Gerry Beckley stepped away from touring with the era-defining band America in 2023, but it’s clear that retirement from the road hasn’t meant slowing down creatively. Over the years, Beckley has built an impressive catalogue of solo work beyond his much-loved band, and 'Merciful' just might be the best of the lot.
The album might just as easily have been called Melodyful. There is an abundance of memorable hooks and beautifully constructed melodies, all held together by insightful lyrics that explore a surprisingly broad range of subjects. Love is, naturally, well represented, but Beckley also turns his attention to themes that are often overlooked by songwriters, treating them with warmth, intelligence and thoughtful reflection.
At first glance, ‘Merciful’ appears to be an unusual construction. Alongside Beckley’s trademark melodic sensibility sits a Beatles cover, a lush instrumental, and the title track, written by Norwegian “future jazz” pioneer Nils Petter Molvær. Yet rather than feeling disjointed, the album hangs together remarkably well. Indeed, it works wonderfully.
The title track sets the tone:
“Merciful are these stories we spent
Merciful are these thunderstorms we cling to
You wear the face
You point a beacon at the dark
You picked the place to make your statement
To speak all you know
You will leave just a nickel
Like trains forever leaving the station”
Opening with ‘When the Wells Run Dry’, Beckley immediately demonstrates his gift for songs that invite interpretation. What, exactly, are the wells running out of?
Perhaps it is literally water, a plea to recognise our responsibility to the planet. Perhaps the wells represent love, gradually being exhausted. Or perhaps Beckley is contemplating life itself, and the finite nature of our time.
“When the wheels are off the track, and there’s no looking back,
Emotions on the run, the feeling’s come undone,
Is there a tear left to dry?
When the wells run dry, when the wells run dry
Secrets they overflow, for they’ve nowhere to go,
They only serve to bind and tie.
Love, it comes and goes, with the afterglow,
So what becomes of you and I,
When the well runs dry”
It is arguably the standout track on an album already laced with gems.
From the infectious ‘75′ to the endearingly optimistic ‘Get It Right’, there are moments throughout the record that could have dovetailed effortlessly into any of America’s cherished albums of the 1970s. ‘Monster’, meanwhile, is a lightly reworked version of the song that originally appeared on the band’s 1977 album ‘Harbour’.
The connection to America’s golden period is particularly interesting given that ‘Harbour’, along with six other America albums, was produced by the legendary Beatles producer George Martin. His influence on Beckley’s own production work is still discernible, particularly in the judicious use of brass and strings. Nothing is overplayed; the arrangements simply provide the songs with an additional layer of colour and sophistication.
Adding to the George Martin/Beatles connection is a rather beautiful cover of ‘Norwegian Wood’ featuring Graham Nash on vocals.
The album’s big ballads are equally impressive, and every bit as affecting as anything Beckley has written. ‘Big Rain’ and ‘Angel’ both reward repeated listening, revealing more of their emotional depth with each spin.
Beckley’s voice remains as strong and affecting as ever, perhaps most poignantly demonstrated on ‘All the Wounded Cowboys’, his wonderful co-write with long-time collaborator Jeff Larson.
“Some they hide, some they run
When you turn the dial
Stories told, it’s getting old
All the while
Some you reap, some you sow
But don’t sit there,
That’s where all the wounded cowboys go”
There is something quietly compelling about ‘Merciful’. It never feels as though Beckley is trying to recreate the past, even when he occasionally revisits it. Instead, the album feels like the work of an artist who understands exactly what makes a great song: melody, economy, emotional honesty, and a lyric that leaves enough space for the listener to find their own meaning.
It’s a terrific album, and one that hasn’t been far from the turntable since it arrived.
Which leaves just one question: could Gerry Beckley be persuaded to tour once more, perhaps for one last time, and allow these new songs to breathe in the live environment?