The Album Review Club - Week #147 - (page 1942) - Blonde On Blonde - Bob Dylan

[threespires]

I think I'm partly motivated out of jealousy. The appropriate headgear for my face is a bag - I'd love to be able to wear hats confidently.

The beauty of art is that it can withstand multiple interpretations. What is the truth? What the artists intended or what the audience perceived? My post took things to an absurd place I don't believe. my initial interpretation is the one I still hold to - it's 50 years out of date and lacks sincerity.

Yes I realised that. I have some sympathy with the 50 years out of date comment but as for the sincerity of the transmission who knows? You can definitely say by the time it hits your ears it lacks sincerity and you can often get a sense of the intent of the artist from both what they claim, what has gone before and the context in which they created it but can never be wholly sure. In this case it's complicated, Wonder, in his own detached superstar way, may well be entirely sincere in his writing whereas Clark may be somewhat cynical in taking up the offer. I still think it's more likely that Clark would simply leap at the chance to record with Wonder for the right reasons and that any misgivings about the material could be diluted by adopting B&Ws approach of it's a broad brush position on societal problems that still exists.

You are right, the whole question of intent and perception, transmission and reception in art is an integral part of its wonder. I also find it a great tool for self-reflection. Sometimes in the darkness of the night I conclude that my aggressively negative response to the art of Bon Jovi says much more about me than it does Mr Bongiovi; the Three Poetesses opined "If I'm ugly then so are you" it's a salutary message.

 

[mrbelfry]

Yes I realised that. I have some sympathy with the 50 years out of date comment but as for the sincerity of the transmission who knows? You can definitely say by the time it hits your ears it lacks sincerity and you can often get a sense of the intent of the artist from both what they claim, what has gone before and the context in which they created it but can never be wholly sure. In this case it's complicated, Wonder, in his own detached superstar way, may well be entirely sincere in his writing whereas Clark may be somewhat cynical in taking up the offer. I still think it's more likely that Clark would simply leap at the chance to record with Wonder for the right reasons and that any misgivings about the material could be diluted by adopting B&Ws approach of it's a broad brush position on societal problems that still exists.

You are right, the whole question of intent and perception, transmission and reception in art is an integral part of its wonder. I also find it a great tool for self-reflection. Sometimes in the darkness of the night I conclude that my aggressively negative response to the art of Bon Jovi says much more about me than it does Mr Bongiovi; the Three Poetesses opined "If I'm ugly then so are you" it's a salutary message.

You're clearly more high brow than me and more aware of 'the arts' despite your questionable (but ultimately pragmatic) taste in headgear.

You're also probably a lot kinder but even at your charitable best the lyrics become so broad brush to be effectively meaningless. I can almost guarantee at this point that the forum has put more energy and thought into the lyrics than any of the artists involved. That's what I'm critical of in that song

In saying this I reveal my deeply cynical uncaring heart. We often expose what we fear will be exposed in ourselves

 

[threespires]

You're clearly more high brow than me and more aware of 'the arts' despite your questionable (but ultimately pragmatic) taste in headgear.

You're also probably a lot kinder but even at your charitable best the lyrics become so broad brush to be effectively meaningless. I can almost guarantee at this point that the forum has put more energy and thought into the lyrics than any of the artists involved. That's what I'm critical of in that song

In saying this I reveal my deeply cynical uncaring heart. We often expose what we fear will be exposed in ourselves

We both know that first statement isn't true but the second one I'll accept as I have been told on more than one occasion "take that off or I'm not going out with you". I will also accept that sadly my black stetson makes me look a lot more like Garth Brooks than Eastwood or Lee Van Cleef.

I have already stated I like GCJ for the sound rather than anything else and maybe that's just my subconscious rationalising away dodgy lyrics.

Cynics are of course often wounded optimists who just need a spark to reignite them. Right, I'm off to finish and submit my quota of Hallmark card platitudes for the rest of the day.

 

[GornikDaze]

The more I listen to this, the less I feel I have to say about it.

In a positive or negative way?

 

[Coatigan]

In a positive or negative way?

Positive. My review might end up being just simply 'fuck yeah, 8'.

 

[Black&White&BlueMoon Town]

Positive. My review might end up being just simply 'fuck yeah, 8'.

High moments of the album that resonated might be nice to hear about too. I am curious for you all the same. You seldom if not do surprise on what worked and what doesn't.

And don't listen to much to the lyrics either, especially on this one song. ;-)

 

[RobMCFC]

JPEG Raw – Gary Clark Jr

“Maktub” has a good funky groove and guitar but by the end of the song, the “We gotta move” refrain is a bit tiresome. The title track starts with a nice jazzy piano run, but the production is too dense. “This is Who Who Are” felt more rounded with a good combination of guitar/keyboards, and instruments in general.

“To The End of the Earth”, with its simpler sounds and jazzy chords, is a refreshing short break after the bombast. I won’t get involved with what the lyrics mean on “What About The Children” but I quite enjoyed the funk provided by Stevie Wonder’s clavinet. Similarly, Keyon Harrold’s trumpet on “Alone Together” elevated that track and I enjoyed the laid-back tone.

The harder rocking “Hearts in Retrograde” and “Hyperwave” included some satisfying guitar parts, but after that it was largely downhill. When somebody comes up with a song title such as “Funk Witch U”, I’m tempted to respond with “Wot you talkin’ ‘bout, Willis?”

I echo mrbelfy’s comments about the production/mix. It’s so dense in places that I’m struggling to hear some of that individual brilliance that I’m sure is going on. As I said in an earlier comment, I’m not 100% sure what I want out of a modern blues guitarist, but this isn’t it. I appreciate that Gary Clark Jr is trying to do something different in a genre that is full of tropes, and whilst I did enjoy elements of this album, there weren’t that many songs that made an impression on me. I think the relentlessly modern sound eventually grates. It doesn’t have to be traditional, but a bit of resonator or more acoustic like on “To The End of the Earth” wouldn’t have gone amiss.

The previous album that this is most similar to is the Fantastic Negrito record; I enjoyed that more because its musicality and production was more to my taste. Having painted myself in a corner in my oddly compressed scoring world, I gave that a 7, so this will have to be 6.5/10.

 

[mrbelfry]

High moments of the album that resonated might be nice to hear about too. I am curious for you all the same. You seldom if not do surprise on what worked and what doesn't.

And don't listen to much to the lyrics either, especially on this one song. ;-)

Haha you provoked me boss! I think I've said everything I have to say though so if someone wants to argue it's a work of poetic genius and they've been personally moved to open a Timpsons in Detroit then they should absolutely feel free

 

[GornikDaze]

After my latest listen to this weeks offering, Spotify continued with the opener from Blak and Blu - it’s a belting track off a really good album. Which highlights my issue with JPEG, I just don’t have the same feel good factor. I’m not keen on the background music - whatever the genre, it’s really bland. I’ll reference the Black Keys and say they (imho) did this way better with their Blakroc collaboration.
His guitar papers over the cracks well in places, so I’ll score it 5/10. On the plus side I’ve saved a few quid not going to see him in a couple of weeks
Edit: sorry @Black&White&BlueMoon Town !!!

 

[mancity2012_eamo]

JPEG RAW by Gary Clarke Jr

Score first then I'll ramble go try and justify it. This is clearly a good album. Much better than a 6 but one I can't rate higher than a 7 even though it's doing a lot of stuff I like. It's also doing a bunch of stuff I don't quite understand so it's probably me. But it's also doing a bunch of stuff that actively aggravates me.

I split the album into 2 with the pointless To The End of the Earth marking the break point. Or maybe it's not pointless. Maybe it is me not understanding.

The first half features a bunch of songs that could very easily soundtrack a glossy TV series featuring lawyers or cops somewhere sunny but with a seedy underbelly. I immediately thought of Suits but it could be a bunch of stuff and there will definitely be a scene where someone is getting chased whilst one of the tracks plays and also a bit where we drive by a tented village where everything is over exposed and filmed at 8 FPS.

Maktub sounds like Higher Ground by Stevie Wonder or Leave Me Alone by Michael Jackson. I wanted to sit with it a while as I initially found the production far too dense with lots of things obscured behind the vocal and guitar. It's particularly egregious on Maktub and JPEG RAW but I think on subsequent listens I'm able to pick out some more of the detail. However I'd still love to hear a mix that's more open. I do enjoy the groove of JPEG RAW and the repeated words on the end of the lines and it does reward multiple listens - I just wish it wasn't making me work so hard to hear them :)

Don't Start carries on with the muscular stuff and threats to kill a man. Some nice bass work but I've definitely had enough by the time it finishes.

This is Who We Are has the best moment of the album. The intro is bananas in all the ways I loved War of the Worlds and the song has some interesting sounds I wish were more obvious. It has a pulsey bass thing going on like Witness by Roots Manuva or at least I think I'm hearing it. My goodness it's full of interesting production choices being hidden underneath a bunch of guitar. It ends really really well and I love the arpeggio it descends into.

I really enjoy how this section feels like I'm hearing it in a club and in general I really enjoy how the songs seem to be blending together. it is very very masculine though with lots of threats to shut mouths etc. To The End of the Earth might be a joke or it's doing something very deliberate I don't understand but I wish I did. The album changes direction slightly and a lot of the groove that I felt was hidden by the mix suddenly becomes more obvious as we leave some of the masculinity behind. Again I really want to know if this is deliberate choice or not.

Alone Together really makes me feel like my 7 is incredibly harsh. I love the subtle variation in the drums, the flute, the falsetto, the groove. I want to put it on repeat and fall asleep to it. Am I about to talk myself into a higher score? Unfortunately not as Stevie Wonder is about to appear and harsh my vibe.

It's easy to imagine What About The Children being a single as it has the most immediate groove. Its missing a strong hook though and the lyrics are so cliched and bad that I can't quite believe it's not a joke. The honest people line confuses me as I'm not sure if it's sarcastic or not. Stevie shouting WHAT ABOUT THE BABIES and thinking you can buy shoes for a dollar is a real low point.

Hearts in Retrograde almost returns the album back to a high standard but I have a nagging feeling that Lenny Kravitz would do this better. Still some interesting ideas in this. The tempo change is good but doesn't seem to lead to anything. I really want to understand why!!!!!!! I feel like it's important but don't know why.

Hyperwave has a really enjoyable bass line and some really nice moments but again the contrast between the first half of the album and this half feels significant but I don't understand why :(

Funk Witch U has stupid spelling and worse lyrics. I guess they are genre appropriate but singing all around the world and rhyming that with all the boys and girls just feels lazy. Still some nice sounds on it that I wish were easier to hear.

Triumph is soooooo close to being a banger. I wish again the lyrics were stronger and the gated snare is really an abomination. BUT I really applaud the decision to do it even if I think it's dumb. It's possible though that this song and all the other songs trying to get me to think about the babies are failing for me because I've heard The JCB Song which is the greatest song about a dad and his kids that's ever been written. This is why it really obviously can't be a 6 but why I can't give it more than a 7.

Album closer Habits is the perfect way to end and leave me really confused. What's the purpose of the breakdown thing just over 3 minutes in? I expected it to go into a mad gospel direction but we then return to a variation of the main riff but now it's kind of latin.

This album frustrates me so much. With the exception of the homeless kids song there isn't a single track I wouldn't want to hear again and it's got some incredibly fascinating choices in it. It's obviously great but I just can't get past that 7. It will remain the best album by far that I give a 7

I like it.