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19 of 20 people found the following review helpful:
5.0 out of 5 stars
brilliant album, his best so far, December 16, 1999
This review is from: Fuse [ENHANCED CD] (Audio CD)
One of the professional reviewers revealed how utterly out of it he--like most mainstream pop critics--is when he said of this album, Joe Henry lacks the killer instinct of a great songwriter. For all his atmospherics, he's yet to compose a song worthy of propelling him into the mainstream. This sixth album seems mostly to be a sulky reaction to its predecessor, 1996's Trampoline, which was a blatant attempt to crossover. I don't know where to start with my objections to such idiocy. Somebody tell this cat to stick to reviewing Brittany, or Christina, or, for that matter, Madonna (with apologies). Joe Henry writes lush, literary music that sounds like it was made on Mars. I've heard nothing like it before. None of his work is an attempt at crossover, blatant or not. The critic has it exactly wrong: it's the mainstream that's not worthy of Joe Henry, and we can count ourselves blessed that Henry hasn't flattened out in order to sell. This is his best album, a brilliant, thoughtful, often comic take on the modern world. Would that more songwriters would take such risks.
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17 of 19 people found the following review helpful:
5.0 out of 5 stars
Need New Language, March 11, 2000
This review is from: Fuse [ENHANCED CD] (Audio CD)
I walked into a Ben & Jerry's one night and heard the pounding guitar of 'Monkey' busting out of speakers in the ceiling. I immediately demanded to know who was singing. After making a killer milkshake for me, the guy behind the counter brought out the CD case, smiling like a little kid who was delighted that someone else wanted to play. I wrote the album name down and bought it within a matter of minutes. A new language is needed to describe the ethereal soundscape of this album. While "Monkey" is likely to immediately impress the most stubborn listener, the rest of the album will slowly sink into your mood; and then it will sink YOU. Heavenly songs like "Skin And teeth," "Want Too Much" (produced by the brilliant Daniel Lanois) or "Fat" sound as if Joe Henry stuffed the night sky into a silk bag, moon and all, and ran off into the studio with it. Fuse is the result. The lonely trumpets, thumping bass and funky, echoing guitar licks sound like they were played by musicians who just happened to pass by Henry as he was singing in a dark alley at night. There is desperate solitude pervading every layer of this album, right to its core. I haven't a clue as to why brilliant tracks like 'Monkey' or 'Like She Was A Hammer," containing the most brilliant lyrics put to tape since Pink Floyd's last album with Roger Waters, didn't assault the charts. Though I doubt that is of serious concern for Henry. I hope to God that it stays that way. Henry is a private treasure for anyone who buys this album, or 1996's "Trampoline," which is equally as indescribable. So, to hell with the critics who see only black and white, successor failure. Maybe this album should have been released 20 years from now, when the world might be ready for it.
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8 of 9 people found the following review helpful:
5.0 out of 5 stars
There's genius in here, July 5, 2000
This review is from: Fuse [ENHANCED CD] (Audio CD)
Trying to throw adjectives at Joe Henry is a difficult proposition - Henry is an elusive talent, a wordsmith, with a very diverse style. Perhaps you could think of Henry as Tom Waits' slicker more urbane nephew - perhaps I could be way off the mark, in any case what we have here is another great record to enjoy from Joe Henry. Expanding on his excellent '96 album 'Trampoline' and it's forays into more urban, sampled territory from his previous alt.country/folk leanings, 'Fuse' finds Henry even more at home in a dark, brooding, smoky jazz club, than the twang of a small town bar&grill. Ever the inventive lyricist, Henry clearly enjoys wrapping his lips around evocative phrases - take "... her fingers on your lips are like a penny for a fuse" from the delicious title track, or "rolling over granite there's a smell like plums and clay" from 'Angels'. Not to forget the songs - simultaneously taut and multi-textured grooves that are beautifully composed, very catchy and blessed with the perfect companion in Henrys deep, one of a kind voice. Standout tracks would have to be 'Fuse', the delightful 'Skin And Teeth' and 'Great Lake' all ruminations on fragile relationships carried off with an effortless cool.
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