Customer Reviews

Long Surrender

5 star:		(9)
4 star:		(6)
3 star:		(2)
2 star:		(1)
1 star:		(1)

 

 

Over the Rhine (these days the husband and wife team of Linford Detweiler and Karin Bergqvist, with assorted extras) had 4 releases in 2007, the last one being the "Trumpet Child" studio album, and when that came out, the band toured behind it as never before. Along the way there were some memorable moments and milestones. In May, 2008, the band opened a new venue in Cincinnati (then called the PNC Pavilion) by performing the "Ohio double album in its entirety. In December, 2008, the band celebrated 20 years of music by reuniting the classic line-up for an evening of music of "the first decade" (this was released in 2009 as the "Live from Nowhere. Vol. 4" CD), with the regular line-up playing "the second decade", at the Taft. In June, 2010, the classic line-up reunited one more time in celebration of the 15th anniversary of "Good Dog Bad Dog", perhaps the band's most beloved album (but not by me), playing it in its entirety. And oh yea, along the way the band wrote some new songs, which finally are released on this, the band's 11th studio album.

Produced by Joe Henry, "The Long Surrender" (13 tracks; 56 min.) was recorded in a matter of just one week at Joe Henry's home studio, but you could never tell that from the end result. Opener "The Laugh of Recognition" starts things off gently and to me it's immediately clear that this album falls musically somewhere between "Drunkard's Prayer" and "The Trumpet Child". "Sharpest Blade" is the first highlight of the album, a piano-led ballad featuring Karin's soaring vocals. "Rave On" plays great. THE best track on the album comes towards the end of the first half of the album, when "Undamned" comes on, a dramatic tune (featuring Lucinda Williams on vocals, no less). Now the album is in full throttle: "Infamous Love Song" continues the heavy undertones, and then comes "Only God Can Save Us Now", a live staple for some years and now finally committed to CD (it's Karin's song about characters she's met at her mom's nursing home, heartbreaking and funny at the same time). After this we need a change of pace, which we thankfully get with "Oh Yea, By The Way", a lazy duet between Karin and Linford. After that we are on for the home stretch, with a few more nuggets (the jazzy-sounding "There's a Bluebird in My Head", and the epic, feel-good "All My Favorite People". The album closes with "Unspoken", a short piano instrumental from Linford.

This album is not for anyone in a hurry. Incidentally, the band self-financed the recording and release of this album by asking fans for financial donations, and the rabid OtR fan base responded massively, to Karin's and Linford's surprise but great appreciation. To reward those fans, the band played the new album front to back here in Cincinnati in December (with Joe Henry as a special guest), and as much as I like the new album, I must tell you that the songs live sound even better, some of them just massive. There is a good reason that in the "thank you" notes, Linford again reminds us that a quiet record like this "is designed to be played at magnificent volumes", in other words: PLAY IT LOUD!

as a longer-time-than-i-care-to-mention fan of OtR, i usually like what they do, but my first impression was "huh, they sorta missed it a bit with this one, good try."

then i let it play.
and i let it play.
then i wanted to hear it.
then my 13 year old daughter asked to borrow my disc for her iPod.
then we took it on a car trip (per my daughter's request).
now, I am hooked- and i chill, cry, and laugh a laugh of .... well, you get the idea.

it is a different album, perhaps a bit more subtle than some others-combining all styles they have ever played with....
still, they retain a spiritual profoundness, perhaps even more because you have to pause, sip, and breath it in.

Infamous Love Song should be re-recorded by Leonard Cohen.
and any of their music could be recorded by Rufus Wainwright... (um, PLEASE!)

DO NOT WRITE THIS RECORD OFF BECAUSE IT WAS RECORDED IN HOLLYWOOD...

it is nothing short of another chapter of the epistle they have forged such latter days...

This band actually has great all around talent: songwriting, performing live, recording/executing great albums, and conveying some genuine life into songs. I have four of their albums and they never cease to impact my heart and ears with strong, emotive music. Drunkards prayer reduces me to tears. The one before this (trumpet child or something like that) is a rambunctious party. And this one is a beautiful bluesy walk in the twilight of an introspective day. I think the album is very good, a couple of slightly cheesy songs but some real gems that greatly outweigh the misses. The opener gives you a glimpse into what is to come and the closer gets the message across. Enjoy some real music folks. Bieber, this is good place for you to start bud.

When I first heard this record I was not terribly impressed. But given the amount of vested trust I have in OTR I continued to listen and the album has become among my favorites. It is true that there are both excellant and more tepid performances on this album, but each song adds to the album, feeds the atmosphere of it, and in the end helps create a well-rounded record. Fans of albums such as Ohio, Drunkard's prayer, Good Dog, will find much in this album and fans of Films for radio, trumpet child will find less. It includes both songs accenting teh sexy aspects of Karen's voice, as well her classical training while remaining always emotive. The best tracks, in my view, include 1, 8, 9, 11, and 12.

Already some solid reviews here so I will try to be concise.

Notwithstanding the gorgeous title song of Over the Rhine's last album, 'The Trumpet Child', I was not a huge fan. 'Nothing is Innocent' was the only other cut that's on my best-of-OTR list. While there is no seminal song like TTC on 'The Long Surrender' I like it a little better overall than TTC.

'Surrender' opens solidly with its two strongest tracks...'The Laugh of Recognition' and 'Sharpest Blade'. Things drop off for a while before two other excellent songs, 'Days Like This' and 'There's a Bluebird in My Heart', rescue 'Surrender' from disappointment. However, four very good cuts do not a four/five star review rate. If it were possible, we'd be talking 3 1/2 stars here.

Karin and Linford still are creating some great music and likely will for a long time. However, it's going to be hard to put together a nearly flawless gem like 'Drunkard's Prayer' or an opus like 'Ohio' again.....not that I don't think they have it in them or that it's even necessary.

I believe you'll enjoy 'The Long Surrender' best if you don't over-expect; the handful of really fine songs will then be most enjoyable.

On their first album in three years, Cincinnati's Over the Rhine teams with producer Joe Henry. The darkness of 2005's Drunkard's Prayer and 2007's Snow Angels is still evidenced in the lingering tempos, low, deliberate piano notes, slow shuffling drums and atmospheric pedal steel washes. The vocal phrases are broadly spaced, playing more like extemporaneous thought than written words, and though the lyrics appear straightforward on their surface, their meanings are elusive, thrown into shadow by the questions in Karin Bergquist's voice and the moodiness of the arrangements. The album's opener beckons one to recognize a good, yet ultimately failed effort; one is left to wonder if this the voice of experienced pragmatism or a siren's lure to spiritual death. There are road trips and parades whose poetic allusions dovetail seamlessly with the band's accompaniment, and a jazz ballad, "Infamous Love Song," that recalls beat-era poetry.

The troubled love of "Oh Yeah By the Way," sung as a duet with OTR co-leader Linford Detweiler, is more straightforward, and "Only God Can Save Us Now" cleverly uses a baby doll as a through line between pre-school and old age. Henry's production is organic to the songs, as though they were developed in tandem. The stick percussion of "The King Knows How" adds tension with clock-like time-keeping, and Detweiler's piano provides romantic introductions and interludes throughout the album. Bergquist and Detweiler write lyrics of inner emotion, and Henry's production textures turn these thoughts and words into sound and music. The disc is delivered in a tri-fold digipack with two booklets - one containing lyrics, credits and Joe Henry's liner notes, and the other a list of nearly a thousand fans who provided financial support for the recording. This is thoughtful, old-school music brought to you by twenty-first century listener-to-artist funding. [©2011 hyperbolium dot com]

The musicians are excellent--all of them. The female vocalist is rock solid. The percussion is imaginative and perfectly fitted. The songs have a haunting quality, rhythmic, inescapable. This is not light-hearted joyful music, but neither is it raucous, painful, or deeply depressing. It would be ideal for listening to on a dark, drizzly, sleepy Sunday afternoon, without distractions. The mood is certainly that of blues music, but it has its own unique quality. I first heard these folks on the "Woodsongs" TV show, and immediately wanted to hear more. These are seasoned, talented musicians who have perfected their skills.

I've been a fan of OTR for over 15 years...and their music continues to grow with the years. In this day of "canned" music, OTR is the genuine thing. They are amazing musicians and song writers and Karin Berquist's voice is, I daresay, the best voice out there. If you are looking for music that is truly food for the soul, then feast on OTR.

The Long Surrender is their most mature, musically diverse and yet amazingly cohesive album yet. You can definitely see Joe Henry's influence here...and that's a very good thing. My favorite songs are ...well really ALL of them. However, if I had to pick a few favorites, they would be The King Knows How, Only God Can Save Us Now and my absolute favorite "All My Favorite People".

Not since their 2-CD opus, "Ohio" has OTR come out with an album so rich in songwriting depth and shear musical genius. If you have never listed to OTR, try them...you will be hooked for life.

I'm a long-time fan of Over the Rhine but have missed most of their work since Ohio. I bought the album after hearing The Laugh of Recognition on Pandora and reading the reviews here. When I first listened (in my car), I was in the mood for music a little more suited to road rage, but am so glad I remembered the words of the reviewer who suggested giving the album a chance.

I enjoyed the second time through much more and realized that this the sort of album you hear (and love) while sitting at Starbucks on a Sunday afternoon. The songs are richly layered, both muscially and lyrically, which I'm still discovering after about 20 listens.

Around listen #6, I finally noticed Lucinda Williams' trademark warble in one of the songs. "Is that Lucinda f***ing Williams?" I asked myself. Yes, it is.

During listen #2, I also wondered how great artists like Jolie Holland, Neko Case, the the Decemberists are so popular while OtR languishes in relative obscurity. I bet OtR wonders this sometimes, too, as they are just so very talented and have quietly released an extensive and varied catalog of beautiful songs that tend to permeate one's soul.

I got home from work mid-3rd listen and was moved to cart the cd up two flights of stairs because I needed to hear more. I confirmed my suspicion that the songs would sound even better if allowed to expand in a bigger space.

This is an album to play (loud, of course) in its entirety on a lazy Sunday, quiet late night drive home, or yes, over coffee at Starbucks. It's not for those times when you want to rock out to the Yeah Yeah Yeahs, Muse, or TV on the Radio. Unlike many contemporary releases, it works beautifully as a cohesive album that stands up well over time and is improved by repeated listens.

If you like the music of Norah Jones, Diana Krall & KT Tunstall, you'll hear influences from all in the music from the Over the Rhine duo