Customer Reviews

You Can't Win

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

 

 

As the first few minutes of Dolorean's new album (the title track "You Can't Win") wash over your ears, you'll probably notice that this isn't exactly the same band that created 2004's Violence in the Snowy Fields. The album opens with a decidedly different ambiance than their other records (in many ways the mood is like James' friends, collaborators, and label-mates The Standard). Eventually James' familiar, soothing, whisper-like voice chimes in, delicately intoning "You can't win." Those are the only lyrics in the song, backed by some keys, a droning bass, and some soaring background vocals. It's a new sound, and a new experiment for Dolorean, repeating an evocative phrase and letting the music push and pull different meanings out of it.

In many ways, a lot of the rest of You Can't Win is growth from Dolorean's previous efforts--"We Winter Wrens" utilizes some tasteful banjo, there's a bigger lead guitar presence (at least on the first half of the album, sometimes sounding like a nod to the guitar in Bill Fay's Time of the Last Persecution), the band experiments with some effects on James' vocals and the overall mix (listen to the beginning of "You Don't Want To Know," cousin of the title track), and there's an overall emphasis on some beautiful, ethereal background vocals that didn't really show up on previous albums. It can also be noted that the strong religious themes that were present in the last album are virtually absent here. In many ways, You Can't Win brings out a lot more subtlety in arrangement, and a lot of it really sounds great.

In some ways, some of the changes on this album don't work as well. Violence in the Snowy Fields contained a number of tracks with more upbeat rhythms, which I thought was a really enjoyable change of pace from the mostly downbeat Not Exotic. Most of the tracks on this album are really downtempo, which does fit James' melancholy lyrics, but I sometimes find myself wishing he'd experiment with some irony (i.e. faster tempo combined with serious subject matter). Although it's not a problem with composition, the lack of diversity does hold the album back from fitting more than one mood--one of mellow contemplation. Additionally, from someone who professes such a love for Dennis Wilson, Bill Fay, Gene Clark, and Levon Helm, I sometimes think Al James' music might benefit if he took a lesson from his heroes and cranked up the vocals a notch from the weary, whispery sounds that are his trademark--even if a song's tempo is slow, an artist can imbue it with some fire with more intense, energetic vocals. These quibbles aside, James and Dolorean do a great job of what they do.

At its heart, You Can't Win still contains Dolorean's strongest aspects, and the ones most fans are probably hoping for. Al James is still telling melancholy stories that sound oh-so real, and he's still doing it in just as convincing a voice as ever. "Heather Remind Me How This Ends" is as emotional a heartbreak song as he's ever produced, and it's nice to hear him pronounce "timbre" correctly. "Buffalo Gal" is an expert spin on the classic cowboy song, with a delightfully imperfect vocal (another Bill Fay nod, perhaps). Dolorean also hasn't forgotten to combine James' subtle lyrics with interesting melodies, like on "Just Don't Leave Town," which experiments with some great octave vocal arrangements.

Overall, although You Can't Win could be bettered by a bit of variation in tempo and energy, it's still a solid release from James and company. Though it might not be the perfect album to accompany any situation, fans of Dolorean definitely won't be disappointed by the new set of songs and a new chance to experience James' moving melancholy. If you're new to Dolorean, this is as fitting an introduction as any, but be sure to check out their earlier albums for a full picture of what the band can do. Hope you enjoy!

Al James' challenge was to dive headlong into his personal darkness and see what was on the other side. The non-remunerative life of an indie artist was taking its toll on his psyche, and the phrase "you can't win" transformed in his thoughts from a declaration of self-defeat to a personal challenge. What came of his journey was a new, less formal working style with his band, and downbeat music that's both bleak and dreamy.

The opening title track's hypnotic background of drums, bass, organ and piano is both threatening and comforting beneath the repeated lyric's defeatist words and hopeful tone. There's liberation in the repetition, as if saying "you can't win" over and over will rob the phrase of its power to impede. The heavy, late-60s vibe brings to mind Meddle-era Pink Floyd and bad-trip psychedelia of The Beatles' Magical Mystery Tour.

The psych-hangover looms over many tracks, slowed and tempered by backwoods country gothic ala the The National Lights and somber Nick Drake-styled folk. The latter is heard in the melancholy mood and dispirited lyrics. The album is both lush and spare, languorous in tempo and measured in arrangement, but rich in melody and compelling in both instrumental and vocal tone. The closing of "Beachcomber Blues," has James repetition of the title giving way to an entrancing interplay of organ, piano and Emil Amos' guitar.

This is a fine follow-up to 2004's "Violence in the Snowy Fields." The instrumentation is more tightly reined in, but the playing feels looser and more emotionally immediate. James' downbeat sensibility is more contemplative than desolate this time out, which is ironic given the album's title and the broken-hearted lyrics. [©2007 hyperbolium dot com]

This DeLorean CD has much going for it -- stunning, vivid production, spare and at times haunting folk rock arrangements that border on slo-core, an air of woebegone cool, but the one thing it's missing, and I really hate to say this, is great songs. It really takes a plunge at "beachcomber blues," which just never seems to go anywhere. I like the vibe here and the way the band thinks. I can "feel" the tug of war between emotional pain and detachment. It's a road well traveled by the likes of Red House Painters/Sun Kil Moon and Grant Lee Buffalo, but the invention is not there. Musical ideas are begun but seem not to have been developed. The song has taken a back seat to the sound. Everything is very simple; the chords never take you to someplace new. This disc is going to sound very good to some people, and that's good, but I think I've been around listening to too much for too long because I just felt my mind wandering. I wanted it to be more.

Following on from the two beautiful albums "Not Exotic" and "Violence In The Snowy Fields", Dolorean's "You Can't Win" has a lot to live up to. Al James, the band's leader and songwriter, rises to the challenge and produces their best, most accessible and most consistent work to date.
From the start, it's clear that the band were willing to take some chances and further develop their sound (an alt:country/folk/pop blend) while still retaining the qualities that Dolorean fans have come to admire.
Throughout this album of 11 new songs, the band are augmented by the fine, edgy and bluesy guitar work of Emil Amos ( from the band Holy Sons) Also noticeable on the album is the increased focus on harmony work on a number of tracks (often achieved through multi-tracking), very strong melodies throughout and experimentation with different instruments to produce some beautifully layered tracks and a much fuller sound. Lyrically, the album seems a little simpler and more direct than their previous work although Al still chooses his words very precisely - there's nothing sloppy here - everything seems very well considered.
The opening title track demonstrates the fresh approach very well. For the usually poetic Mr James to write a lyric with just 3 words and then have it as the lead off track is a brave move but one that works very well, creating a kind of overture for the rest of the album The track starts with a percussive beat and an arresting bass and keyboard pattern repeats and develops. The title is repeated many times over the building track, with some fine harmonies, resulting in a very hypnotic and unusual track.
Next up is the piano driven (and slightly R.E.M. like) "We Winter Wrens". A beautiful melody sung over piano chords to begin with before other instruments such as banjo, drums and electric guitar enter the picture. One of the best tracks on the album and perfect listening for a bleak cold winters day.
"Heather Remind Me How This Ends" is perhaps more familiar Dolorean fare, with a mandolin featuring in the instrumental break.
"Beachcomber Blues" is possibly the standout track of the album. Starting with Al singing alone in his plaintive voice to a strummed guitar, this strong melodic track develops with a wonderful layered backing comprising harpsichord, organ and Emil's breathtaking bluesy guitar work. Add in some gorgeous harmonies and a great lyric about restlessness and the six and a half minute song easily becomes one of the best tracks in the whole Dolorean catalogue.
"You Don't Want to Know" is a short echoey snippet of a song, sounding as if it's just drifted in from some other place- the percussion and drums towards the end of the track seeming to suggest distant thunder - an ominous ending to a mysterious song: "if it's 2 a.m. and I'm not at home.......You don't want to know"........
"Buffalo Girl" -is a slower track with a very atmospheric backing of brushed drums, simple acoustic guitar, Emil's electric guitar interjections and some minimalist piano parts courtesy of Jay Clarke.
"In Love With The Doubt" is another strong melodic track, with a clever lyric which also features a piano and guitar duet in the instrumental breaks.
"What one Bottle can do" is a surprisingly cheerful tune considering the lyric "I drink one bottle of wine each night to get over you".
33-53.9° N,118-38.8° W is a wordless tribute to Dennis Wilson of the Beach Boys, who was developing into an important solo artist before he died ("Google" the co-ordinates to discover their significance!). This is a moody evocative track with particularly excellent harmony work.
"Just Don't Leave Town" starts eerily with a processed vocal but soon develops into a more conventional mid tempo track.
My Still Life follows the Dolorean tradition of ending their albums on a quiet note (See also "Spoil Your Dawn" which ends "Not Exotic" and "In The Fall" which brings "Violence in the Snowy Fields" to its conclusion). A simple piano and guitar arrangement with some gentle percussion accompany this slow song about the difficulties of relationships: "Because, you know, the hardest thing to do, is dance in time to each others shoes" - there are some final distant harmonies and the album comes to a gentle end.
Dolorean display a new quiet confidence on this fine album and I hope it will bring them a wider audience. They really deserve to be heard.

Atmospheric, melancholy, melodic, and entrancing. This album is certainly mellower than its two predecessors, but is subtly absolutely spectacular.

I loved Delorean's previous release "Violence in Snowy Fields" which led me to give this album a try. This album has bit less of a flow to all of it and the songs altogether tend to be weaker. That isn't to say the album is poor but is does pale in comparision to Snowy Fields. I'd recommend picking it up but would place other artists work like Clem Snide or the Heligoats ahead before grabbing this. It does grow on you though and that is always a very positive sign with music.

De Lorean. The quintessential automobile icon of eighties wealth and excess was also one of the finest American sports cars ever conceived. In 1980, it was a safe bet that anyone with a lingering partiality to some abstract exotic carmaker would immediately dissapate that partiality upon viewing a stainless steel DMC-12. The swanky machine just exuded speed, even when utterly immobile.

But I digress.

Portland-based act Dolorean is a five piece band which serves as the primary vehicle for singer/songwriter Al James. Their earliest proper album, Not Exotic, is a glorious vestige of Midwestern Americana encapsulated into beautifully structured melodies. There are elements of country and bluegrass present, but it is first and foremost a folk record.

Album opener "Morning Watch" subtly sets an appropriately serene mood before jettisoning the dawn for the more convivial "Traded for Fire" and "Jenny Place Your Bets". Both are wonderfully envisioned tracks that, at least stylistically, seem to serve as companion pieces to each other. The real gem of the album, both lyrically and musically, is "Sleeperhold". With it's Biblical intonations and intricately delicate melody, "Sleeperhold" ranks quite high in the top twenty tracks of 2003.

With sophomore record Violence in the Snowy Fields James and co. expounded upon their Americana slant and added a harmonious CSNY vocal element to the mix. The title track and "The Search" stand as some of their finest work - and perhaps the closest Dolorean ever comes to letting loose. "My Grey Life (Second Chances)" would fit magnificently in the closing credits of some darkly bitter drama. "I believe in second chances, for everyone. . .but you." Brilliant.

But this third record "You Can't Win", with its artistically chic cover shot, has become perhaps the most successful of Dolorean's records - at least from a critical standpoint. "Heather Remind Me How This Ends" is a song so hauntingly alluring it will stick with you for weeks afterwards.

The ninth cut from the record, titled for the coordinates of the area where ex-Beach Boy Dennis Wilson's ashes were scattered, is absolutely spellbinding. Its construction consists of merely scant instrumentation and wordless singing, but the execution is nothing short of sublime.

Dolorean is a phenomenal act with few contemporaries that can even approach their mastery of the nearly-lost Americana genre. Like contemporaries Pinetop Seven, every album Dolorean has released is worth listening to. And if their previous work is any indication, it can only get better from here. . .

A friend introduced me to the band a few years back and I've been hooked ever since. In their last three albums I've found Dolorean's songs to be thoughtful, intricate, and extremely well produced - there's no exception in "You Can't Win". This album IS a Win. - Matt Carpenter

Winning is easy with Dolorean, another super record. like vilonece in a snowy field, hauntingly beautiful sounds.

This CD has grown on me with more listens. Although I think it is a bit inconsistent, as a whole. But, I catch my self playing the the melodies, in my head, while working. I ponder the witty lyrics and catch myself smiling and wishing that I could put my toughts, in such eloquent phrasing.