Today’s record I have listened to once before…at least 15 months ago, if not more. I didn’t like it then, but I am determined to listen to it again to see if I have changed. At the time I first heard it, I thought the singer was whining too much. But it’s quite possible that when I was listening to the record at the time, I was in a different mood. I really think I was. So here we are again, giving it a second chance.
# 71 – Bon Iver, For Emma, Forever Ago (Metascore = 88)
Sonically, this is an acoustic affair, quiet and morose. While there are some electric instruments and additional voices here and there, for the most part this is a quiet record. The album was recorded primarily by Justin Vernon, the brains behind Bon Iver. Vernon recorded all the songs on For Emma while living in a remote cabin in Wisconsin. Vernon had recently left Raleigh, NC after his previous band, DeYarmond Edison, had broken up, and he had broken up with a girlfriend. He channeled all of his emotions into this album, which evokes the sounds of Nick Drake and Tim Harding. He sounds like the lead singer for TV on the Radio or of Shearwater.
“Flume” starts with the line “I am my mother’s only one” and seems like a remembrance of his mother and being within his mother’s care. Musically, after you get past the beginning half-minute, “Lump Sum” is an interesting song, but the lyrics don’t make any sense to me. “Skinny Love” lyrically is an easy song to understand with a deeper meaning within. The lyrics focus on what seems to be a passing love and the dark emotions behind this break up. This song probably most personifies the pain and loneliness Vernon was dealing with after his break-up. “The Wolves (Act I and II)” was not as interesting to me. There is a nice build-up to the finale the last 2 minutes of the song, but I just wasn’t that connected to it.
“Blindsided” is a depressing song but also one of the best songs lyrically and musically. If you mixed the music of “Flume” with the lyrics from “Skinny Love”, this song would probably plop out. “Creature Fear” is also lyrically fascinating, deviating from the love and loss theme to something more political (in a way).
“For Emma” is probably my favorite song on this album. Musically it’s upbeat even if lyrically it’s not. I tapped my foot to this, which is something I hadn’t done before on this album. This also had more of a “band” feel to it than the others, with electric guitars, bass, drums, and a trumpet to accompany the acoustic guitar.
The album closes with “Re: Stacks”, which is in the same vein musically as the other tracks on this album with the exception of “For Emma” (which seems to be an outlier in some ways). The lyrics seem to be a reflection on love.
Overall, my opinion has changed about this album. Sure, sometimes Justin Vernon’s vocals can be whining, but musically I enjoyed the album and lyrically I got it more once I read the lyrics and put them in context of the songs. Not my favorite that I have listened to, but a good record nonetheless.
Wednesday, September 29, 2010
Sunday, September 26, 2010
A New White Stripes Record?! No, That’s Just Jack White Supporting Loretta Lynn
I am listening Van Lear Rose, Loretta Lynn’s critically-acclaimed record recorded with Jack White from 2004, and Jack White’s stamp is all over this record. At least the stamp that was starting to take shape with Get Behind Me Satan, which was released around the same time. Also apparent—the Raconteurs, who are represented here by three of the four members. With these (and other players), Loretta crafts a beautiful masterpiece.
#2 – Loretta Lynn, Van Lear Rose (Metascore = 97)
Regardless of whom she plays with, Loretta Lynn knows how to write stories into songs. The styles weave between traditional country music (think “Them Boots Were Made for Walking”) and modern country (think current hits by Sugarland or Carrie Underwood). Within the song styles are lyrics that tell stories of searching for love, drinking, family troubles, and the like. While there are few weaknesses (if any) on this album, here are some of the best songs: “Van Lear Rose”, “Portland, Oregon”, “Family Tree”, “High on a Mountain Top”, and “Miss Being Mrs.” Every song tells a different story—some autobiographical, some fictional. I cannot imagine anyone that has not encountered similar stories in their lives.
“Van Lear Rose” is an excellent beginning to an album, telling the story of how one boy’s persistence got him the girl in the end despite all his detractors saying otherwise. “Portland, Oregon” sounds like it would be comfortable between two drunks remembering the times over another round. “High on a Mountain Top” is a gospel-influenced autobiography that has a great chorus and beat. “Family Tree” has a great line it—“I won’t dirty my hands with trash like you.” Where do you hear that stated so frankly? “God Makes No Mistakes” is a very short song but makes such a powerful statement within its 1:45 walls. “Mrs. Leroy Brown” takes Jim Croce’s original “Bad, Bad Leroy Brown” and revs it up for the female version.
The album’s final two tracks—“Miss Being Mrs.” and “Story of My Life”—are great send offs to this album. Really, if these were the only two songs, they would be enough. They summarize more or less everything that was said in the earlier songs, and the song styles better emphasize Lynn’s classic country sound. “Miss Being Mrs.”, to me, is probably the dearest song. You feel for her character, who is dealing with the loss of her husband. These tracks close an album worthy of the score it received.
#2 – Loretta Lynn, Van Lear Rose (Metascore = 97)
Regardless of whom she plays with, Loretta Lynn knows how to write stories into songs. The styles weave between traditional country music (think “Them Boots Were Made for Walking”) and modern country (think current hits by Sugarland or Carrie Underwood). Within the song styles are lyrics that tell stories of searching for love, drinking, family troubles, and the like. While there are few weaknesses (if any) on this album, here are some of the best songs: “Van Lear Rose”, “Portland, Oregon”, “Family Tree”, “High on a Mountain Top”, and “Miss Being Mrs.” Every song tells a different story—some autobiographical, some fictional. I cannot imagine anyone that has not encountered similar stories in their lives.
“Van Lear Rose” is an excellent beginning to an album, telling the story of how one boy’s persistence got him the girl in the end despite all his detractors saying otherwise. “Portland, Oregon” sounds like it would be comfortable between two drunks remembering the times over another round. “High on a Mountain Top” is a gospel-influenced autobiography that has a great chorus and beat. “Family Tree” has a great line it—“I won’t dirty my hands with trash like you.” Where do you hear that stated so frankly? “God Makes No Mistakes” is a very short song but makes such a powerful statement within its 1:45 walls. “Mrs. Leroy Brown” takes Jim Croce’s original “Bad, Bad Leroy Brown” and revs it up for the female version.
The album’s final two tracks—“Miss Being Mrs.” and “Story of My Life”—are great send offs to this album. Really, if these were the only two songs, they would be enough. They summarize more or less everything that was said in the earlier songs, and the song styles better emphasize Lynn’s classic country sound. “Miss Being Mrs.”, to me, is probably the dearest song. You feel for her character, who is dealing with the loss of her husband. These tracks close an album worthy of the score it received.
Thursday, September 16, 2010
Into the Bamboo
Having fallen behind (somewhat) in reviewing, I finally have had a chance to carefully evaluate another album. Yes, I am slow at doing this. Sometimes I need several listens in order to get an overall feeling on an album, especially the ones I like. Such is the case with Panda Bear’s Person Pitch, which is easily one of my favorites so far. I needed to listen to this several times to digest what is going on in the record. I’m like that with most of the records I’m going to review. I like to learn about the band and where they were at the time of the album.
# 74 – Panda Bear, Person Pitch (Metascore = 87)
I love this record. Plain and simple. Panda Bear consists of Noah Lennox, who is a founding member of the band Animal Collective (another favorite). He’s released three records under the Panda Bear moniker; Person Pitch is his most recent (though he has another coming out sometime this year). Which came first—Animal Collective or Panda Bear? Either way, the influences run throughout this record.
I am a bit perplexed by the score (87) compared to that of Animal Collective’s Merriweather Post Pavilion (89). Maybe the logic is that Merriweather is more polished than Person Pitch. That probably is the case, but Person Pitch to me is a masterpiece. Lennox’ mixture of ambient sounds with old rock ‘n roll songs and other elements create a lush backdrop for the album. Once I was entrenched into the album, I was sold.
There are seven tracks on the album at various lengths. There are two tracks that are over 12 minutes long, but you really don’t notice. Realistically, I would suggest listening to the album as a whole rather than in parts, because you really get more from that than any other way. However, if you are so inclined to listen to individual songs, definitely go for “Comfy in Nautica” and “I’m Not”. These are two of the best songs.
Speaking of favorite songs, I really don’t dislike any of them. From “Comfy in Nautica” through to “Ponytail”, I really liked all of the sounds and words. There really aren’t any weak spots, which is why I am perplexed when I compare it to Merriweather. I didn’t feel that Merriweather was as cohesive as this set. I haven’t reevaluated that record, but when I do, we’ll see whether I revise my feelings after having listened to this.
I highly recommend checking out Person Pitch. It's a great album that is just easy to listen to.
# 74 – Panda Bear, Person Pitch (Metascore = 87)
I love this record. Plain and simple. Panda Bear consists of Noah Lennox, who is a founding member of the band Animal Collective (another favorite). He’s released three records under the Panda Bear moniker; Person Pitch is his most recent (though he has another coming out sometime this year). Which came first—Animal Collective or Panda Bear? Either way, the influences run throughout this record.
I am a bit perplexed by the score (87) compared to that of Animal Collective’s Merriweather Post Pavilion (89). Maybe the logic is that Merriweather is more polished than Person Pitch. That probably is the case, but Person Pitch to me is a masterpiece. Lennox’ mixture of ambient sounds with old rock ‘n roll songs and other elements create a lush backdrop for the album. Once I was entrenched into the album, I was sold.
There are seven tracks on the album at various lengths. There are two tracks that are over 12 minutes long, but you really don’t notice. Realistically, I would suggest listening to the album as a whole rather than in parts, because you really get more from that than any other way. However, if you are so inclined to listen to individual songs, definitely go for “Comfy in Nautica” and “I’m Not”. These are two of the best songs.
Speaking of favorite songs, I really don’t dislike any of them. From “Comfy in Nautica” through to “Ponytail”, I really liked all of the sounds and words. There really aren’t any weak spots, which is why I am perplexed when I compare it to Merriweather. I didn’t feel that Merriweather was as cohesive as this set. I haven’t reevaluated that record, but when I do, we’ll see whether I revise my feelings after having listened to this.
I highly recommend checking out Person Pitch. It's a great album that is just easy to listen to.
Wednesday, September 15, 2010
I'm a Slacker
So I have been bad lately about posting reviews. I promise to get some new records up in the coming days. I have a bunch of records to listen to that are on the list, so I will listen to those and try to write something good up. Sorry for the delays!
Sunday, September 12, 2010
The Place Where Dodger Stadium Was Built
Today’s record review is Ry Cooder’s Chavez Ravine, which was released in 2005 on the Nonesuch Records label (home to many artists, including one of my current favorites, the Black Keys). A word on Ry Cooder—he’s a great guitarist. He has recorded with many, many different artists. I remember dad talking about his playing years and years ago. The first record I know I heard him on (meaning I knew he was a player on the album) was Captain Beefheart and the Magic Band’s Safe as Milk record, which was unique (to say the least). His playing was already lyrical then, but his style expanded significantly as he tackled numerous other genres from rock, including Latin jazz, folk, blues, soul, gospel, and others. Cooder has created and produced many critically-acclaimed records over his career. He continues to play today.
# 136 - Ry Cooder, Chavez Ravine (Metascore = 86)
To iron out some preliminary details about the album, this is a concept album based on the Chavez Ravine Latino community, a neighborhood that was destroyed for government public housing projects and other projects. Ultimately, Dodgers Stadium was built on top of the site of the Chavez Ravine neighborhood. Throughout the record, there are snippets of commercials, TV broadcasts, etc that are included within the songs. You hear things such as Joseph McCarthy diatribes, news broadcasts discussing the plans, etc. All of these things, in addition to the lyrics, are interwoven to the songs.
Musically, I found this record very entertaining. It did get long in the tooth at times, particularly at the end of the record. But other than those few instances, the rest of the record put you in the Chavez Ravine community. Latin jazz and Latin pop is the running musical theme within the songs, but Cooder and his band insert their own musical influences of jazz, blues, and samba that enhance the musical experience. Musically, all of the songs had unique elements that interlocked with the Latin jazz/Latin pop theme that made them very interesting.
Lyrically, the words were sung in English and Spanish. While I didn’t totally understand what was being said, some of the sound bytes helped point me in the right direction. I almost felt at times like the record had a spaghetti Western feeling to it…you could visualize the characters on the block, with tumbleweeds rolling by and some random whistling at the corner. You understood the hardships that some of the neighbors were feeling, how they were being forced from their community. You understood the atmosphere politically and socially they were living in.
My favorite songs from this record were “Onda Callejera” (mostly acoustic), “Muy Fifi”, “Los Chucos Suaves”, “3 Cool Cats” (made me think of the Beatles version on Anthology 1), and “In My Town”. If you are interested in Latin jazz, learning pieces, or just trying something new, I would recommend Chavez Ravine.
# 136 - Ry Cooder, Chavez Ravine (Metascore = 86)
To iron out some preliminary details about the album, this is a concept album based on the Chavez Ravine Latino community, a neighborhood that was destroyed for government public housing projects and other projects. Ultimately, Dodgers Stadium was built on top of the site of the Chavez Ravine neighborhood. Throughout the record, there are snippets of commercials, TV broadcasts, etc that are included within the songs. You hear things such as Joseph McCarthy diatribes, news broadcasts discussing the plans, etc. All of these things, in addition to the lyrics, are interwoven to the songs.
Musically, I found this record very entertaining. It did get long in the tooth at times, particularly at the end of the record. But other than those few instances, the rest of the record put you in the Chavez Ravine community. Latin jazz and Latin pop is the running musical theme within the songs, but Cooder and his band insert their own musical influences of jazz, blues, and samba that enhance the musical experience. Musically, all of the songs had unique elements that interlocked with the Latin jazz/Latin pop theme that made them very interesting.
Lyrically, the words were sung in English and Spanish. While I didn’t totally understand what was being said, some of the sound bytes helped point me in the right direction. I almost felt at times like the record had a spaghetti Western feeling to it…you could visualize the characters on the block, with tumbleweeds rolling by and some random whistling at the corner. You understood the hardships that some of the neighbors were feeling, how they were being forced from their community. You understood the atmosphere politically and socially they were living in.
My favorite songs from this record were “Onda Callejera” (mostly acoustic), “Muy Fifi”, “Los Chucos Suaves”, “3 Cool Cats” (made me think of the Beatles version on Anthology 1), and “In My Town”. If you are interested in Latin jazz, learning pieces, or just trying something new, I would recommend Chavez Ravine.
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