Showing posts with label western. Show all posts
Showing posts with label western. Show all posts

Thursday, May 22, 2008

*zzzzzzzzz*snerk* Sorry, I was dozing: Neil Diamond, Home Before Dark

First confession: I am not a fan of acoustic guitars. When I was in college, it seemed like everyone had an acoustic, and they all thought they were folk singers. Some thought they were Bob Dylan, some thought they were Woody Guthrie, some thought they were Joni Mitchell, all of them were boring as a dentist’s waiting room being filled with sleeping gas. American acoustic folk is one of the music genres that provides me an express trip to Snoreville. Second confession: I have never listened to Neil Diamond before. The first I will remain steadfast on, but I apologize for the second, solely based on his fame.

I’m not expecting to make any friends with this review, so be prepared when I say this album is very effective as a sleep aid. I found very little interesting with Home Before Dark, and what caught my interest for even a moment was rapidly forgotten by subsequent tracks that make a good money working part-time jobs as substitutes for the Sandman.

The first song, “If I Don’t See You Again,” struck me as being a touching and potent piece that, while not exactly making me jump up and down in excitement, held me down enough to appreciate it in some sense. Unfortunately, this is almost immediately undone with the next track, “Pretty Amazing Grace.” I found “Pretty Amazing Grace” to be somewhat annoying and otherwise forgettable, starting out sounding like “Feliz Navidad.” I can sort of dig “Don’t Go There,” but at the moment, I can’t recall why. Skipping to track five, “One More Bite Of The Apple” wins the Official Rum-Soaked Review Silver Medal for Most Annoying Song of 2008 (Gold goes to R.E.M.’s “I’m Gonna DJ,” but it almost was unseated here). It only serves the purpose of waking me up after the last track. The chorus is cliché and badly delivered, and at 6 minutes runtime, too f#cking long. The whole album feels long, but I can't tell you because I can't pay attention to it long enough to accurately judge. “Forgotten” is a bit more what I was looking for: down-home country folk. “Slow It Down” grabs with the introduction before following it’s own title and dropping pace to something very comfortable (to the point of putting my head on a pillow). The title track isn’t bad, but still boring in ways I didn’t think were possible. The deluxe edition features two covers, “Without Her” by Harry Nilsson and “Make You Feel My Love” by Bob Dylan. “Without Her” is the dark, morose, painfully beautiful sort of thing that I automatically gravitate to, while “Make You Feel My Love” doesn’t change the prevalent drowsiness. That’s all I got; every other track is so bland that I didn’t realize they were over until two songs later.

Almost forgot to mention: the album has nice photography. It's a pretty slick looking case. The only criticism here is that it is annoying to slide the disc out of the cardboard sleeves glued to the outer flaps.

I’m given to understand that Neil Diamond is a very polarizing artist, with disputes between fans and non-fans running the risk of ruining relationships of all kinds. Find out if your spouse-to-be is a fan or not if you are strongly on either side of the fence; otherwise, you run the risk of many bitter arguments. Yes, Neil is famous as a great songwriter. But he’s not the be-all and end-all of contemporary music.

Final analysis is that Home Before Dark is emotional folk inspirational lovey-dovey crap that gets very old, very fast. To be fair, Home Before Dark isn’t a bad album by any stretch of the imagination. What it is is utterly boring. To some, generating a sense of complete indifference is a worse effect than being bad. For them, I can only say, “avoid this album.” However, if acoustic, calm, but occasionally potent is your speed, then perhaps this album is for you, assuming you aren’t a rabid Diamond fan already and haven’t bought it already. As for me, I beg your pardon but, yawn I’m feeling kind of drowsy right now. I’ll get back to you after a nap.



Neil Diamond website and myspace

Tuesday, April 1, 2008

Yeee-HAW!: Jever Mountain Boys, Bury the Bottle With Me

For a good portion of my readers (two out of three of you), Alexander Hacke needs no introduction. For those stumbling in from the bar or another website, let me give you some background on this innovative musician. He began his music career in the early 1980s under the moniker Alexander von Borsig, and soon joined avant-garde/experimental band Einstürzende Neubauten at the age of fifteen. He has been a part of many music projects, included Sentimentale Jugend, P1/E, Sprung Aus Den Wolken, Crime & the City Solution, and numerous others. But one project that Hacke was the frontman for that even my most nerdy of obscurity-obsessed music geek friends have never mentioned is the Jever Mountain Boys.

Information on Jever Mountain Boys is scarce. Wikipedia tells me nothing other than Hacke was the frontman and the band performed country variations on some of their favorite songs. Hacke’s website states that Bury the Bottle With Me is the only official release, the album was released in 1994, and that “this band would take song-material of various origin and transform it into their unique style of country music.” Most other websites offer little unique concrete information.

Attempts to find a hard copy are even more fruitless; eBay yields no results, Amazon America stares at you like you have king crabs coming out of your nostrils, and Amazon UK and Deutschland tell you that it’s unavailable, and only the German site has a tracklisting. Neither have a picture of the cover or reviews. Even bootlegging it online proves to be a bear. I searched on peer-to-peer for over a year before I found someone that had Bury the Bottle With Me shared. That person I must commend, because they also scanned in just about everything, including both the inside and outside of the digipak and the fold-out liner notes. Thanks to those scans, I learned that the band was made up of Hacke, Jochen Arbeit, Moritz Wolpert, Roland Wolf, and Rumme Beck. Aside from Hacke, only two of those names are familiar to me: Arbeit and Wolf both joined Einstürzende Neubauten at different times, although Wolf died in a car accident shortly after joining in 1995.

As stated on Hacke’s site and his Wikipedia page, all the songs on Bury the Bottle With Me are covers from assorted artists and genres. The tracklisting is as follows:

1. “Bury the Bottle With Me” (Cochran/McCall)
2. “Skip A Rope” (Moran/Tubb)
3. “Ace of Spades” (Kilmister/Clarke/Taylor)
4. “It’s Dark (In My Heart)” (L. Hazlewood)
5. “Run for Your Life” (Lennon/McCartney)
6. “Photograph” (Chris Bailey)
7. “Yesterday Is Here” (Waits/Brennan)
8. “I’ll Die Happy” (J. C. Hendricks)
9. “Wings of A Dove” (Ferguson)
10. “If You Were A Viper” (Rosetta Howard)
11. “Wild and Blue” (J. Scott Sherill)
12. “Diamonds Don’t Mean A Thing” (Shadrick/Smith)
Phantom track: “Freebird” (A. Collins/R. v. Zant)

I’m not going to even pretend that I know where all these songs come from. However, those that I do recognize make my eyes pop to see on the same album. The Beatles, Motörhead, Tom Waits, Lynyrd Skynyrd? The variety is quite astonishing.

Now, the country western genre is a variety of music that I typically avoid at all costs. I really can’t stand most of it. But, I have to confess, a few of these cuts really grab me. “Ace of Spades” lends itself very well to the selected style; the way Jever Mountain Boys arrange this song into a Western/bluegrass style conjures up old West saloons and unshaven gunslingers. It works perfectly. While I usually take umbrage at anyone covering Tom Waits songs (probably owing to Rod Stewart’s rendition of “Downtown Train”), the Boys handle it quite well. Their version of “Yesterday Is Here” is probably one of the better covers of any Waits song I’ve heard, plus they get bonus points for reaching for the not-so-obvious song to cover. “I’ll Die Happy” is a fun track, featuring some voice-acting between Hacke and Louisa Bradshaw in the middle. Phantom track “Freebird” features some sounds of assorted improvised Neubauten-style scrap metal striking and breaking glass in the background about halfway through and continuing until the song is almost over; the liner notes only list this as “domestic percussion,” whatever the heck that means, so I really have no clue as to what they were using to achieve this effect. I don’t really care, because this is probably the only version of “Freebird” that I will ever in my life confess to liking.

Aside from that, I haven’t much to say. I don’t care for the genre, and the album is more of an oddity. But it’s an oddity dripping with character. Even though it’s for the most part not my thing, I can’t help but respect this album. Also, I have tremendous respect for artists that pursue multiple genres; by doing so, they show how many layers they have to their persona. Jumping from style to style keeps the musician fresh and unpredictable, as opposed to becoming a has-been jammed in one gutter that smells like rotting and irrelevant hit singles from decades prior (like some other musicians I can name). Unfortunately, since I can’t find any more information (in English) on Jever Mountain Boys, I can only assume they are no longer playing together and thus will most likely not be releasing any further albums. As for Bury the Bottle With Me, the Boys pursued these songs with spirit and produced an album that is thoroughly enjoyable. Actually, the more I listened, the more I found myself addicted to it. I can only recommend that you pick it up if you are lucky enough to find it and give it at least a chance. Bury the Bottle With Me is so quirky you just might learn to love it.



Alexander Hacke’s website and myspace, which each have samples from Bury the Bottle With Me