This album is bliss for the lilting-alt-country-folk starved soul. I do love lilting-alt-country-folk, and if such a genre existed, this album would nail it. It makes me smile on the inside. I can't get enough of it.
I don't buy the 'Next Bob Dylan' argument - I think Conor Oberst is terribly clever, but I don't think he's the next Dylan (then again, maybe I just don't know him well enough.) With this album, however, he does manage that rambling little journey of an album that reminds me of Dylan's work. I'm also not interested in comparing this album to Bright Eyes' other work (no, not even its companion album 'Digital Ash in a Digital Urn'.) I'm sure there's an entire comparative analysis thesis to be written, but I'm more interested in the album as it stands, on its own.
Part of me is tempted to be irritated by the opening monologue, which seems a little melodramatic without adding much value to the album. But, irritating though it may sometimes be, it leads flawlessly to the joyful, classic country opening riff of "At the Bottom of Everything." Something in the monologue strikes me as very 'Violent Femmes' - one of my alltime favourite bands, many of whose recordings also have seemingly pointless little vocal interludes. And once I'd drawn that initial comparison, I found similarities all over the show - most notably the loosely raucous riffs, and lyrics that scream of teen-angst-learnt-to-talk-about-politics-and-gone-got-grown-up.
Over various albums and tours, Oberst has pulled some impressive collaborations - Neil Young, David Rawlings, Gillian Welch, Steve Earle et al. Most notably on this album, of course, is the magnificent Emmylou Harris, who brings an extra touch of joy to my favourite track, the jaunty, hillbillyesque, 'Another Travelin' Song'.
I realise I've unintentionally said 'joy' a lot (well, twice) in this entry. And, despite everything, this is a jubilant little album. I particularly like that the closing track "Road to Joy" takes its opening riff from Beethoven's "Ode to Joy". Is it a little bit cheesey and contrived? Yes. But it's cute and to me it works. Although this is an album that tries at times to deal with complex political and social themes, I think its real strength is in its optimism; its lovely ballads, pure folk songs, and animated country tracks.
I don't love this album for its dripping, poetic lyrics. I don't love it because it heralds a bright new era for Bright Eyes. I don't love it for its commentary on All Things American. And I don't love it because Oberst is a child prodigy who's god's gift to 21st century music, a hero for my generation. I just don't really believe any of those things.
What I do believe in, is uncomplicated folk songs. So I do love it for its relaxed riffs, for its gentle use of slide guitar, for its laid back country charm, and for its exuberant 3-chord candor. I love it because it is an album packed full of well-written songs - excellent individually and as a collective, cohesive album.
I love it because all is most definitely not well in the world, and Conor Oberst knows it - but what I love most about this album is that I can spend 46 easy minutes with it, and walk away feeling a little bit brighter about the world.
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