First, a word of warning. I come to "Is A Woman" as an already established 4-album owning fan of Nashville’s finest 14-piece (and varying) musical collective, but I will attempt to approach this review from as objective a viewpoint as possible.
Reviewers appear divided on Kurt Wagner and co’s latest opus; a sizeable proportion seeing the paring down of the wide screen sound of 2000’s country-soul masterpiece "Nixon" as at least a step backwards, if not tantamount to some form of commercial suicide. Some have even gone as far as to describe "Is A Woman" as LAMBCHOP’s piano and vocal album.
Certainly, for those reliant on "Nixon" as the only reference point, this new album presents a sparser soundscape, but for those who know the earlier albums, this alleged "new direction" is not really as radical as some suggest.
The album does indeed open and close with the jazz-inflected piano chords of welcome addition to the ‘Chop ranks, Tony Crow. However, much of what comes between is unified by the electronic gurglings and rumblings which have been in the background of the band’s sound since 1997’s "Thriller," chiefly created (one assumes) by "noise/ space guitarist" and sound engineer Marky Nevers – the Allen Ravenstine of Alt.Country, anyone?
Besides, with a core of 8 or 9 musicians on most tracks, a sparse LAMBCHOP cut bathes in a wash of sound for which most other bands would be considered lush. That said, contributions from other group members are considerably less frequent than on "Nixon", thus ensuring "Is A Woman" is nowhere near as immediate as its’ predecessor. Another reason for the lack of first-listen stand out tunes is the fact that the majority of songs segue straight into each other and are of a similar (slow, slow) pace. However, to quote Mr.Wagner in "My Blue Wave": "just stick around on this lovely night and we may be amazed." Clearly, a little perseverance goes a long way.
|
Personal highlights? OK, how about Tony Crow coming on like jazz great Bill Evans for the first 20 seconds of opener "The Daily Growl". Or Deanna Varagona’s 2-note samba baritone sax halfway into "The New Cobweb Summer". Or the entirety of "My Blue Wave". That’s just the first 3 tracks and there’s much more before the band lurch gracefully (an oxymoron, I know, but just listen closely…) into the reggae chorus of the closing title track and Mr. Crow brings proceedings to a close with a final tinkle of the ivories.
And then there are the lyrics, which – aligned with Kurt Wagner’s vocal delivery – are usually fuel for the band’s detractors’ fire. Of course by now he’s little to prove to your correspondent, but I can understand how one man’s (unquestionably idiosyncratic) thoughts on nature, quitting his job, the destructive/ redemptive aspects of love and even that old r ‘n’ r chestnut, the touring lifestyle can make for a less than enthralling listen. Yet, when the lyric sheet features such as "Yes, squirrels have beds too" and "I have shat upon the hillside neck deep in cushion clover," banalities such as name checking EMBRACE can be forgiven.
So there you have it. Truthfully, for the uninitiated "Nixon" remains the best introduction to LAMBCHOP’s off-centre genius, but if you’ve already listened to "Up With People" 200 times over, spend some time with "Is A Woman" and you too, will fall slowly but surely in love.
|
