Tony Stark

Since my teenage years I have always been fascinated by the Wu-Tang Clan and its individual members.  Each member had a different personality and vocal delivery that made them one of the most popular rap groups during the 1990s, if not of rap history.  I don’t know that I could pinpoint a particular rapper that I liked the most; they all had their own versions of stories that they would weave together into songs.  As a group, the Clan has released 5 albums; Enter the Wu-Tang (36 Chambers) is a hip hop classic released in 1993 when West Coast gangsta rap was the en vogue thing, and they released a record quite different to that sound but with the same braggadocio, grime and grit.

Members of the Wu-Tang Clan have released solo records as well as teamed up with other members and rappers to release material.  One of the best duos from this group is the pairing of Raekwon (real name = Corey Woods) and Ghostface Killah (real name = Dennis Coles).  Their collaborations on their solo efforts have always had some of the best rap stories.  Ghostface has one of the best rap flows I have heard, and while he can be quite violent and lewd, he’s very effective in his rhymes.  Paired with another great wordsmith in Raekwon, they have put out some fantastically reviewed albums.  Fishscale, released by Ghostface Killah in 2006, is one of the albums to achieve this and is the next record I’m discussing.

#67 – Ghostface Killah, Fishscale (Metascore = 88)

Fishscale is filled with tales of crime, drugs, and sex.  “Fishscale” itself is slang for uncut cocaine, the drug most frequently referenced during this record.  There are short skits (“Heart Street Directions” is the funniest yet lewdest thing I have heard on record not spoken by a comedian).  There are references to the Iron Man comics (Ghostface has been frequently referred to as Iron Man since his solo debut.  On “9 Milli Bros.” the entire Wu-Tang Clan (including the late Ol’ Dirty Bastard) appears to support his record.

Obviously Ghostface is the highlight of this set – it IS his record.  This record, though, really impressed me more than some of his other releases.  He sounds loose and confident here; the stories he and the wide selection of guests tell here are sharp and intriguing.  Even if there was no intent to develop a specific story here, I feel like I am watching a movie listening to it.  There are stories of early life in organized crime (“Shakey Dog”), the lead character on top of the world (“The Champ”, “Beauty Jackson”), the same character dealing with losing friends (“R.A.G.U.”), and reminiscing about the aunt that would set him straight despite being involved in organized crime (“Whip You Like a Strap”).  Not all tracks sound like they belong in the same movie, but without them the listener would feel short changed.  “Momma” is one of the best tracks on this record and one of the most personal; he details the struggles of a single mother dealing with heart break and pains, wanting to let everything go, but how he is going to bring hope and peace to this mother.  It’s a truly powerful track. 

This record is full of great backing samples, a product of the great producers involved on the album.  MF DOOM, who is basically Madvillain (seem my previous blog on how awesome Madvillain was), produces a few of my favorites off the record (“9 Milli Bros.”, “Jellyfish”).  Pete Rock, famous for being a part of Pete Rock & CL Smooth, brings his synthesis of jazz and funk to produce some killer tunes here, too (“R.A.G.U.” and “Be Easy”).  I find it amazing how much a great beat can bring out of a rapper or singer.  I believe the beats are a catalyst in how the artist writes.  Here the beats become a part of the story that is being told.

I have heard this record about three times in full, and each time I gain a little more from it.  I also gain a better appreciation for what Ghostface Killah has released here.  While he has always been a consistently strong performer, he is particularly on point here.  This record is not for everyone (particularly those sensitive to language and themes of crime and drugs), but it is definitely a strong record.

A Better Appreciation

When I reviewed New Moon a while back, I don’t think I had the appreciation for Elliott Smith’s music that I do now.  I think I needed several listens of that record in order to better appreciate his songwriting gifts and his articulate playing.  New Moon captured demos and early recordings from what is considered his richest songwriting period – 1994-1998, covering the albums Elliott Smith and Either/Or. 

On a trip to the library one day, I found the most recent release from his estate, An Introduction to…Elliott Smith, which is a compilation of some of his best tunes from his first album to From a Basement on a Hill, his last official LP (which was released posthumously).  Introduction was favorably reviewed, though it didn’t get nearly the reviews as his original releases did.  I found it to be a great re-introduction for me; I listened to it a couple of times and re-listened to New Moon and started to better understand and appreciate these qualities in him.

From a Basement on a Hill is the second of Smith’s albums on my list and the subject of today’s entry.

# 58 – Elliott Smith, From a Basment on the Hill (Metascore = 88)

When I first listened to this record, I thought Smith was bitter and angry.  Unlike New Moon, there was a lot more electric guitars and heavy drums, so I immediately took this negative approach.  But on my second listen, I realized this is more on par with some of the songs I heard on Introduction, so I have given it a better chance.  I guess I ought to if I’m going to understand the reviews (see the 88 above).

When I hear “Coast to Coast”, I think about this article I read in Britain’s New Music Express about his life and music.  He was going through a rough relationship at the time, and the lyrics seem to emphasize this.  His relationship was on-again, off-again, and some people have speculated that its ups and downs had something to do with his death.  Whether or not this is true, the negativities in this relationship permeate from this track.  “Let’s Get Lost” would be his running away based on the track sequence, though I’m more intrigued by his guitar playing and singing here.  “Let’s Get Lost” also recalls his minimalist past works on Elliott Smith or Either/Or, which were not known for their electric qualities.

“Pretty (Ugly Before)” is my favorite tune of his.  I have read that he did not intend to include this song on the album, it having been released as a single before.  However, there is just something so rich about this song, so creative in the words and playing (despite how cliché it may sound), that I really feel this benefits the album tremendously.  It’s a pop song…a sad pop song, but so catchy that I can’t help humming it.  For me this might be the epitome of the sad indie pop tunes he ever wrote.

In reading some reviews, the critics describe the music on this album and his previous release, Figure 8, as more grandiose than his previous records.  Having heard some of his songs from earlier releases on Introduction, I can hear the Beatles circa Magical Mystery Tour or White Album sound in these songs.  There is the hint of psychedelia mixed in with acoustic balladry and melody in the majority of tunes here.  There is the mix of optimism and pessimism (though more pessimism than optimism).  I actually find it to be a refreshing update of that sound.

Some of the reviewers also criticized this record for being burdened with topics that were too reminiscent of earlier works.  One topic Smith abuses over and over is drugs, which he had a terrible heroin and alcohol addiction during his life.  At some point he’s beating a dead horse in discussing it, and perhaps he may not have released some of these songs if he had been alive.  I have a hard time overanalyzing these comments because we don’t know what he might have changed if he had been alive when this was released.  I think some of the criticisms are valid but really unfair given the circumstances.

As I mentioned earlier, I have a better appreciation for Smith’s work now than I did.  I find From a Basement on the Hill to be a strong record, certainly better than some of the other records I have heard, but I am not sure I would rate this one as well as New Moon.  Lyrically, despite the retreads, Smith’s writings are very good here.  Just be prepared for being in a dark mood after hearing it.

I’m Sorry, Ms. Jackson

Few rap artists can compare to the catalog of OutKast.  André Benjamin, aka André 3000, and Antwan Patton, aka Big Boi, have been dropping rhymes on records for nearly two decades, and with each release they expand on the sounds that they work from.  They are famous (or notorious, depending on who you ask) for originating the Dirty South sound out of Atlanta, Georgia, where the two have set up shop.  They are an amazing duo that has outlived many rap acts over the years.

André 3000 and Big Boi met in an Atlanta high school (a visual and performing arts school, at that).  They started writing at that time and were pursued aggressively by local record producers Organized Noize, eventually releasing their material on LaFace Records.  OutKast was unique in how they wrote; their styles contrasted yet fit perfectly together for what they wrote.  Frequently their topics related to the status of African Americans in the South, though they were known to also explore the underworld of pimps and gangsters.  Their first three records, Southernplayalisticadillacmuzik (1994), ATLiens (1996), and Aquemini (1998), are considered hip hop classics that reveal the evolution in André 3000’s and Big Boi’s respective styles and the group’s focus.  It also reveals the risks musically they were willing to take in order to not only gain a larger audience but to also advance the messages they wanted to push forward.

Stankonia is considered one of OutKast’s crowning achievements, crossing over from a harder edged rap to a more mainstream rap that retained some of the lyrical edges of their original material.  Stankonia (2001) is the next record on the list.

#4 – Outkast, Stankonia (Metascore = 95)

The word “stankonia” evolved from Southern slang.  “Stank” comes from the slang Southern pronunciation of “stink” and was referred to by Parliament/Funkadelic’s George Clinton as the more carnal, hedonistic things in life, including funk music.  “Stankonia” represents another part of Earth where “all funky thangs come” (from the intro to the album).  At this point André 3000 and Big Boi were diverging from each other in a greater way; ‘Dré continued to allude to the pimps’ and gangsters’ lifestyles, while Big Boi focused on more diverse topics.  With this divergence also came diversity in music and sounds used; part of the universal acclaim to this record is for this diversity.

I’ll always remember this record for three songs:  “So Fresh, So Clean”, “Ms. Jackson”, and “B.O.B.”.  Each song was completely different but instantly hummable.  For a long time “So Fresh, So Clean” was stuck in my head until some other track that year came out.  “Ms. Jackson” for me got overplayed when it was out; now, I appreciate the record a lot more and the message that ‘Dré and Big Boi were trying to say.  You have different commentaries in this song—André 3000 is bitterly recalling the aftermath of a breakup, while Big Boi is ruefully remembering his own love lost.  “B.O.B. (Bombs over Baghdad)” was just a hot club hit with spitfire lyrics.  I have always liked this song.

Hearing the rest of the record, I understand the critics raving about the record.  Each song has something different in terms of sound than in previous records.  “Spaghetti Junction” could refer to the intersection of several major roadways in DeKalb County outside of Atlanta, but the tune itself is a commentary on struggling to survive on the streets of Atlanta, with the characters resulting to pimping and hustling.  The song has a great beat, too.  “I’ll Call B4 I Cum” is a double entendre; I’ll leave the lyrics at that, but the song couldn’t be anymore different from “Spaghetti Junction”.  The album also features a large number of cameos from other artists, including b-real from Cypress Hill (on “Xplosion”), Erykah Badu (“Humble Mumble”), and Cee-Lo (“Slum Beautiful”).

Compared to the first time I heard OutKast, which was back on ATLiens, Stankonia is a tremendous step up from that record.  You can hear the maturation and transformation that both André 3000 and Big Boi have undergone since their earliest records.  Their mainstream success has coincided with this maturation, which I think is a tremendous breath of air compared to these one-hit wonders (with few exceptions) that are put out by American Idol and other shows.  This record would lead into another fantastic record that I will cover in another post, Speakerboxx/The Love Below.

Early Spoon

My first exposure to the band Spoon came with the single “I Turn My Camera On” off of Gimme Fiction (2005).  My wife had downloaded this random song I believe when it was the Song of the Week on the iTunes page.  The video was a bit of a riot, too.  Anyway, she liked the song, played it for me, and I thought it was an interesting song.  Different than what we normally hear, so I tucked that memory away.  Then I heard “The Underdog” from their album Ga Ga Ga Ga Ga (2007) and was hooked.  Britt Daniel (lead singer/guitarist/songwriter) had a cool voice and had written a song I felt compared favorably with some of Billy Joel’s best rocking stuff in the late 1970’s.

I listened to Ga Ga Ga Ga Ga at a time of transition in my life—I was changing jobs in order to help my family due to a tragic loss that had occurred, and I was just out of sorts with where life was going.  That fall and winter I was listening to this and Sound of Silver and some Ben Harper music, and this one was somewhat different from the other two since it seemed more upbeat.  I checked out Gimme Fiction shortly thereafter and wasn’t quite sure how to place Spoon.  What were they exactly?  They were rock, but they weren’t really like other rock music.  They weren’t LCD Soundsystem.  They weren’t the Foo Fighters.  They weren’t Fleet Foxes or Arcade Fire.  They were Spoon.  Transference (2010) has been a great record…better with each listen in my opinion.

None of the albums above made my list, but two Spoon albums did make the list.  Today’s entry is about Girls Can Tell.

# 162 – Spoon, Girls Can Tell (Metascore = 85)

Before diving into the album, I should briefly talk about Spoon itself.  Spoon began as the offshoot of a band that Britt Daniel and drummer Jim Eno had been members in Austin, Texas, the Alien Beats.  Initially their sound was compared to the likes of alt rock pioneers the Pixies and Wire.  Over time, the band started honing their sound, adopting a more minimalist approach.  After briefly joining Elektra Records to release their ill-fated second LP A Series of Sneaks, they signed with Merge Records, whom they have been with since.

Girls Can Tell has soul, much like their later records.  It also sounds primal, deeply entrenched in the minimalist approach started with A Series of Sneaks.  Each song has a unique riff or drum beat that pulls the listener in.  The grooves work so well throughout, and Daniel’s sometimes choppy but always interesting guitar approach makes for eleven solid tracks.  For the longest time I have sought to try to describe what I hear when I listen to Spoon’s music.  I think now I see that Spoon meshes Booker T & the MG’s soul music with the Talking Heads’ and Elvis Costello’s New Wave.  This is rock music at its most basic yet most intriguing.

Lyrically this record feels more concise than any of the others I have heard.  I love how Daniel writes, how stream-of-conscience the lyrics seem, yet they’re often filled with metaphors and other tricks that you don’t get enough of.  Daniel makes many allusions to love, though during this record he also responded to being dropped by Elektra and the band’s fall-out with their Elektra representative who had promised to stick with them to the end.  Daniel’s sense of urgency in his singing gives the songs added weight, whether or not he’s being serious or not.  Apparently the label drop did nothing but harden their resolve.

I really enjoyed Girls Can Tell.  This is a great record from top to bottom and is definitely my favorite of theirs I have heard.  I would be interested to hear their first two records because their sound obviously has evolved to where it is now.   They are a great rock band.

Transatlanticism

The only album from Death Cab for Cutie to appear on the list is 2003’s Transatlanticism, often considered the songwriting pinnacle for the band.  To be honest, I had not heard of Death Cab for Cutie (or wasn’t aware I had heard them) until I heard “Soul Meets Body” off their record Plans (released in 2005; I think it was late 2005 when I heard the single).  I loved “Soul Meets Body”—the ringing acoustics, Ben Gibbard’s singing, and the steady beat.  Subsequently, I picked up Plans and listened to it on a trip to a client in PA.  I enjoyed the entire record for its sonic qualities and lyrics, so I downloaded it and have listened to it probably the most of the other albums I heard.

Death Cab began as a solo project for Ben Gibbard, who got the name from the title of a song performed by the fictional band in Yellow Submarine (perhaps a karmic coincidence since I am a big Beatles fan).  The current lineup of Ben Gibbard (vocals, guitar, piano), Chris Walla (guitar, production, piano), Nick Harmer (bass), and Jason McGerr (drums) has been together since 2003 before Transatlanticism was released.  Since that album they have realized greater and greater success, having signed with Atlantic Records and toured the world as a headliner.  Transatlanticism, though, was where it all started.

#193 – Death Cab for Cutie, Transatlanticism (Metascore = 85)

Over time I have learned that Death Cab records can be hit or miss.  Granted, outside of The Photo Album I have heard their later albums, Signs and Narrow Stairs (I haven’t heard Codes & Keys yet, though the few songs I have heard are nowhere near as memorable as the ones on Signs or Narrow Stairs).  You can hear this inconsistency in song transitions; some songs transition well (for instance, “No Sunlight” to “Cath…”), while some do not.  Gibbard has admitted that he doesn’t plan out albums when he sits down to write songs, that the theme just comes to him over the course of his writing.  While this is certainly understandable and probably representative of many songwriters, it also seems to be an indicator of how that album will be received by critics, as critics seem to be less receptive to disjointed albums than they are of themed albums.

Transatlanticism seems to be an anomaly of Gibbard’s songwriting process.  Perhaps it did flow out the way he has described, but this album seems to have a better grasp of song transitions.  Each song seems to flow logically into the other.  I’m not suggesting that the album is uniform; on the contrary, each song has its own tempo, its own focus, its own sound (for lack of better word), but each song flows into the other to make the album more accessible.

Lyrically Gibbard also seems to be focused on one central theme—love.  He goes through the emotions of a growing relationship eventually strained by the space of distance before crumbling under the pressure.  His lyrics here are focused and more direct than on any other record I have heard from them.  Songs like “Title and Registration”, “Expo ‘86”, and “Transatlanticism” all have thoughtful lyrics that build on this theme, this path of the record.  Really, this is their best record to date.

I have a very favorable reaction to this record.  I try to read the critic sources listed on Metacritic to understand the thought processes of the critics, and while I’m not at the extreme of A/V Club’s Stephen Thompson, I enjoyed this record very much.  I also don’t totally agree with Pitchfork’s William Morris’ assessment.  Sure, this album has the grandeur that would come gushing out in later records, but Morris seems to think this grandiosity permeates throughout the record, that he’s grown too old for this, which I find totally bogus.  But we’re all entitled to an opinion, and overall Death Cab succeeded well here and carried that into a longer career.  They’re no longer the indie band they once were, but they can still write some great tunes.

Anniversary

A year and a day ago I started this blog.  While I had intentions to finish the process in a year, it hasn’t quite worked out, but that’s ok.  I think it’s all for the better, because I have been allowed to digest all the music that I have listened to.  So far I have listened to and reviewed 102 of the 200 albums, which is pretty good all things considered.  Maybe this is a two-year project.  Whatever, I have had a lot of fun, opening my mind to artists, albums, songs, and styles I might not have considered before.

Today’s entry covers an Australian band I had never heard before but whose album is high on the list, the Avalanches.  Originally a noise-punk outfit way back in 1994, the band’s sound has evolved into electronic music, built off samples and occasionally musical instruments.  The core members have been Darren Seltmann, Robbie Chater, and Tony Diblasi, with assists from other musicians on their recordings throughout the years.  Chater and Seltman were perusing a junk shop for instruments when they happened upon a collection of old vinyl records.  When one of their founding members was deported, Seltman and Chater decided to take the band in a different direction, one more based on techno and alt dance than on noise rock.

The Avalanches released a few singles and EPs prior to the release of their only studio album released, Since I Left You (2000).  This album was the culmination of several years refining their sound and performing live.  This record is the subject of this entry.

# 28 – The Avalanches, Since I Left You (Metascore = 89)

The most notable aspect of this record is the breadth of the samples used.  Robbie Chater claims that there are over 3,500 samples from different records that comprise Since I Left You.  Chater and Darren Seltmann built these songs through trading tapes, listening to the other’s ideas and expanding on the sound.  This continuous loop of ideas results in a very eclectic yet accessible record.

The title track is a great example of this synthesis.  The song has a classic Motown vibe to it but cannot clearly be tied to one specific song.  The listener’s ears are enveloped with sounds coming from both speakers, and you can tell how meticulously Seltmann and Chater worked to develop this song along with all of the other songs on the record.  Their attention to detail and to making each sample and sound work with the other keeps the songs cohesive.

The record keeps a relatively even pace through the opening 4^th, keeping with the early Motown I mentioned before.  Starting with “Avalanche Rock”, the pace becomes quicker and shifts samples to more rap and disco.  If you listen closely, you will hear samples from the likes of Raekwon from the Wu-Tang Clan, De La Soul, and Camp Lo.  You’ll even hear a sample of Billy Boyo, a Jamaican reggae MC.  In this group the songs are good though not nearly as tight as the first fourth.

“Electricity” starts the next section, a more subdued section in terms of sound.  It is built off samples from Daft Punk and Blowfly.  This side features more sound effects, mostly from movies and TV shows.  There also is a lot more noticeable scratching on this side than on the previous two.  I would characterize this side as sounding more ambient.  In fact, the last half of the record builds off this mellower mood, which to me detracts from the overall record.  This is a record that took off in the beginning and maintained that momentum into the second act only to fall off in most of the final half.  Only with “Live at Dominoes” does the pace pick back up to an appropriate ending for a fantastic record.

All in all I found this to be a great record.  I enjoyed pretty much all the samples they used, but I more enjoyed how the band melded these samples into a seamless collection of great songs.  A/V Club once pegged this record in their review as the best samples record ever.  For me that crown still belongs to …Endtroducing by DJ Shadow (one of the best records of all time in my opinion), but Since I Left You is still an amazing listen worthy of the score it has achieved.

In Rainbows

Last time I spoke about Radiohead was in discussing Hail to the Thief, the album that precedes the album I am reviewing today, In Rainbows (2007).  I also discussed the first time I remember hearing their music.  What I didn’t talk about was their beginnings.  The band—Thom Yorke, Colin Greenwood, Ed O’Brien, Phil Selway, and Jonny Greenwood—first formed while in high school in Abingdon, Oxfordshire, England in 1985.  They were initially known as “On a Friday” (a tribute to their usual rehearsal day then), but at their label’s recommendation they changed it to “Radiohead”, a tribute to a Talking Heads’ song.  Their sound was different from that of their peers in Oxfordshire; they never quite fit in to that scene, but EMI liked them and signed them.

With “Creep” their popularity took off in the United States and other countries, though they were not favorably reviewed by the British music press or well-liked by British listeners.  The Bends changed their critical reception and also helped them win over listeners in their home country.  From that point forward they have been known for releasing fascinating records that continue to evolve from their grungier origins to avant garde artistry while developing a larger and larger fan base through studio and live performances.  OK Computer is often considered their best record and one of the best records during the 1990s; in addition to the melodic rock that helped propel The Bends, they incorporated ambient and electronic influences.  Kid A and Amnesiac built more on the ambient, electronic and avant garde sounds they explored in OK Computer, with Yorke using more abstract, fragmented lyrics in the songs.  Those albums were a lot more minimalist and textured than any of their previous records or songs.  Hail to the Thief I have already discussed, which leaves us with today’s blog.

#60 – Radiohead, In Rainbows (Metascore = 88)

In Rainbows is unique in that, unlike most albums released, the band chose to release the album digitally first in order to avoid any song leaks and to give listeners a chance to experience the music all at the same time.  Customers could also pay whatever price they wanted for the album.  In Rainbows was engineered and produced by Radiohead’s long-time collaborator, Nigel Godrich.  They have always been more comfortable working with him despite working with some others to record a few songs.  Initially the band began working on this album with engineer/producer Mark Stent (known for working with Björk, Janet Jackson, Madonna, Dave Matthews, etc) after having been on hiatus from 2004 to January 2005, but those sessions were not fruitful and ultimately were scrapped after going on tour the rest of 2005.

There are two older songs on this record: “Nude” and “Reckoner”.  “Nude” dates back to the OK Computer era, though its new treatment represents a departure from its original minimalist, electronic style from that period.  “Nude” had been played live for years but never released until In Rainbows.  “Reckoner” came out during their tour on the Kid A and Amnesiac records, though it is completely different.  Both songs fit into the more personal themes featured on In Rainbows.

“15 Step” opens the record with its mix of ambient and electronic music.  Lyrically to me it’s about losing focus and trying to get to where you should be.  Going forward one step but then going back two.  This theme comes in and out of picture during the record.  “Bodysnatchers” is my favorite song of the set; it is their rock sound, a melding of rock with the ambient sounds they have been using.  The song itself reads like an out-of-body experience; Yorke sounds haunted and forceful.  What I love about Radiohead songs is their ability to use dynamics and build songs.  “Bodysnatchers” is a great example of this, where the beginning builds to this powerful middle before the bottom drops and they give us this quiet interlude before it swells to its finale.

Several things differentiate this record from Hail to the Thief.  Topically Hail to the Thief focused on social and political issues at the forefront of its release—the War on Terror, powerful leaders, etc.  In Rainbows focuses on personal issues—fear of the unexpected, out-of-body experiences, love.  This record for me is Yorke’s best performance.  He sounds peaceful at time, yearning in some songs, and mournful in others.  His lyrics are well written and well suited for the music.  Musically this album sounds like the band has perfected its blend of rock music with ambient music, avant garde, and electronic music, while retaining the minimalist style.  I love the dynamics of songs like “15 Step”, “Bodysnatchers”, “Reckoner”, and “House of Cards”.

I have listened to this record multiple times over the years, particularly in the last week.  Each listen presents new things I hadn’t heard in the first few listens.  I find it to be a rewarding experience and definitely amongst their best.  I highly recommend this record.

Decoration Day

Frequently during this process I have come across an album or band that I latched onto immediately, making a connection to the songs or artist…a “Eureka!” moment, you could say.  PJ Harvey’s Stories from the City, Stories from the Sea is an example of this.  With the Drive-By Truckers I knew that I needed to listen to them, but I really didn’t know anything about them.  One day I downloaded Spin’s March playlist, which included “Used to Be a Cop” off the Truckers’ current release, Go-Go Boots.  I liked it quite a bit, so I grabbed a couple of records from my local library (Go-Go Boots and Brighter Than Creation’s Dark) and was hooked.

Anyway, I was trying to find a way to listen to the two albums on my list from them, Decoration Day (2003) and The Dirty South (2004), and a friend of mine happened to have both as well as Southern Rock Opera (which is an absolute rock masterpiece that I highly recommend).  I have listened to them both, and, needless to say, I have established a fascination with the band.  The Truckers are driven really by two members—Patterson Hood and Mike Cooley.  They feature a three-guitar attack with drums and bass to round out the sound.  Hood (vocals, guitars) and Cooley (guitars, vocals) write probably 75% of the material on the albums, and the other 25% comes from other members of the band.  In the case of Decoration Day and The Dirty South, the other 25% came from Jason Isbell, the third guitarist and vocalist during this period that brought another strong songwriter to the band.

I have decided since I didn’t do the Hold Steady justice in listening through their albums consecutively that I would do the Drive-By Truckers justice and listen to their earlier album first – Decoration Day.

#78 – Drive-By Truckers, Decoration Day (Metascore = 87)

Before even diving into the material, I want to make a comment regarding the songwriting.  Hood, Cooley and Isbell as a team write amazing material.  Their collaborations on this album and on The Dirty South represent the high points in the Truckers’ discography (save for Southern Rock Opera, which featured contributions from the guitarist before Isbell, Rob Malone).  The strength of the band has always been in its storytelling, and on Decoration Day they do this extremely well.  Isbell left the band after The Dirty South (my guess since I haven’t read anything further on the topic other than it was an amicable departure is that he wanted to have more of his songs on the record), and I think his material hasn’t been as strong since.  I would imagine if Hood or Cooley pursued solo recordings they would have similar results.  Working as a team, like any collaborative team in music, they were able to listen, critique, and refine the material to a finished product, and having that extra set of ears made the music that much better.

Hood opens the album with “The Deeper In”, a slow tune about the only brother and sister in the U.S. serving time in prison for consensual incest.  He recounts details of the story in a way that reminds me of some of Bob Dylan’s earlier records, such as “The Ballad of Hollis Brown”.  ”Sink Hole” and “Hell No, I Ain’t Happy” are total contrasts in sound to “The Deeper In”, showcasing that powerful guitar attack reminiscent of bands like Lynyrd Skynyrd and the Allman Brothers Band.  They are two of my favorite tracks from the record for their powerful sound and interesting lyrics.  In these first few songs you can get a great feel for the songwriting style of the band, how they are great at telling stories and grabbing the listener’s attention.

Sometimes their songs sound like rip offs of other famous bands.  “Marry Me” (a Cooley original) sounds similar to the Eagles’ “Already Gone”, for instance.  “Your Daddy Hates Me” sounds like it was pulled out of the Lynyrd Skynyrd catalog.  But I think that’s part of the fun of the band, that they will acknowledge their influences in their writing.  The band in some ways strengthens those artists’ catalogs through paying homage.

Decoration Day, next to Southern Rock Opera, is my favorite record from them.  I really don’t believe there are any bad songs on here.  The imagery that Hood, Cooley, and Isbell evoke in song is so provocative that, even though you don’t need multiple listens to understand them, you feel like you have to listen to this record several times.  Southern rock has had a revival of sorts since country music started borrowing its sounds in the late ‘90’s and early ‘00’s (see Chesney, Kenny or Urban, Keith), but its best new songwriters are right here.  I think this record deserves a better score than it got; it’s a very good listen and better that some of the records I have heard that were rated higher.