The Benja-man Is Verbose

Say what you will about Sleep Well Beast , it is a National record through and through.  This means that many of the things I think about the National in general I think about this record.  I think I've been clear about what I think this band's biggest strengths are.  Well, more of them here.  For example, despite the lack of musical vocabulary, we've discussed that a certain type of chord simply sounds really good to my ears.  Since I normally emphasize the vocal melody, instead I'll highlight the bridge in "Day I Die" after the second chorus as my example to represent the whole record.  So far the song has been running on a  basic guitar-and-keys groove, punctuated by the drums.  After Matt stops singing, the pace slows down, one guitar starts playing a two-note figure, and then a second guitar suddenly drops in a four note "do do DO do" thing.  That bit is delivered at basically the same place in the bar that the song's main U2-esque guitar sc

Suits is the first slice of Fish the indie rocker.  I think most would agree that professionally speaking, this is his niche.  As much as the guy wants to be beloved (when he's not wanting to be left alone), it just makes so much more sense for him to be micromanaging his own record label, have complete creative control, and play to bingo hall sized crowds with whom he can make eye contact.  Now, some of this may be a self-fulfilling narrative, wherein Fish's endless series of personal and financial crises combined with questionable business decisions ensured that this was the only way his solo career possibly could go, but looking back at the complete body of work, it just makes so much sense. Track One:  "Mr. 1470" Slow grower for me, but grow it did.  There's a groove to the bassline as Fish's vocal delivery is especially chatty; there's enough momentum that I don't get impatient as the verses take their time building up.  I'm of two

 Covers albums I find a bit hard to characterize.  I love covers... but mostly only in a live setting, with a few exceptions.  Live, a cover is a great way to energize a crowd and to hear an old favorite in a new way.  In the studio with a professional release, we want a clear reason to record a song that's already been recorded.   I do of course speak from the perspective of someone who grew up in an era in which artists take more ownership of their songs; the perspective is a little different if you're in a world where there's a canon of songs that everyone takes a crack at.  If you're, say, a folk or a blues musician, or listening to show tunes, or "Great American Songbook" stuff, whatever.  Rock and roll, though, where so much of a song's identity is about the particular performance, instrumentation, and production from the guys who came up with it, the expectation is more that a cover needs to put a new spin on a song and answer the question "why