"Monsters Of Folk"

Monsters Of Folk
Monsters Of Folk
2009

Having just been released in September, this album is a little bit more contemporary than what I will usually post about, but I felt there were several good reasons to do it anyway.

First off, I'd like to give props to the Monsters themselves.  One of my best friends and I sat in the fifth row, 3 and 4 seats from center at their late October show in Minneapolis' Orpheum Theater.  I haven't seen a lot of shows, but I've hit some big ones for me.  Previously I have seen Aimee Mann [twice] , Paul McCartney, Neil Young [twice] , Billy Joel, Brian Wilson [twice], John Fogerty, John Mellencamp, The National, Barenaked Ladies, Eric Clapton, Def Leppard [free tickets], Bob Dylan, Paul Simon, REM, Roger McGuinn, Bright Eyes, Semisonic, Trip Shakespeare, the Hang Ups, Jeremy Messersmith, Mason Jennings [no, not the "Classical Gas" guy], Twilight Hours and Sister Hazel.  Most of those shows were very good. The second Aimee Mann and both Brian Wilson shows were exceptional. Without doubt though, The Monsters Of Folk show was one of the two best I have ever seen.

Strangely, the concert didn't appear to be sold out, partially I think because a lot of people don't know who the MOF are.  I've read countless reviews calling them an indie supergroup, but I've always hated that term.  It is true though that all four members had achieved some measure of success prior to their involvement in this project.

Mike Mogis has recorded with the group Bright Eyes and produced numerous records for the indie label Saddle Creek.  While not singing on this album, you often hear him on pedal steel adding color and depth to the music.

Conor Oberst IS Bright Eyes.  He also has two recent albums out under his own name and has been a critical darling for a decade.  The guy can write some good songs.  I prefer he doesn't sing them.

Jim James has had success with his Kentucky-based group My Morning Jacket, which continues to gain more exposure nationally.  James has also released a recent EP under his own name, paying tribute to the late George Harrison.

M. Ward has been releasing albums since 1998, though it took his great 2006 album "Post-War" for him to break through on the national scene.  He also records with actress Zooey Deschanel as She & Him [though I think they would be better if there was more Him].

So Minneapolis people, that's who you missed in concert.  There probably aren't a lot of groups that can boast four members as skilled as these four: off the top of my head, I can't think of any.  Of course a big part of why that concert was so good is that the album it supported was so strong.

I listen to a lot of music and was struck immediately by how good this album is.  There's not a bad track among the fifteen and several are so good that they demand immediate re-listenings.  To me, this is easily the best album of the past few years.  While I like the music from each of the groups principals on their own, this album is the best that each of them has been associated with. Easily. Heady, but deserved praise.

Primarily acoustic and folkie in nature, the album displays the obvious talent of all the individuals in a subtle, natural-sounding way: it never sounds strained or forced, despite the fact that it's pretty easy to pick up on who wrote what. The playing and singing are seldom flashy, nor would it be necessary here: the parts just seem to be "right."  In particular, I love the singing on this album, their disparate voices often blending into a seamless whole.  Although the tempo of the album lags a little bit at the end, as did the concert, the music is so well crafted that it's hard to complain.

The opening track, "Dear God (Sincerely M.O.F.)," sounds like nothing else on the album.  Seventies style Philly soul isn't an arena these guys typically play in, but they sound strangely comfortable doing it here led by James.

For me, Jim James' "The Right Place" was the first track that I took a strong liking to.  Infectious and embodied with the communal spirit of the 60's, the chorus asks questions that get to the heart of what makes life good.

My favorite track, M. Ward's "Baby Boomer," features a unstoppable shuffle beat with M., Conor and Jim trading lines to great effect.  If this were the only good track on the album , it would still be worth owning. Give it a listen, you'll have "livin' proof."

Conor's best song on here is called "Man Named Truth."  Strangely, in a lot of reviews I read, this was the track most often picked on.  I like it. I find it reminds me of  "Bookends" era Simon and Garfunkel [how does one complain about that?].  In general, Conor does some of his best singing to date on this album.  I've always liked his writing and lyrics, but am sometimes put off by his overwrought singing that lands closer to emo music than I typically listen to.  Oberst seems to really thrive in the Monsters environment, not burdoned by the pressure of having to be the guy.

"Goodway," also by M. Ward, sounds a lot like his recent solo work and is similar in spirit and tone to "The Right Place."  My lone gripe would be the spoken word segment near the end where Oberst steps on the music.  I think the song would have been better without it and with hindsight, the Monsters seem to agree with me:  they perform it live sans that part.

"Slow Down Jo" is the first of two dreamlike songs from M. Ward.  I was afraid this would be a momentum killer in concert.  To my surprise, it killed live, showing off the instrumental and vocal interplay so adeptly practiced by this foursome. Just when you think you have this track figured, the music become tropically tinged.  For a slow song, this rocks. Close your eyes and this song makes you feel like you're floating.

The best rocker of the bunch, "Losin' Yo' Head," is the only track to have the guitars electric, loud and up in the mix. This is a Jim James song that would have been right at home on most recent MMJ records.  The placement this track is fantastic, occurring right about the time you sense the aforementioned lull.  Again, the playing isn't flashy, it's just "right."

"Map Of The World" is Oberst's other standout track.  It features great harmony vocals and the kind of lyrical wordplay he seems to be able to compose in his sleep.

Ward's last song, the also dreamlike "The Sandman, The Brakeman And Me" could just as well be a solo effort. It sounds like an old country song and I can easily imagine Johnny Cash singing it fifty years ago.  Listening to this album, and seeing the Monsters live, I became an M. Ward convert.  The guy has sick guitar chops and a cool melancholy vibe about him.  [I dig melancholy...it features prominently in my personality]

Bookending the album is James' second meditation to God, "His Master's Voice."  It's a nice song but almost seems anti-climactic at this point.

Overall, this is a great album, one that will stand the test of time.  Strongly recommended.

Whoa!  I hear someone crinkling a bag of food.  Gotta go.

Peace,

Reggie

P.S.  learn more about the Monsters

http://en.wikipedia.org/wiki/Monsters_Of_Folk