Loudon Wainwright III/Lee Ranaldo
What Do You Mean You're an Old Man? I'm the Old Man Around Here.
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Loudon Wainwright III: Older Than My Old Man Now (2nd Story Sound)
A reluctant 50, he started playing the Old card with the adulthood album Grown Man; now, a saggy stripling of 65, he trumps himself with a mortality album. Wainwright has been writing death songs for years, of course, but on his eighth album and label of the young century the theme turns concept. In one song he's a ghost; another features a reflection his late father wrote about his own late father; the one that begins "Somebody else I knew just died" is followed by the one called "The Days That We Die." Family members abound, including the late Kate McGarrigle in a remake of her sole co-write with her husband, from before either was 30, which happens to be called "Over the Hill." There are cameos from Ramblin' Jack Elliott, Chris Smither, John Scofield, the winsome Dame Edna Everage; Tom Lehrer declined but loved how Wainwright fit the word "Mercurochrome" into "My Meds." With Elliott, Loud-O bids for a do-over: "You don't know what you're doin' and you can't just wait;/You go ahead and do it and then it's too late/You need a double lifetime." After he goes down on his knees and prays, as he promises he will, this album will be Exhibit A on his application. A
Lee Ranaldo: Between the Times and the Tides (Matador)
Never much of a singer even by Sonic Youth standards and always abrasive solo, Ranaldo applies his best-in-band chops to riffage and filigree so lovely his well-meaning and far from altogether tuneless plainsong has the welcome effect of situating the guitar in the same reality occupied by his lyrics, which always make sense and often seem a mere detail away from total lucidity. Throughout he recaptures the repose of A Thousand Leaves's "Hoarfrost," his will to reconciliation and renewal always palpable whether the songs reach out or recalibrate his options. Just the album you'd hope from a thoughtful 56-year-old after his band of 30 years breaks up. Best in show is "Angles," a love song to someone he knows well and can always stand to know better. Not a bandmate, either. A MINUS
Anyway, I guess I struck a nerve. What can I say. I've listened to Exile countless times, specifically because everyone says it's so great. I've tried to like it. For 30+ years. But unlike Cam, I just don't get much juice-squirting out of it (and, uhhhhh, thanks for that description!) and suppose at this point I never will. I would, however, be very happy if Exile showed up in RockBand. On this we can all agree.
What does suck, though, is that there are no more "double albums" to have these arguments about.
The probability of Patrick's footnote appearing anywhere else in the universe but here is exactly zero.
Come on, Dr. Patterson. You're wise enough and worldly enough to know that somewhere in the wide world of the internet there are probably people geeking out about a subject more obscure than bad music and just as obsessed with ordinal...letters...as some here. Probably debating the pros and cons of faux fur dolphin costumes as we speak!"Dolphins dont have fur!"
"Yes, but they're mammals! They do have some hair!"
"I don't know, man...the blowhole is also so...inconveniently located. E+."
"Use your imagination! Dolphins are the most sexually creative animals besides humans. B+ at the lowest."
Has anybody ever seen a good description of, or even personally been able to describe Charlie Watts' drumming style? Other than such not-very-helpful accuracies as "definitional", "quintessential", "none better", and the like? I tried Power Shuffle one time, but that's not even right.
I hear Johnny Cash singing Hurt and look only to see a commercial for some violent post-apocalyptic type video game. I feel kinda angry. Whoever's responsible for this knows no fcuking shame.
j rancid,On the one hand I've stopped expecting anyone responsible for advertising of any kind to have any sentimental attachment to beloved cultural icons, let alone shame for using the attachments of others to sell things. Buttttt. It still kind of sucks, especially when it's something that has a special spot in my bosom.
I think Exile is one of those albums people convince themselves they like more than they actually like, because they're supposed to like it.
I think Exile is one of those albums people convince themselves they like more than they actually like
Now, on the other side of the coin, I always get bored halfway through Layla and can't stand Bobby Whitlock's voice. You likes what you likes indeed. I know I'm wrong, though.
Exile on Main Street isn't one of my top 5 favorite albums... it isn't even one of my top 5 favorite Stones albums. But, to say that people convince themselves to like it is ridiculous. It's an incredibly fun album. "Rocks Off" is as great an album-opener as "Gimme Shelter" and "Brown Sugar", "Sweet Virginia" has one of the best intros to any song ever, and "Torn and Frayed" is just classic. I do kind of agree about "Shake Your Hips" and "Casino Boogie," though (not among my favorites). I play it just about as often as I play London Calling. I don't really consider London Calling a perfect double-album either, though.
about the blogger

Starting in 1967, Robert Christgau has covered popular music for The Village Voice, Esquire, Blender, Playboy, Rolling Stone, and many other publications. He teaches in New York University's Clive Davis Department of Recorded Music, maintains a comprehensive website at robertchristgau.com, and has published five books based on his journalism. He has written for MSN Music since 2006.
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