Customer Reviews

Dignity and Shame [Vinyl]

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

 

 

On their fourth full length album, Dignity and Shame, Crooked Fingers are embarking in a new direction while bringing along familiar sounds. The first track, "Islero," makes clear that this will not be a simple retread of any of their previous albums. It starts out with slow and quiet guitar pickings, then brings in hand drums and finally kicks into a higher flourish with some beautiful trumpet work. The song has a very Southwestern feel to it, taking some of those sounds from their past album, Red Devil Dawn, to new heights. It's a great track, purely instrumental work that sets a melancholic mood for the rest of the album.

Interestingly, the next two songs pick up the pace more. In fact, they clash--ever so slightly--with "Islero," presenting a more upbeat and optimistic tone. However, they're good, enjoyable songs. The fourth track, "Twilight Creeps," takes the incongruity to a new level, though, ultimately clashing with the previous songs. So much about the song is high-pitched, from the opening piano chords to the eventual lyrical work of Lara Meyerattken, who shows up on a few of the album's songs. The track isn't completely out of place and is actually a solid song when Bachmann is singing. However, once Meyerattken comes in, everything feels wrong and out of place, too high and breathy. With the grit of Bachmann's voice gone, the song succumbs to a light and breezy sound, a complete affront against the tone established at the outset by "Islero."

"You Must Build A Fire" is a quiet and thoughtful offering, very reminiscent of past works, evoking the gorgeously haunting melodies of "She Spread Her Legs and Flew Away," from Crooked Fingers' self-titled album. The next track, "Valerie," is a foot-stomping, upbeat love song that kicks the album into a higher gear, much in the vein of Red Devil Dawn's "Sweet Marie." The Southwestern feel from "Islero" resurfaces in this song and is used to great effect. "Andalucia" keeps that tone going, another track with a faster pace than much of the rest of the album.

After the fast beat and loud, tumbling sounds of "Coldways," the album slows down with the last two songs. The title track, which is the final song, is perhaps the finest work of the album. Cautious and contemplative, Bachmann dwells with his lyrics, backed only by a piano for much of the song. "Dignity and Shame" is the perfect closer to the album, beautifully encapsulating the entire work and living up to the promise of the opening track. In the end, I wish that the entire album could have matched the brilliance of the opening and closing songs. If it had, it would truly have been a masterpiece. As it is, though, there are problems in the first half of the album. A couple of weak songs and some incongrous sounds detract from the overall feel of the CD. However, the second half of the album is wonderful, and there are tracks on here that match some of Crooked Fingers' best work. This isn't a perfect album, certainly, but it is a very good one.

I'm not sure I'd call this Crooked Fingers best album but I would call it the bands most consistent. I'm not familiar with "Archers of Loaf", but I am impressed with the evolution of Eric Bachman's writing over the four Crooked Fingers discs. One can't ignore the Spanish influence throughout "Dignity and Shame". My favorite cut is "Twilight Creeps". He talks of a woman named Flower-
"Why does everybody always act so tough, when all anybody wants is to find a friend?
Why is everybody always trying to hide the heart which hidden has no use?"
Strong lyric backed with a Mariachi band and you've got a 5 star song. Other standouts are "Valerie","Destroyer" "You Must Build a Fire", and "Call to Arms" Comparisons to Springsteen, Wilco and Steve Earle as well as Iron and Wine all make sense. He does sound a bit like Neil Diamond vocally, but maybe I only think that because of his kick ass version of "Solitary Man" on "Resevoir Songs". I'm just surprised this guy isn't more than a cult hero. I'd love to see his band live. I bet they put on a good show.

Unlike so many of his contemporaries, Eric Bachmann refuses to keep putting out the same record over and over again. This is the "happy" (relatively speaking) Crooked Fingers album. And damnit if he doesn't pull it off. Combining unforgettable duets with the every-now-and-then trumpet run (and really, isn't the trumpet the new violin?), Bachmann can't help but seduce you into his reverie. This cd will make you smile. And tracks 2 through 5 are as good as anything you'll hear this or any year.

Damned if I know how you'd trace a music evolution that started at Archers of Loaf and ended here at Twilight Creeps, the fourth CD from Crooked Fingers. It's kind of like -- in life evolution -- you went to sleep as a panda and woke up as a butterfly. Both are fine -- it's just hard to see how they match up. And so it is with Archers and Crooked Fingers. Best, I guess, to just take what's been given with gratitude, for Dignity and Shame is very, very good. Every one of these songs, from the opening instrumental through ballads and the crashing mid-song chords of Destroyer or the opening blast of Coldways to the backing horns on Valerie, is a hook-filled and sometimes exciting listen. And if the lyrics are now and then a bit overblown, at least Eric Bachman is reaching, not coasting -- "oh, gracious love you were so good to me/You only broke my heart/Let my arms and legs stay free..." may be emo bitter, but it's both imaginative and nicely ironic. I find the female backing vocals a bit ethereal, and the CD doesn't completely kick in until You Must Build a Fire at Track 6 -- although I earlier really liked him calling the competition Twilight Creeps and "that joker" (after all, sexual jealousy has always fueled the best rock) -- but from then on this is a 5 star ride.

I'd recommend Red Devil Dawn as a first Crooked Fingers album for most people, but if you're a careful intimate listener, this latest record is the real treasure for you.

Close your eyes to the mystery of "Islero," the surprising opener. Surrender to the bliss of "Weary Arms," and then the power pop of "Call to Love." Crank up the soaring "Andalucia" or the barrelling "Coldways." And do not miss the exquisite "Sleep All Summer," an bittersweet duet that will seem all too familiar to anyone who's ever loved and lost.

If you're new to Bachmann's post-Loaf work, "Twilight Creeps" and "You Must Build a Fire" epitomize both the up- and down-tempo strengths that are consistent through all the Crooked Fingers albums. But overall, this album is the most varied and surprising.

A wonderful record for sunrise or sundown, to feel transition into a new phase of your day.

Crooked Fingers is one of those bands that I have heard good things about. I was never into Archer of Loaf, but many people who worked in the office with me in the mid 1990s, spoke of them. This is their fourth album. Where was I? The first song "Islero" sounds like Calexico. Other songs like "Weary Arms" and "Call To Love" sound more indie folk and new wave. This album has a similar look to it as the new one by Arcade Fire. Maybe the same designer? Maybe these bands will be playing together a lot soon. This record is supposed to be a new direction for the band. Lara Meyerattken adds vocals to some songs. Much of this album relies on American roots music and western swing. It's a dynamic record. It's a valid statement. It's very artistic and pure.

While many will enjoy this record (touted by the label as more 'accessible' than earlier releases), I wanted to write a review that addressed what I consider to be this album's place in the Crooked Fingers discography.

Eric Bachmann's voice is gritty and broken-down, and in my opinion is one of those voices that a listener either loves or hates. I love it, but the songs on this album don't put it to its highest and best use. Earlier records fit song-style to voice much better. I.e., those earlier records not only sound less polished, they are songs _about_ being broken-down, left-out, mis-fit (ahem, "crooked-fingered"). Listen to the cover of "Sunday Morning Coming Down" from _Reservoir Songs_ and you will hear what I mean. This album is dominated by driving, anthemic songs that are much more confident, even bouyant. Bachmann's voice seems a bit out of place, especially in duets with sweet-sounding women singers.

It may be argued that this album is a healthy progression of Crooked Fingers' sound, and that is for individual fans to decide. But I strongly encourage anyone new to Crooked Fingers to check out those earlier recordings, if not before this one, at least concurrently.

Fingers leadsinger Eric Bachmann has made self destuctive songs ,and vocally a cross between Neil Diamond and Tom Waits ,a record t attract this chick magnent with new songs about lost love and one about a peeping tom,should be enjoyed in dark spaces and beer to drink.

Okay, it's July by now. I think my most favorite cd of this year 2005 will be the newest one from the Walkabouts (which will be released in august) but this one is really, really my number one bij so far!! I love, love love it and keep on listening to it!! Who are you Crooked Fingers? I don't know but I will check it out. Thanks for the wonderfull songs. And to everybody else, buy this beautifull cd!!