| White, Jim / Searching for the Wrong-Eyed J |
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| Album: | Searching for the Wrong-Eyed J | Collection: | General | |
| Artist: | White, Jim | Added: | Aug 2005 | |
| Label: | Luka Bop | |||
| A-File Activity |
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| Add Date: | 2006-01-01 | Pull Date: | 2006-03-05 |
| Week Ending: | Feb 19 | Jan 29 | Jan 15 | Jan 8 |
| Airplays: | 2 | 1 | 2 | 1 |
Recent Airplay
| 1. | Apr 21, 2010: | Lyric Ballads/Spider Rave Crosbones Style | 4. | Feb 15, 2006: | Deep in the Groove Still Waters | |
| 2. | Feb 24, 2010: | Denver Verses The Last Kind Words | 5. | Jan 24, 2006: | The Sad Men's Club (NYC edition) Christmas Day | |
| 3. | Feb 17, 2006: | college radio! Crosbones Style | 6. | Jan 13, 2006: | Deep in the Groove Crosbones Style |
| Album Review |
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| matthew stark rubin Reviewed 2005-12-14 | ||
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Jim White Presents… “Searching for the Wrong Eyes Jesus” Original Movie Soundtrack. Luaka Bop, Reviewed by Matthew Stark Rubin. FCC CLEAN. Indie-Folk. This is a soundtrack, with folkster Jim White most heavily represented and curating the whole affair. His songs are typical indie-folk of the slightly dark, brooding variety, storytelling in the lyrics. The rest of the artists here compliment his stuff nicely. A bunch of singer/songwriters doing that whole rootsy-and-gritty-but-bittersweet-and-profound thing, plus some classic traditionals. The theme is the American South, and it’s clear that White envisions himself as a modern day Flannery O’Conner using music to capture the depression of the region. Is it accurate? Probably not. But a nice listen all the same. Picks: 2, 4, 5, 14 Track 1- Short dialogue. DO NOT PLAY. Track 2- fingerpicking in the moody folk style with sporadic acoustic bass. Tells a somewhat incoherent story in a nice, calm voice with pretty, airy female backing vox. Towards the end it starts to groove a bit with more pronounced bass, some percussion and echoing guitars. Track 3- Sorta country with some eerie atmospheric background. Two-step bass-line with dancey drums and some minor chords. Reminds me of mark knopfler’s solo work but more country. Track 4- You all know this song. Cat Power’s most radio-ready hit. Sad 4 note guitar pattern and drum-machine like dance beat the whole time. Her classic vocal style- unstable, upset, and awesome. She harmonizes beautifully with herself in this one. Play it! Track 5- Dark minor key blues. Aggressive, plaintive singing with a deep voice. Almost sounds like a spiritual number adopted for voice and guitar. It’s about a girl, I think, but it talks a lot about the Mississippi river. You get the idea. Track 6- Acoustic guitar and bass start with a vamp. Singer tells story with rare spurts of melody. Melody starts creeping in and suddenly we get drums, full instrumentation, and a catchy pop refrain. Rest of the song alternates between these styles. A little corny for my tastes. Track 7- Banjo or Dobra, I can’t tell, but just that. Spiritual singing atop. This one belongs in the O Brother Where Art Thou department. Track 8- Just talking, NOT A SONG. DO NOT PLAY. Track 9- Another minor key dance number in the verse. Singer has a really interesting voice. The chorus is even darker than the verse and more straight-ahead alt-country rock. Track 10- Traditional bluegrass number, banjo and twangy voice (almost yodel). Track 11- I swear these are the same chords as “Everybody Hurts” by REM. Just an electric guitar and a sad-sack sounding southern dude singing about having no job and how and why he robbed the feed store. Then a woman takes over singing with vibrato. REALLY BORING but the lyrics are stupid enough to keep it a little funny at least. At the end he kills someone. Track 12- Doc Watson plays the blues. It’s classic bluegrass/blues. ‘Nuff said. Track 13- This is Amazing Grace done instrumental and weird. Various car and other noises in the background while some odd instrument that sounds like the wind whistles the tune. Track 14- Some Jim O’Rourke-like noise effects and synth with sad guitar picking. Pretty and standard singing on top of the less secure instrumental foundation. The chorus adds percussion, slide guitar, and a catchy vocal part, but not a lame one like track 6. Eventually he’s riffing off of the lyrics of Amazing Grace, and it’s cool. Pretty. Track 15- More talking. DO NOT PLAY. | ||
| Track Listing |
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