Mermaid Avenue Vol. II
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Free Music Notes for Mermaid Avenue Vol. II
Free Music Review: A Grain of Salt, Please, and a Little Patience
Hit: 5 Stars
It's interesting to read the reviews by the detractors of this album. I find them very biased and short-sighted and would encourage anyone who doesn't know either Mermaid album to listen to cuts from both in random order to dispel the idea of this being a "patchy" "sequel" to the first. In my view, it is a sequel only by default, having come second. I listened to and absorbed this entire album before Mermaid I and I could easily have said the opposite, that the first is not as good, sloppy and patchy without ghaving given it a fair shake. Let's pause for a moment to consider the thought, time and work that went into the project as well as where these artists were in their careers at the time and what they've accomplished since. I found the first volume difficult to enjoy as much, at first; however, I have given both plenty of listening hours and find them wonderful compliments to each other. I enjoy songs on both equally. All of the songs from the two volumes could have easily been randomized and released as a two-disc set in 1998 without provoking the reactionaries to mark it as a disjointed effort.
Also, read up on the project at Nora Guthrie's site:
http://www.woodyguthrie.org/merchandise/mermaidavenuevol1.htm
http://www.woodyguthrie.org/merchandise/mermaidavenuevol2.htm
Mermaid II is a really textural and varied album and anyone who says it is sloppy compared with the Mermaid I is wilfully ignoring a lot, namely the musical experimentation and advancement of Bragg and Wilco in the 5 years between the two. First of all, these artists are renowned for their abilities to be both musically tight and arranged and still work in a lot of improvisation. They switch back and forth between the two disciplines at will and can emphasize one or the other to produce the sounds they desire. I think this was paramount to conveying the ideologies behind Guthrie's lyrics and incorporating his own folk style, as well. Moreover, it is what makes producing Americana, which is exactly what this is, so challenging and to do so PLUS deciding to include and marry to that each of Bragg and Wilco's own combined styles is really an admirable accomplishment. They make it seem effortless and never allow themselves to forsake Guthrie's awareness, intellect and intent. Both albums contain this "loosely tight" format, yet are wonderfully arranged, traversing various signature American genres, textures and instruments. Bragg (a Brit) brings this around full circle with many of the arrangements and influences in each record having originated from the mountain music of the Appalachias brought over by immigrants from the UK in the nineteenth century. I don't think many people consider this, but it is not lost on the artists. Both of these albums are so much more important than some of the biased and knee-jerk reactions they provoke.
Free Music Review: Last musical testament of the 20th century.
Hit: 5 Stars
I don't know how to write or play or record music, but I can only assume that setting 50-year-old lyrics to instrumentation of one's own device is a pretty hard row to hoe. More than likely, attempting to put two completely separate ends of the musical spectrum alongside each other is excruciating, let alone bringing them together to accomplish such an aformentioned task of updating ancient lyrics. Perhaps even harder than both these premises is repeating it for a second time around. On "Mermaid Avenue, vol. II", Billy Bragg and Wilco achieve all three, and then some.The exhilarating opening track, "Airline To Heaven", is awash with a synthesized, thumping beat remininscent of the Beatles' reprise of "Sgt. Pepper", a pounding slide guitar adding emphasis to just about every line, and a heart-wrenching delivery that must be what Bob Dylan would have sounded like if he recorded "The Freewheelin'" in the year 2000. On the same token, "Feed of Man" wouldn't sound too out of place on any Animals record, and "Blood Of The Lamb" is what "Whisky Bar" would have been if Jim Morrison had experimented with the New Testament instead of LSD.
The combined influences of new and old pop/rock throughout the disc compliment the words just a tad better than the first volume, and both Bragg and Wilco's Jeff Tweedy pour them out with such conviction, you have to believe every little phrase they sing. Corey Harris, who put some work into volume one, gets his chance at the mic on this album on the upbeat blues number "Against Th' Law", and shines brightly, as does Natalie Merchant on "I Was Born", even if it's a bit of a repeat from her appearance on the previous record. I'd say Wilco's best on here is "Remember The Mountain Bed", which is classic modern folk akin to both Dylan and Cat Stevens, with, in my humble opinion, Jeff Tweedy's best vocal ever. Billy Bragg's best track is "Hot Rod Hotel", a weeping willow of a song, with a humming chorus that gets the listener each time.
The only complaint of mine, and I've heard it from many a fan as well, is that the songs don't flow well beside each other. However true this is, when taking the beautiful tracks singularly, it's extremely rewarding. Perhaps also, Woody Guthrie wouldn't be proud, I don't think, because of his many pleas to have complete control over his music. But any fan of good music, especially Woody's, Wilco's, or Bragg's should most definitely pick this up. Everything aside, this is a fun, heartfelt record fit for anyone's collection.
Free Music Review: Surprisingly Good
Hit: 5 Stars
Mermaid Avenue Vol. II is patchier but no less enjoyable than its predecessor. Tweedy's claim that the album is "less folky" is fairly accurate, as most of the album's highpoints are more rooted in Rock 'N Roll than folk, such as "Airline To heaven" with its tantalizing drum rhythms and chorus, the rollicking and downright fun "Feed of Man" with its joyous guitar licks, or "Blood of the Lamb," an eerie mix of thumping drums and bells that would not sound out of place on Bob Dylan's recent "Time Out of Mind." These sounds do not appear on vol. I, Tweedy is correct, and the result is stunningly good. The diversity of this album is even more startling than on Mermaid Avenue I. Not only does every song sound different from previous tracks, each song belongs to a different genre. Beyond the album's Rock tunes are some delightfully dirty blues tracks like "All You Fascists" and "Meanest man," which would fit perfectly on the next Tom Waits record. Bragg even touches on some jazzy drum shuffling and vocals on the very slick "Stetson Kennedy."
However, Wilco & Billy Bragg do not entirely ignore the folk roots that pervaded vol. I; "I was Born" is straight from the vein of vol. I's "Ingrid Bergman," and most will recognize "Eisler on the Go" lurking beneath the surface of the gorgeous acoustic ballad, "Black Wind Blowing."
Yes, this album does stretch the listener's attention span a bit more, the music is indeed more challenging, but delicately so. It is difficult to imagine that this talented group could deliver an album of as much meat as vol. I, but they have, proving that the union of Wilco and Billy Bragg just might be one of the most outstanding musical projects in modern rock history. But let's not forget that these Mermaid Avenue albums are only made possible by the brilliant songwriting legacy of one named Woody Guthrie.
Free Music Review: A kaleidescope of sound....
Hit: 5 Stars
Just stop perusing reviews right now and buy this album IMMEDIATELY! Don't even kid yourself into believing that you can live without this incredible follow-up to the brilliant first Mermaid Avenue. Perfect melodies, moody performances, gorgeously unslick production, and, once again, a hauntingly beautiful marriage of Wilco & Billy's tunes and Guthrie's words. True to the spirit of Woody, with an imminently loveable modern twist. You won't find a single song on this volume that you don't dig. Volume 2 is destined to go down right along with the original Mermaid Avenue as a shining moment in music history.
It's hard to pick favorites off of this collection, but you won't be able to resist pop gem "Secret of the Sea," the purple lullably "Airline to Heaven," toe-tapper "Aginst th' Law" (with vocals by Corey Harris & Bob Egan on resonator slide), the right-on rave-up "All You Facists," or the exquisitely intimate closing lovesong, "Someday Some Morning Sometime."
This CD contains a stunning diversity of tunes, more so than on the first Mermaid. You'll love it on the first listen, but even on the fifteenth time around, you'll discover new details. Simply put, it's nothing short of a masterpiece, perhaps even surpassing Mermaid One.
You're just cheating yourself out of some of the best music of the year if you don't add this richly textured record to your collection. Please, I'm begging you, buy Mermaid 2. Hell, buy a copy for everyone you know.
(As a footnote and just for the record, Wilco have proven once again on Mermaid 2 that they are the embodiment of all that is good in the modern musical world. Thank you, Wilco, for doing what you do.)
Free Music Review: Long Live Woody
Hit: 5 Stars
We have reviews from Wilco fans and reviews from Billy Bragg fans...I enjoy both artists, but I am a Woody Guthrie fan first and foremost! I too have looked forward to this second CD for a long time, and I love it just as much as the first one. Woody had (and still has) so much to say, and this collection of lyrics proves yet again that you can't pin him down in any kind of category. "Airline to Heaven" is a brilliant opener...I hear it and I want to dance, dance, dance! "Remember the Mountain Bed" is a beautiful song that would lend itself wonderfully to dance (someone should work on some choreography!). Woody's vivid mental picture of a day spent in the peaceful woods, along with Wilco's soothing tune, make this my favourite song on the album. "Hot Rod Hotel" is a vivid mental picture in quite a different vein - every disgusting thing you can imagine about Depression-era rooming houses is packed into this song! "Meanest Man" is a very dark-sounding song with a punk feel to it, and the words are classic Woody. "Blood of the Lamb" was written in 1955 when Woody was suffering from Huntington's disease and could barely write anymore...Wilco's creepy, eerie music for this song fits the situation well, capturing the way Huntington's twists and warps it's victims' minds. Overall, an excellent album. Its diversity and variety of musical styles are so refreshing, as diverse and unpredictable as Woody was himself. It's so good that a few more of his songs are seeing the light of day. I hope other artists can have the same privelege as Wilco and Billy Bragg, and we can hear more interpretations of Woody's genius.