Advance critical acclaim raised high hopes for his first actual solo album under his own name, and the label had such high regard for 14 Songs that, in a fad of the time, it was simultaneously released in a limited edition as a cloth-bound book with pictures and an interview. However, it wasn’t exactly a literary masterpiece, nor was it ultimately received as one. (Besides, Tommy Stinson had already carried the torch, and ably, on his own.)
“Dice Behind Your Shades” sums up the weakness of the album. It’s a good song, and highly catchy, with trademark wordplay, but it’s just one of several on the album that can’t stand out. If anything, it sounds like a reconstituted track from All Shook Down. At worst, it hides the splendor of a song like “Things”, which on the surface relies on the barest of finger variations, but—given time and space outside the context of the album—reveals itself as a profound personal statement about, well, the things that he does and which define him.
A softie at heart, songs like “Runaway Wind” and the home demos “Even Here We Are” and “Black Eyed Susan” try to convey his tender side, but overall it’s the rockers that succeed. “Knockin’ On Mine” goes a long way on one chord, while “World Class Fad” is just plain snotty, and we mean that in a good way. “Silver Naked Ladies” features Ian MacLagan on piano and the auteur himself on saxophone, and not badly either. “Something Is Me” has some good lines, but tries too hard.
We want to like this album, but we’d rather listen to what came before. However, a major plus for 14 Songs, and keeps it somewhat interesting, is that he plays all the electric guitar, providing all the fills, rhythm, and solos that sparkled on all those ‘Mats albums. At least that hadn’t changed.
Paul Westerberg 14 Songs (1993)—3