Customer Reviews

Big Swing Face

5 star:		(25)
4 star:		(18)
3 star:		(19)
2 star:		(5)
1 star:		(13)

 

 

Confession: The first time I played this album, I couldn't wait to sell it back to the record store. It sounded like an almost perverse subversion of the things you expect from Bruce Hornsby's music: crystalline piano, achingly poignant lyrics, and a timeless mood of classic Americana that harkens back to The Band. My first thought upon hearing this album, with its overamped keyboards, drum machines, distorted vocals, and crowded, electronica-flavored arrangements was, "I'm glad Bruce got this album out of his system. I'm just sorry I had to buy it."

But then something funny happened. I woke up with the title track looping in my head, as it had all night. I realized that this album is not a loss of poise, control, or social relevance by Hornsby, but more like a searingly angry musical statement of "This is how things are. It might not sound pretty, but things aren't pretty." This is Bruce's post-Bush, post-9/11, post-HORNSBY album -- a jagged mirror held up to the era we're living in.

Back in the mid-'70s, Neil Young recorded a huge hit album called "Harvest," with gorgeous, folksy tunes on it like "Old Man." Everyone loved it. Then Neil released "Tonight's the Night," which was recorded in the spooky hours before dawn, and sounded like it, with its spiky tales of junkies dying in the streets, and hip drag queens, with the smoking wreckage of garage rock and roll replacing the banjos and nostalgia of "Harvest." Everyone hated it at the time. Listening back, it was prophecy.

Here, Hornsby surrenders the sepia-toned poetry about valiant fishermen and Appalachian waifs for lyrics that border on nonsense, as if the very fabric of language was being torn and shredded by a profound disquiet in the soul of America. The eerie cries at the beginning of "Sticks & Stones" are as apt a representation of What It Sounds Like to Be Alive at This Moment in History as I've ever heard. And the title track is so jazzy in its sense of swing that it doesn't even have to reference jazz on its surface.

You may not like this album, but it's a brave and true statement, and an admirable risk by an artist whose music is becoming more personal with each release. This is "The Way It Is" now, boyeee.

Released today (June 25, 2002), Bruce Hornsby's new album is a sometimes terrific, sometimes confusing, and sometimes downright frustrating piece of work. For starters, it sounds NOTHING like Hornsby's previous albums - there is very little piano, the lyrics are disjointed and often incomprehensible, and there's a lot more 'funk' on this album than on any other Hornsby release. This album definitely showcases Bruce's wild side, which gives some of the songs - like "Sticks & Stones", "Big Swing Face" and "A Place Under the Sun" - a memorable cheeriness. Furthermore, Bruce actually rocks pretty hard on "So Out", making the song an interesting listen despite its dull chorus.

Unfortunately, Bruce's melancholy side, which yielded so many of his classic songs (think "Fortunate Son", "Mandolin Rain" and the lachrymose "Lost Soul" from "A Night on the Town") is not at all represented on this album. In fact, the closest he comes to this type of song here may be "This Too Shall Pass", a soulful tune that is somehow built around a driving dance beat(!). Finally, we have what is perhaps the album's most rewarding song, "The Good Life". Musically, this song is in the vein of "Shadow Hand" from 1998's "Spirit Trail" album; it's got an upbeat, catchy melody that belies the theme, conveyed by the lyrics, of the narrator's desperate escapism.

All in all, I consider this to be a good album, but I fear that in the long run it will turn out to be my least favorite Bruce Hornsby recording. Hopefully, I'll prove myself wrong.

This is Hornsby's "Achtung Baby". This is the recording that separates a true musician from imitations. Hornsby has experimented with songwriting, sound and instrumentation on "Big Swing Face". Fans and critics will debate whether the music is good, and, in my opinion, that's a matter of taste. On first listen, I wasn't sure where Hornsby was going, but with repeated listenings I heard humor, inventiveness, and an attempt to try something new. Unlike Chicago, Hornsby isn't resting on his past successes here, and like Chicago, he isn't catering to what everyone wants to hear. As usual, Hornsby writes about the human condition like prejudice in "Sticks & Stones", fame in "Big Swing Face", depression in "This Too Shall Pass", objectivity in "Try Anything Once", insecurity in "Take Out The Trash", materialism in "The Good Life", ignorance in "No Home Training" and soul searching in "Place Under The Sun". So, in a songwriting sense, Hornsby continues to sing about what he's been singing about all along, yet he adds some interesting diversions like "Cartoons & Candy", "The Chill" and "So Out". As always, Hornsby adds a good dose of humor to his songwriting, so the criticism would fall on the music. Hornsby chooses to avoid his traditional instruments like acoustic piano, accordian, banjo, in favor of using some type of electric piano/organ hybrid, drum loops, and yes, even a sample! I have followed Hornsby since "The Way It Is" and time and again he has proven himself to be one of a few musicians who can really play, write and reinvent themselves. As that is such a rare commodity in pop music, Hornsby is a buried treasure--seldom making the top 40 and yet continuing to mature and produce creative music.

I have been into Bruce Hornsby since his first album was released. It was an amazing feat having an artist finally put the piano in the limelight. Great chords, great melody, great lyrics. Frequently, challenging music. I have enjoyed each album that has been released.

Well... until Big Swing Face. I can understand that BH may have felt stagnant and needed to do something new. But this direction is 180 degrees away from his previous style. I imagine that many Bruce Hornsby fans bought this record only to scratch their heads as they listened to it once - and never again.

Not that it is a bad work. If this set of recordings was released under someone else's name and I heard songs from it on the radio, I wouldn't turn them off. But they dont turn me on and I wouldn't go out and buy the CD. Oh, some of it has some of the good BH lyrical twists. And there is a nice jazz electric piano solo on Cartoons. This Too Shall Pass starts good, but gets into that overused dance beat. YIKE!

Bruce Hornsby: You spent 15 years building what must be a tremendous fan base playing a great piano. Singing intelligible, introspective lyrics. Producing well rounded, musical CDs. I understand someone wanting to stay on the creative edge, but don't betray what got you to the top.

All IMHO.

If you're convinced you want the Bruce of old, then don't even bother sampling this CD. On the other hand, if you recognize Hornsby as the virtuoso he is and are willing give him the opportunity to showcase said virtuosity, then don't miss this effort. It's a radical departure from his previous work, though as one reviewer noted, there are hints of this fusion style in parts of SPIRIT TRAIL.

And fusion is what you get: hip-hop, funk, rock, and jazz all laced with drums, hard guitars, synthesizers, even an organ! The vocals? Most are unlike any past Hornsby tunes you've ever loved. I heard traces of Prince, Living Colour, Grateful Dead, and even Monte Montgomery styled vocals throughout.

Granted, my first reaction was "what the hell?" But, you know, the tunes are simply infectious with their energy and improvisation. After two listenings, I was hooked; though many fans who bought this would disagree, this is one of Hornsby's best efforts ever. I can think of, perhaps, two tracks of which I'm not overly fond on this CD. On the other hand, efforts such as "Sticks & Stones," "Take Out the Trash," and "Cartoons & Candy" keep swirling around in my head. And if you really need an "old Bruce" fix, check out track #8 "The Good Life." It's catchy, optimistic, imminently singable by those of us with no talent, and the closest thing to a "typical" Hornsby tune you will find on this CD.

The bottom line is Hornsby has transcended his past stereotypes of a mellow lyricist and superb piano player. I hope he produces more albums which showcase those tremendous talents; likewise, one can only hope he continues to push the boundaries of music with more truly astounding and strange offerings such as this one. I'd buy them in a New York minute. My advice is to follow the lyrics on track #6: "What the hell/I'll try anything once/Got to keep an open mind this time."

Interesting reading the other reviews. There is no doubt that this
album is totally different from Bruce H's other albums, and I will
explain one of the major reasons why below. But before I do that I want
to say that Bruce H is a totally class act, and no matter what album he
might put out I'd listen to it and try to find something to like about it,
though of course usually the music is great and there's no need to "force"
myself to analyse it.

Getting a little personal, I'm from Richmond, VA, very near to where Bruce
lives. I have friends who know his family, but I don't know him. I've talked to
Bruce a couple times, at a record store, etc. He is an incredibly genuine person,
and as everyone knows, in concert he really works hard to give the audience the
show that *they* want. When I saw him where I now live this summer he took request
after request from the audience. He only played 2 songs from "Big Swing Face"
- both were great! During the song "Sunflower Cat," the takeoff on the Dead's
"China Cat Sunflower," the stage was completely full of rejoicing people -
only someone like Bruce would allow such a thing! There is a great version of
this song on the excellent double live album.

A friend of mine from VA and I were discussing why "Big Swing Face"
is so different, and here's the story from an article in (I think) some
Richmond newspaper. Bruce and his band had apparently recorded an entire
album. Quoting my friend's email, someone from the record company "listened to
it, said it sounded like everything else he had done and suggested starting over
from scratch and taking a completely new approach. At first, Bruce was taken
aback, but ultimately got into the new sound/style..."

In my opinion the album more or less succeeds. I like about 7 songs
and don't care for 4. I think that the song "Big Swing Face" is fantastic.
Anyone who hasn't gotten into this album, play that song loud and concentrate
on it - it's worth it. The 6th song, "Try Anything Once," is also great.

As well some of the songs have great potential, but it isn't always
realized on the album, and surely that is because of the band trying to adjust
to a new style. For example, I feel that Bruce made a poor choice starting the
album off with the weird "Sticks And Stones." But what a great song live! Not only
did I hear it here, but Bruce told the audience he was going to be on the Jay
Leno show soon after the concert, and so I taped the show, the only TV I've
watched this summer! The band did a fantastic version of "Sticks And Stones,"
infinitely better than the version on the CD. I've listened to it quite a few
times. So clearly Bruce and his band have adapted to the new style, but we
don't always hear it on the record, for sure, and it disappoints me also.
Yet my opinion of Bruce and his music is not at all diminished!

Wow, this really is different from anything Hornsby's done in the past. And people thought Harbor Lights was a major turning point and radically different! But this is nothing anybody would expect from Bruce.
I was sad to hear that there was barely any piano on this cd, but i hope the black and white will make a comeback on his next record. Although this is definitely not a classic or one of his finest works some good things appear. "The Chill" and "This Too Shall Pass" are excellent. Steve Kimock is the best guitarist to play with Bruce since Pat Metheny. I also bet all these songs would sound more familiar live.
I hope in the future Bruce makes another album like Hot House. That is definitely the best studio album of his career, it blew me away! But knowing Bruce, he likes to always try something different and experiment. I can't blame him for that. I just hope it includes piano. That's what i miss the most.

Let me begin by saying that I own and love every album that Bruce Hornsby has ever made, and I always try to buy them the first day of their release. Having said that, I was in shock the other night when I first started listening to this album. The longer "Sticks and Stones" played, the more confused I became. I figured maybe that would be one of the more offbeat songs on the album and that the piano would make an appearance soon. It didn't happen. The next song, "Cartoons and Candy" pretty much told me that the entire, and I mean entire album would be radically different from anything Bruce had done before.

It would be dishonest for me to say that I wasn't disappointed after hearing it all the way through the first time. I played it a second time hoping it would begin to grow on me. I'm glad to say that it did and after hearing it for a third time, I'm convinced it's a pretty strong album. Before the album was released, I read on Bruce's website that this was going to be a different album than what the faithful were used to and that there was going to be less piano than ever before. That's definitely a gross understatement. What Bruce should have said was that piano would be virtually non-existent. In fact, near the back of the liner notes it says "Bruce Hornsby plays Baldwin pianos (but not much on this album)".

I never would have thought that Bruce could make an album that contains elements of techno/funk/rap, but he has. I guess when you're one of the most talented songwriter/musicians of the 80's and 90's you can pull it off. Unfortunately, not everything works here or I probably could have went for the five stars. The best of the bunch include the aforementioned "Cartoons and Candy" (if you need a shot of funk, this is it), "The Chill" and "So Out", and possibly the best song on the album, "Place Under the Sun". Other strong tracks include "This Too Shall Pass" and "The Good Life". The latter two sound closest to Hornsby songs of the past. However, the title track seems disjointed and overlong and "No Home Training" could have been left out as well without hurting the album.

No doubt, Bruce was wanting to try something different as virtually all of his previous albums have been piano heavy. That's probably the biggest reason I became a Hornsby fan. I can listen to the opening (and all of it for that matter) of the title track on Harbor Lights all day long. For the time being, I'm satisfied that Bruce, if the piano had to be put aside for now, has made a quality album with a different sound. After all, he's got many, many albums still to release in the future. I'm sure the 88 keys will make a comeback.

Well, this was a surprise. The wondering started with Bruce's announcement in late 2001 - he was finishing up a new album, and this one would have "almost no piano."

Huh? That's like a Tarantino movie where nobody gets shot.

Bruce isn't taking up shred guitar anytime soon, so that means the new disc is chock-full of enough different keyboards, organs and MIDI effects to give Keith Emerson a headache. He's like a kid in a candy store. It's not an enormous shock considering that he did the same thing over half of Spirit Trail four years ago, but he takes the whole thing a step further here. "This Too Shall Pass" starts with an icy organ and suddenly turns techno with a crazy drum beat. "Try Anything Once" is practically hip-hop. "Sticks & Stones" sounds like Brian Eno hopped up on crack. There's a generous helping of happy dance beats scattered all over the place. "So Out" is one of his most rocking tunes ever, and I could almost imagine "The Good Life" or "Place Under the Sun" being picked up as radio singles. Incidentally, those last two are the most joyful, mood-lifting sunny tunes I've heard from anyone in a good long time.

Big Swing Face.. by the way, Bruce took the title from a 1963 Buddy Rich album which is also well worth checking out.. wonderful drumming.. oh, where was I? Big Swing Face. It's happy, bouncy, funky brain candy for the masses. The lyrics don't read quite as well as what we're used to from his other work; there's some stream-of-consciousness style and a fair amount of straight prose scattered through the rhymes. If you liked the second disc of Spirit Trail and wouldn't mind more in the same vein, welcome. If this description sounds disappointing and you want to hear more of the brilliant piano work Bruce is known for, you may be better off waiting for another release (He's thinking of doing a collection of solo piano performances next). You've been warned.

Bruce is well known among his fans for his willingness to change his musical style and experiment. For the most part, his music has improved with age and experience. The shift he made from Night on the Town to Harbor Lights was a major improvement musically which got even better with Hot House and Spirit Trail.

This new album is an even bigger departure than Harbor Lights, one might even say a quantum leap. My favorite aspect of Bruce's music has always been the improvisational quality of the music and his mastery of the piano. His live performances and more recent albums have that feel to them.

This album definitely does not, in fact, I don't think there's a single piano note (although there's a lot of keyboard work). Additionally, there's a heavy use of drum machine and sound samples that give the album a heavily produced feel.

There aren't any songs that jump off the album and grab you the way King of the Hill, Line in the Dust, Spider Fingers, Country Doctor, etc did. That being said, this album has an acquired taste to it. I've listened to the album 5 or 6 times and the songs grow on you quickly. If you buy this album, listen to it a few times before deciding whether you like it. Sticks and Stones, The Chill (Jerry Garciaesque guitar is somewhat reminicient of Harborlights), This Too Shall Pass, and No Home Training are all quite good.

In summary, this album has quality material, but it does not accentuate Bruce's greatest strengths, his improvisational skills and his piano playing. I agree with the premise of song # 6 "Try Anything Once"-- I'm glad Bruce has stuck with his principals of musical experimentation, but I hope he will get back to what he does best.