Customer Reviews

White Limousine

5 star:		(11)
4 star:		(7)
3 star:		(2)
2 star:		(3)
1 star:		(0)

 

 

If anything, I believe this album puts Duncan squarely back on track with his first and second albums. Those two cleverly mixed pop sensibilites with quiet, cunning thoughtful pieces that I think are the real source of his joy of musicianship. Problem for me was that Phantom Moon was too much a departure into the quietude, and Daylight appeared to be the chart-topper attempt his label wanted him to make that ultimately betrayed his true nature.

The songwriting and production quality on White Limousine are, simply put, second to none. This album simply *sounds* great and is a real joy to listen to. The arrangements and instruments clearly show Duncan was really interested in stretching himself, and it shows _and_ works. What's left is the songwriting - and on tracks like White Limousine, Shopping, and Land, Duncan delivers with ever-increasing precision.

My wife voiced her disappointment of the dearth of 100-beat-per-minute fast-clip tunes so prevalent on Daylight, but I think she has missed the point. I've been searching for the Real Duncan, and I'm convinced that, by releasing on a small label, he afforded himself (and us) the artistic freedom necessary to reveal just that. I hear it, and if you listen deeply enough, you will too.

Score one more for Duncan Sheik.

This is not a new direction for Duncan, so if you are hoping to see a fit of artistic growth, well, go buy "29" by Ryan Adams. What you get here from Duncan is exactly what we have come to expect: lovely melodies, interesting and sometimes truly poetic lyrics, and --above all--craftsmanship in the production of his songs. For White Limousine, he kept some of the incisiveness of Humming, the intimacy of Phantom Moon, and even a bit of the commentary that bubbled under the surface (and sometimes boiled over) on Daylight. The strings and warmth that marked his first album have never been as lovely as they are here.

There is no standout song on this album, no obvious single, which I think is a strength. It seems that Duncan was focused on writing a collection of songs that worked well together. In this ambition, he has succeeded singularly. The structure of each song is perfectly supported by its arrangement, its production. There are a number of agreeable sonic surprises here, including some very nice effects on his voice and guitar.

Speaking of Duncan's voice, allow me to say that it has never sounded warmer. Time has done lovely things to his depth, his intonation, and even his power. The reedyness is still there when he pushes, but now he uses it instead of being trapped by it. The gentle lower ranges of his voice have become truly beautiful.

If you have enjoyed Duncan's past albums, this is one that will seem, almost instantly, as if you have heard it before. And that is perhaps one of the highest complement that you can give to an artist that has never been strikingly original, but who is always deeply consistent, highly thoughtful, and above all, capable of producing genuinely effective music listenable over the long term. Definitely recommended.

This is one of those albums that when it's full impact finally hits you, it is as forceful as a tidal wave. When I first purchased White Limousine, I truly did not appreciate its full potential until I saw Mr. Sheik live in concert. If you ever have the chance to, it is a do not miss. I have since realized this album is the Real Duncan Sheik. Being on an independent label, he was able to gear these well crafted songs into his own vision of their full potential, not to some music exec's ideas. His "image" has changed also and for the better. The first time I listened to this CD, I liked half of the songs and thought the other half were so-so. Since then I took the time to REALLY listen to the whole album and I am really glad I did. All of the songs are fantastic with great lyrics (as always with Duncan's music) and wonderful music. I sincerely recommend this album.

As usual, Duncan Sheik delivers an album far deeper than most bands and musicians would dare. He bares his soul in almost all of the songs here, accompanying them with beautifully multilayered musical arrangements. He appears to be moving further away from the commercial spotlight, and for Duncan that is a good thing. He is at his strongest when he sings and composes from the heart, and not a song goes by on this album that either doesn't make you think, feel, or both. I have been a fan since I first heard "Barely Breathing" on his debut album, and I would have to say that the overall strength of this cd makes it Duncan's best effort yet. You will not be disappointed in this release.

This is the Duncan Sheik I've been waiting for since the 1998 album Humming. There's nothing wrong with his more pop oriented work but personally I prefer music that's a little more introspective and even intense. White limousine is his most in depth album in my opinion since Humming and that's a good thing believe me because Duncan has the ability to be right up there on the list with people like John Lennon. It is my perspective.

Highlights include hey casanova and white limousine...yes we won the war....indeed.

I've been a huge fan of DS since '97 or so; sure the poppy hits Barely Breathing and Serena caught my ear, but the deep emotional resonance of the entire first album really sold me. I've followed Duncan ever since, from movie soundtracks and acoustic covers, to the Drake-ish Phantom Moon, to Daylight and its odd psuedo-pop sound. After three or four listens, I could get into just about any song he played.

After hearing the title track from White Limosine a few years ago, I was disappointed; I finally asked for the CD this christmas, in hopes that I was missing something fantastic, like with Phantom Moon or even Daylight. No such luck. Of course this CD has the strings, and some emotional lyrics and songwriting...but it seems more dead, like it has to be resurrected. Sheik stays in the lower tones a lot, and doesn't get any vocal power infused in any of his tunes. Even the somber ones seem to be lacking in depth.

It's still Duncan Sheik, so at least you're getting a great songwriter and well-crafted tunes...it's just not something I want to listen to again. I would rather listen to any of his other 4 albums than anything on this one, unfortunately.

I was so excited when duncans self titled album came out. Finally a man that was writing and making beautiful rich music. Barely breathing was my least fav on that record, but the rest were true blue. That album followed with just mediocre ones but satisfied my "duncan craving" year by by year. Until white limousine came out. He is finally back to his early days creating quiet delicate ballads, with a full piece orchestra in the background. What am i waiting from duncan next? A heart breaking duet with dido. Ahh, pure pleasure.

White Limousine is another excellent effort by Duncan Sheik. The record came out yesterday and there's already someone who gave it two stars and wrote a quick line about how it's boring. Don't believe it. If you understand anything about great music, the best stuff takes a little time to grow on you and this album may take one or two listens to - but it's not hard to like immediately as well. If you like Duncan Sheik at all, you'll love it. A definite thumbs up!!

I was in highschool (1998) when I heard the pop sensation "Barely Breathing" on the schoolbus radio. For a moment, I thought it was the late 80's pop band "Go West", but when I finally found out who Duncan was I was hooked...and thank god (whatever god you may admire) "nothing fades" indeed. This is Duncan's fifth album and I have to say that this certainly should have been the album after "Humming". It's also right up there with great artists like Lennon (Star-field on red lines) reminds me of "imagine". The album spits out subtle yet strong feelings on loves (I Wouldn't Mind), which has a kind of "tumbling-tumble weed-western sound embedded subtly in the back (something that Sting would do), and also focuses on war without jamming it down our throats like Dave Matthews latest album. There's definite hints of Rundgren, Peter Gabriel and Genesis. I wouldn't be surprised if Duncan ended up taking home several awards (more for lyrics, than sound, 'cause let's face it--this is a "quiet and mellow" album, but none the less everything is in it's place, (Duncan, it's a great idea you had, but true fans better not want to rearrange your songs!) his writing has returned even stronger. I think I would match it with the first two albums, but some of the "White Limousine" does have the electric guitar twinges and squeaks of "Daylight". But other than that he's a great artist and needs to be recognized more. I still think that he should return to Rupert hine and put together another album with "poppy" songs like his debut and "Humming". Welcome this album to your collection. Pop it in in the middle of the night, take a drive and listen to the words...and while you're at it, take a look around at your town...and be greatful you can appreciate it.

Duncan Sheik has been afforded the success of a Tony Award winning play and an early pop breakthrough, but his albums have maintained a cultish status. "White Limousine," with its hushed melodies and poetic lyrics, probably won't gather many new fans, but it is up there with his best works (the debut, "Phantom Moon'). And frankly, it's one of the saddest sounding albums I own.

"Hey Casanova, you don't look so good,
And I know that times are tough.
You never found your paradise like you said you would
and things are catching up."

The songs on "While Limousine" muse of the futility of love, the misplacement of faith, the disillusionment of leadership (the cruelly soft-spoken title track especially) and life's bummers in general. Like Nick Drake of Janis Ian, Sheik has delivered and album for those who contemplate suicide when downbeat albums are enough. It's also beautifully done.

Both "So Gone" and "I Don't Believe In Ghosts" are standout lost love songs, and "Shopping" is a catchy ditty about the follies of fandom. It's a biting look at how the artist sees himself at his worst and another highlight on the album.

"And you asked me, so innocently, of my inspiration
Why I write the songs I sing,
the reasons why I make them.
Well, nothing here is what it seems,
I'll risk the wreckage of your dreams.
It's so that you are always shopping.
To steal away the cash you're dropping."

It's heartbreakingly honest and funny is its own weird way, which is why the bulk of "White Limousine" works so well. Put it on and disconnect the phone. Go ahead and bum yourself out.