4 albums in one

[lazybones]

I've really been dissecting something Jim James said in a recent article which is rather intriguing.  First off I'd like to say that I am really enjoying this album but it has not been the easiest journey to get to this point.  And I think the draw and the essence of my attraction to EU lays in the challenge of my acceptance.  While initially there were a few select songs that won my favor, my diversion has mostly been propelled by the album's diversity in style and even the perceived use of filler songs.  After an initial listen I hastily concluded to myself, "Oh, maybe Jim's lost a bit of lyrical magic, or maybe this is their effort to break into mainstream with a few straightforward radio approachable single type tunes, or maybe I'll just chalk this album up to an overall clanker compared to previous gems and wait with heavily tasted fingernails for the next one to arrive in a year or 3."  Mind you this immediate review quickly became a shortsighted outlook in retrospect. What I find interesting is my gradual acceptance since that point and then to an absolute love of certain songs and a realization (with the help of Jim and Carl) that this album possesses more than meets the first, fifth, or even sixteenth listen.  Shortly after my first 2 Run Thru's with the leaked album I read the Spin article in which Jim references Carl saying (as I paraphrase) "This may not be the album we set out to make, but this is the album we made".  I realized Wow, what a beautiful approach to songwriting and record creation.  They started out with 22 songs, wittled it down to 18, then to 14 surprising even themselves in the process.  2 days ago I read that Jim considers this 4 albums in one (or 2 records with 4 sides total) in respect to how it is compiled.  I've been paying attention to that statement as I listen to it and am trying to break it up into those 4 phases.  I realize with that perspective a certain unrealized brilliance to his album, regardless if there are 2 or 3 songs I don't care for.  On this level the style variation works in high measure.  I've actually always been a Highly Suspicious fan and think it ultimately works successfully on this album even where it is placed.  I have also been digging what I call the 70's soft rock segment of Thank You too>Sec Walkin (both exceptionally produced if not mildly overdone so) and the lovely blended juxtaposed tones of Smokin from Shootin > Touch me 2.

I think overall EU is honest in heart and theme as any good "soul" album should be.  I initially expected what I thought would be a more daring release filled with off kilter, non melodic, obscure incarnations to either blow our minds or blow us off.  What I got was something I thought was dismissible because it was approachable but then became so utterly appealing because of what I realized it was revealing.  Like any great album with staying powers if you give it a chance it continues to draw you around one corner after another showing you much more than meets the ear.  Not knowing what to expect was my expectation so when I got what I didn't expect I was disenchanted at the apparent lack of enigma.  But that became its own mystery.  With so many strained attempts in the music world to be different just to attain creativity Evil Urges is served to us in unforced, uncontrived doses of unabashed sincerity while still requiring repeated listens and some commitment to expose a greater literary, musical and emotional significance.  

"If you touch me then I just think I'll scream.  Cuz it's been so long, since someone challenged me"

[capt. scotty]

woulda rather seen that in rolling stone!

from what ive heard and whats the bands said, that sounds pretty accurate...ive probably heard 2/3 of the songs only, but still.

[tomEisenbraun]

Welcome to the board!!!

[Love Dogg]

Nice review.  Well approached.

[Don Dante]

GREAT synopsis.

[sweatboard]

I think of "At Dawn" as being the same way as far as the two records, four sides deal.  I mean "Honest Man" ending the first record, it stopped there it would have been a masterpiece....but no, they blow what's left of your mind with another two sides that are just as goooood.
:-*

[fergie]

two records, four records, sixteen records - who cares. you'd think 1 record was enough. when i listen to EU i can barely make out one fifth of an album. "repeated listens" seems to be the backbone of lazybones' analysis of the new album, and though i can totally appreciate that level of dedication, it seems to me indicative of the general response to EU in the different threads that comment on the album in this forum. there's a sense of desperation, a willingness to find quality where there's none to be found. and though that's understandable among fans, it's a little bit bit hard to understand why people wont just admit that the new album sucks ass. instead of puifying what they're good at (the beautiful, simple, countryish rock n roll of a song like "Evelyn", for instance) MMJ themselves appear to be a little desperate. for some reason, they seem hellbent on wanting to carve out new territory. maybe because they're unsatisfied with their present level of "success". i don't know know. it kind of worked on about 40 % of "Z", but then that's it. it sure as shit doesn't work on the new album. a song like "highly suspicious" is downright embarrassing. why the fuck would i listen to listen to this metrononymized, compressed-to-shit piece of pastiche, when i can listen to the real thing (Prince). with this song, MMJ have definitively eradicated what i loved about them to begin with - the slack but swingin rhytm section, the provinciality, the sense of wide open spaces, the huge, reverbifized vocals - and i don't know what was wrong with that to begin with. but then again, that's fine. it's completely understandable for a band to want do new shit. what's pahthetic is for the fans to be bending themselves over backwards to keep on loving it. i mean, bob dylan himself only made two or three really outstanding albums, and for me, as concerns MMJ, it's enough for them to have made one of the finest rock n roll albums ("at dawn") since the replacements. i don't care if the rest of their albums suck ass, and i'm certainly not going to be bullying myself into liking them. But speaking of The Mats, and speaking of backbones, they certainly had 'em. MMJ doesn't seem to know why they're here any longer...

[tomEisenbraun]

two records, four records, sixteen records - who cares. you'd think 1 record was enough. when i listen to EU i can barely make out one fifth of an album. "repeated listens" seems to be the backbone of lazybones' analysis of the new album, and though i can totally appreciate that level of dedication, it seems to me indicative of the general response to EU in the different threads that comment on the album in this forum. there's a sense of desperation, a willingness to find quality where there's none to be found. and though that's understandable among fans, it's a little bit bit hard to understand why people wont just admit that the new album sucks ass. instead of puifying what they're good at (the beautiful, simple, countryish rock n roll of a song like "Evelyn", for instance) MMJ themselves appear to be a little desperate. for some reason, they seem hellbent on wanting to carve out new territory. maybe because they're unsatisfied with their present level of "success". i don't know know. it kind of worked on about 40 % of "Z", but then that's it. it sure as shit doesn't work on the new album. a song like "highly suspicious" is downright embarrassing. why the fuck would i listen to listen to this metrononymized, compressed-to-shit piece of pastiche, when i can listen to the real thing (Prince). with this song, MMJ have definitively eradicated what i loved about them to begin with - the slack but swingin rhytm section, the provinciality, the sense of wide open spaces, the huge, reverbifized vocals - and i don't know what was wrong with that to begin with. but then again, that's fine. it's completely understandable for a band to want do new shit. what's pahthetic is for the fans to be bending themselves over backwards to keep on loving it. i mean, bob dylan himself only made two or three really outstanding albums, and for me, as concerns MMJ, it's enough for them to have made one of the finest rock n roll albums ("at dawn") since the replacements. i don't care if the rest of their albums suck ass, and i'm certainly not going to be bullying myself into liking them. But speaking of The Mats, and speaking of backbones, they certainly had 'em. MMJ doesn't seem to know why they're here any longer...

...welcome to the board?


:-?

[sweatboard]

"MMJ doesn't seem to know why they're here any longer..."

Do You?

[lazybones]

>>"repeated listens" seems to be the backbone of lazybones' analysis of the new album

To me the best albums are those that with each subsequent listen inspire increased interest, discovery, and dedication.  If you're content to remain a shallow fan entrenched in that which was created 4 albums and 7 years ago then so be it.  Just don't insult me and countless other long term fans while you tag us as being desperate.  By all means, take this opportunity to present a reasonable and objective argument against this apparent insult of a record.  Sorry, but 'it sucks' just doesn't give me much to dignify.

[lazybones]

...oh and bytheway.  Being a huge Dylan fan I'd really be interested in hearing what 2 or 3 albums you feel were his only "outstanding" ones.

[capt. scotty]

I am seeing the "repeated listens" argument as valid, but that doesnt mean certain songs dont strike a note off the bat. As soon as I heard Im Amazed and Evil Urges the first time, I immediately loved them. Highly Suspicious not so much, but after a few listens and just seeing it as a fun song that rocks, I love it. And enough with the Prince comparisons - its not sexual in nature, its not synthesized music, it has an EVIL nature to it, and no prince song rocks out like that for the last half of it. Just because an ALBUM can grow on you, doesnt mean every SONG must

and I dont get the Dylan referance at all either....My 3 favorites are undoubtedly Desire, Blonde on Blonde, and Blood on the Tracks, but I know plenty of ppl whose favorites include Highway 61, Freewheelin, Bring it all Back Home, and others. And others are still excellent. Thats about as moronic a statement as anyone can make and takes away any validity your opinion on EU may have

[courtlandfoster]

I downloaded "Evil Urges" and made a copy 3 of 4 days ago. Don't worry, I have every intention of purchasing it on it's release next week.

I enjoyed the album as soon as I heard it. I do feel like something's missing from this record...and it's reverb. There are a couple of songs that present reverb well. Such as "Sec' Walkin'", "Librarian", and "Touch Me, Pt. II". Jim's voice is strong on this record, but his vocals are so dry at times. Even "Z" utilizes reverb more than this.

This album still rocks, though. It sounds very mainstream and radio-friendly. It's a good, diverse record. There are country moments, there are rock moments, there are even R&B moments. And I don't think Jim's lyric writing is suffering at all. They are just clearer now and a bit one-sided.

I had a feeling they were going to make an album like this when I first heard "Z". If you notice, every album is more accessible and mainstream than the last. I bet they will go back to their roots for the next record.  :D

The album's different...but it really is good. I love it.
"At Dawn", or "It Still Moves"...can't decide, but one of them is still my favorite.  ;)

[capt. scotty]

I get what youre saying with the reverb foster, and ive yet to hear every song, but I think part of that is that on some songs or their structures on this album, dont have the space between each lyrical line and such to allow for reverb. Im Amazed and Highly Suspicious especially stand out to me with what im trying to get across, Aluminum Park and Remnants as well since theyre more straightforward rock, and less spacious than a counterpart on It Still Moves where they have more of an ability to have reverb.

Hopefully that makes sense. If you look at the songs you listed and their pace being somewhat slower, more spacious, and reverb endearing, I think it makes sense

[courtlandfoster]

headdy, I never thought about it on that level. You're right, though.

I have a band and we utilize reverb quite a bit. I can send you some MP3 if you want. I assure you I fell in love with reverb before I discovered MMJ. I found reverb on a keyboard in 2002 and fell in love with the depth and space it creates. Then when I started playing guitar and singing in 2004, I found that reverb works very well with vocals. We also use it on the guitars and drums.

Then I heard "Knot Comes Loose" on SIRIUS CHILL and loved the song. I never looked into MMJ...but one day I was bored and listened to their other stuff and noticed the reverb and was like "wow...i do this" Jim is much better at it. I tend to flood everything in 'verb.

Words can't express how much I appreciate MMJ. They deserve the credit they are finally gaining in the mainstream. John Mayer has always been my favorite musician and he is what influenced me to set aside the keyboards and pick up a guitar, start writing music, and singing. But it's a tough battle between John Mayer and Jim James. They are both amazing.