Monday, July 14, 2008

Alejandro Escovedo - "Real Animal" (Manhattan Records 2008)

A good way to tell the difference between a true Austinite and someone who just lives here is to ask them what they think of Alejandro Escovedo. If the say, “Who?” you know you better quickly find some generic small talk to fill out the conversation if you want to continue it at all. At least if you’re a sanctimonious, opinionated ass who dwells to the point of obsession on the subjects of Austin music, art and politics. You may not be such a person. I sure as fuck am and so are most of the people I call my friends. One fairly common rule of thumb amongst people like yours truly is this – you don’t fuck with Alejandro Escovedo.

The man has led a life and had a career far more interesting than any fictional rock ‘n’ roller, or for that matter most real ones. As co-writer and guitarist for The Nuns, one of the earliest punk bands to appear on the West Coast, he opened for The Sex Pistols final show along with The Avengers at Winterland in San Francisco. He proved to be the glue in cowpunk outfit Rank and File (California version cowpunk, not to be confused with the anarchic mayhem of music so categorized in Austin and represented primarily by The Hickoids), as Rank and File lost direction and ultimately dissolved with Alejandro’s departure. He went on to front the seminal Austin roots rock legends The True Believers (to use a tired cliché, if you were able to look up “seminal Austin band” in the dictionary there would be a picture of The True Believers next to it). After leaving The True Believers he launched a solo career in 1992 with the release of the astounding Gravity, a record so passionate and emotionally charged that it’s immediately impossible to forget. A string of brilliant, passionate, primarily melancholic records followed. In the midst of all this he fronted and wrote the material for Buick McKane to allow himself an outlet for his need to play balls out rock ‘n’ roll, battled a near fatal bout with Hepatitis C, and led a dramatic personal life involving wives, ex-wives, friends, ex-friends, collaborators and ex-collaborators. He’s never achieved mainstream success, but just about every critically acclaimed serious artist out there cites him as an influence, and many of them count him among their friends.

That’s the short version. Like I said, you don’t fuck with Alejandro. Unfortunately, after some careful listens of his latest release, Real Animal, I find myself in the uncomfortable position of, if I’m to write an honest opinion piece, doing just that. Bear in mind I love Alejandro’s body of work – anyone can hit a bump in an otherwise smooth and beautiful road.

I don’t think there’s been a more anticipated release from an Austin artist since Spoon’s Merge Records debut Girls Can Tell in 2001. The promotion leading up to the release of Real Animal has stressed that it’s a collection of songs exploring Alejandro’s musical journey from The Nuns to present, including personalities encountered, befriended, and idolized. This it certainly does, and while the stories are there, this is where the record ultimately musically fails.

Where Alejandro’s best work has a natural and seemingly easy flow to it, much of Real Animal sounds forced, as though inspiration was passed over in favor of cramming these sets of story lyrics into often incompatible song structures, arrangements, and instrumentation. These failings are most evident in songs like “Chelsea Hotel” and “Chip n’ Tony”, which are trying so hard to be “rock” songs they come across as pale imitations of the same. Alejandro’s rock credentials are well established, with catchy solo songs like “Castanets” to the raw power of Buick McKane at its best, not to mention most everything that came before. It seems strangely out of character for him to be recasting himself as something he already is, and without the deftness of hand and easy grace of his earlier work.

Other problems crop up. Tony Visconti’s production and arrangements are almost uniquely unsuited for Alejandro’s brand of music. While a layered lushness, compressed guitar tone, and choral background vocals may have been perfect for other projects on his resume such as The Moody Blues, T. Rex, or David Bowie, it is glaringly out of place here. “Sensitive Boys” is certainly reminiscent of Bowie, but its disingenuous melancholic tone (when Alejandro usually does melancholy so well) makes it sound sappy and the Vegasey semi-choral background vocals are so out of place they go the rest of the way to ruining the song. This shows up again in “Golden Bear”, ruining an otherwise perfectly serviceable chorus. Alejandro has proven adept and even ingenious in incorporating strings in his songs, but the string arrangement on “Nuns Song” is positively jarring over his appropriately snotty reminiscence of the life and death of his 70s punk band.

The record is by no means a total wash. In spite of an unwieldy musical breakdown in the middle of the song, opener “Always a Friend” is a hooky singalong that pulls you in immediately. While hampered by Visconti’s over-production “Sister Lost Soul” is a definite keeper and the strongest track on the record.

All the songs on this album were co-written by Chuck Prophet, a long time contemporary and friend dating back to Alejandro’s California punk days, and I can’t help but wonder if this is what made the difference. Two old friends reminiscing about the good, or for that matter bad, old days is sure to be entertaining to them, but rarely to outsiders. In this case the phenomenon translated to the music being made, which is a shame considering both of these guys are such talented and powerful songwriters on their own.

As for Alejandro Escovedo, I’ll anxiously await his next record and hope that he allows the songs he writes to flow from within rather than directly out of the past.

2.5 Real Animals


Anonymous said...

Ok, so who do think you are here, man, fucking Rolling Stone? ;) Actually, you very well could be, moderator, so put you application in to them!!! Your review of this particular artist has me wanting his work! Thanks and keep keeping us who are so fucking far away in the loop! ~Ak G Rae

MiseryCreek said...

Bourbonitis Blues
A Man Under the Influence
More Miles than Money

All his records are good, but those 4 are absolutely essential. Some would argue "With These Hands" should be on that list. I won't argue with 'em.