Most Helpful Customer Reviews
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24 of 25 people found the following review helpful:
5.0 out of 5 stars
A touching, thought-provoking country/folk record, September 8, 2008
Rodney Crowell started off as a country music traditionalist; remember all those hits from DIAMONDS & DIRT? But somewhere in the 90's, he found a new calling: that of the country/folk troubadour. Beginning with THE HOUSTON KID, then onto FATE'S RIGHT HAND and THE OUTSIDER, he crafted some of the best socially aware, rockin' folk music out there--which happened to be rooted firmly in country music. SEX AND GASOLINE follows strongly in that vein, and gives FATE'S RIGHT HAND a run for its money as his best record.
Crowell's lyrics, as on the past few albums, range from the scathing to the tender. The emphasis here is upon social concerns, definitely; the opener argues that the world (and your mama's world) runs on the two titular items. The groovin' "Who Do You Trust" combines sarcastic lyrics with choir vocals. "The Rise and Fall of Intelligent Design" is a rather tongue-in-cheek look at the world today (and features some of the album's few directly-political lyrics, with Crowell lamenting about the flooding of New Orleans, and what it would be like to be the first female president). Later on in the album, he tackles Hollywood and celebrities ("Honey, screw the money!" he demands), as well as political correctness (and lack thereof; both are ripe for parody). The closing autobiographical "Closer to Heaven" will make you laugh...until you realize he is talking about YOU as well as himself.
Then there's the lover ("First comes love like it always did/Or we wouldn't be talkin' 'bout the Houston Kid" he once sang). "The Night's Just Right" sounds like it could have been on Kristofferson's THIS OLD ROAD album; it is a truly beautiful, touching tune about growing old gracefully, and about true love; "Forty Winters" follows in a similar vein. "I've Done Everything I Can" is beautiful (it's a shame lyrics aren't included with the album; many of these songs would read as beautifully as they sound). Two other tracks, "Moving Work of Art" and "Truth Decay," beautifully combine the two sides of Crowell featured on this album, providing anchors from one movement to the next.
Rodney Crowell is easily one of the best singer/songwriters working the scene today. His latest record, SEX AND GASOLINE, definitely leans more towards folk/rock than the country he is traditionally classified with (there's a lot of Dylan and Kristofferson on this album), but it doesn't matter what genre you attempt to classify it under; it is a beautiful, evocative record that will get you thinking. It is intimate and engaging, beautiful, and proof that Rodney Crowell is destined to go down in history as one of music's best (and surely most underrated, at least commercially) songwriters.
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8 of 9 people found the following review helpful:
4.0 out of 5 stars
An Excellent Release from a Modern Day Songwriter, October 1, 2008
As of this writing, there have only been two reviews of this CD. Does this mean that the CD is not selling well? Or does it mean that the buyers do not care to write a review?
I hope the latter. This is a great CD. A little more "acoustic" than his previous two releases, but still some great songwriting and musicianship. It doesn't get much better than Doyle Bramhall II playing lead guitar.
Rodney Crowell's music is neither country or rock, but is better than anything you will hear on either country or rock radio. I hope he continues to make music that appeals to himself rather than the commercial audience.
If you are a fan of Americana or just great songwriting and musicianship, pick this one up. You'll not be sorry.
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4 of 4 people found the following review helpful:
4.0 out of 5 stars
Paying The High, Dark Price Of SEX & GASOLINE, October 9, 2008
Over the course of his last couple of releases, starting with 2003's FATE'S RIGHT HAND and continuing with 2005's THE OUTSIDER, Rodney Crowell has moved further and further away from the country stylings that made him one of the most acclaimed songwriters of the last 30 years. In it's place, he's increasingly embraced the darker, more probing aspects of the all-encompassing genre now known as Americana. Said switch peaks here with the brooding, beautiful SEX & GASOLINE. Things start on a strong note with the disc's excellent title track. Everything just comes together here, from Jay Bellrose's brilliant cymbal work and Patrick Warren's lovely piano fills to David Piltch's throbbing undercurrent of a bassline. Add a seductive lead vocal and biting lyrics ("You're over forty/That's it for you/I'm pretty sure there's nothing else that we can do/Perhaps the convent/Perhaps the knife/You woulda coulda shoulda been a rich man's wife") and you have a great album opener. "Moving Work Of Art" could prove to be Crowell's "You're So Vain".....is he talking about ex-wife Rosanne Cash here? True, Cash isn't "turning heads out there in Tinsel Town", but her career has sort of eclipsed Crowell's over the last few years, what with the critical one/two punch of 2003's RULES OF TRAVEL and 2006's stunning BLACK CADILLAC. Whatever the case, this cut is haunting in it's honesty and observational skills. There's a slow, sensual shuffle to "The Rise And Fall Of Intelligent Design" that's captivating. The percolating arrangement wraps itself around lyrics that are both thoughtful ("If I could have just one wish/Maybe for an hour/I'd want to be a woman/And feel that phantom power") and stinging ("It's no excuse to be brutal/It's no excuse to be vile/It's no excuse to die for religion/Or harm an innocent child"). One of S&G's best cuts! There's an atmospheric vibe to "Truth Decay" that gets under your skin and stays there. Anchored by some gorgeous finger picking, Crowell's lead vocal is assured, unadorned and real, just like the lyrics ("I can't love you with my hands tied/It's like walking barefoot down a landslide"). Another winner! "I Want You #35" is one of SEX & GASOLINE's two weakest tracks. The lyrics seem forced and calculated ~ a rarity for Crowell ~ while the lead vocal comes across as anemic and uninspired. The only thing that really saves the cut is the instrumentation, particularly Bellrose's whip-smart percussion (it's almost garage band-esque!) and Warren's full-bodied piano flourishes. All in all, though, a track that screams "filler." Far better is the haunting "I've Done Everything I Can." While I would have preferred a female duet partner in place of Joe Henry's raspy co-lead, there's no denying the heartache, urgency and frustration (not to mention love) that permeates this song. A parent wants to make it all alright....but that can only happen for so long. A wonderfully touching, nakedly raw composition. Then there's the swamp funk of "Who Do You Trust." There is SUCH an easy-going groove to this cut that it's utterly irresistable. The band is really just jammin', but they are so, so tight! And Crowell's lead vocal? Sexy, relaxed, smooth and loose. Yet another winner! (On a side note, I could SO see Bonnie Raitt covering this song!). From it's powerful opening lines ~ "I don't mind the thought of growing old/But I don't want to lose my sense of humor" ~ it's clear that "The Night's Just Right" is something special. This lovely acoustic ballad is blessed with a sparse (but mesmerizing) arrangement and delicate lead vocal, as well as lyrics that border on the poetic ("If somewhere down the line/The wheels come off/You may find me broke down by the highway/I'm alright/As long as I can walk"). One of S&G's top tracks! "Funky And The Farm Boy" is SEX & GASOLINE's other weak(er) track. Oh, sure, there are some fun moments in the song, but usually when you're TRYING to be funky.....you're not! Unlike the organic vibe of "Who Do You Trust", this cut comes across as forced, phony and a real throw away. Crowell is SO much better than this song. And then there's the flip side of the coin. Much like his ex-wife, Crowell can be counted on to write great songs 99% of the time, but every once in a while, much like Cash, he comes up with something that goes beyond that, that transcends into "gorgeous" and "classic." That's the case with "Forty Winters." Cushioned by some simple orchestration and stunning acoustic guitar, Crowell's hushed, emotional lead vocal wraps around vivid lyrics ("Orange blossoms, Sandalwood, Oak Moss and Musk/Fragrant the senses from daylight to dusk"), letting us know that true love really does endure. Things wrap up with the relaxed, optimistic "Closer To Heaven." A smooth, swaying arrangement is matched with a sincere lead vocal, as Crowell takes us thru a list of some of the things he likes ("I love my friends/I love my wife/Four little babies are the light of my life")....and some he doesn't ("Chirpy news anchors alter my mood/I'm offended by buzzwords like "awesome" and "dude"). Love it! So....where does SEX & GASOLINE fall in the Big Picture of Rodney Crowell's career? Right smack dab in the middle! Yes, it's a little bit deeper and darker, but all the heart, thoughtfulness and feeling that we've come to expect from Crowell is here. And nowadays, in these troubled times of rising fuel and trashy, gratuitous tabloids, as those positive traits rear their heads less and less, that is all we can really ask for. (As with all my reviews, I'm docking the disc half a star for not including the lyrics, something a WRITER of Crowell's stature and calibre should NEVER do!).
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