Thursday, December 20, 2018

Jeff Tweedy – Warm (dBpm, 2018)

Jeff Tweedy
Warm
dBpm
2018


Rating: 6.5 rabid cats out of 10

The first* solo Jeff Tweedy record is finally here, which is kinda hard to believe after listening to him for so long and in so many different bands.  The question is, what do you even expect from the solo output of a man who has such an extensive back catalog, nearly all of which he was the key (or one of the key) contributor and voice?  Honestly, if you’re as familiar with the man’s work as I am, it sounds exactly like what you’re already hearing in your head – mellow, folky rock that would fit right in with the seventies AOR era.  Tweedy has often been paired with other dominant personalities that heavily influenced his work – the twang/Americana of Jay Farrar (circa Uncle Tupelo), the bubblegum pop of Jay Bennett (circa Wilco’s early golden years), and the jam vibe of Glenn Kotche, Jim O’Rourke, and Nels Cline (circa the second half of Wilco’s output and his side project Loose Fur).  At times these songs almost feel like demos or sketches of tracks that never made the cut of a Wilco record, so Tweedy decided to flesh them out for this full-length.  That isn’t meant to imply they are second-run or unworthy – if nothing else, Tweedy is a damn good songwriter, even if he does sometimes require the flourish of others to put the tracks over the top.  “Warm” takes a few listens to really sink in, but I’m really liking it now - I’ve revisited the combination of “Some Birds” and “Don’t Forget” quite a few times.  There are no weak spots at all in “Warm,” it’s a perfectly enjoyable listen.  Now, if you’ll excuse me, I’m going to go listen to “Summerteeth” for the four billionth time.    

*I’m not counting that mostly instrumental soundtrack he recorded, for obvious reasons.

Wednesday, December 5, 2018

Shannon Shaw - Shannon In Nashville (Easy Eye Sound / Nonesuch, 2018)

Shannon Shaw
Shannon In Nashville
Easy Eye Sound / Nonesuch
2018


Rating: 7 moon viruses out of 10

It didn’t even take a full listen of “Shannon In Nashville” to realize that this is the optimal format to enjoy Shannon Shaw.  No Clams, Hunx, or Punx necessary - her true calling is this earnest attempt at becoming Dusty Springfield for the 21st century, and she’s pretty much fuckin’ nailed it on her first attempt.  Some may not agree, but the best compliment for this particular brand of “throwback” soul is how immediately familiar it sounds - I feel I could be easily convinced that gems like “Cryin’ My Eyes Out,” “Broke My Own,” and “Golden Frames” are actually covers of tracks I’ve known all my life.   Part of the narrative of this record is Shannon not only went to Nashville to record this with Dan Auerbach of the Black Keys, but the session players they employed were old-school pros – vets from artists you may have heard of such as Aretha Franklin, Roy Orbison, and an up-and-comer named Elvis Presley.  The music quality is untouchable, the arrangements lush (and often string-filled), and Shaw’s voice is powerful enough to match the firepower that is backing her.  If there is any knock at all, there are a few too many slow/mid-tempo numbers and “Shannon In Nashville” could use a couple more tracks that jump, but that’s more a personal taste than a knock on the excellent product presented here.