The Weekly Jive
By: George A. Paul , John Schacht , Paul Rogers
Chris Difford—The Last Temptation of Chris (Airline Records)
When a songwriting partnership like Squeeze’s Chris Difford and Glenn Tilbrook have been crafting world-class ditties for decades one begins to wonder, well, just how much is Difford and how much is Tilbrook. Judging by The Last Temptation of Chris, Difford’s third solo outing, there’s oodles of him in Squeeze’s ultra-melodic, often melancholy musings. Once again, the now 50-something Difford marries spectacular musicality (expressed on both keys and guitar) to almost depressingly confessional lyrics. It seems every Difford song has its genesis in an alcohol-addled stagger back from the boozer, waxing nostalgic about childhood (“Battersea Boys,” “My Mother’s Handbag”); age and fatherhood (“Fat as a Fiddle,” “Broken Family”) and relationships (“Come On Down,” “The Other Man in my Life”). Renowned for his wordplay (having also written lyrics for Elton John, Lisa Stansfield and others), Difford tells tales with a perceptive warmth and humor which ages well. The Last Temptation of Chris simulates the addictive comforts of a confidant but, like an old friend, it can also be over-familiar with our hard-to-discuss losses and longings. (Paul Rogers)
Fleet Foxes—Ragged Wood (Sub Pop)
Let’s dispense with the first impression: Fleet Foxes singer Robin Pecknold’s cavernous vocals sound enough like Jim James that it would be child’s play convincing My Morning Jacket fans this was a James side project. But such facile comparisons short-change a mature debut from this young Seattle band (Pecknold is just 22). Besides, where MMJ songs tend to wander into their epic and mysterious moments, these rustic numbers are tightly structured and more humble in their aspirations: “White Winter Hymnal,” with its chugging beat and cathedral harmonies, has the same wondrous qualities of winter’s first blanket of fresh snow; “Blue Ridge Mountains” builds from its insular acoustic beginnings into a wide screen celebration of natural beauty; and “Your Protector,” with its spooky intro and pillars of tribal beat-rhythms, feels practically Neolithic. Pecknold has, indeed, tapped into something elemental and ageless with Ragged Wood; to get hung up on vocal similarities is, truly, to miss this promising forest for the trees. (John Schacht)
The Futureheads—This is Not the World (Nul)
In 2004, The Futureheads crash-landed on American shores with one hell of an adrenaline-fueled debut. The UK quartet’s short and angular, post-punk guitar songs—partially guided by Gang of Four guitarist Andy Gill—bore Jam and XTC influences and cascading harmonies. Despite a primo slot at Coachella ’05, a stint opening for Franz Ferdinand, videogame (“Burnout 3”) and TV (The O.C.) exposure, plus a deft take on Kate Bush’s “Hounds of Love,” they failed to find major success here. Ditto the glossier, more mature News and Tributes. If there’s any justice, the third time will be the charm. This is Not the World, produced by Youth (Killing Joke, the Verve), is more direct and enjoyable than its predecessor. Urgent, pogo-worthy numbers (“Beginning of the Twist,” “Walking Backwards”) could give Kaiser Chiefs a run for the money. Singer/guitarists Barry Hyde and Ross Millard’s distinctly British vocals are also excellent throughout. The poppy “Radio Heart” humorously describes traits for a potential mate. A lurching guitar solo on “Sale of the Century” and pedal steel work during the poignant “Hard to Bear” (about a guy who consoles his buddy after a difficult breakup) tweak the frantic formula with winning results. (George A. Paul)
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