CD: Pain Is A Reliable Signal

When we last checked in with Sam Jacobs, we were reviewing the latest release from LiPSTIK – the EP “There Is Only One Thing”. At the time, work on the follow-up full length was already underway – and it has finally arrived, along with a name change for the group to “The Flying Change”. Lest you think that was off the cuff, it was inspired by the poetry of family friend and Pulitzer-prize winner, Henry Taylor, who happened to be the college roommate of Sam’s father. Swish!

This is one of the reasons why I like Sam and his music so much – take a look at the blog over at www.theflyingchange.com when you have a few minutes to kill, and you’ll see that this is a thoughtful dude who likes to have meaning and substance behind his art (and his thoughts about what constitutes “art” and good music are right along the lines of what we argue about so often on the podcast). Better yet, that intellectual and artistic framework is there if you’re into that sort of thing, but you’re not beat over the head with it – a sentiment that some people seem to have walked away with from the latest Andrew Bird outing.

Anyway – the new full length. Probably one of the strongest endorsements was blindly playing the track “Dirty White Coats” for Jeff – who said “wow, that is a fantastic song – who is that?” Indeed, on an album full of high points, that track is probably my favorite – with its gentle ukulele, strings, and harmonies – it obscures the dark subject matter: “it’s about how doctors (well some doctors at least) can cause great harm and pain and how the process of sticking needles and tubes and machines in people, at least intuitively, seems to run contrary to the notion of making them feel better”. That insight will produce one of those “woah” moments during your second or third spin of the track…but that has always been Sam’s calling card: “painful words over uplifting music”.

That’s not to say that the whole album is heavy in that sort of way though – in fact, there are some downright rockers (“St. Mary’s”), and the playful take on the subway slogan “if you see something, say something” on the track “If You See Something”, is purely infectious.

In a nutshell, when you listen to the first song and the smoky vocals kick in, the first reaction may be “ah, OK – this will fit nicely alongside my Bon Iver, Iron & Wine, and Over The Rhine albums”. But don’t be fooled – this album is a journey, and it echoes of many different locales, emotions, and musical influences. As you progress, you’ll first start to notice all of the tasteful instrumentation filling out the arrangements (horns, flute, strings…and, you cheeky devil, is that a harpsichord in there?), and then the strength of the rhythms hits you. For me they evoke a more subdued version of “The Honeymoon Is Over” by The Cruel Sea (a fantastic old gem worth hunting down itself) and the production of one of my favorite albums of all time, Willie Nelson’s “Teatro”.

The Flying Change. What’s in a name? Nothing. The proof is in the pudding – and this one is rich, complex, and worth a sample. Join the conversation and enjoy the ride.

More: www.theflyingchange.com

- Russ Starke

CD: Langhorne Slim

Langhorne Slim is the man. A few months ago, I had only a slight familiarity with him, and now he’s one of my favorite new artists. How does this happen? Well, seeing him live just one time is enough to seal the deal – he’s an energetic and captivating performer who uses the classic tricks of the trade (great songs, solid musicians and musicianship, and old school boot-stompin’ passion) to win you over rather than fussy weirdness, pyrotechnics or a carefully crafted aloof persona.

He’s able to generate that rare connection that makes you walk away from a show feeling like you just made a friend — an underdog that you’re ready to ardently root for.

“Underdog “ is quickly becoming inaccurate, as more and more people wake up and recognize Slim’s music, which they’re receiving as a breath of fresh air because his recordings convey the same feeling you get from his live shows. And that, my friends, brings us to his latest self-titled album “Langhorne Slim”, on Kemado Records.

From the opening strains of “Spinning Compass”, you can hear that Slim has kicked it up a notch this time out. There’s a little bit more depth here, certainly owing in part to a few more layers of instrumentation, including rumbling pianos and organs, percussion, trombone and tuba, glockenspiel, and a killer sea shanty accordion.

The first time I listened to the new album I was in the car with my wife, and when the single “Rebel Side of Heaven” came on, she was singing along and bouncing around in the passenger seat. I thought to myself “how many times can she have heard this before? Surely only a handful…” and while that is evidence of the infectiousness of his music, I also can’t help remembering him pulling her up on stage at Johnny Brenda’s in Philly…there may be something going on there…

Moving on. When the Used Wigs team caught up with Slim at that show, I asked him if there were any new themes he was addressing on the upcoming album, and he said “I’m still just singing about love, man.” After a few listens I think that was an exceptionally modest summary. The album is about love in the same way that the movie “Paris Je T’aime” is about love — it may be at the core of every story told within, but there are plenty of nuances and layers surrounding that core and only a very few are of the straightforward “boy loves girl” variety. Still, he’s able to deliver sentiments with hidden complexity in a very disarming and straightforward way (though there are no hidden layers to clear-cut heart stoppers like “Colette,” for example). Great insight is also to be found in world-weary romps like “Hello Sunshine” and “Diamonds and Gold.”

Musically, this collection couldn’t have come out at a better time; it just sounds PERFECT this time of year. It’s a windows-down affair with great hooks, the ambiance of a performance in an old barn somewhere (with plenty of power for amplifiers and a couple of good kegs on tap), and there are few things as satisfying as Slim’s primal screams when he’s about to bring it on home (for evidence, check out the rollicking “She’s Gone”).

Repeat: Langhorne Slim is the man. Give a holler, grab something you can bang on to make some noise, and jump on the bandwagon.

- Russ Starke