Customer Reviews

Dog in the Sand

5 star:		(40)
4 star:		(20)
3 star:		(5)
2 star:		(2)
1 star:		(1)

 

 

First, about this album, DOG IN THE SAND:
After nothing short of worshiping FB's first 3 solo albums, I was kind of disappointed by the first 2 offerings from FB & the Catholics. The production was lower, the performances were done live but sloppily at times, the lack of instruments made the arrangements emptier, and while some of the songs were FB-signature compositional gems, a good bit of it seemed musically and lyrically uninspired (for Frank, I mean... not saying it still didn't blow away 99% of the mindless [stuff] out there). Well, this was the album that got me back into Mr. Black with both feet. This album is sort of laid back and definitely a bit country-western in its instrumentation (lots of acoustic guitar, plus slide, pedal steel, piano, and even banjo), but Frank just seemed to be oozing with unique musical and lyrical ideas again. Still recorded live to 2-track, but way more instruments, much better performances, and perhaps some of Frank's most crisp and dead-on singing to date. Not a dud song in the bunch really, and that is quite an improvement from Pistolero and the Catholics 1st album.

Second, about this version, the one with bonus tracks:
Why this version is always cheaper than the original album, I have no idea. It is identical to the original album-- same CD, same cover art, same track listing-- EXCEPT, you get 4 acoustic demos at the end (not listed on the back cover). You get to hear "Stupid Me," "If It Takes All Night," "Robert Onion," and "Blast Off" demos, and they aren't just [crummy] sound quality dud tracks. It's like a Frank Black solo unplugged session to close out the already awesome album for you, and it's terrific. Especially "Stupid Me" and "Robert Onion"-- his voice sounds as cool if not cooler on the demo versions compared to the regular versions. To sum up, you should get this album, and there is no excuse for not getting this enhanced version of it!

Try reading the liner notes before you write a review. That way, you won't credit Santiago for playing on tracks that he didn't. You'll also see that he only played on three songs. Joey's a fine player, but not as important as you seem to think. That's Dave Phillips playing "the frenetic power chords" on "If It Takes All Night" and Rich Gilbert with the "exuberant" solo on "Bullet". As for the "subtle picking" on "Robert Onion", that's Frank on accoustic and Dave Phillips on lead. Rich and Joey are playing the power chords.

Frank Black was a member of the Pixies. The Pixies were a great little group with a relatively simple sound. All of a sudden, in 1993, Black split the group up and began his solo career. My guess is that he was fed up with the simplicity of the Pixies' music, plus there were some personal complications with the rest of the band. He released two magnificent albums, Frank Black and Teenager of the Year. The latter was an especially extraordinary piece of work, with 22 highly original and brilliant songs. However, the critics didn't get it and TOTY didn't sell very well. So, after making The Cult of Ray in 1995, he decided to form a pure rock'n'roll band and record live to 2 track. Frank Black and the Catholics' first, self-titled album, was a rather half-baked effort. However, Pistolero (1999) was a step in the right direction. Now, on the 29th day of January 2001, Frank Black has finally returned with a masterpiece comparable to TOTY and FB. Dog in the Sand is a brilliant album, packed with weirdness and imagination. Eric Drew Feldman returns with his keyboard magic and the overall sound is more produced, although they still record live to 2 track. A must-have for all adversaries of Westlife.

this album is sooooooo good. go get it. as far as the secret to the album's success being the inclusion of joey santiago on 3 tracks....??!?!!! come on! the amazon reviewer here is kind of mixed up, methinks. probably the same one who wrote the review of the movie "Harvey" (!)...

in the words of frank, "I think you--had no clue..."

[if anyhting, the secret could be the extra efforts of eric drew feldman from the one and only magic band of yester-year... that and whoever's playing slide!!!!!]

anyhoo, frank is just criminally under-rated. go see him when he hits yr town, man...

"LLANO, LLANO, LLANO -- LLANO DEL RIO!!!!!!"

Another fine album by Mr. Black and his Catholics. Casting aside talk of Mr. Black's musical history, this album is a fine fine achievement on its own (the framework by which any work of "art" must be considered, blah blah). The keyboards are back, though in a purer state than the Casio boops and beeps of Teenager. Organ, electric piano, and conventional piano are throughout. Also, there seems to be a subtle country (western?) influence here, though if you are not looking for it, it will pass by undetected. Prior reviews mention Dylan and the Stones. Throw in the Blues.

Minor, moody chords, quirky inventive progressions, make this intelligent rock with some truly great lyrics.

If you do not like this album at first, listen again. If you still do not like it, listen again. Repeat until you love it. It won't take long.

Truly, thanks once again to Frank Black and the Catholics.

It's been a long time since we've seen a good ol' rock and roll album. It's been attempted, but seem to forget that in order to make a record in a certain genre, you need to put a twist on it, do something different. Frank Black, in recent years, has done this and in doing so has set himself as a pretty talented song writer. Unfortunatly, his work has been pretty inconsistent. Dog in the Sand however is what all those albums should have been. With extra intstrementation this time around, Frank's songs take on something even more special. The arrangements are pefect, you really get absorbed into these songs with piano tickling one pleasure center and banjo tickling another. Reminds me of Tom Petty's Wildflowers and recent Johnny Cash. Than there are the songs! Two whole ballads from a man who rarely includes one on an album. Dog in the Sand which is actually originally a pixies song and perhaps Frank's most beautiful song ever. I'll be Blue a concert favorite is quite beautiful as well. There is a definite Americana feel to this album. Most of all, it feels like an album! While most records today have a sort of thrown together and sound like a best of album, this is perfectly sequenced. Blast off is the perfect introduction. Other notable tunes: well all of them. there is not one i dont like or seems like filler. I was glad to see Frank getting somewhat personal on this album, at least on a coulpe songs, he's still a bit reference crazy but it works. Can't say the guy aint intellignet. So, to conclude. This albums is amazing, great for everyone. And to all you critics who can't stop comparing Franks' albums to pixies songs and to all of you who can't get over the different sound, i'm gonna feed you to a dog in the sand. Frank is still a great songwriter, don't doubt it for a second.

Yes, the Pixies are gone, but Frank still rocks hard. I've spent the last few months catching up on all his releases since his 3rd LP, and this one is one of the better albums. Some of his newer stuff, while technically proficient, and written well, just didn't have that certain thing that's drawn me to his earlier work. This album does. I don't know how to describe it any better than that, except that this is one of my favorites of his work. Hope that helped.

Well, this one definitely lives up to the positive reviews I'd seen about it. I don't think I could pick out a favorite track here -- there're too many good songs to choose from. It's probably easier to pick a least favorite track. My vote goes to opener BLAST OFF for that honor. No pun intended, but it never really blasts off. And for over seven minutes. But once you hit track two you get a hint that better things are ahead.

IVE SEEN YOUR PICTURE features Frank channeling Mick Jagger. The whole tune has a Stones-like feel to it.

Next up is ST. FRANCIS DAM DISASTER, and I dare you to get it out of your head once you've heard it. An instant classic.

The driving, urgent ROBERT ONION is next. Another fine tune. I love the ending: the song seems to come to an end only to start up again. A strange therimin-sounding instrument begins playing (no therimin was used on the track, however, according to the track's detail notes. Must be an electric guitar producing those unusual sounds). The therimin-like sound is heard as the tune builds to a rapid tick-tock of a clock (I even hear a couple of "CooCoos" in there) before finally coming to an end. (Was this album REALLY recorded straight to two track with no edits? If so, it's a remarkable achievement).

STUPID ME sounds like a 50s era ballad with a slight country feel. It's a great tune. Frank Black has stated that he recently took some singing lessons and was trying to get some of his high notes back. One listen to this song and you'll know that the lessons paid off. In fact, his vocals throughout this album are the best I've heard from him.

BULLET is incredible. A strong beat and some fine pedal steel playing propel it along.

Next up is THE SWIMMER. If I had to compare it to anyone, I'd say it has a Procol Harum feel to it. Whatever, it's another excellent tune, with some beautiful, almost jewlry box-sounding electric piano portions.

There's no debate over what band influenced HERMAPHRODITOS: this is the Rolling Stones through and through, with classic slide guitar playing and Black once again aping Jagger. It's also singularly the hardest rocking song on the album (though it doesn't have the sonic bombast of some of the tunes on F.B. & the Cs. previous two releases).

I'LL BE BLUE is, in a word, gorgeous. Who would've guessed that a guy who's hands-down the best screamer in rock (yeah, I've heard Marilyn Manson try to imitate Black's trademark primal scream, but there's nothing like the original) would be capable of a song like this?

The mostly acoustic LLANDO DEL RIO has that kind of "Up On Cripple Creek" groove to it that makes it hard to resist tapping your toe. Some very tasty pedal steel soloing here.

IF IT TAKES ALL NIGHT is a straight-ahead classic rock number, and another winner.

Finally, we come to the closing title cut. I enjoyed this number during its first instrumental incarnation as SURF EPIC on an earlier single, but this time around it's even better. Somehow, this version sounds like the tune was meant to sound, capturing all of its moody nuances. It's the moodiest cut on the album, and the perfect choice for an ending.

In closing let me say that if country music doesn't turn your crank, don't be deterred by some who've called this a country album. We ain't talkin' Grand Ole Opry here. Rather, some instruments like pedal steel guitar have been utilized to great effect on several of the album's cuts for atmospheric embellishment. The album kinda falls into the same rare category as the late Hoyt Axton's brilliant oddity from over 30 years ago -- "My Griffin Is Gone" -- in that it's packed with great and sometimes unusual tunes that flirt at times with country music's colors without ever burying itself under a Stetson.

You'll definitely get your money's worth with DOG IN THE SAND. I certainly have.

Once again, Black and the Catholics have cranked out a superb album. Though things get off to a so-so start with the repetitious Blast Off, which at 7:09 minutes is about 7:09 minutes too long, things really pick up creatively by track 3: St. Francis Dam Disaster; arguably the best track on the album. From there on it's a great ride (though Hermaphroditos might be a little too Stonesy for its own good). Both the sound quality and musicianship is superb throughout. A comment is in order about the 'official' Editorial Review by Andrew Mueller, because he got some facts wrong: Joey Santiago didn't play the guitar solos Mueller praises him for on two of the tracks he mentions. In fact he didn't play at all on those tracks! He did play on the third track Mueller mentions -- Robert Onion -- but so did three other guitarists, so there's no way of knowing if Mueller is praising the right person for their "subtle picking." And as for the suggestion that Black invited Santiago to join the recording session because he's (Black) finally realized it's the only way to recapture past Pixies glory: Get real! Mueller seems unaware that this is the third album Santiago has played on since Black went solo. (His self-titled debut and Teenager of the Year were the others). But for all those daydreaming about a Pixies reunion: SNAP OUT OF IT! You'll see Frank Black record an album of duets with Sarah Brightman before you'll see a Pixies reunion. Enjoy this new release. It seems that Frank Black is incapable of making a bad album.

I'll tell you this, people expecting this album to be mere repition of the history of the Pixies had better face the facts: Black Francis has grown up, ladies and gentlemen. He's finished with the experimentation and wild sound that made the Pixies famous. But now it's time for newer and better things, so he's concentrating on imaginative storytelling accompanied with nearly perfect acoustic rhythm and that all too familiar falsetto.

Dog in the Sand, released in January, is the latest and greatest work done by Black and his musical Catholics. Now, don't get me wrong here. I love the Pixies, have always loved the Pixies, and completely dig songs on DOG like "Blast Off" and "Robert Onion" in that they remind me of some of the tunes on Doolittle and Death of the Pixies. But what I love about this album is that there's so much more to be appreciated than that. There's the howling Frank we all know and love on songs like "Hermaphroditos", while tracks like "If It Takes All Night" and "Llano Del Rio" are chock full of storytelling devices and good old country twang that remind me of some of Ween's crazier stuff. The third track, as almost always, is my favorite. It's an emotionally sung but feel-good kind of ditty called "St. Francis Dam Disaster." I won't ruin it for you guys by saying anything more about it, but check it out. It's the kind of song I like to hear when I'm driving. You know?