SONG OF THE WEEK #56: The Fall - "Janet, Johnny And James"

Choosing a favourite Fall album is a task both ridiculous and impossible. There would simply be too many to mention: Live At The Witch Trials, Grotesque, Bend Sinister... The list could go on. Yet there is something to the popular belief that the band's album from 2003, The Real New Fall LP: Country On The Click, is one of their finest ever. The production is crisp and rejuvenated, the material is extremely consistent, Smith sounds involved, and it has the band's best set of melodies since late 80's/early 90's. By The Fall's standards - a hell of a long time.
John Peel's favourite "Theme From Sparta F.C." might be the most celebrated song on that record, but I've always had a particularly soft spot for "Janet, Johnny And James". Folk music as understood and played by The Fall. Priceless.

Album review: JACK WHITE - Blunderbuss

Highlights: Missing Pieces, Sixteen Saltines, Freedom At 21, Love Interruption

While there’s no denying that riff or the melodic prettiness of, say, “Truth Doesn’t Make A Noise” (among other things, of course), I’ve never been a particularly huge fan of The White Stripes’ garage-y and hipped-up take on blues. Don't take me wrong, De Stijl and Elephant are both strong albums, we all pretty much agree on that, but it’s as if something was always missing from that raw, self-consciously cool sound. I believe it was the songwriting. The kind of songwriting you could get your teeth into.

So is there that missing spark on Jack White’s feverishly anticipated debut? Well, it's both yes and no. Blunderbuss certainly sounds more interesting, more full-bloodied than any WS album; its arrangements are rich and its songwriting is so much deeper than that of Icky Thump that the first listen is a lot more joyful than it probably should be. And yet, try as I might, I just can’t get too excited about the actual tunes. Especially some of the album's slow and mid-tempo material (for instance, without that melodious line “On And On And On” would just be faceless and dull).   

I guess it’s a good thing that Blunderbuss is so diverse stylistically. Yes, it is mostly rooted in blues (White would be pleased to hear that), but there’s a difference between the slow and mellow title track and that rip-roaring guitar work of “Weep Themselves To Sleep”. Interestingly, my favourite songs are all concentrated at the very beginning: “Love Interruption” is an intense ballad, all broken knees and raw emotions; there’s great heavy riffage throughout “Sixteen Saltines”; the funky “Freedom At 21” makes wonderful use of the playful arrogance of White’s voice. All good stuff. And even if some of these tunes don’t sound too inspired/inspirational, there are certain instrumental touches and delights to make up for that. Like that lovely piano opening “Hypocritical Kiss”…

No problem with giving this one a good 7. I just honestly can’t expect Jack White to record an album much better than this. He is talented, he is audacious, he knows his music – however, the bottom line would be this: he is not a great songwriter. He just isn’t.

7/10

Album review: LOUDON WAINWRIGHT III - Older Than My Old Man Now

Highlights: In C, All In A Family, The Days That We Die

As you would probably guess from the title, Loudon Wainwright III’s latest is about things like death and getting older. In terms styles, in terms of the actual music, the album is predictably all over the place. Wainwright is this old-time, old-fart (that’s totally affectionate) singer-songwriter who is stuck so beautifully and comfortably in his comfort zone: rootsy charm, redneck humour, piano ballads.

Of course, with no less than 15 songs Older Than My Old Man Now is, while not necessarily erratic, a mixed bag. However, there’s no question that you’ll end up loving at least three or four of these songs. It’s a very warm, cozy record, made even more so by the presence of his super-talented kids: Lucy, Rufus and Martha are all here.

Unfortunately, every time one of these songs sounds good to my ears, I end up wondering why can’t he make a whole album like that. There’s “In C”, a beautiful, introspective piano ballad with a simple but truly inspirational melody. There’s a strangely McCartney-esque pop of “All In A Family”. A few others. But it’s all good, the kind of no-great-shakes good would expect to get from Wainwright. I do actively dislike songs like the opening “The Here And The Now” (annoying and pedestrian) and particularly “I Remember Sex” (annoying and embarrassing), but they don’t overshadow the rest of the album.

At just a little under one hour, the album tires you a little, but does well to showcase different facets of Wainwright’s personality and songwriting. Overall, a deeply satisfying listen – however, I do find myself coming back to just those three or four songs I ended up loving the best…

7/10

SONG OF THE WEEK #55: Pulp - "Dogs Are Everywhere"

I believe that out of all the British songwriters working in the 90's only Luke Haines and Lawrence Hayward could rival Jarvis Cocker at his peak. Obviously Pulp are mostly remembered for that breathtaking triad of His 'n' Hers, Different Class and This Is Hardcore, but both prior and after that Cocker came up with some absolute gems. For instance, I've always felt strangely addicted to this bizarre, misanthropic song from 1986, "Dogs Are Everywhere". It originally appeared on the eponymous EP, but this here is an acoustic version from 1994. There's got to be something about that lazy groove and, of course, those odd, witty, hilarious lyrics.
(Be sure to check out the original as well)

Album review: EVANS THE DEATH - Evans The Death

Highlights: Telling Lies, Morning Voice, Threads, Wet Blanket

In a way, it’s rather disheartening to listen to Evans The Death’s debut album. Not because its songs are poor (I can’t find one bad song here), but because by the 10th second you realise that there won’t be a single person in the whole world who would be able to find his new favourite band here. Tragic, isn’t it? But this is what happens when you record a collection of solid twee pop songs devoid of truly impressive songwriting chops.

The album’s first four tracks are so insistently good but unspectacular that these young Londoners do come off as your aspiring fans of Dolly Mixture and The Pastels from the garage down the street. Sort of lovely but why would anyone care?..

However, right when you are about to lose your interest and turn this thing off, Evans The Death improve. Marginally or a great deal is not an easy question to answer, but the charmingly clumsy guitar jangle that opens “Telling Lies” is a delight. The melody is not half bad either, and the same goes for the noisy-one-second-pretty-the-next “Morning Voice” and the just noisy “Threads” (the album’s first single). The songs that come next are mostly your good, moderately catchy, garagey, c-86-like twee pop by the numbers – with only the chorus of “Wet Blanket” being irresistible enough.

Certainly Evans The Death is not the classic you so wanted it to be (and you have definitely heard enough bands who do this stuff a lot better), but the flashes of half-brilliance spread across this album can’t be denied. Strictly for critics and fans of the genre. I’ll go with a low 7 here.

7/10