Saturday, August 13, 2011

#463 - Elton John - Tumbleweed Connection


I love Elton John albums. I feel like I’ve said that before. Perhaps, only a few reviews ago. I love Bernie Taupin’s lyricism as equally as Elton’s musicianship and voice. Tumbleweed Connection, despite its exclusion of virtually any hit single, is no exception. Elton’s second release in the U.S. (the follow up to the widely touted self-titled album), Tumbleweed gives its listeners an odd glimpse into the American West by the furthest thing from cowboys, spurs, and dusty saloons; two rocking men from London (one of which would later openly reveal himself to be homosexual). What makes the album’s theme even stranger is that Taupin’s fascination of the American West does not stem from any sort of experience. The author of such songs as “Burn Down the Mission,” “Ballad of a Well Known Gun,” and “Country Comfort” has stated that the album was written and recorded before he’d even been to the States. Hmm? Well, if that is the case, then he deserves even more praise for painting such an accurate portrayal from his mind’s eye (even if he did use film, musical, and literary influences to develop his ideas). In fact, Taupin stated that his main inspiration for the album’s lyrics came largely from The Band’s Music from Big Pink. Furthermore, I find it amusing and ironic that critic Jon Landau, in a review printed in Rolling Stone, wrote that Taupin is not a great lyricist, but instead “interesting.” He also wrote that while he originally criticized John’s earlier self-titled venture as “doing too much,” he wished that Taupin and John would have pushed the limit and included more with this album. This leads me to believe that Mr. Landau might just be a prick who can’t make up his mind. In my opinion, the album is a busy one as it is. That’s not to be taken as a criticism, but merely a statement of fact.

As for the songs, holy inspiration for cover songs, Batman! The album kicks off with the aforementioned (albeit briefly) “Ballad of a Well Known Gun.” Kicking off the album’s Western theme, this song is about….you guessed it, a man on the run with a gun. You guys are so smart. Eventually, this song would be covered by James Taylor’s lesser known sibling, Kate. She would also cover “Country Comfort” from this album. Neither of which I could locate on Youtube, which I find oddly surprising. Apparently, she was not as talented as James at writing original material. Nevertheless, Elton and his band use every instrument possible to remind us that this album has a Western theme (as if we were confused). I can hear some fiddle, some pedal steel guitar, and Bob Dylan’s favorite, a harmonica. Also making appearances on this track, Dusty Springfield doing some backing vocals and Caleb Quaye (studio musician for Jagger, Townshend, McCartney, and Hall & Oates).

Next, Elton decided to include “Come Down in Time” which, although being a great song, does not seem to fit the mold here. I mean, here is an album dealing with the rough and tough ideas of early Western America and he decides to include a Gothic sounding song with harp and oboe. Great song, but should have been saved for another album, in my opinion. Eventually, Elton remembers what they were originally aiming for on this one with “Country Comfort.” The aptly titled song does offer a feeling of comfort via very early Americana, despite the looming onset of industrialization offered in the lyrics, “Down at the well they’ve got a new machine / The foreman says it cuts man-power by fifteen.” This song would late be included on Rod Stewart’s Gasoline Alley and while I wasn’t able to find Kate Taylor’s version I was able to find Mr. Stewart’s rendition (along with this). The rollicking “Son of Your Father” follows; picking up the tempo a bit. Then, we get my personal favorite song off the album “My Father’s Gun,” which offers us the words “gun” and “father” yet again. Are you starting to see a pattern? The song, which tells of a son following in his dead father’s footsteps and joining, what I take to be, the Civil War, was featured in the film Elizabethtown (also containing the theme of a son coming to terms with his recently passed father). “Where to Now, St. Peter?” does not do as much as the one before it, but offers Elton as some of his most grandiose with funk-tinged guitars and synths all while singing about sailing along in a blue canoe. Don’t forget this is not the time of Carnival cruises. Oh, what’s that you say? You haven’t forgotten. Okay, I just wanted to be sure we were all on the same page. The next track, “Love Song,” is the only song on the album not written by Elton and Taupin. Written by the forgettable Lesley Duncan, this song resembles every other ballad singer/songwriters were penning in the 70’s and doing it better (i.e. Jim Croce). Decent song, but nothing to write home about, give to a man with his father’s gun who will get in his blue canoe and deliver to your family who are back home basking in the country comfort of their land. You see what I did there? I took the songs from Tumbleweed Connection and made a story using its’ characters and titles. Did you see? Ok, I’ll stop. Next up, “Amoreena,” written for Elton’ God-daughter, its’ most famous moment came by its’ inclusion in the opening scenes of Dog Day Afternoon (which also involved a homosexual man annnnnnd we’ve come full circle). “Talking Old Soldiers” is the classic tale of a young man who meets an old man in a bar learns a thing or two from the old geezer who has become a bit of a joke in his community. The album conclude with “Burn Down the Mission” reminds me of William Faulkner’s As I Lay Dying. In the novel, Darl burns down a neighboring barn that is harboring his dead mother and her casket as a last resort to end the madness his family has wrought. Like the book, the protagonist in Taupin’s lyrics attempts to burn down a mission as a means of helping himself and the surrounding community, but in the end is taken away by the authorities, much like the aforementioned Darl. This song was later covered by the band Toto on their album Through the Looking Glass as well as Phil Collins on the Taupin and Elton tribute album Two Rooms (both of which stink). Sting also contributed to the album, providing a rendition of “Come Down in Time.”

Solid outing by Elton John and his long-time writing pal, Bernin Taupin. Definitely worth of inclusion on any “best of” list.

This album’s amateur cover comes from Adam Marsland and The Sexies.

Also, I’ve always appreciated Elton John’s sense of humor as evident in this clip.

“I could snort you under the table.”


-d.

I don’t really get why this album is on here. Or why it’s above Elton’s much better Goodbye Yellow Brick Road. It’s a good record, but it’s no classic. Never in the midst of a tense argument over the great music of our day have I heard someone say “Oh man, of course! Tumbleweed Connection!”. It’s mildly funked up take on country actually foreshadows the sound Elton and Billy Joel would end up mastering over the years, but here it gets a bit off putting from time to time.

I will say this is great rainy day stuff. There’s something about some records that make them the perfect background for reading as rain pounds away. There’s a lot more to praise than that, like some excellent melodic bass playing, and (to no surprise) aggressive striding piano. My only issue with the music is that the different players aren’t working together. Soloing funk bass doesn’t mix well with slide guitar and fiddle. Individually, the performances are all terrific. I just want a little more cohesion.
The last minute or so of :Son Of Your Father" has some great horns that take the song to another level. The rest of the songs just seems like something Scissor Sisters have done better. That’s kind of indicative of the problem. There are hints of where Elton was heading, and there are surprising nods to his other influences. But either way, it seems like it has all been done a bit better somewhere else. For instance, "Love Song", which sounds so much like Crosby, Stills and Nash that I was waiting for Neil Young’s cheese grater of a sinus passage to ruin everything. Immediately after that is "Amoreena" with it’s multiple melodic lines that were recycled in Elton’s cocaine induced lazy years. By the way, ever notice how bands usually get worse when they get sober (the Weiland effect)? Not so with Elton. The 80’s were not good to him on a creative level.

I am being picky, but some albums are so close to great that they force your hand. I really feel like a little more time spent finding that one really memorable chorus, or making sure the band was completely on the same page would have pushed Tumbleweed Connection over the wall. As it is, it’s a solid effort and deserving of a lot of praise. I just can’t rationalize spending a spot on this. As good as it sounds, I’m quite sure there are better albums that didn’t make the cut.


-tfm


Thursday, August 4, 2011

#464 - Jay-Z - The Blueprint


Let’s be honest here. In 2001, Jay was huge from a sales perspective, but he was mostly known as that guy that kept getting his ass handed to him by Nas. Well, that and sampling Annie. Which was pretty badass by any standards. But there is so much braggadocio on display on The Blueprint he almost makes you believe his word. I say almost because his style here is… let’s just say it’s not on par with some of his more recent stuff.

First the flow. It’s just weak. He can’t seem to find a new way to ride a beat no matter what the song sounds like. "Never Change" is a laid back r&b jam, while "Heart Of The City" has some dirty funk. So why does he sound exactly the same on each track? His style is the same, the voice is always loud and almost out of breath. He’s so monotone that it distracts from the great music backing him up.

The music is the main redeeming factor. Whether this is mostly samples or written for him, it’s just fantastic. Bass and drums are always interesting, and never seem to synthesized. Backup singers are perfect, and break the rap mold of over singing. Never do we get the 90’s staple of multiple octave runs (which always ended up out of tune). The only problem I have is that too many of these songs sound alike, making for an album that never goes anywhere. It’s like being married to the same woman your entire life. My wife doesn’t read this, right?

I honestly like Jay Z, but this isn’t his best and it doesn’t deserve to be on here. People were disappointed in it when it came out, it didn’t get half the airplay his previous songs had, and it still doesn’t hold up to scrutiny. I think this was one of those moments when people were filling out their ballots and thought, “oh I didn’t pick any black guys. I don’t want to seem racist so…..Jay Z”. They guy has earned his place in the top twenty rappers of all time thanks to some of the sickest wordplay and use of double meanings ever used, none of which is on display in The Blueprint. It’s just a letdown all around.

Here's one of the million hip hop songs I'd rather to listen to. Max Normal.tv.

-tfm

Oh, Michael. You couldn't be more wrong. First off, most of the things you criticize Mr. Carter for are the same criticisms you could make about his recent stuff. None of it has changed; it's just who he is as an artist. Same flow (which, although I'm a fan, has never struck me as overwhelmingly great), but it's the lyrics that have always kept Jay in discussion amongst anyone doing a top 10 hip hop list after slugging a few beers (or in my case arguing on twitter stone sober with the whitest boy I know....Ian Blevins). Think about it: same type of bragging (expected on any modern day rap artist's album), he still talks during the hook when he should just let the sample do its' thing, but the difference here is that Jay almost single-handedly controls this album without featuring cameos from other rappers, which is unusual for any contemporary rap album. But what Jay lacks in cameos (aside from "Girls, Girls, Girls" spectacular line-up of Slick, Biz, and Q-Tip), he makes up for with inspired samples from Kanye West whose genius is already apparent as a producer on this album. It would only be a few years before College Dropout dropped and a few more until he became the enemy of a girl named Taylor. And let me tell you, this album is sample heavy. I won't name every one, but some ones of note are Jackie Moore's "If," The Doors' "Five to One," Bowie's "Fame," and The Jackson 5's "I Want You Back."

Now for the logistics: Jay-Z's 6th album, The Blueprint, dropped on September 11, 2001. How's that for timing? But the album and all its' bravado seemed to be just what a reeling American needed. Album sales were high, but reviews, although decent, were not overwhelming. Entertainment Weekly gave it a B-. Rolling Stone gave it 3 1/2 stars, which brings me to another point. Although I believe this album absolutely has a place within Rolling Stone's 500 greatest albums, I find it a bit crazy that they originally gave this album a slightly above-average rating. Now, I could give them the benefit of the doubt and admire them for admitting they were wrong or I could chastise them for their glaring error of the past. Seeing as how my blog partner felt this was not such a great album, I'll go with admiration. Some other numbers of mention: Pitchfork named this album #5 out of 200 best of 2000's. XXL gave it a XXL rating. The Source gave it 5 Mics, which is ironic since this blog can't even get 1 Mike on board.

I love this album from beginning to end. I absolutely adore "Song Cry," despite it's nonsense chorus. I believe "Renegade" is a close to perfect collaboration showing Eminem at some of his old school glory. "Izzo" is a wonderful party track or one for driving around on a sunny day. And if we're going to mention Nas "handing" Jay's ass to him, then I think we have to mention "Takeover." That song is one of the best diss tracks I have ever heard. Jay-Z just pounds Nas and Prodigy from Mobb Deep so hard that I almost cringe with glee (all while imagining I'm in some run down club straight out of 8 Mile, yelling "oooooooh," while watching this verbal onslaught). Mr. Carter wins this one.

A lady giving her side of "Song Cry." This video involves some of my favorite things: bragging without saying a word (look at Jay's face after the missed field goal), football, and Budweiser. Last, but not least, this dude's Jay-Z is on point.

-d.