It's all just one big monkey house to me
Jun. 24th, 2006 03:59 pm![[personal profile]](https://www.dreamwidth.org/img/silk/identity/user.png){kind=small}
vovatOkay, 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:
Johnny Barleycorn - Pretty cool lyrics, which refer to John Barleycorn, a personification of barley, who had also been referenced in the Minus 5 song "John Barleycorn Must Live." That song itself was a reference to a Traffic song and album (neither of which I've heard), so I guess Barleycorn is just a popular subject for musicians.
Wanderlust - I like the general sound of this one, both in terms of the melody and the keyboard parts.
Dog Sleep - One of the songs that had been previewed on the frankblack.net podcast, and a pretty cool one. I like the horns, and the fact that there are two distinct parts to it.
I'm Not Dead (I'm In Pittsburgh) - Not only the best song title on the album, but also one of the catchiest songs, especially in the chorus. If I ever go back to the Steel City, I know what I'm going to use for a journal entry title! {g}
Golden Shore - The last song on the first disc, but the first song on that disc to really grab my attention. There's kind of an old-timey melody to this one, which works really well. If someone had told me that this was a cover of an old gospel-type song, I probably would have believed them. Actually, though, it was co-written by Frank and Reid Paley, as were "Dog Sleep" and "I'm Not Dead." It's kind of weird that I like the Paley songs so much, considering that when I saw Reid open for Frank, I didn't care much for his music. I think that was mostly because of his voice and his habit of spitting on the stage, though, rather than his songwriting. So maybe it's not so weird after all.
In The Time Of My Ruin - Frank rhymes "curator" with "date her," and "shoe-in" with "ruin," and it works!
Elijah - Probably the most rocking song on the album.
Sad Old World - This one is worth mentioning just for the spoken bit in the middle. I wish that were longer. The song itself reminds me "Dark End Of The Street," but I think I actually like it better.
Don't Cry That Way - Continuing the theme of songs that sound like better versions of Honeycomb tracks, this one reminds me of "Strange Goodbye," but...well, I like it better. {g} I'm particularly fond of the steel guitars.
Fare Thee Well/Sad Man's Song - As with the first disc, Frank saved one of the best for last. And this time, it actually IS a cover of a traditional song.
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:
Johnny Barleycorn - Pretty cool lyrics, which refer to John Barleycorn, a personification of barley, who had also been referenced in the Minus 5 song "John Barleycorn Must Live." That song itself was a reference to a Traffic song and album (neither of which I've heard), so I guess Barleycorn is just a popular subject for musicians.
Wanderlust - I like the general sound of this one, both in terms of the melody and the keyboard parts.
Dog Sleep - One of the songs that had been previewed on the frankblack.net podcast, and a pretty cool one. I like the horns, and the fact that there are two distinct parts to it.
I'm Not Dead (I'm In Pittsburgh) - Not only the best song title on the album, but also one of the catchiest songs, especially in the chorus. If I ever go back to the Steel City, I know what I'm going to use for a journal entry title! {g}
Golden Shore - The last song on the first disc, but the first song on that disc to really grab my attention. There's kind of an old-timey melody to this one, which works really well. If someone had told me that this was a cover of an old gospel-type song, I probably would have believed them. Actually, though, it was co-written by Frank and Reid Paley, as were "Dog Sleep" and "I'm Not Dead." It's kind of weird that I like the Paley songs so much, considering that when I saw Reid open for Frank, I didn't care much for his music. I think that was mostly because of his voice and his habit of spitting on the stage, though, rather than his songwriting. So maybe it's not so weird after all.
In The Time Of My Ruin - Frank rhymes "curator" with "date her," and "shoe-in" with "ruin," and it works!
Elijah - Probably the most rocking song on the album.
Sad Old World - This one is worth mentioning just for the spoken bit in the middle. I wish that were longer. The song itself reminds me "Dark End Of The Street," but I think I actually like it better.
Don't Cry That Way - Continuing the theme of songs that sound like better versions of Honeycomb tracks, this one reminds me of "Strange Goodbye," but...well, I like it better. {g} I'm particularly fond of the steel guitars.
Fare Thee Well/Sad Man's Song - As with the first disc, Frank saved one of the best for last. And this time, it actually IS a cover of a traditional song.
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
no subject
Date: 2006-07-14 06:15 am (UTC)I don't envy popular musicians for having to deal with commercial sensibilities - it would have taken courage to produce FMRM and Honeycomb after something like Teenager of the Year. Frank Black's passion for music isn't in question, it's great he's exploring different styles or whatever he's interested in.
What you say about Frank's songs taking time to grow on you is true for me. I think it's a better indicator of decent music -- listen to top 40 rubbish and you'll certainly find most songs are superficial and extremely catchy.
Anyway, good review. Suppose I'll have to buy the album!
no subject
Date: 2006-07-16 02:02 am (UTC)Yeah, maybe. I get the impression that some people think everything he's done since the Pixies, and sometimes even since Doolittle, is a digression. Honestly, I don't see Honeycomb or FMRM as being all that different from what he'd been doing with the Catholics in recent years.