Robert Christgau's Music Criticism Blog - Expert Witness - MSN Music

Loudon Wainwright III/Lee Ranaldo

What Do You Mean You're an Old Man? I'm the Old Man Around Here.

By Xgau Apr 20, 2012 5:42AM

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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

 

217Comments
Apr 24, 2012 1:59PM
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Interestingly, the 1972 review of Exile in Rolling Stone was not an overall rave.

http://bit.ly/IlVHTI

So it's not just me. It's me and one other guy.

Apr 24, 2012 10:55AM
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So is 16 thumb-bombs a record?  (And do I subtract the 3 thumbs-up for total down count of 13?)

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.
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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.

Are you really pulling the old "you're only pretending to enjoy this" bit? On this board?? About Exile on Main St?!

Apr 24, 2012 3:21AM
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Personally, Exile clicked instantaneously, and I don't think it's too hard to understand! :S
Apr 24, 2012 12:02AM
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P.S.  -- To the jackhole below.  There's only one race.  The human race.  Next question.
Apr 24, 2012 12:01AM
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Yeah, for some reason the censor objected to the word "economical." Took me several tries to figure out the offending word, but I did it.  Thus, the stupid, totally ungrammatical hyphen.
Apr 23, 2012 11:59PM
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CW's drumming style: terse, subtle, eco-nomical.   He doesn't hit the snare hard at all, but man does he make that beat felt.  I can't think of any other drummer -- certainly anyone else from the rock world -- who can pull that trick off.

 

Apr 23, 2012 10:22PM
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there are probably people geeking out  about a subject more obscure than bad music and just as obsessed with ordinal...letters...​as some here. 
(Resisting the urge to link to a comic book condition grading forum. Though they mostly use decimals now.)
Apr 23, 2012 10:12PM
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Don't you dare get all uppity about that stupid comment I made, or I'll start another annoying game.
Apr 23, 2012 10:10PM
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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."


Apr 23, 2012 9:53PM
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If the parlor game were Best Stones Song You're Not Likely To Hear On Popular Radio, I would choose "Let It Loose". If the parlor game were Best Song By Any Famous Band You're Not Likely To Hear On The Radio, I'd still probably choose "Let It Loose".

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.

Apr 23, 2012 9:48PM
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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.
Apr 23, 2012 9:22PM
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What Ryan said - I'm listening to "Let It Loose" now, stunning as usual - except: Christgau called it "music that takes weeks to understand," not click.  When I first heard the record 24 years ago, it clicked at the ten second mark, when Watts starts the beat.  It has clicked ever since.  I still don't know that I understand it.

Jagger's vocals are the highlight for me, though, his slurry twisting singing up against those sour horns and rough guitars.
Apr 23, 2012 9:17PM
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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.
Peterike-- We are going to have to disagree to agree on this. I mean, I could see saying that about Trout Mask Replica (which I play often enough still). But you support your point rather than simply slagging Exile-istas, so I've gotta respect your opinion and think about it.

And now that I have, it occurs to me that I don't have a single really good friend that I haven't shared Exile with at one time or another. It's not code either, it's lingua franca. When I hear the opening chords of "Rocks Off", my brain squirts juices down to my lower organs and I brace for little souls who are about to appear and join me in my room. True, some of them are diabolical souls, others are just lost, but most are old friends. I will inevitably get a glimpse, just a glimpse, of the tough choices that life gives us and the consequences of those choices during the next 67 minutes. But it's not a horror show at all, not a freak show either (in spite of the album cover). For every beauty scar or cigarette burn, there are the glorious ineffable moments (the drums of "Loving Cup", the cascading gambler's riff that centers "Tumbling Dice", Jagger begging on his partners in crime during "Stop Breaking Down") that make me realize the things in life I'll never attain. But if I give up on my have nots, I can relax and let them wash over me in a spiritual goodness that I don't really believe can happen in a world without this record. 

Then "Soul Survivor" is over and I come crashing back to where I am right now. No regrets. So yeah, Exile On Main Street is perfect. I won't fight about it (I'm not Dave Marsh, am I?), but I'm pretty sure I'm right. As I'm winding down, I'm recalling one of the summers I spent in Jamaica during the mid-80s. We were in Negril, it was late afternoon as the sun was going down hazily over the water, and my traveling partner and I were chilling out. We played Exile through to the end. When the tape clicked off, we heard behind us "Rewind!" Once, twice, three times. There were a half dozen Jamaican kids who were hanging out in a tree behind us, listening along. Nuff said.
Apr 23, 2012 9:10PM
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I think Exile is one of those albums people convince themselves they like more than they actually like 
I think Exile is one of those albums people get frustrated with prematurely and then confine to the annals of overpraised impenetrability by refusing to see it through 'til the 'gasm of enlightenment. But every critic from Christgau to Stephen Thomas Erlewine (I assume they're on opposite ends of whatever spectrum they share) has written that it takes an uncommon while to click. For me it took nine days of exclusive listening, which means total fidelity through one to five or six plays per day while driving, walking, focusing hard or soundtracking distracting activities, plus a gander through the lyrics (which have stuck) once it was more familiar. And now the love I have for all that happens through its four sides is visceral and genuine, and "Tumbling Dice" means no more or less to me than the rest. (Though I will say, I can't believe I just read an anti-"Rocks Off" and "Let it Loose" sentence. Insanity defined; if you're gonna slag off one song at least let it be "Shine a Light".)

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.
Apr 23, 2012 9:03PM
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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.

Apr 23, 2012 8:57PM
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It's the entire '70s of rock and roll laid out in front of you before it even happened.

Now there's a parlor game in the making.
Apr 23, 2012 8:57PM
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I just finished Douglas Wolk's Live at the Apollo.  It is fascinating, although I cannot imagine what a non-fan would make of the book.  Trivia; gibberish.  To me, to most of us, it is an awfully rich book.  It helps me listen more carefully to an album I thought I knew well. 

Wolk accounts of every howl and yelp, much like Irene's recent game, and also for every time Brown is away from the microphone - at what moments Brown is likely falling to his knees, or exactly when he is doing the cape routine (it is probably edited out of the album, actually).  He loots hours of bootlegs and videos to puzzle out the show.  "Live at the Apollo, my friends - Live at the Apollo is the sound of James Brown holding back."

The book serves as a little primer in the history of R&B.  As the show proceeds, Wolk flashes forward and back to tell the story of each song, its provenance, its musical importance.  Five pages on "Think" for example.  The Cuban missile crisis weaves in and out.

It is all a dang good trick.


Apr 23, 2012 8:52PM
Apr 23, 2012 8:43PM
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The White Album

Whaddaya want? It's the entire '70s of rock and roll laid out in front of you before it even happened. Complaints? Please.

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about the blogger

Robert Christgau

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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