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It's all just one big monkey house to me
Jun. 24th, 2006 03:59 pmOkay, I think it's about time to write my long-awaited (well, long-awaited by me, anyway) review of Frank Black's new album, Fast Man Raider Man. The title refers to two different songs on the first disc, but I still don't know that I'm particularly fond of it. When I read it, I just think that it should be called "Faster, Raiderman! Kill! Kill!" I guess if it were, they could have reused the woman from the Surfer Rosa cover art. {g} As the actual cover art stands, I like the splattered paint effect on the inside of the sleeve, but it's too sparse on liner notes. Whatever happened to including lyrics?
When I bought this album on Tuesday, some other guy who was shopping at the store noticed my purchase, and seemed interested in it. He asked the clerk if there were any more copies, and the clerk said I had gotten the last one. I actually noticed another copy by the cash register, but maybe that was being saved for someone. Regardless, I'm glad I was able to get a copy, and also glad that other people in my (new) area seem to be interested in the album.
If there's one thing of which you couldn't reasonably accuse Frank, it's not releasing enough music. Coming only a year after his last record, Honeycomb, this new one has twenty-seven tracks, spread out over two discs. If there's one thing of which you COULD reasonably accuse Frank, it's of getting a lot mellower over time. This album has the same rootsy, melancholy sound that Frank has been exploring for his last few major releases. Like Honeycomb, FMRM was recorded with experienced Nashville session musicians, but there seems to be less attention called to that fact this time around, with fewer long solos and such. Those Frank fans who want a return to hard rock are going to be disappointed. Personally, I don't mind that he's doing something different now, but I wouldn't mind a little more variety. Probably the worst thing that I can say about the album is that it has so many songs, but not that much variety. If either FMRM or Honeycomb had been my first exposure to Frank, I might well have written him off. I've been a fan for a while now, though, and I've noticed his gradual transition into Americana (as some people call it), and gotten to appreciate it. Pretty much every Frank album requires some time to grow on me, so I don't know how FMRM is going to stand up to his back catalog. As it stands now, though, I'd say it's a good album, but not one of Frank's best.
I'm not going to review every single track, but I will discuss a few that I think deserve mention:
( I'll see you on that distant golden shore )
Speaking of Frank, he's apparently written some more Pixies-esque songs, but probably won't be recording any of them. I can see what he means about his heart not being in it. I really think that, if there IS ever another Pixies album, they shouldn't make too much of an effort to sound like they did before. I kind of think it would be cool if Frank were just to record some songs he intends for a future solo album with the Pixies (maybe throwing on a few Kim Deal songs for good measure), and bill it as the Pixies' comeback album. It probably wouldn't play in Peoria, but maybe everyone should stop kissing Peoria's ass anyway. :P
When I bought this album on Tuesday, some other guy who was shopping at the store noticed my purchase, and seemed interested in it. He asked the clerk if there were any more copies, and the clerk said I had gotten the last one. I actually noticed another copy by the cash register, but maybe that was being saved for someone. Regardless, I'm glad I was able to get a copy, and also glad that other people in my (new) area seem to be interested in the album.
If there's one thing of which you couldn't reasonably accuse Frank, it's not releasing enough music. Coming only a year after his last record, Honeycomb, this new one has twenty-seven tracks, spread out over two discs. If there's one thing of which you COULD reasonably accuse Frank, it's of getting a lot mellower over time. This album has the same rootsy, melancholy sound that Frank has been exploring for his last few major releases. Like Honeycomb, FMRM was recorded with experienced Nashville session musicians, but there seems to be less attention called to that fact this time around, with fewer long solos and such. Those Frank fans who want a return to hard rock are going to be disappointed. Personally, I don't mind that he's doing something different now, but I wouldn't mind a little more variety. Probably the worst thing that I can say about the album is that it has so many songs, but not that much variety. If either FMRM or Honeycomb had been my first exposure to Frank, I might well have written him off. I've been a fan for a while now, though, and I've noticed his gradual transition into Americana (as some people call it), and gotten to appreciate it. Pretty much every Frank album requires some time to grow on me, so I don't know how FMRM is going to stand up to his back catalog. As it stands now, though, I'd say it's a good album, but not one of Frank's best.
I'm not going to review every single track, but I will discuss a few that I think deserve mention:
( I'll see you on that distant golden shore )
Speaking of Frank, he's apparently written some more Pixies-esque songs, but probably won't be recording any of them. I can see what he means about his heart not being in it. I really think that, if there IS ever another Pixies album, they shouldn't make too much of an effort to sound like they did before. I kind of think it would be cool if Frank were just to record some songs he intends for a future solo album with the Pixies (maybe throwing on a few Kim Deal songs for good measure), and bill it as the Pixies' comeback album. It probably wouldn't play in Peoria, but maybe everyone should stop kissing Peoria's ass anyway. :P
