Customer Reviews

Monsters Of Folk (Vinyl + mp3 Album Download)

5 star:		(35)
4 star:		(11)
3 star:		(7)
2 star:		(4)
1 star:		(3)

 

 

I have to admit the only member I was even remotely aware of was Conor Oberst, who was featured in a RS piece some months ago. A brief mention of this venture was all I remember, other than his hiatus from making genius music.

So, I was intrigued when my wife bought this album from Sound Garden Records in Syracuse, NY before we attended the SSO concert that night. We listened before going into the symphony and we both thought it "just ok".

My wife brought it to work and played it in the vault for a couple of days and brought it home without a word. Later that week I took it out and asked her how it was received. She said that it just seemed to go a bit unnoticed and wasn't great background music (she works with cancer patients and plays music during the radiation treatments).

I started listening to it a couple of weeks ago, to and from work, and it has surely grown on me. One of the reviews I read stated that this effort seemed to lack cohesiveness and was a bit disjointed. Although it does exhibit these two results, I think it's to be expected from this so-called "supergroup", especially theme-wise (as was implied in the critique), song-to-song.

But, musically, these four sound like they have been together as a band for years and are at that point in a band's career where its time to compile a "Greatest Hits" record. I think the music is just that good and the musicianship is simply stellar. Each song has a distinct flavor all its own, which speaks to the talent of each member, and the depth of talent and richness of melody each can bring. The lyrics are a real treat as well and don't let the listener down.

Let me give my song by song run down:

1. Dear God (Sincerely M.O.F.)--Deeply moving, spiritual song. Each member
sings their own refrain to God. Well done.

2. Say Please--Killer guitar. Beat is Beatlesque with strong influence of
Harrison.

3. Whole Lotta Losin'--Credence opening. Hint of Jeff Lynne vocals. Travelin
Wilbury vibe. This isn't a copy, though. Its original; the real thing.

4. Temazcal--"A 'Temazcal' is a traditional Native American Indian steam bath
that has been used for both healing and ritual ... The Temazcal serves as
a calming and therapeutic experience." The synths stand out on this one.
This is the most mystical song on the CD, both lyrically and emotionally.

5. The Right Place--The second most folksie song on the record. A great
little ditty.

6. Baby Boomer--The first most folksie song on the record. Can you say I was
influenced by Arlo Guthrie ladies and gentleman? Great lyrics/commentary,
too.

7. Man Named Truth--Great pickin'. The third most folksie song on the
record. The mandolin shines through. Great story tellin', too.

8. Goodway--The most "country" of them all. An interesting element to this
song is the "excerpt from an anonymous letter read immediately before being
burned" inserted at the end of the song, read quietly, just audible below
the melody.

9. Ahead of the Curve--Great country rock acoustic number.

10. Slow Down Jo--Great vocal harmonies on this one. Like its name, it slows
things down and brings vocals together, at times, mixed with a terrific
steel guitar.

11. Losin to Head--So Beatles. All Beatles. Again, this is not imitation that
feels wrong, but is original with distinct influential undertones. There is
a guitar in this song that sounds like John was brought into the album to
play guitar (no not George, I know).

12. Magic Marker--The first time you are reminded of the "How many licks does
it take to get to the center of a Tootsie Pop", and you think, "What are
they bringing that up for?" But, the nostalgia is brought along with a
melody and harmonizing done so well that, in the end, you feel yummy just
like the song. There is a guitar part in the center and it tastes oh-
so-sweet.

13. Map of the World--Good song. From the website: "James, who has lately been
producing solo material under the moniker Yim Yames, concurs: `It was very
peaceful and hilarious. No ego. No drama. Just a lot of song-trading and
ideas floating around and good times. We worked hard on the songs and the
ideas, but it never felt strenuous or rushed. There were several moments
during the Malibu sessions where we would all be in the room recording all
at once - on `Map of the World,' for example, or `Losin Yo Head' -- and
they were really magic. I think we all felt like we were in high school
again, picking up new instruments for the first time and just losing
ourselves to the moment and having fun.'"

14. The Sandman, The breakeman and Me--Classic train song. Well done.

15. His Master's Voice--If you don't have a spiritual side, maybe the subject
matter will be off-putting. For me, the subject matter combined with the
acoustic guitar and vocals make this one simply magical. probably my
favorite one on the record.

Buy it today.

The announcement of Monster of Folk's debut album this year instinctively drew a knee-jerk reaction of dread from me, despite its pristine indie pedigree. After Tinted Windows defined the term "novelty supergroup" yet again for the year 2009, I was just a little worried that ego and the sense of "fun" that routinely leads artists to ill-advised collaborations would cause the sum of talent here to be considerably less than its individual parts. Luckily for me and fans of the people on display here, Monsters of Folk works more like a well-oiled, cohesive "best-of" collection of each, rather than a clash of styles or a neutered effort of bland, wankish jam sessions. Made up of Conor Oberst (Bright Eyes, Mystic Valley Band), M. Ward (She & Him), Jim James (My Morning Jacket), and Mike Mogis (producer extraordinaire), Monsters of Folk's terrible title belies its eminently accessible nature.

Unlike, say, James Iha and Taylor Hanson, Monsters of Folk's previous bodies of work definitely share a sort of kinship. From Oberst's post-Cassadaga work, to James' obviously country-ish bent, to Ward's folksy, `60s-pop-worshipping solo releases, it seems almost preordained that this foursome would eventually find each other, with Mogis' instrumental wizardry and understated production serving as the glue of the album. Best of all, despite its 15-song length and influences-on-their-sleeves style, Monsters of Folk never comes off as a gimmick, or, worse, a mere compilation. Oberst never dominates one track and then disappears on the next; James' doesn't make one song his personal My Morning Jacket clone and then let someone else take the spotlight on the next. Rather, Monsters of Folk melds them all into what consistently feels like a natural record, one where new listeners might be surprised to learn of the members' disparate backgrounds.

"Dear God (sincerely M.O.F.)" does start things off pretty shaky, and you'd be forgiven for thinking it was an Evil Urges outtake, and a terrible one at that. But the bad taste is quickly wiped away with the irresistible, fuzzy energy of "Say Please," where the gorgeous but clearly distinct harmonies gives the song a true group feel, a `la Crosby Stills and Nash (or, dare I say it, the Beatles). From there on it's a veritable treasure trove of woodsy, vibrant music, a grab bag of styles notable not for their differences but by how well they mesh as one. Hear Ward and company burn it on up tempo alt-country rocker "Whole Lotta Losin;'" hear Oberst do his best Johnny Cash impression on the fingerpicked western-flavored "Man Named Truth;" best of all, hear all three of them play off each other on the restless build-up of highlight "Baby Boomer."

It's easy to distinguish between the three vocalists, from Ward's smoky, soulful vocals to Oberst' wobbling entreaties to James' immediately identifiable falsetto, yet their effortless harmonies and vocal interplay is sharpened to a lovingly refined point. Musically the band's closest touchstones are Ward's last two solo efforts, as songs like the woodsy "Goodway," "Magic Marker" and many more mimic the kind of `60s pop/Americana folk pastiche he's strived for, although Oberst's Mystic Valley influence is well represented here (his inexplicable Mexico fascination continues on "Temazcal"). But far be it from them to discriminate - songs like acoustic shuffler "Map of the World" reflect Fleet Foxes' multi-part harmonies and Appalachian character, while "The Right Place" sounds like vintage, It Still Moves-era My Morning Jacket. The record as a whole continues to build up its own identity as it goes on, thanks in large part to Mogis' eclectic production and the refusal of the tracks to fall into a stylistic rut.

Sure, it's a little long, and the opening and closing tracks are two of the worst bookends for an album in recent memory, but perhaps that's just merely a testament to the strength of the material in between. After hearing Monsters of Folk for the first time it's easy to write it off as a success in its genre and a (huge) success for the supergroup ideal, but repeated listens show it as much more than that. Songs like "Say Please" or "Baby Boomer" practically sound like they were recorded in a live setting, the band's energy a nearly palpable feeling throughout. Monsters of Folk is a great album, and it achieves this excellence not with fancy studio tricks, particularly amazing songwriting, or virtuoso musicianship, but with that which so many other supergroups have lacked: a refreshing passion for the material, the kind of passion that is impossible to ignore.

I've never heard of any of the artists in this band before, or any of their individual bands. But my boyfriend played this CD for me and I fell in love with it!!!! I immediately went out and bought it for myself, as well as 3 extra copies that I'm giving away as Christmas presents! It's THAT good!!! Mellow but not boring or sleepy.

Not as good as their individual parts. Occasionally, as in the first track, they work really hard at crafting a pop song that I'm just okay with but tap through to the next song whenever I play this album. (I tap through a lot on this album)

Conor is my favorite of these four, but even his songs call a little too much attention to a rather stilted structure on this album. His last solo was better, as was the Bright Eyes last one.

As with all supergroup albums, it seems, nothing cohesive here except the next song.

Maybe three good songs, the rest are just okay.

Monsters Of Folk is a super group comprising solo acts or acts from other groups, similar to Crosby, Stills, Nash & Young, or more recently, Travelling Wilburys or Raconteurs. Composed of singer/songwriter M. Ward, Conor Oberst and Mike Mogis from Bright Eyes, and Jim James of My Morning Jacket, their sound is harmony rich psychedelic Folk/Rock, akin to Fleet Foxes or Grizzly Bear.

Opening cut "Dear God (sincerely M.O.F)" is a swirling psychedelic sounding number with dreamy harmonies and posing exisential questions. It samples "Is There Any Love" by Trevor Dandy and is truly beautiful. "Say please" is more upbeat and guitar driven, a bit Beatles-like, while similar, but more downbeat is "Ahead of the curve".

There is variety in the sound, from the spare acoustic trio of Folky "Magic marker", "Map of the world", and "The sandman, the brakeman and me", the woozy psychedelic "Slow down Jo" (again, those dreamy harmonies and softly chiming guitars offsetting whispered vocals), the ethereal sounding "Temazcal" (with Oberst singing "The love we made at gunpoint wasn't love at all/They're dancing in the valley, the moon is the mirror ball" against ghostly harmonies), to the sunny Country-tinged Rocker "Losin' yo' head" and the bouncy Western-style "Man named truth" (beautiful guitar and harmonies).

Everything is brilliant really, and the subtle flourishes and nuances add to the allure of the fantastic songwriting. A monster!

You always have to worry when disparate artists join together for the not-so-novel "supergroup," but the team on Monsters of Folk deliver the goods. It is a cohesive collection that plays as if the four artists have done this before, and the results make it one of my favorite new albums of the year. Their voices compliment each other beautifully; the songs are eclectic but always accessible.

You have to love an album that you can listen to time and again and find yourself loving more and more on each listen. And just see if you don't find yourself humming the melodies long after the music is turned off!

Here's hoping Monsters of Folk tour the festival circuit in 2010.

This collaborative effort between legendary artists is remarkable. I was skeptical when I heard about the project, but as the singles were released I fell in love. The album is fantastic, and if you are a fan of these artists, you won't be disappointed. If you've never heard anything from these guys. . . you may as well let this be your introduction. It makes me tingle!

"Monsters of Folk" caught my attention immediately because of the name. But come to find out though, that these guys are not really 'folk' artists in the truest sense of the genre. I wasn't really fans of any of the guys/bands in the band beforehand, so I'm quite surprised at how much I enjoyed this record.

The music here has this sort of transcendent beautiful indie rock/ folk-rock/ classic 60's 70's-songwriter-from-the-future vibe here. It's the sort of music that is still going to sound good several years from now. I thought I might not like having different singers rotating on songs, but they all work together nicely.

I really liked this record and enjoyed it while commuting to/from work in traffic, so I found it nice and relaxing. It's mellow enough too that I could probably fall asleep to it/ space out to it. Good stuff. Definitely worthy of a spot in any music fan's rotation.

I am so happy to have this album because I admire and respect every musician who put forth effort to create it. I'm appreciative of the beautiful & thoughtful arrangements and very interesting instrumentation by the aptly coined contemporary Traveling Wilburys. It is a unique gift to hear a few songs that offer the seamless blending of voices I've come to love individually, but there are some songs that are exactly reminiscent of the parts and not the sum. So, its not all sunshine & rainbows because there are some holes. Unlike others reviewing here, I'm IN LOVE with Dear God (and I'm agnostic, so this ain't a spiritual review) because it is brilliantly produced, hauntingly beautiful and representative of the collaboration (a departure from all of their solo work). There are other strong tracks that are good old-fashion alternative country and I have mad respect for namely: the LIVE version of Temazcal (ancient sweatlodge?), The Sandman the Breakman and Me, Magic Marker, Map of the World, and Slow Down Jo, all of which feature beautifully inventive guitar work. Overall, this is a solid purchase, if you dig any of these artists.

Coming into Monsters of Folk, I expected something short of their solo efforts. What I got was something mostly different, and the shocking diversity found on here something to behold. But not only is their diversity, but there's songs that are actually pretty good. More than pretty good actually. They may be something short of a Folk Rock Beatles, but the exploration of rock and folk taken on this album is well worth the journey. Just listen to the first two tracks. Simply stunning.

Highlights Include:
Dear God (Sincerely M.O.F.)
Say Please
Whole Lotta Losin'
Slow Down Jo
Losin Yo Head

The album's true achievement is its ability to truly function as a supergroup. Although the members take turns singing and writing, they all work together on a song bringing their expert instrumentation and rich harmonies to what would otherwise be one-note efforts. In fact, to fully get this album is to listen to it in full surround-sound since the album is a sonic masterpiece. The sound quality is just so good, and it doesn't hurt that everything else works so well.

But of course, the album is subject to sound like a Conor Oberst solo album on occasion, suffer from an overt sentimentality, lyrics that don't work quite as they should, and it may stay in the folk genre too long, but its surprising moments make the album worth slogging through the less than brilliant material. But still, there is a goldmine of brilliance to be found.

Overall, Monsters of Folk wasn't anything like I expected, and I was pleasantly surprised as the depth I found here. Again, it may not all gel, but it is one of the better supergroups we've come across in the past 20 years. In all honesty, I want to hear what the 4 troubadours can come up with next. As long as they take more risks, and try to step out more of the genre for which they're named, Monsters of Folk should truly give you nightmares of brilliance, instead of scary flashes.

Real Score: 4.5/5