Music Reviews 3/7/07
West, Lucinda Williams, 2 1/2 Stars
Car Wheels On A Gravel Road, Lucinda's 1998 release is one of my favorite albums. Not one to rush, Lucinda has released only two studio albums and a live album since then. Recently, Lucinda's had a tough go of it--she lost her mother and saw the end of a relationship since her last album.
With all that in mind, I hoped West would be a stunning cathartic album, one in which the artist transcends her difficulties in life and uses them to create great art. For one, it seemed like Lucinda would have a lot she would need to get off her chest. As a fan, I also hoped that something great would possibly come out of all the hardship.
Sadly, while the album certainly is a cathartic one (all of the thirteen songs refer to either the loss of her mother or her relationship), I don't think it's a great one. The songwriting lacks much of the originality of her previous albums; many of the songs batter you with the same line over and over again (the lead track, "Are You Alright?", repeats the question 22 times) or with cliched couplets that can be finished by the listener before they're sung.
Of the thirteen tracks, only 6 are keepers while the rest either fade from memory quickly or stick in your head annoyingly. "Fancy Funeral" and "Unsuffer Me" capture the depths of Lucinda's losses most effectively. "Come On" and "Wrap My Head Around That" burn with the fury of a woman scorned. The album closes with the contemplative "Words" and the conciliatory "West" perhaps looking ahead to a less painful time.
Taking The Long Way, Dixie Chicks, 4 Stars
Of course, the brouhaha created by Natalie Maines' criticism of President Bush and the after effects have left their mark on the album. In the wake of her comments, Dixie Chicks' discs were steamrolled in the streets and Maines received death threats. Instead of backtracking, the band stood up for their right to free speech in the face of a strong public backlash and isolation from the country music mainstream.
While mainstream country radio turned its back on this album, Nashville would be wise to learn from new sounds the Dixie Chicks explore on Taking The Long Way. By bringing in rock and pop influences, producer Rick Rubin helped the Chicks create an album that sounds fresher than anything the country music establishment is pumping out these days.
The album opens with the Tom Petty-esque "The Long Way Around", an autobiographical tale of searching and finding your way that wouldn't be out of place on Full Moon Fever. "Not Ready To Make Nice", the Grammy-winning song and record of the year, is the centerpiece, the answer for all those who may have been wondering if the Chicks had any regrets. The heavy string arrangements on the track are a misstep--it'd be a great song even if it was stripped down to just vocals and acoustic guitar--but the strength of the message carries the track. The stand out "Lubbock Or Leave It" chronicles the dilemma of living it up on Saturday and going to church on Sunday with a burning guitar riff and banjo picking that conjure up images of an angel and devil whispering in Natalie Maines' ears as she belts out the vocal.
Taking The Long Way also stands out because it's an album. In an age where it has become fashionable to craft a disc with a couple of catchy tunes and a lot of filler, The Dixie Chicks use even the lesser tracks to contribute to the whole. Instead of fading out, the album concludes with a string of uplifting tracks culminating with "I Hope." Sure, it's a little sappy but it balances out some of the heavier songs and contributes overarching message of the album.
Scissor Sisters, Scissor Sisters, 2 Stars
Who would have thought the what the world needed was Stevie Wonder and Duran Duran doing a disco cover of Pink Floyd? Apparently, the Scissor Sisters did. Despite a wealth of marvelous influences (don't forget George Michael and Elton John), the album doesn't take off till the electro trash rave-up "Filthy Gorgeous" with it's bass line straight out of the underground screens in Super Mario Bros. "Music Is The Victim" and "Better Luck," two other standout tracks, follow before the album fades back into the bland dance rock from which it came.
In Between Dreams, Jack Johnson, 3 Stars
Another mellow set of tunes from one of the nicest guys in music. Johnson's latest effort lacks the inspired grooves that highlighted Brushfire Fairytales; nonetheless, In Between Dreams is enjoyable album, the perfect soundtrack to a lazy Saturday morning.
Albums are rated on the following scale:
5 Stars = Classic
4 Stars = Excellent
3 Stars = Good
2 Stars = Fair
1 Star = Poor
Car Wheels On A Gravel Road, Lucinda's 1998 release is one of my favorite albums. Not one to rush, Lucinda has released only two studio albums and a live album since then. Recently, Lucinda's had a tough go of it--she lost her mother and saw the end of a relationship since her last album.
With all that in mind, I hoped West would be a stunning cathartic album, one in which the artist transcends her difficulties in life and uses them to create great art. For one, it seemed like Lucinda would have a lot she would need to get off her chest. As a fan, I also hoped that something great would possibly come out of all the hardship.
Sadly, while the album certainly is a cathartic one (all of the thirteen songs refer to either the loss of her mother or her relationship), I don't think it's a great one. The songwriting lacks much of the originality of her previous albums; many of the songs batter you with the same line over and over again (the lead track, "Are You Alright?", repeats the question 22 times) or with cliched couplets that can be finished by the listener before they're sung.
Of the thirteen tracks, only 6 are keepers while the rest either fade from memory quickly or stick in your head annoyingly. "Fancy Funeral" and "Unsuffer Me" capture the depths of Lucinda's losses most effectively. "Come On" and "Wrap My Head Around That" burn with the fury of a woman scorned. The album closes with the contemplative "Words" and the conciliatory "West" perhaps looking ahead to a less painful time.
Taking The Long Way, Dixie Chicks, 4 Stars
Of course, the brouhaha created by Natalie Maines' criticism of President Bush and the after effects have left their mark on the album. In the wake of her comments, Dixie Chicks' discs were steamrolled in the streets and Maines received death threats. Instead of backtracking, the band stood up for their right to free speech in the face of a strong public backlash and isolation from the country music mainstream.
While mainstream country radio turned its back on this album, Nashville would be wise to learn from new sounds the Dixie Chicks explore on Taking The Long Way. By bringing in rock and pop influences, producer Rick Rubin helped the Chicks create an album that sounds fresher than anything the country music establishment is pumping out these days.
The album opens with the Tom Petty-esque "The Long Way Around", an autobiographical tale of searching and finding your way that wouldn't be out of place on Full Moon Fever. "Not Ready To Make Nice", the Grammy-winning song and record of the year, is the centerpiece, the answer for all those who may have been wondering if the Chicks had any regrets. The heavy string arrangements on the track are a misstep--it'd be a great song even if it was stripped down to just vocals and acoustic guitar--but the strength of the message carries the track. The stand out "Lubbock Or Leave It" chronicles the dilemma of living it up on Saturday and going to church on Sunday with a burning guitar riff and banjo picking that conjure up images of an angel and devil whispering in Natalie Maines' ears as she belts out the vocal.
Taking The Long Way also stands out because it's an album. In an age where it has become fashionable to craft a disc with a couple of catchy tunes and a lot of filler, The Dixie Chicks use even the lesser tracks to contribute to the whole. Instead of fading out, the album concludes with a string of uplifting tracks culminating with "I Hope." Sure, it's a little sappy but it balances out some of the heavier songs and contributes overarching message of the album.
Scissor Sisters, Scissor Sisters, 2 Stars
Who would have thought the what the world needed was Stevie Wonder and Duran Duran doing a disco cover of Pink Floyd? Apparently, the Scissor Sisters did. Despite a wealth of marvelous influences (don't forget George Michael and Elton John), the album doesn't take off till the electro trash rave-up "Filthy Gorgeous" with it's bass line straight out of the underground screens in Super Mario Bros. "Music Is The Victim" and "Better Luck," two other standout tracks, follow before the album fades back into the bland dance rock from which it came.
In Between Dreams, Jack Johnson, 3 Stars
Another mellow set of tunes from one of the nicest guys in music. Johnson's latest effort lacks the inspired grooves that highlighted Brushfire Fairytales; nonetheless, In Between Dreams is enjoyable album, the perfect soundtrack to a lazy Saturday morning.
Albums are rated on the following scale:
5 Stars = Classic
4 Stars = Excellent
3 Stars = Good
2 Stars = Fair
1 Star = Poor
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