“True Blue” is the ideal starter, with its gentle strum, distant pedal steel, and high chorus vocal, before “Omaha Nights” turns up the fuzz. The softer approach of “To Die A Happy Man” is belied by its breathless delivery, which frankly jars. (Given the list of forty songs shown in the packaging below the inner disc tray, we’d love to know what it edged out.) One might expect “She Only Calls Me On Sundays” to be a hokey country lament, and they’d be right. But “We’ll Get By” sneaks up on you, with infectious hooks throughout, a simple yet killer chorus, and electricity in the solo.
There’s what’s called a “choir” throughout the album, including Jenny Lewis and Susanna Hoffs, and its contribution to “Black Grass” is processed through a Leslie speaker along with the organ in such a way to make the track even more psychedelic while still very much acoustic. That organ leads into the extremely swampy “I Wanna Get High”, more of a litany of disconnected thoughts than a statement of purpose, the album producer notwithstanding. Gary pulls out his harmonica for the title track, which has another catchy chorus daring you to sing along. “D.C. Blues” is a little too derivative, but the picking is nice and it’s all about feel. A lonesome piano begins “Meandering”, a self-deprecating title for such a song of wonder.
With a small combo and simple production, Vagabonds has a consistent, comfortable sound. We wish it had more crunch overall, but there’s definitely a flow from track to track. It even works on the stripped-down Acoustic Vagabonds EP, which presents solo versions of side one and the title track. We hardly expected to enjoy anything with Chris Robinson’s name on it as much.
Gary Louris Vagabonds (2008)—3
With your vast array of albums reviewed I was surprised to see no Paul Weller reviewed other than The Jam.
ReplyDeleteI got stuck at Style Council and haven't been keeping up. But that could change!
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