Customer Reviews

Devil's Workshop

5 star:		(5)
4 star:		(7)
3 star:		(0)
2 star:		(1)
1 star:		(0)

 

 

Even the most cursory listening to Frank Black's recent music will show a significant change, most noticeably since 2001's excellent Dog in the Sand. Frank has abandoned the Punk sound that was constant through the youthful enthusiasm of Come on Pilgrim and Surfer Rosa, the Pop brilliance of Doolittle, the Alternative and experimental first two solo records, and the hard rocking first two Catholic records. Although in concert Frank has often retained the Punk sound, in his recordings, he has become 'The Man Who Was Too Loud', trading Punk with Folk, Roots Rock and Country influences.

When in 2002, Frank released two albums in the same time, critics and fans alike saw the longer piece (Black Letter Days), as the mellower, folkyier album, while the Devil's Workshop was perceived as the hard rock, return-to-the-pixies-style album.

Although the observation is not without merit, it is deeply misleading. While Devil's Workshop is somewhat more rock oriented then Black Letter Days, it very much represents the Frank Black of 2002. Not returning to the harder rockin' Frank of Doolittle or even Pistolero, this album is mostly filled with mid tempo rockers, and the only great different from Black Letter Days is the widespread use of distortion. It is the quality of the execution that makes this, like most of Frank's work, a very worthwhile collection of songs.

Perhaps the single most important reason for the `return to the Pixies' comments is the inclusion of a song which previously appeared as a Pixies B-side. Velvety, apparently written as an instrumental when Frank was 16. The addition of fun and intriguing lyrics, and especially of Frank's acoustic guitar make this track a grand improvement on the Pixies' version, and one of the best Frank songs of the last few years (the Acoustic guitar is truly brilliant. It shows a degree of subtlety that many Punk Rock acts should learn from). It is also the hardest rocking Frank Black song since `Pistolero'.

Although the Catholics are a wonderful band, they sometimes fit too comfortably into Frank's more standardized songwriting. There is nothing wrong with `Out of State', but there is nothing truly remarkable about it, either. Verses and Choruses, with fairly standard guitar solos in the middle.

However, `His Kingly Cave' is hardly ordinary. Easily the best song on this CD, His Kingly Cave is a strong narrative about a visit to Graceland, where the long gone presence of the King makes Frank reminiscent about death. Over the background of some of the most powerful music Frank has ever written, with fantastic guitar work by Joey Santiago, Frank sings about slowly creeping discomfort 'they went to celebrate they went to have a ball/everyone gathered at the gates but it wasn't good at all'. The visit was not what they expected 'the sky was turning gray... their skin began to crawl'. In death, there is no turning back 'they closed the gates and the scene was set/ enter into his kingly cave'. Finally, the visitors flee 'when the shuttle bus is called', but still, Frank is voicing for the dead 'I scream, I scream, for aaaaalllllll'

It took me a long while to get into San Antonio, TX, a real story about the illness of Frank's then wife. I thought it sounded too much like 'The End of Miles' and 'St. Francis Dam Disaster'. But this fan favorite grew on me with multiple listening.

Speed Bartholomew up a lot, add some screams, and it's a Pixies track. Surprisingly, then, I don't like it that much. A song about God, Sex and Death, with a memorable melody. It should be a classic, but for me at least it isn't.

On `The Blacksessions + the Kitchen Tapes' a live album documenting Frank Black's Teenager tour, appears an acoustic version of `Modern Age'. Now, there is finally a band version, but it sadly disappoints. The song simply is not Catholic style - and does not work.

I am not the only one to find the sound quality in `Devil's Workshop' disappointing. There has been many speculations about the cause, whether the blame is the famous live-to-2 track recording, or the equipment, but the results are rather poor. Nowhere is this more evident then on `Are You Headed My Way?', a straight-forward Honky-Tonkying Rockabilly song. It is fun and fast, catchy and traditional. But the sound of the instruments blur and the distortion is everywhere. Worse, you can hardly hear the sublime piano of Eric Drew Feldman.

Next, Frank hits us with one of the best songs on this CD, `Heloise'. Strangely sounding utterly original and classic at the same time, the love story of Heloise and Abelard is a classic Black subject, featuring wonderful little guitar lines, surf rock chord progression, and hallows from Frank as he croons the title over and over. `Heloise' is one of the most hauntingly beautiful songs in Frank's career.

Even for an artist known for his subtlety (check out `The Swimmer' on Dog in the Sand, or the Epigrams in `Ana' and `Speedy Marie'), The Scene is wonderfully underplayed. Despite the absences of clear melodic or lyrical motives, the song is both exciting and sad. `Black Letter Days' and `Show Me Your Tears' are filled with sad songs, but rarely has Frank managed to convey the feel of the song with so few words or downright depression minor chords.

I'm afraid that `Whisky in Your Shoes', a bar blues song about the death of a child, simply does not do this to me, despite what it may reveal about Frank's psyche. `The Fields of Marigold' is much better, with hard distortion beginning, turning into a romantic and melodic grand final as Frank sings about Norwegian Heaven.

From a `value for money' standpoint, there are better Frank Black bargains then Devil's Workshop. But for the true fans, it is a necessity, and a worthy addition to one of Rock'n'Roll `s most impressive catalogues.

Perhaps the oddest aspect of Frank Black's dual albums (the other being Black Letter Days), is that this record is only half as long as the other. Devil's Workshop, however, has more to offer than BLD.

Long time fans of the Pixies will recognize the old Dig for Fire B-Side "Velvety", only this time with lyrics. Pre-Catholics Frank Black die-hards will also cheer at the inclusion of "Modern Age", the first studio version of the Kitchen Tapes song previously only available on "The Black Sessions- Live in Paris" import.

As for the new material, Devil's Workshop has its share of throw-aways, but the songs that shine are some of Frank Black's better works. "His Kingly Cave" is loaded with calculated chord changes that can't help but capture your attention; its follow-up, "San Antonio, TX", is almost as great and catchy as Dog in the Sand's "Llano Del Rio". The album even ends strongly. "Whiskey in Your Shoes" is a frantic, fast paced gem with lyrics sounding as if they were written by Johnny Cash. The final track, "Fields of Marigold", while good, also proves that Frank Black likes Bob Dylan so much that he wants to be him. (You'll see what I mean.)

When it comes to the two albums, it's a tough call which one to choose between. While Devil's Workshop has the better tracks, Black Letter Days does have the better flow. Luckily, we're all Frank Black fans, so I know you'll buy both. (If you don't have any Frank Black records, try Teenager of the Year or Dog in the Sand first.)

Last year's "Dog in the Sand," while a good album, made me worried that Frank Black was losing steam. "Devil's Workshop" makes it clear that he isn't slowing down a bit. Frank and the Catholics mastered the art of recording straight to two-track several albums back, but by this album (and "Black Letter Days") Frank seems to have also mastered the art of writing music that's perfect for his stripped-down approach. The density and richness of the instrumentation are fabulous, and the lyrics include some of Black's best storytelling ever. (Though, as is often the case, it can be difficult to figure out what the storyline is until you've deciphered the songs. It took me quite a few listenings to grasp the setting for "His Kingly Cave," but once I did, the whole song clicked into place and made perfect sense.) The worst thing about this album is that it makes some of my previous Frank Black favorites, like "Pistolero," seem like mere warm-ups in comparison.

In 2002, Frank Black released two albums on the same day: this and Black Letter Days. Of the two, I think this is the more easily accessible one. It tends to be more upbeat, and a lot of the songs are just catchy. To me, the pair of "Modern Age" and "Are You Heading My Way?" really shows off this catchiness. Perhaps the true highlight of the album, however, is the leading song, "Velvety." This song originally showed up as a Pixies B-side, but now it's a finished song, with lyrics reminiscent of "Velouria." From what I've heard, they're about a girl from the lost continent of Lemuria, who now lives under Mount Shasta near Weed, California. It's based on an old Rosicrucian legend, but you don't need to know that to enjoy the song. That's one thing I like about Frank's songs. The songs are enjoyable when the listener has no idea what the lyrics are about, but, if you enjoy doing a little research (and a little is really all it takes; the songs don't usually get into THAT much depth), there's some interesting stuff to find out. While Devil's Workshop isn't my favorite Frank album, it's a great showcase of his work.

Like taking the best of classic Stones, Dylan and Johnny Cash...putting the gems into a blender, adding a psychedelic potion to the better modern sounds available and setting to stir. You remove a magical audible substance that combines elements of country, folk, rock and space age sonic that blows away tons of other stuff at the music store bins.

Though I prefer Black Letter Days, this one is certainly well worth the buy. Frank Black is doing some of the most relevant music around.

In my experience, most all of Frank's albums sound somewhat straight-forward at first listen, as mentioned by other reviewers here, and with each listen it starts to slink it's way into your head and lock on. It's odd but I've found this same characteristic common to most of my favorite cd's. I guess my naked ear must be pretty primitive.

Nonetheless, I'm a longtime FB&C fan and I think he's sounding better than ever on the 2 new releases. Devil's Workshop is my favorite (close call) at the moment. "His Kingly Cave" is probably the most radio-ready song he's done since "Headache", and it's much more evolved. It's an incredible tune, perfect pop. It'd be great if this indie-Dylan could finally get the credit he deserves on the airwaves, at least on some of the more liberal mainstream stations like kfog in SF. The rest of (both) albums are completely consistant, brilliant, and new FB throughout, just may take a couple of listens to open up for ya (like it did for me).

I'm not sure I see the JMascis comparisons that another reviewer mentioned here, those guys are different monsters on all levels, both are brilliant.

Call your local dj and get His Kingly Cave some airplay, it's ready to go and would be a minor hit with some backing...

"Devil's Workshop" is half the length of its companion "Black Letter Days", but it isn't necessarily the lesser of the two. I think they're both about equal. "Devil's Workshop" has the "stripped-down" Catholics - only two guitars and fewer keys - so the sound is a little more rocking. The best song is "Whiskey" - which Frank played live when he came to town. Fans will love it.

for giving us not just one great album, but two. Sounds something like seventies classic rock...in a parallel dimension. Less country, more rockin' than BLD. Less ramblin', more to the point. Which one's better? Black Letter Days or Devil's Workshop? Guess it depends what mood you're in. No Rich Gilbert, though. Instead Lyle Workman and Joey Santiago are backŠ-and have never sounded better. Great stuff!

Hearing this the first time, I felt immense relief and satsifaction. I wasn't too keen on Frank's last couple of releases, so when I heard that Lyle and Joey were back on this recording, I went straight out to buy it. I haven't heard Black Letter Days, but if it features Rich Gilbert on guitar, I probably won't have much interest. While Gilbert's not necessarily a bad player, he just doesn't have the spark and inventiveness that Lyle Workman and Joey Santiago consistently contribute. That's why this CD, as short as it is (just over 30 minutes!), is the BEST EFFORT Frank has put forth since Lyle's departure after the first FB&C release. I still wish Frank would go back into a real studio and get that killer sound he showed he's capable of on his very first solo release (Eric Drew Feldman, where are you?! You produced a gem!). The 2-tracks are just too muddy and rough at times. But the songs here are fresher and more inspiring than Pistolero (I still can't listen to that one) and Dog in the Sand (which admittedly has a few good tunes). Young Dave Philips does a nice job on the pedal steel, too. You won't be disappointed.

As you read, know that you need this album in your collection if you truly love Frank Black's music and songwriting. This is a diamond in the cavernous collection of Black's post-Pixies work, and includes a reworked "Velvety Instrumental" from an old Pixies single as the first of what are all excellent songs. "Velvety" is a road trip classic, and the album kills it all the way through, with the raucous "Whiskey in Your Shoes" standing out to me as a great drinking song. All the regular players make appearances, including Joey Santiago the world's greatest guitarist and Lyle Workman, Eric Drew Feldman and Stan Ridgeway. Then there's the band, the Catholics, always durable and electrified.
His new album shreds too. That word needs to resurface, and Frank Black shreds his virtually nonexistent competition.