Legend has it that the recently divorced and still-addicted James Taylor was considering quitting music when he was invited to play the inaugural Rock In Rio festival in January 1985. The warm embrace of the massive crowds he played to revived his spirit, and soon after he got sober for good and delivered this album-long affirmation of what he does and why he does it.
That’s Why I’m Here in fact feels like the opening statement of the next phase of Taylor’s career, as he evolves from the folk-rocking, hit-making singer-songwriter who dominated the 1970s to a dependable veteran live performer who occasionally puts out a new album. The opening title track lays all this out with typical frankness as Taylor leads us through moments sweet and bitter—including the death of friend and fellow heroin addict John Belushi—before contemplating his newfound status as his fans’ summer nostalgia soundtrack. All things considered, he decides it’s a life he can embrace (and has ever since).
Beyond that memorable opening track lie several very strong mid-career numbers. “Song For You Far Away” is a typically moving and plaintive ballad, while “Only A Dream In Rio” delivers a luminous reminiscence of the moment he rediscovered his musical mojo. Finishing out side one of the original vinyl, “Turn Away” is a snappy folk-pop number with a strong hook and “Going Around One More Time” is a typically witty catalogue of a hard-luck character’s romantic faceplants (“I was gettin’ by as I could get”).
Side two is where you feel some padding creeping in, with a pair of covers and a pair of what are basically novelty songs. JT’s sweetly upbeat cover of Buddy Holly’s “Everyday” is undeniably appealing, and he has fun covering Bacharach/David’s “The Man Who Shot Liberty Valance,” too, but neither could be considered essential listening. Meanwhile, “Limousine Driver” picks up where “Traffic Jam” and a half-dozen other playful vamps in Taylor’s catalogue leave off, and “Mona” is a darkly humorous murder ballad about a pig (no, really). In between, “Only One” offers rich harmonies courtesy of Don Henley, Joni Mitchell, and longtime JT sideman David Lasley, but the song itself is slight. (The subsequent CD version of the album also shoehorns in a sleepy stroll through Rodgers & Hart’s “My Romance” that would have been better saved for Covers or American Standard.)
Putting aside the above quibbles, it must be said that the band on this album is world class. Billy Payne of Little Feat fame is the primary keyboardist, with future JT musical director Don Grolnick making his first appearance. The great Tony Levin is the primary bassist, with stalwart pal Lee Sklar (JT, Carole King, Phil Collins and a thousand sessions) stopping by for one track. Sklar’s former rhythm section partner Russell Kunkel is the principal drummer, deputized for one cut by Rick Shlosser. And ace session players sprinkled through the tracklist include Dan Dugmore (pedal steel), David Sanborn (sax), the Brecker Brothers (horns) and Gregory “Fingers” Taylor (harmonica), not to mention Graham Nash on harmony vocals for two tracks.
Flaws and all, That’s Why I’m Here is presented with the enthusiasm of a man who’s rediscovered his purpose and surrounded himself with a stellar and deeply sympathetic supporting cast. This album might not reach the heights of vintage JT, but it’s a strong representation of the man’s middle period, the era when he firmly established himself as a summer touring machine here to help us all sing our blues away.