Review-a-palooza #7:

Justin Townes Earle - Midnight At The Movies

Sometimes in the digital age of music, it’s easy for the music to get lost in the production. Effects and editing can often smother a song to death. So when a simple album comes out, it's something of a breath of fresh air. “Midnight at the Movies” is just such a record. It’s a remarkable album that crosses genre after genre.

I’ve listened song for song about two dozen times and I haven’t worn out its welcome yet. Each song sounds like it would be perfectly at home on a Townes Van Zandt, Woodie Guthrie, Hank Williams or Ryan Adams record. The songs are warm and honest and draw images of a simpler era. From the opening seconds of the first song you are instantly transported to the Nashville of Justin Townes Earle, a town full of broken hearts, boozy encounters and Faulkner-esque backdrops.

Justin has song writing in his genes, being the son of the criminally under appreciated Steve Earle. Justin explores his roots in “Mama’s Eyes” a song that touches on the addiction that he and father both conquered. The song is self deprecating and uplifting in the same breathe and is the perfect example of the sincerity that Justin brings to his song writing.

The songs on this album are rich and textured and are reminiscent of “Heartbreaker” era Ryan Adams. Each song boasts a full cast of characters that you want to head about, and places that you can see in your mind’s eye. The title track “Midnight at the Movies” is an anthem written for the disenchanted, the night crawlers and lonely souls. Each person mentioned in passing with one or two lines has the potential for an albums worth of material.

Each song is refreshing in length, never over staying its welcome. They all have a great up beat and are hummable. I came late to this album, it was released early 2009, and it weren’t for Justin’s appearance on the AV Club’s Undercover feature singing Springsteen’s “Atlantic City”, I doubt I would have found this at all. I’m glad I did.

Review-a-palooza #6:

The Hold Steady - Heaven Is Whenever

Ages ago, nostalgia used to be considered a disease. Sailors used to get so depressed about being away for so long, they manifested physical symptoms; nausea, pains, weakness and so on. Nostalgia plays heavy in the Hold Steady’s latest album, “Heaven Is Whenever” but it isn't considered a sickness. The album explores the idea of suffering having an important part in a life that is fulfilled. But this is hardly a depressing album.

The Hold Steady are something of an anomaly. They manage to age with each album. While its only been a year or two in between releases, the characters from each record have aged a lifetime: from the angst and anger of the teenage years in “Almost Killed Me” and “Separation Anxiety” to the onset of adulthood, complete with weight of the responsibilities that come with growing up, on “Stay Positive”. “Heaven is Whenever” sounds like a collection of conversations had during a high school reunion. The band remembers in vivid details the parties, girls and music that defined them all those years ago.

Earlier this year the band lost Franz Nicolay whose manic and expressive work on the piano and organ added to the depth of the bands impression. Franz left but his absence isn’t a particular heavy loss. Singer Craig Finn has left behind the “talk singing” that was all over previous albums and has become more comfortable with his vocals.

Some of the best songs on this album are slow burners. “The Sweet Part of the City” is languid and sounds like a hot summer day where all you want to do is sit outside with a cold drink and watch the world slip past. “We Can Get Together”, where the album pulls its title from is a trip back through the albums that help us to escape. And any song that name drops Hüsker Dü is all right by me.

This is my favourite type of album. It’s one that bears repeat listening. Like a good movie, or book, you can return to it and pick up something new.