Customer Reviews

Firewater

5 star:		(8)
4 star:		(2)
3 star:		(0)
2 star:		(1)
1 star:		(1)

 

 

Short and simple. This is one of the greatest and most powerful albums ever recorded. Lonely guys out west have nothing better to do, so they get sloshed and write songs about getting sloshed. Impressive lyrics that dare you to laugh at these alcohol influenced songs and heavy modernized guitar riffs that are only comparable to j.mascis of dinosaur jr. Modern rock's most talented musicians come together to create one of the most incredible rock albums of the last ten years. Buy this record and put Silkworm on your list of things to never let go of. Every song is good and the album flows perfectly,if you just let it run from song # 1 to the last song. Do not miss the oppurtunity to get a hold of a true and pure example of rock and roll. It will knock your socks off.

This album is the first Silkworm disc without Joel Phelps, and is without a doubt their finest moment. Going from three excellent songwriters to just two means stronger songs and a tighter focus across the disc, so that the group sounds like one band instead of three. Many of the songs are about alienation and alcohol, which may seem monotonous, but each song not only sounds different, but focuses on different facets, showing that an idea can be made anew with each song.

The three members are at the top of their game. Andy Cohen provides some simply scorching guitar on many of the tracks -- "Severance Pay" and "Slow Hands" are two prime examples, but the blown-speakers sound of the solo on the otherwise acoustic "Miracle Mile" has to be heard to be believed. Tim Midgett provides witty barbs throughout, and his bass gives the group more melody than rhythm, but doesn't slouch at the latter. Even Michael Dahlquist doesn't slouch on the drums; nothing too jaw-dropping, his playing is a perfect fit for the sheer rock crunch the band offers. Overall, the band produces rock music that runs the gamut from Stones-inspired groove to up-tempo rockers about drinking and working on the pipeline to an acoustic tale of the pitfalls of touring.

If you were to put your money into one Silkworm album, this should definitely be it. They never sounded as consistently good before or after this album. If you like your rock music gritty, a little bitter and wry, this will be your cup of tea.

In the spirit of objectivity, I will start with a disclaimer: This is my favorite album. Okay, with that large grain of salt dissolving in your pallate, know that it IS good, AND important. I feel it is one of the last true testaments to the 'rock' form that we Americans have to offer. Sad, sardonic, exapansive. Maybe a little uncomfortable, if not in length, certainly in content. But, mind you, it's beautiful. That's the key, don't you think: to be BEAUTIFUL. A person could write a damn thesis about this album, and maybe someone should.

I've only been on this planet 25 years, but 'Firewater' is one of my most favorite albums of all time and will more than likely stay that way. Perfect words(the last four songs especially) with perfect music(the whole damn thing), i now like solos, and Tim's voice is too good for words. I could go on for more than my allotted 1000's words, so i'll end here. I find it funny remembering that this gem sat in my collection for about a year before i (re)"discovered" it. Simply great music.

if you drink more than three days a week there is no reason you should not own and love this album...the same holds true if just simply enjoy the rock and roll music.
one of my favorite records of all time.

One of the best rock albums released in 1996, Matador was unfortunately hindered by massive production errors, no doubt contributing to the fact that Silkworm's "Firewater" is a relatively unknown and extremely difficult to find record. This is a real shame, because every fan of indie rock music needs to hear this album, particularly those who question their dependence on alcohol.

Why is this album so great? First of all, the all too cliché theme of alcohol abuse is driven home by these songs like a steel rail, yet somehow without sounding cliché at all. The members of Silkworm are obviously speaking from their personal experience. Great art always stems from experience.

Silkworm has also put forth here the most 100% genuine sound I've ever heard. There's no faking anything with these guys. They're not being flashy or gimmicky with their sound. They just put it out there, scars and all, and with the utmost confidence of the talented musicians that they are.

Although certainly not technically perfect, the guitar work is absolutely sick. The guitars dance and weave in and out of the lyrics like a crazed, drunken serpent. The sound often jumps from the your speakers quite unexpectedly, grabbing your attention just as it might think of paying the bar tab. All in all, there's at least 10-15 minutes of truly notable guitar solos. The long, bent notes of `Don't Make Plans This Friday' remind me of Stevie Ray Vaughn's cover of Hendrix's `Little Wing'.

The lyrics flow perfectly with the natural momentum of each song, yet taken on their own would make for pretty solid poetry. The song `Killing My Ass' is particularly startling, and easily the strongest recording on the album. In my opinion, this is one of the best rock songs ever recorded.

Overall, "Firewater" creates a calming effect on the listener, kind of like alcohol. That's why I keep coming back to both.....

My pick for swingingest indie rock song of the 1990s has been "Wet Firecracker" for about two years running. The obvious reason is probably the intermittent three-part drum riff -- Michael Dahlquist doesn't always play that manically, and bassist Tim Midgett royally slams his part home, so it's a case of an ace rhythm section becoming transcendant. And what were the '90s but a rhythm decade? "Firewater" can be numbingly minor-key in sections, but when it smokes, there's an electrical fire, and when Andrew Cohen's guitaring meanders around the groove, he makes me want to believe in jazz. I guess I already do, but the affirmation is nice. For indie purists, "Cannibal Cannibal" probably has the most cachet, but I think it's more blessedly boiled-up Keith Richards than anything (and don't get me started on "The Lure of Beauty"), and for indie folkists, I guess "Miracle Mile" is a fun story song overcome by noise, but I think that crass guitar lead at the end is a hoot. The downer lyrics spread all around? Honest as hell, sung with force and occasionally believable to a fault. But they ain't totally about hurt -- mostly they're hung up on the sour spot before freedom becomes an option -- so trust 'em.

a lonely album with a huge, sprawling guitar sound. fantastic. it's too good for words.

I was introduced to Silkworm on tour for the support of this album at the Copper Commons on the Campus of The University of Montana in Missoula in 1996. Once I heard them live, I was hooked, and this CD brings back the power of the show everytime I listen to it. I bought this right after the show at rock n rudy's (love that record store). I think silkworm was one of the most overlooked bands of the day, and Matador bungled the promotion of something special. Being on a good size indie label that touts bands like Pavement that had made big breakthroughs into mainstream rock in 1996, silkworm had the potential to get there, but not the backing.
Ok, Tracks to check out-
Tarnished Angel, some to the most scynical lyrics since therapy troblegum. This can go for the whole album, if you are a fan of therapy, you should check these guys out. My favorite track

Nerves-Very awsome track, power grunge/college rock collision, love it.

Drunk-everyone can relate to this

Miracle Mile- just darn catchy

Don't make plans this Friday-Good slow tune, makes one want to kick back and relax and reminice

The rest of the album is excellent as well, these are just my favorites, so much to review that I know I can not do it justice (and the sample listening parts only give you a glimpse), just trust me, buy it, you will love it.

My pick for swingingest indie rock song of the 1990s has been "Wet Firecracker" for about two years running. The obvious reason is probably the intermittent three-part drum riff -- Michael Dahlquist doesn't always play that manically, and bassist Tim Midgett royally slams his part home, so it's a case of an ace rhythm section becoming transcendant. And what were the '90s but a rhythm decade? "Firewater" can be numbingly minor-key in sections, but when it smokes, there's an electrical fire, and when Andrew Cohen's guitaring meanders around the groove, he makes me want to believe in jazz. I guess I already do, but the affirmation is nice. For indie purists, "Cannibal Cannibal" probably has the most cachet, but I think it's more blessedly boiled-up Keith Richards than anything (and don't get me started on "The Lure of Beauty"), and for indie folkists, I guess "Miracle Mile" is a fun story song overcome by noise, but I think that crass guitar lead at the end is a hoot. The downer lyrics spread all around? Honest as hell, sung with force and occasionally believable to a fault. But they ain't totally about hurt -- mostly they're hung up on the sour spot before freedom becomes an option -- so trust 'em.