knotheadusc's Full Review: Natural Forces [Digipak] * by Lyle Lovett
It's been about two years since Lyle Lovett's last eclectic offering, It's Not Big It's Large. As someone who has grown to really appreciate Lovett's talent for mashing up genres with poetic song lyrics, I was certainly glad to see that his latest album, Natural Forces (2009), was available for purchase. I got my hands on this new CD last week and for the most part, I'm still loving Lovett.
The CD
Natural Forces runs for just over 50 minutes and consists of twelve tracks, one of which appears as both an acoustic and "plugged" version. Lovett shares writing credits on a few songs and sings a few written by other songwriters. Printed lyrics are included as well as some stark photography of Lovett and his trusty quarter horse.
The songs
Natural Forces kicks off with the title track, a song heavy on percussion and Lovett's trademark rhythms. Listen to a few of his albums and you'll start to recognize certain melodic phrasing that seems to generate at least one song on each album. I'm not at all surprised to see that Lovett wrote this one himself, with evocative lyrics about travel, weather, and an appreciation for his horse. Now that's my kind of man! Stuart Duncan is on hand to provide a stellar fiddle solo that matches Lovett's distinctive twangy vocals.
I've had the chorus from Farmer Brown/Chicken Reel in my head all day. The credits state that this song is traditional with a little tweaking from Lovett. All I have to say is that it really shows off Lovett's sense of humor, which based on this song, is quite ribald. It's an upbeat number that shows off his band's ability to swing with barnyard sound effects. But what really makes this song memorable to me is Lovett singing the chorus, which goes
I'm gonna choke my chicken (Choke my chicken)
Choke my chicken (Choke my chicken)
Choke my chicken 'til the sun goes down
Lovett and his band must have had a blast with this song, since the players also provide some very funny barnyard animal sound effects. Aside from the funny lyrics, this song is a lot of fun to listen to... and sing along with.
Lovett follows up his chicken song with Pantry, a wry number I heard him perform for the first time in concert back in March. This is the plugged version of this song, which Lovett wrote with his beloved April Kimble. The song is uptempo with clever lyrics about food that subtly impart the real meaning of this song. I think it's fair to mention that I heard this song for the first time in Germany, where Lovett played for a very appreciative but restrained crowd. I think my husband Bill and I and one of his co-workers were the only Americans in the crowd and we seemed to be the only ones who got the tongue in cheek humor of this sexy number. But when I listened to this song on YouTube played for American audiences, everyone roared with laughter. I think this one is destined to become one of Lovett's more popular numbers. Kudos to Keith Sewell, who sings the harmony vocal and wowed the crap out of me at that concert in Stuttgart
Lovett slows down with Empty Blue Shoes, another original song with wonderfully descriptive lyrics about travel and moving on. I think if Lyle Lovett hadn't been born to be a musician, he would have made a first rate novelist. This song sets up a goodbye scene like something out of literature.
Whooping Crame is a song written by Eric Taylor. This is another thoughtful, pensive number played mostly on Lovett's acoustic guitar and backed by Matt Rollings' thoughtful piano. I like this song for its pretty melody and the way it shows off the Lovett's distinctively beautiful voice.
Bayou Song was written by Don Sanders. This is another somewhat slow song that features Stuart Duncan's masterful fiddle playing and words that tell the story of a boy who grew up on the bayou. I credit Lovett for picking another song that has wonderfully descriptive lyrics that paint the picture of a scene and invite listeners to invest in the song through all of their senses, not just the ears.
Bohemia is kind of a sexy, bluesy number by Tommy Elskes. I like this song for its swingy mood and the reference to Bohemia. To be honest, I don't know what inspired Elskes to write about Bohemia or whether or not he's referring to the Czech Republic, but I think of good times in that country whenever I listen to this song. Lovett comes dangerously close to erupting into a little gospel toward the end of this song, which sounds like it could be right at home on a blues station.
Next comes David Ball's Don't You Think I Feel It Too, another slow slog that features Lovett's acoustic guitar and Duncan's fiddle. Keith Sewell is back to sing harmony on this slow, waltzing number that seems to be about a relationship breaking up and the depression that follows... Interestingly enough, when I listen to this song, I wonder if the depression caused the breakup or it was the other way around. The end result seems to be the same, someone heartbroken, pouring their feelings out in a song. Lyle Lovett picked a good one.
Sun and Moon and Stars is a song by Vince Bell. It's another slow, pensive song played mostly on acoustic guitar. At this point, I'm kind of wishing the pace would pick up, even though I like this song's slightly gospel mood.
Townes Van Zandt wrote Loretta, a song that sounds kind of hymn like as Matt Rollings plays the piano intro. Stuart Duncan joins in quickly and I'm starting to detect a slight elevation in mood and tempo. Even though the melody sounds like a hymn, the words are definitely not about the good book. This song is about a beautiful woman who lives for the moment... maybe she's a high priced callgirl or maybe she's just a woman who's a little loose and likes to have a good time.
Robert Earl Keen and Lyle Lovett wrote the very uptempo It's Rock and Roll, a song that took a couple of listens to grow on me. This song is the biggest production on the album, with Dean Parks playing a fierce electric guitar and Russ Kunkel beating the drums. Lovett starts by reading a verse about what it's like to be a rock star. The words are actually kind of interesting, though when I first heard him speaking it instead of singing, I kind of groaned. The song erupts then into a true rock song, the kind I might expect to hear in an arena with plenty of screaming fans. I see Lovett's usual cast of backup singers are around to help on the chorus-- Sweet Pea Atkinson, Sir Harry Bowens, and Arnold McCuller are on this track along with the rest of Lovett's band. Atkinson, Bowens, and McCuller were pretty much absent on the rest of the album. I didn't like this song at first, but it's grown on me.
Natural Forces concludes with a perky acoustic version of Pantry, which is more like the one I heard Lovett play in Germany with three other guys. I like the "plugged" version of this song just fine, but I much prefer Lovett's acoustic version, which is just a hell of a lot of fun to listen to. Viktor Krauss plays a very noticeable bass here, which I'm glad to hear. His bass fiddle provides a real spine for the rest of the players. Sam Bush plays the hell out of his mandolin. I would love to have a whole album full of acoustic songs like this, complete with quirky, funny lyrics. And God bless Keith Sewell for his harmony vocals and mean lead acoustic guitar. I think Lovett found himself an awesome band member in Sewell.
Overall
I'm not sure if I love Natural Forces as much as I love It's Not Big It's Large, but I definitely know that I like it a lot. And now that Lyle Lovett's on tour again and headed to Atlanta, I'm wanting to take in another live show. I definitely think this album is a worthy purchase for those who dig Lyle Lovett.
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