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Post by kgp on Sept 25, 2004 20:03:35 GMT -5
decent review from KEXP: Paul Westerberg - Folker (Vagrant) The former Replacements frontman follows up his uneven last effort (2003’s Come Feel Me Tremble) with one of the more solidly consistent records of his career. Like his last couple of albums, the sound is ragged and raw, but the songs are full of the kind of searing, heart-on-sleeve emotion that’s marked Westerberg’s best work. His yearning, raspy vocals still sound great, and his gift for the seemingly tossed-off pop gem remains intact. - Don Yates Folker is also # 8 on their airplay chart for the week of Sept 13-19. Folker is also #9 on CMJ's instore play chart. 'Lookin' Up In Heaven' will be included in the next cd from Uncut magazine. From CMJ another VGH review. (not sure if this one's been posted yet.)
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Post by kgp on Sept 26, 2004 10:28:25 GMT -5
From Jam:
Even a chronic underachiever is doomed to succeed every now and then. Just look at George Dubya. Or, more to the point, Paul W. -- as in Westerberg.
From his years fronting punk-rock wastrels The Replacements to his lackadaisical solo albums, Westerberg has had a career best described as hit-and-miss -- except without a hit. But that hasn't stopped him from writing and recording some of the most truthful and revealing music of his generation from time to time.
Folker, thankfully, is one of those times. It's not that he's changed his style -- these 13 cuts toggle between the scrappy, shambling Stones-rock and world-weary acoustic yearning he's been dishing up for ages (although a couple of Beatle-popish tracks creep into the mix this time). It's not that he's changed his attitude -- Paul still mood-swings his way between smirking cynicism ("This is my single, this is my jingle / Buy it now, buy it now") and wistful, hopeless romanticism ("Compared to your eyes, the stars in the skies are dull"). And it's certainly not that he's becoming more proficient -- Paul still mumbles and stumbles through songs, sounding like he spends less on studio time than he does on whiskey and cigarettes.
But compared to the dishevelment of last year's Come Feel me Tremble, there is a noticeable difference: Westerberg is trying a little harder this time. So the melodies are a little stronger, the choruses are a little catchier, the lyrics are a little more crafted, and the songs don't all sound like they were taped as they were written.
For Westerberg, those little changes spell the difference between a miss and a hit -- and confirm once again that he has made the trip from young punk to old folker with his dignity intact.
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Numskll
First Class Scout
Posts: 173
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Post by Numskll on Oct 7, 2004 7:27:21 GMT -5
I don't get the criticism of 'come feel me tremble' as sloppy and unven. To my ear it sounds more polished then 'folker' not less -- not that polish is really that importent to paul's music in my opinion. A comparison to 'stereo/mono' might be more apt.
Or am I just talking crazy talk?
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Post by troublkepnyerhedup on Oct 13, 2004 14:49:31 GMT -5
www.zboneman.com/music/907.htmlsorry if this was posted already Folker Music Review: Paul Westerberg has become so prolific as of late, that it’s as if he and Steve Earle are coming to the end of a long marathon and they’ve both called upon some superhuman second-wind for a strong kick to the finish line. It seems like only yesterday that I was writing about the virtues of Come Feel Me Tremble, and now some 9, 10 months later here I go again. I suppose there will be those who might point to the coincidence of this record coming out so soon on the heals of ex-Replacement mate Tommy Stinson’s Village Gorilla Head. I wouldn’t put much stock in that, Paul doesn’t strike me as the type who would even “know” about Stinson’s record. The Replacements, for all their indelible place in history, are 15 years gone and, “Kick Me on the Bus” if you must, but I prefer Westerberg’s solo work to most of the Replacement’s catalog. In fact I would go so far as to say that, particularly given the tender age of the Stinsons and Mars at the time, that the Replacements were pretty much Westerberg’s back-up band. True the chemistry and legendary mayhem that they created on stage were the product of a band, but the post-Mats production of the other members would seem to substantiate my contention. All that said, that’s just a lot of bong-water under the bridge and I recommend Tommy’s new release, he gives the almighty master of the Mats a fair run for his money here. Again, any competition that may exist I’m sure is in the Stinson camp. Westerberg records his craggy “crackle and drag” dusty diamonds in his basement and is about as much a social gadfly as Quasi Modo. I’m sure he’s happy for Tommy, hell aren’t we all? Held hostage, as it were, by Axel Rose for so many years. Folker certainly doesn’t find Paul deviating much from his S.O.P. but for fans like myself, I don’t want change - I’m just happy to have more. Interestingly the opening line to track 10 “How Can You Like Him?” is “Come feel me tremble/ bring a thimble and I’ll pour my thoughts out.” Suggesting that Paul does little else other than hang-out in his boxers and write gorgeous songs for those of us wise enough to understand that we should still be hanging on his every word. For Paul knows few peers as a lyricist. I can see newer fans put-off by his cigarette and Lortab croak of a voice, but the man can set-up a chorus hook and turn a phrase around it with the very best. In general terms this release is quite similar to Come Feel Me Tremble, (though, as of yet I haven’t heard of a Grandpaboy companion piece). The up-tempo tunes are stronger here than on Tremble, the sprightly “As Far As I Know” and “What About Mine” shake the dust out with a welcome bouncy jangle. On the negative side of the ledger I would say that Folker lacks as good a sucker-punch sad-ballad like “Meet Me Down the Alley” or “Crackle and Drag.” This isn’t to say, however, that there aren’t some good ones here. In fact the ballads on Folker find Paul giving us a glimpse of his fiercely-protected sentimental underbelly, with songs like “My Dad” and “When Will We Arrive.” I wish I knew exactly how personal this latter song is? If anyone knows please respond. Let me share these lyrics because this is unbelievably atypical of Paul: “The vices of the parents/ soon reveal themselves in sickness of the child / Divine intervention was not my intention / but Jesus Christ please save us from his smile/ And we’ll get down on our knees / and we don’t care who sees / and to hell with them who laugh / and we’ll tell the ones that ask / That we’re damned if we do / and we’re damned if we don’t / and there’s one thing that’s true / if I’m wrong I’m not alone.” If anyone knows anything more about this song - I’m all ears. And if you’re a fan of Minneapolis' real and true genius, by all means, Folker, have a smoke, get dressed and go buy this disc.
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Post by Seth's Mom on Oct 13, 2004 15:48:17 GMT -5
I don't get the criticism of 'come feel me tremble' as sloppy and unven. To my ear it sounds more polished then 'folker' not less -- not that polish is really that importent to paul's music in my opinion. A comparison to 'stereo/mono' might be more apt. Or am I just talking crazy talk? I totally agree. As a matter of fact, CFMT has not left my CD player for days and days. WHAT A SOLID DISC!!! "Wild & Lethal" and "My Daydream" are, to me, damn near perfect songs!!! And (this is kinda bizarre ) I am so affected by "Never Felt Like This Before" that I hold my breath and strain to listen - so as not to miss a thing. There's not a throw-away on the disc - not one!!! CFMT is "sloppy and uneven?" I don't think so....
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Post by troublkepnyerhedup on Oct 13, 2004 16:13:57 GMT -5
I am so affected by "Never Felt Like This Before" that I hold my breath and strain to listen - so as not to miss a thing. Perfect description. Can I be in your Never Felt Like This Before Fan and Breath-holders Club?
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Post by Seth's Mom on Oct 13, 2004 17:47:41 GMT -5
Can I be in your Never Felt Like This Before Fan and Breath-holders Club? you're teasing me...
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Post by troublkepnyerhedup on Oct 13, 2004 19:48:05 GMT -5
no i'm sincere from anyone else it'd be teasing
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Post by scoOter on Oct 14, 2004 8:06:04 GMT -5
who is "zboneman", because he is, well, sort of an idiot.
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Post by troublkepnyerhedup on Oct 14, 2004 8:23:07 GMT -5
who is "zboneman", because he is, well, sort of an idiot. i think it might be kind of a first come-first served site for volunteer record reviewers. He got the opening line of How Can You Like Him wrong. I guess I'm sorry even if it wasn't already posted.
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Post by scoOter on Oct 14, 2004 8:32:06 GMT -5
i think it might be kind of a first come-first served site for volunteer record reviewers. He got the opening line of How Can You Like Him wrong. I guess I'm sorry even if it wasn't already posted. he got a lot of things wrong, and made some pretty grand inferences as well. zbone, how you let me down.
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Post by troublkepnyerhedup on Nov 29, 2004 0:13:12 GMT -5
and I'm sorry if this one's been posted, just happened across it. onetimesone.com/sound/reviews/w/westerberg_paul-folker.php(4-1/2 stars out of 5) Paul Westerberg is certainly one of the best songwriters of my generation, or, of any generation for that matter. The long list of classic songs he has written is a testament to this ability, and he is arguably one of the most imitated artists of our time. Since the demise of The Replacements however, his solo work has been spotty at best, and Westerberg had mostly been written off as a has-been until 2002’s Stereo/Mono rewarded his long suffering public with his best album to date. Working alone in his basement, Westerberg finally seemed to recapture on Stereo/Mono what made him so compelling in the first place. These recordings reflected a man who was finally embracing his legendary past, thus lifting its incredible burden off of his shoulders and allowing him a fresh start. New songs like “We May Be The Ones” brought the anti-hero of “Here Comes A Regular” into adult middle-age, still defiant though a bit wiser. The album’s piss and vinegar text also demonstrated that Westerberg could still bite when cornered. After the initial return to form of Stereo/Mono however, Westerberg released last year’s disappointing Come Feel Me Tremble, and many feared he was once again slipping into the banal mediocrity of earlier albums like Eventually. Folker, Westerberg’s new release on Vagrant, is the album he should have made after Stereo/Mono. There’s a swagger to the songwriting here that Westerberg hasn’t displayed so consistently since his days with The ‘Mats. In fact, “Lookin’ Up in Heaven,” with its beautiful acoustic guitars and bluesy drumming, could have been an outtake from “All Shook Down.” The instant classic here is “As Far As I Know,” a sort of roughed up “September Gurls” in reverse. It’s been a long time since a simple four chord riff and vocal melody has grabbed me and twisted me around quite like this song has. In a just universe, no one would be able to turn on the radio without hearing this song blasting out of the speakers. Other high points include the touching ode to Westerberg’s father, “My Dad,” the Byrds-like shuffle of “Anyway’s All Right” and the biting satire of “Folk Star”. There are a few throwaways as well, most noticeably the weak opening track “Jingle,” with its inane “Buy it now / Buy it now / Buy it now / This is my single / This is my jingle” refrain and the sub par “Breathe Some New Life.” Aside from that, there isn’t a whole lot to complain about regarding Folker. Westerberg shows that he can still be on top of his game when he wants to, as the songwriting is steady and confident and proves that the attitude is still there after all these years. What strikes me most about Folker is how much fun Westerberg seems to be having. He’s relaxed, doing his thing at home, and probably doesn’t give a shit if you like it or not. In fact, he’s probably smiling and giving us the finger right now. Welcome back Paul. -Mark Horan 10/27/04
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Post by FirstAveFiend on Nov 30, 2004 13:32:15 GMT -5
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Post by troublkepnyerhedup on Dec 21, 2004 4:19:06 GMT -5
This just in from the Toledo Blade:
CD reviews: Westerberg's sensitivity shows, but the results are a bit uneven
FOLKER Paul Westerberg (Vagrant) Paul Westerberg has always straddled the line between shambling punk overflowing with irony and a straightforward singer-songwriter not afraid to express his sensitive side.
The appeal of his original band, The Replacements, was its ability to hammer out drunken raucous lo-fi anthems and then veer into an aching ballad. Westerberg's solo career has leaned more heavily on the latter side of his songwriting, and "Folker" is no exception.
Kicking off with the silly but pointed "Jingle," which is a remarkably catchy plea for someone to use his song as a commercial, "Folker" sounds like it's going to be a loose rocker.
Then Westerberg settles into a midtempo groove as he tackles issues of mortality, both his father's - the poignant, richly detailed "My Dad" - and his own on "Looking Up In Heaven." Not afraid to look at mid-life crises without turning away, Westerberg tosses out lyrics like "the vices of the parents soon reveal themselves in the sickness of the child" with a believability that is almost uncomfortable.
But when he rocks out on "Gun Shy" or "$100 Groom," the results are less favorable. Always at ease with shambling rockers, part of Westerberg's charm is his willingness to be sloppy and loose. Unfortunately his voice is too often a tattered bray and the uptempo songs come apart, making them seem unfocused.
- ROD LOCKWOOD
It may be lukewarm, but it is the headline review, over Gwen Stefani and the Polar Express soundtrack.
"I'm a Toledo Blade, that why I'm paid ... " (sung to the tune of "Kansas City Star")
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