimes Love” is a brilliant piece of music. Earl J. Rivard has certainly outdone himself with this one. “Yours Eternally” is another love song, one so sweet that it is almost unbearable. Rivard really lays it all out there and spares nothing with regards to his feelings. The piano work is outstanding and the lyrics are deeply touching, made even more so by Rivard’s soulful delivery.
The album closes in almost the same way it opened, with “Underground Railroad (Radio Version).” It is not much different from the album version, aside from the fact that it is a bit shorter and one crucial word has been omitted. A perfect way to end the album. It is clear by the end of this album that Earl J. Rivard is a musician of the highest order and an extremely talented artist with a voice that can outlast time itself.
Review by Rhonda Readence
