Tangled Up in Jews: The Genius of the Silver Jews' Tanglewood Numbers, Part 2

Sorry for the delay in getting part two up, please forgive me. To make up for it, I will share with you my big discovery of the weekend – the guitar tab to the beginning of “Punks in the Beerlight”! I figured this out all by myself, thank you very much. Now, I’m sure that this isn’t the exact way it’s played, since if it is Malkmus playing it, I’m sure he’s using one of his “look at me, I’m different” tunings, while it’s hard enough for me to keep mine in standard tuning. So anyway:

---0------3-----1—0-------------------------------------------------------3---0
---1-----------------------------------1-----3---1--------------------------------
---0-------------------------------------------------------2-----0-----------------
---2--------------------------------------------------------------------------------
---3--------------------------------------------------------------------------------
------------------------------------------------------------------------------------

I think that’s pretty right on. And then most of the song is just C-G-A, you can switch between major chords and power chords however you like. Once it gets up to “If it gets really really bad” I’m lost. But still, it’s fun to play that first part. Now the Starlite Walkers (my fictional Silver Jews cover band) has a new song to play! Anyway, part one is here, or right below, or something.

Anyway, the second half of the album kicks off with “How Can I Love You? (If You Won’t Lie Down),” which is indeed the best Magnetic Fields song so far this millennium. One gets the impression this song wouldn’t work quite as well if Malkmus was the vocal foil on the record and not Cassie. Or, one would get the impression that the Berman/Malkmus relationship was a lot different than we had suspected. But we’re getting off subject, and that’s obviously frowned upon here at SD. Back to the song, who else besides Berman or Merritt could get away with a line like “Fast cars/fine ass/these things will pass”? Exactly. Which leads me to another point – as great a lyricist as DCB has always been, he really has some doozies for opening lines on this album. For the most part they are hilarious and ridiculous and pull you right into the song. This is one of them, and the first three songs on the record are the other great examples. Those compressed drums that kick the song off could be from one of dozens from the Merritt songbook, let’s use “Falling Out of Love With You” as the example, since we have recently watched many, many episodes of The Adventures of Pete & Pete for which that song was the de facto theme. When Cassie comes in with her vocals, she sounds more like Claudia than at any other part on the album – girlier, higher-pitched. This is just a happy song. It makes you smile, it’s got a killer lead guitar line (one of the themes of the album) and the whole thing is over in two minutes, a wonderfully compact little song. Ending with that echo-y banjo just Merritts it up even more.

Next up is “The Poor, The Fair and The Good,” which gets my vote for the “secret” best song on the album. What does that mean? Well, I’m not really sure. I guess it means that it’s not really better than “Punks in the Beerlight,” but after I listen to “PITB” 14 times in a row, then play that little riff for 45 minutes or so and need to listen to another song, this is one that gets the nod. It’s got the best staying power since it’s not really gimmicky, it’s just a really great well-rounded song. To me, it’s this album’s “Blue Arrangements,” because it’s got Berman taking a backseat vocally and it’s got nimble fretwork from SM. Or maybe just the first minute of this song reminds me of the last minute of “Blue Arrangements.” Plus the vocal thing. There’s really a lot to listen to here; you can focus in on Cassie, on DCB, on the guitar, the Scarlet Rivera-esque fiddle. This is another especially great driving song, but whereas “PITB” is a great highway driving song, for when I’m weaving in and out of lanes on 95, this one is more fitting for when I take the Chain Bridge/scenic route on the way home, admiring the foliage and some of those old-timey shops. Bonus points for the quasi-local shoutout of “black-eyed susans from the Maryland shore,” it was about time Maryland got a lyrical mention. And while we’re on the topic of Maryland, can I make an ever-so-brief NBA detour, to talk about how former Maryland stars Juan Dixon and Steve Blake will both be suiting up for the Portland Trailblazers this coming season? No, I can’t? Oh well. I’ll be sure to cover it in SD’s 14-part NBA preview, coming next month.

“Sleeping Is the Only Love” is easily my least favorite song on the album. I just don’t like it that much, not much else to say. I’ve said how there are lots of great first lines on this record, but “I heard they were taming the shrew/I heard the shrew was you” isn’t one of them. The Manishewitz reference – to the actual wine, not the band that was featured on The O.C. a couple weeks ago is sorta funny, but sorta forced? Maybe?

“The Farmer’s Motel,” the longest song in the Joos catalog, by far. I must say that I wasn’t sure if DCB had a seven-minute song in him, or perhaps I just didn’t want DCB to have a seven-minute song in him. But that was just bad thinking on my part, because if you’re going to have a song that’s at least seven minutes long, it better be one of two things: a hypnotic, repetitive droner (“Suicide,” “Hallluwah,” etc.) or there better be enough good lyrics to keep you paying attention for a good long while (“The NRWA,” “Desolation Row,” etc.) So of course Berman’s got enough good lyrics to spare, so he may as well take a stab at an epic. To me, this song is just an update of Dylan’s “Isis.” A seven-minute narrative that keeps the same pace throughout, featuring a good amount of fiddle, no real chorus to speak of, just a recurring musical interlude of sorts. This song sort of lulls you into its world of … well, I’m still not sure what’s going on, I just know that if DCB was filling out a Zagat’s survery on The Farmer’s Motel, he’d probably give it a 2 or 3. And remember, that’s out of 30.

I'm most conflicted about “There Is A Place,” the album’s final track. The song’s first two minutes are wholly unremarkable, a throwaway verse which leads to some sort of pointless noodling for a minute or so. It’s not what you’d expect or want from the Joos, but it’s there for a purpose. Halfway through the song, it abruptly changes course, leading to a completely unrelated second movement. This is a tactic that I’m a complete sucker for almost all of the time – “Cary Grant’s Wedding,” “Fight This Generation,” “The Bad Arts,” just to name a few. Anyway, the song turns into a primal chant complete with a very Velvets drumbeat – “I saw God’s shadow on this world!” It’s the Tanglewood Growl, and he saves the best for last. They need to tour because this song needs to be performed live. I can see DCB – sporting a full beard, of course (this song cannot be sung unless there is a full beard) – holding the microphone in one hand while smashing the mic stand down with the other each time it gets to the first syllable of “shadow.” “I saw God’s SHAD-ow on this world … I saw God’s SHAD-ow on this world!” The drums let up a bit as the song – which by this point has taken on an energy force of its own – gathers itself for one final push. “I took a hammer to it all,” DCB sings before the frenzied finale. All hell breaks loose – not in a “Country Diary” sort of way, but in a flat-out fucking rocking sort of way. You can hear the shaking in DCB’s voice, delivering the repeated “I saw God’s shadow on this world!” with remarkable gusto. I have an interpretive dance ready for when they play this song. Well, it’s not so much a dance as it is a sort of combination twirling/hopping, perhaps a violent variation on what some hippie might do during “Wharf Rat.” Basically something that will get me very dizzy, because that’s what the last two minutes is, dizzying. It’s the greatest two minutes in Silver Jews history, I’m thinking. But it’s still just the third best song on the album. But what a way to go out.

And there it is. Let’s just all hope that they fuckin’ get on the road behind this thing. Go to your local Wishing Well and Such and throw a few dollars down the well while asking for a Joos tour. If it happens, don’t you get the feeling that there will be about 30-40 folks – maybe even up to 100? – at at least five or six shows apiece? Honestly, now that I think about it, that would maybe be a deterrent. I get the feeling that DCB might grow tired of playing to the same bunch of 24 to 30 year old dudes night after night. So, um, yeah.

--DM--

Comments

[JK]

hey

I get such a kick out of the fact that everything that you like about the album are the things I don't like...further, you like the album more than I do, though I really do like it a lot. I think the beginning of "there is a place" is really, really beautiful. though I like the second part as well.

I guess it really does boil down to what you alluded to in part one--some people are Natural Bridge people, and those people probably won't like this album quite as much as you do. but it's a really great album.

you're dead on about "the farmer's hotel"...it might be my favorite song on the album though, which doesn't at all seem to be the case for you. the funny thing about "sleeping is the only love" is that it really sounds like a bright flight b-side. but it's hard to complain about any silver jews song--he's just so good.

[DM]

You know, I was actually going to say that "Sleeping Is the Only Love" sounds like a "Bright Flight" b-side, but then I guess I decided not to. But it's got that same sort of pleasant-but-just-sort-of-there thing that much of BF had.

[hackmuth]

to me, what makes the 'fast cars/fine ass/these things will pass' line so great is the line that follows "and it won't get more profound."

[DM]

I'm gonna stick with the "fine ass" part being my favorite.

[JK]

ok, so not about TN but what do you think of the new childballads song? I think it's pretty great. so long to wait for an album though (early next year maybe?).

[DM]

Where'd you hear the CB song? Did they finally get their act together and get a Web site? I kind of find that hard to believe. Wanna send/post a link? I've still never even seen them, which I should probably get around to doing, although it seems my next chance is for $15 opening for the Fiery Furnaces, so I think it might have to wait a bit longer.

[JK]

http://www.fluxblog.org/2005/08/i-tried-hard-to-make-world-exotic.html

they do indeed now have a website:

http://www.thechildballads.net/pages/1/

I am so happy about this.

[dana]

How did I miss this post for the past two days? I've been anxiously awaiting it!

I agree about the MagFi-ness of "How Can I Love You," though I didn't realize it until you pointed it out. I've been listening to the song every got-damn day thinking, "What does this banjo remind me of?"

I gotta say, Natural Bridge is prolly my fav Joos album to date, but this might supplant it. We shall see.

[ant mc]

the album is ok, some people lettin their obsessions cloud their judgement. s.m. obvioulsy makes the difference but i get the feeling he would be pissed off with that cassie woman singing most of the backing vocals, i mean, how sad is bermo??!!

could have been much much better if he had let s.m. do the talking.

[ant mc]

further, i like punks in the beer light and the last song. i even found myself singing 'sometimes a pony gets depressed' which is rather worrying, but, why o why didnt berman let s.m. do the lions share of the backing?? anyone who says this album is better than 1. american water 2. face the truth, is living on a different planet. fact.

again, where the hell is bobby nasosanovich?? few little shout outs from the bobster would not have gone a miss. i was not hearing westie's traditional little drum rolls a la silent kit which also depressed me.

bermo, if your reading this, lay off the burbon son, you've had enough.

[DM]

SM did the talking on two albums already. Why not try something different? There's a lot of romance in these songs. It wouldn't work with SM.

Pick any 30 seconds from any song on Tanglewood and there are more redeeming qualities in that half minute than on all of Face the Truth. Well, maybe that's a bit much, I do really, really like "Mama" and "Baby C'mon." But the general point remains the same, and that's not even much of a diss on FTT, because I enjoy it ... well, at least half of it.

Westie's traditional little drum rolls a la "Silent Kit"? Ha! If you think that's Westy drumming on CRCR or WZ, well, I think you are wrong. Those are Malkmus solo joints, with a little Spiral thrown in. That's one of the reasons FTT is the best Malkmus in 10 years -- he finally stopped letting other people do stuff on his songs.

And finally ... is Bermo an official nickname for DCB? I sort of like it .. but I sort of don't.

[ant mc]

your missing the point DM, the two albums s.m. was main collaborator are the best joo's albums. certainly american water is THE best.

ok, i pick the first thirty seconds off k-hole. no further questions your honour.

i do not believe you that it is S.M drumming on CRCR and WZ. i saw S.M. drum at the manchester academy ( the gig on Slow Century )and he was not up to much.

im uneasy with your comment that FTT best malkmus in 10 years. its damn good. i agree it gets abit sludgy in the middle but great recovery last three songs.

bermo is the official nickname of DCB.

Ant mc

[DM]

Maybe you're missing the point ... I think that SM was just as much a collaborator on this one as on the other two. He just doesn't sing. But listening to those guitar lines, those are SM creations. And I will certainly agree with you that American Water was the best until this one. That's not a popular opinion with most folks I know, but I'm pretty confident in it. I'll have to wait at least a year until I can honestly decide where TN gets placed.

You can believe me or not believe me about SM drumming on those records, but I'm pretty sure it's the truth. "Westy, he cannot drum" -- equal parts SM being funny and an asshole. I love when people are equal parts funny and an asshole.

Uneasy w/FTT being the best Malkmus in 10 years? Let's see ... BTC, Terror Twilight, first solo album, Pig Lib ... I guess I have a soft spot for TT since I saw them a bunch on that tour, but that's not much competition. He's best when he works alone and does everything himself, that's the lesson.

Mission of Bermo. I like it.

[ant mc]

i agree that is definetely sm guitar lines. i also agree he is heavily involved but 1. he is listed 3 in appearance schedule and 2. you really need to hear s.m. singing over his creations to get maximum effect.

i know sm once sang 'westy cannot drum' but bob couldnt do shit, spiral limited to power chords and ibold, bless him well... the point being that s.m let them play on the records. how do you know it was s.m. drumming?

hey, BTC is a bona fide masterpiece, just for the 'liberals' line in Type Slowly.

i like it when people are equal part funny and arsehole. well, at least your half way there.

ant mc