Two Things
First of all, has anyone else come to the conclusion that Daniel Craig is Clinton Kelly on steroids?
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Second, I would like to tell you about the curious but very solid new album by Greg Graffin, better known as the dude from Bad Religion, since I bet none of you have heard it, or even heard of it.
"Cold As The Clay" is advertised as a sort of concept album: Greg Graffin of Bad Religion sings a collection of old-timey American roots music with a lineup of studio musicians including the Weakerthans (minus John K. Samson) and a handful of accomplished and apparently respected old-timey instrumentalists. I have no preexisting interest in, or knowledge of, this type of music, but the prospect of the Weakerthans fronted by Graffin was enough to earn my curiosity and my fourteen precious dollars. It turned out to be a good investment, but not in the way that I had expected. The album in fact consists of half traditionals and half originals, neither of which would in any case be confused for the other. They're sufficiently distinct that I'll describe them separately.
The traditionals have nary a glimpse of the Weakerthans or of Graffin's acoustic strumming. This is finger-picking territory, and he wisely leaves it to the old-timey musicians. I don't know who these guys are, but they're professionals, and they bring the old-timey funk as well as I suppose anyone, although I'm really not in any position to compare. The guest vocalists provide gorgeous harmonies that remind one of Bad Religion's signature Oohs and Aahs. The songs themselves have survived for a reason; their lively melodies, archetypal stories, and vivid moods are entirely compelling. The only variable, then, is Graffin's voice, and I think he does the music justice. He brings the same utter conviction and musicality that enliven Bad Religion's best work, and shows a flexibility that BR doesn't often require of him. BR's occasional hastiness belies their considerable musical talent and creativity. As a longtime BR fan, I truly enjoy the opportunity to hear their singer stretch out across some more varied material.
I'm somewhat confused by the album's original songs. Surely Graffin doesn't imagine these to be of a kind with the traditionals? They're full-band arrangements built on a completely different guitar method (strumming), and each is a minefield of Graffin's decidedly un-folksy 25-cent words (auspicious liaison?). But they too are good songs, comparable to BR's stronger material. At least a couple of them seem ready to be electrified and double-timed for the next BR record. In general, though, the originals remind one more of the influences Graffin lists in the liner notes--Neil Young, Gram Parsons, etc--than of either Bad Religion or the old-timey numbers. Lyrically, Graffin takes the opportunity to approach some familiar BR topics--politics, religion, and working-class strife--from a less direct angle. It may simply be that the "timelessness" of the traditional songs has rubbed off on him, or at least given him pause. The title track and "The Watchmaker's Dial" stand out as some of the best music and lyrics I've heard from Graffin. The Weakethans' rhythm section shines, playing with humility and subtlety that suit the material well.
So what are these two halves doing together on the same album? The intimate production by long-time BR guitarist Mr. Brett Gurewitz brings them both into the same universe. Both put Graffin in his chosen role of speaking for the Volk, as it were. And as I came to realize, they really set each other off quite nicely. They alternate one-for-one for most of the album's tracklist; in fact the only time I find myself wanting to switch the lineup around is where two of the lesser originals ("Highway," "Rebel's Goodbye") are followed by a couple too-similar traditionals. This is a curious but satisfying album, and while these songs don't really need to be more than apocrypha in the Bad Religion canon, they attest to Graffin's talent and range in ways that his other material has only implied.
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Second, I would like to tell you about the curious but very solid new album by Greg Graffin, better known as the dude from Bad Religion, since I bet none of you have heard it, or even heard of it.
"Cold As The Clay" is advertised as a sort of concept album: Greg Graffin of Bad Religion sings a collection of old-timey American roots music with a lineup of studio musicians including the Weakerthans (minus John K. Samson) and a handful of accomplished and apparently respected old-timey instrumentalists. I have no preexisting interest in, or knowledge of, this type of music, but the prospect of the Weakerthans fronted by Graffin was enough to earn my curiosity and my fourteen precious dollars. It turned out to be a good investment, but not in the way that I had expected. The album in fact consists of half traditionals and half originals, neither of which would in any case be confused for the other. They're sufficiently distinct that I'll describe them separately.
The traditionals have nary a glimpse of the Weakerthans or of Graffin's acoustic strumming. This is finger-picking territory, and he wisely leaves it to the old-timey musicians. I don't know who these guys are, but they're professionals, and they bring the old-timey funk as well as I suppose anyone, although I'm really not in any position to compare. The guest vocalists provide gorgeous harmonies that remind one of Bad Religion's signature Oohs and Aahs. The songs themselves have survived for a reason; their lively melodies, archetypal stories, and vivid moods are entirely compelling. The only variable, then, is Graffin's voice, and I think he does the music justice. He brings the same utter conviction and musicality that enliven Bad Religion's best work, and shows a flexibility that BR doesn't often require of him. BR's occasional hastiness belies their considerable musical talent and creativity. As a longtime BR fan, I truly enjoy the opportunity to hear their singer stretch out across some more varied material.
I'm somewhat confused by the album's original songs. Surely Graffin doesn't imagine these to be of a kind with the traditionals? They're full-band arrangements built on a completely different guitar method (strumming), and each is a minefield of Graffin's decidedly un-folksy 25-cent words (auspicious liaison?). But they too are good songs, comparable to BR's stronger material. At least a couple of them seem ready to be electrified and double-timed for the next BR record. In general, though, the originals remind one more of the influences Graffin lists in the liner notes--Neil Young, Gram Parsons, etc--than of either Bad Religion or the old-timey numbers. Lyrically, Graffin takes the opportunity to approach some familiar BR topics--politics, religion, and working-class strife--from a less direct angle. It may simply be that the "timelessness" of the traditional songs has rubbed off on him, or at least given him pause. The title track and "The Watchmaker's Dial" stand out as some of the best music and lyrics I've heard from Graffin. The Weakethans' rhythm section shines, playing with humility and subtlety that suit the material well.
So what are these two halves doing together on the same album? The intimate production by long-time BR guitarist Mr. Brett Gurewitz brings them both into the same universe. Both put Graffin in his chosen role of speaking for the Volk, as it were. And as I came to realize, they really set each other off quite nicely. They alternate one-for-one for most of the album's tracklist; in fact the only time I find myself wanting to switch the lineup around is where two of the lesser originals ("Highway," "Rebel's Goodbye") are followed by a couple too-similar traditionals. This is a curious but satisfying album, and while these songs don't really need to be more than apocrypha in the Bad Religion canon, they attest to Graffin's talent and range in ways that his other material has only implied.