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Paul Westerberg, "Folker"
Vagrant
On his fifth album in two years, Paul Westerberg should be getting tothat point where he's becoming a parody of himself, sounding out thesame old business in his traditional way. Strangely, though, he soundsmore fresh than ever, opening up and having fun in a way that's almostmore revealing than any songs he's ever released. It's known thatWesterberg has a large stockpile of material that he's been recordingin his home for years, but there hasn't been a dud yet as he sloughsoff years of age to bring this music to life. No, he doesn't sound likehe's in the Mats again, but it makes little difference when he's stillcooking up magic. The album opens with "Jingle," Paul's attempt to getmainstream commercials to buy one of his songs and make him the nextcorporate shill like Lenny Kravitz, but it's obvious why it neverworked: his snide sense of humor is in full effect, and any intelligentbuyer would know he's crossing his fingers behind his back as he sings"Buy it now." It's catchy enough for an album opener, and after thatit's pretty much a fitting title for what's inside. The honesty anddirectness is what flavors all the songs with such import, almost likePaul is taking a stand like Joan Baez or Bob Dylan, but only on what'simportant to him, not the masses. This is a folk album that speaks fromthe heart, but about the heart and what flies around the head insteadof about ideas that are projected on to those who listen. "My Dad"doesn't need much explanation, but feels like a song that represents aconversation that should have taken place and didn't. "Now I Wonder" isthe quest everyone goes on, and it's got that classic Westerberg sneerwith Jesus Christ references, poetry on wheels. Again Paul plays allthe instruments, and doesn't care about clean takes or crisp playing.With all these ingredients, the cake should be tasty, and it is, eventhough it's got no frosting or sprinkles. If he keeps it up at thispace, Paul might have thirty records out by 2015, and not a one of themwill be lackluster.
On his fifth album in two years, Paul Westerberg should be getting tothat point where he's becoming a parody of himself, sounding out thesame old business in his traditional way. Strangely, though, he soundsmore fresh than ever, opening up and having fun in a way that's almostmore revealing than any songs he's ever released. It's known thatWesterberg has a large stockpile of material that he's been recordingin his home for years, but there hasn't been a dud yet as he sloughsoff years of age to bring this music to life. No, he doesn't sound likehe's in the Mats again, but it makes little difference when he's stillcooking up magic. The album opens with "Jingle," Paul's attempt to getmainstream commercials to buy one of his songs and make him the nextcorporate shill like Lenny Kravitz, but it's obvious why it neverworked: his snide sense of humor is in full effect, and any intelligentbuyer would know he's crossing his fingers behind his back as he sings"Buy it now." It's catchy enough for an album opener, and after thatit's pretty much a fitting title for what's inside. The honesty anddirectness is what flavors all the songs with such import, almost likePaul is taking a stand like Joan Baez or Bob Dylan, but only on what'simportant to him, not the masses. This is a folk album that speaks fromthe heart, but about the heart and what flies around the head insteadof about ideas that are projected on to those who listen. "My Dad"doesn't need much explanation, but feels like a song that represents aconversation that should have taken place and didn't. "Now I Wonder" isthe quest everyone goes on, and it's got that classic Westerberg sneerwith Jesus Christ references, poetry on wheels. Again Paul plays allthe instruments, and doesn't care about clean takes or crisp playing.With all these ingredients, the cake should be tasty, and it is, eventhough it's got no frosting or sprinkles. If he keeps it up at thispace, Paul might have thirty records out by 2015, and not a one of themwill be lackluster.
