Product Description

Smog's Bill Callahan goes back to the root on A River Ain't Too Much to Love, his first full-length offering in two years. While it's true that his name is nearly synonymous with lo-fi, in recent years Callahan has experimented with different -- albeit simple -- production techniques such as on Dongs of Sevotion and Rain on Lens. Supper, issued in 2003, was more direct, both sonically and personally, and that tack is followed here, though the framework is even sparser. On this, his 12th album, Callahan journeyed south from Chicago to Willie Nelson's Pedernales recording studio in Spicewood, TX. Accompanied by the Dirty Three's Jim White once more holding down the drum chair, and Connie Lovatt on bass and backing vocals, Callahan evokes the ethos and poetry of spooky American folk and country music without ever actually playing them in his own tomes, using mainly waltzes to frame them. Americana this ain't. Callahan has the ability to write first-person narrative songs that cannily juxtapose an evocative physcal landscape that metaphorically refernces deep emotional states; he uses it to great effect here. The skeletal "Say Valley Maker" equates the loss of and longing for love with a river's ability to both fertilize and strip bare the floor of a valley. Callahan's acoustic guitar plays a pair of repetitive figures, graced by an unidentified shimmering sound just above the threshold of silence, graced by White's restrained, rudimentary beat. "Rock Bottom Riser" is a song of resurrection, and again, it's a waltz. In the first verse, a nylon-stringed guitar hypnotically plays the changes in plectrum style, as White uses brushes to shift time while underscoring it, making the tune seem to float. The singer speaks with gratitude to the memory of an absent lover. As Joanna Newsom's piano underscores and fills the melody, Callahan's character finds a transformed sense of self in rising from his loss. It's slippery, lilting pace and restrained vocal create a tension that frames the tune's poignancy. The true nod to roots tradition here is also the album's centerpiece. His version of "In the Pines" is reverent without feeling staid, hampered by its place in history. A delicate, reedy, meandering tempo adorned in a simple guitar line and drums unpacks the melody, and Callahan's delivery is the seed of memory as it comes up from the ether, urging the singer to tell the whole story while keeping his composure. Travis Weller's edgy fiddle exposes the crack in the tale, however, and the grain of Callahan's voice walks the line between reverie and regret. A River Ain't Too Much to Love is a subdued, plaintive collection of songs that accompany silence; they encourage reflection without guile and unveil themselves without a hint of studied artifice. ~ Thom Jurek, Rovi

Track Listing

1. Palimpsest
2. Say Valley Maker
3. The Well
4. Rock Bottom Riser
5. I Feel Like the Mother of the World
6. In the Pines
7. Drinking at the Dam
8. Running the Loping
9. I'm New Here
10. Let Me See the Colts

Product Details

• Amazon Sales Rank: #92108 in Music
• Released on: 2005-05-31
• Number of discs: 1
• Dimensions: .25 pounds

Amazon.com
Bill Callahan is one of a number of performers who present their work under the banner of a band name. It's generally just him, other times with various cohorts along. This set is given added punch and sparkle by the quietly incessant rhythms of drummer Jim White (his rolling foundation for "The Well" sounds like a cowboy gallop across the prairie). Also, it's great to hear acoustic guitars being utilized for music not tied to just folk traditions. Callahan's songs are slices of Americana at its finest--from the Yankee transcendentalism of New England forefathers to the sweep of westward expansion and the chokehold of loss and longing. The first song's opening words are "winter weather" and the closing number's final phrase is "thinking of the future." In between lies just about anything you need. --David Greenberger