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Kiss Each Other Clean CD

12 customer reviews

Price: £8.90 & FREE Delivery in the UK on orders over £20. Details
Includes FREE MP3 version of this album.
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Amazon's Iron & Wine Store


Image of album by Iron & Wine


Image of Iron & Wine


Over the course of his ten-year career, Iron and Wine's Sam Beam has become one of today's greatest story tellers, crafting meticulous tales full of forlorn love, religious imagery and wistful dreams. Many fell in love with Iron and Wine Beam's tender and spare rendering of The Postal Service's "Such Great Heights" was featured on the Garden State soundtrack in 2002. ... Read more in Amazon's Iron & Wine Store

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Frequently Bought Together

Kiss Each Other Clean + Our Endless Numbered Days + The Shepherd's Dog
Price For All Three: £27.19

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Product details

  • Audio CD (24 Jan. 2011)
  • Number of Discs: 1
  • Format: CD
  • Label: 4AD
  • ASIN: B004BCO77A
  • Other Editions: Audio CD  |  Vinyl  |  MP3 Download
  • Average Customer Review: 4.0 out of 5 stars  See all reviews (12 customer reviews)
  • Amazon Bestsellers Rank: 66,647 in Music (See Top 100 in Music)

Listen to Samples and Buy MP3s

Songs from this album are available to purchase as MP3s. Click on "Buy MP3" or view the MP3 Album.

Song Title Time Price
  1. Walking Far From Home 4:46£0.99  Buy MP3 
  2. Me And Lazarus 3:02£0.99  Buy MP3 
  3. Tree By The River 3:56£0.99  Buy MP3 
  4. Monkeys Uptown 3:47£0.99  Buy MP3 
  5. Half Moon 3:15£0.99  Buy MP3 
  6. Rabbit Will Run 5:31£0.99  Buy MP3 
  7. Godless Brother In Love 3:50£0.99  Buy MP3 
  8. Big Burned Hand 4:13£0.99  Buy MP3 
  9. Glad Man Singing 4:39£0.99  Buy MP3 
10. Your Fake Name Is Good Enough For Me 7:00£0.99  Buy MP3 

Product Description

BBC Review

The Sam Beam that we hear on Iron & Wine’s fourth album is a figure quite distinct from the one that first greeted us on his 2002 debut.

Said record, The Creek Drank the Cradle, cast Beam as a rustic, backwoods sort, a Will Oldham-type figure with wild beard and collection of banjo-plucking songs that sounded like they might have been maturing in oak casks in the Appalachians for the last century or two. But much like Oldham, Beam has obviously become uncomfortable in his niche, and so subsequent albums have toned down the folky lo-fi in favour of a more open-ended, curious approach.

2007’s The Shepherd’s Dog toyed with African pop music and dub production: still spooky, but occasionally danceable. And Kiss Each Other Clean goes further still. Sumptuously recorded, with help from Chicago producer Brian Deck, and featuring a cast of musicians drawing from bands like Califone, Chicago Underground Duo and Antibalas, it’s a fuller, friskier record than anything Beam has captured before, filled out with warm Californian harmonies and boasting a certain funk in its step.

Yes, if you can believe it, Kiss Each Other Clean gets kind of funky. There’s a little in Me and Lazarus, a slow strut with velvety vocals, a wriggling bass line and a saxophone that sounds sheepish, at first, but slowly gains confidence as the song unfurls. Bird Burned Hand, on the other hand, is quite the jam, all ebullient brass and acid jazz keyboard squelches.

Still, cut away the instrumentation and there is a storytelling core to Iron & Wine that remains largely consistent. The opening Walking Far From Home roams far and wide, a panoramic journey that could almost have fit onto Mercury Rev’s Deserter’s Songs, Beam singing of “a car crash in the country / Where the prayers run like weeds along the road”. Tree by the River, meanwhile, appears to be a nostalgic tale of lost love that looks back without anger. Beam’s songwriting retains a cryptic quality, but the feeling shines through, and however far Iron & Wine travels from its starting point, it still won’t feel far from home.

--Louis Pattison

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Customer Reviews

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Most Helpful Customer Reviews

10 of 10 people found the following review helpful By Red on Black TOP 50 REVIEWERVINE VOICE on 24 Jan. 2011
Format: Audio CD
Barely a month into 2011 and we are in real danger of being spoiled. In a matter of a week first we get the Decemberists magnificent "The King is Dead" and now master musician Sam Beam and his musical collective "Iron and Wine" release their fourth studio album "Kiss each other clean". Beam is a man on a musical journey from the Will Oldham inspired raw beauty of "Our endlessly numbered days" to the wider vista's of 2007's "The Shepherd's dog". A stunning live version of this new album has streamed on NPR for two weeks and I wondered how the studio versions could better some of the songs from that session; but they do and largely because Beam has painted over a much broader musical palette on this album than any of his previous releases. If you desire yet other autumnal dose of beautifully poignant Iron and Wine songs such as the achingly lovely "Fever Dream", "Such great heights" or "Naked as we come" this album is going to come as a bit of a surprise, albeit a nice one.

This is a deeply textured and layered album full of instrumentation of all shapes and sizes combined with, dare we whisper it, a real sense of fun. The great opener "Walking from home" is within traditional Iron and Wine territory with a Dylan style observational lyric and wonderful angelic backing vocals which at around 3.20 is interrupted with a bass like synth. Overall a splendid start. Contrast this with a song from later within the album "Big burned hand" which bounds along for underpinned by a funky dirty saxophone and lyrics which Amazon will not let us describe (the album is well interspersed with occasional profanities). Lets also state that with Big Burned, along with a number of other tracks, a bop around the dance floor is not only possible but also probably desirable.
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7 of 8 people found the following review helpful By Jeremy Williams on 27 Jan. 2011
Format: Audio CD
Sam Beam made his name in lo-fi Americana, a bare-bones combination of hushed vocals and acoustic guitar. With each album since his debut, Iron and Wine has progressed, taking in a greater range of textures and instruments. While some fans may miss the earlier hushed and dusty incarnation, there was a richness and depth in Iron and Wine's last album, The Shepherd's Dog, and Kiss Each Other Clean takes that one step further.

This an album full of ideas, an artist full of confidence and trying new things. It's not experimental for the sake of it, it's more playful than anything else. It's also very accomplished, packed with understated melodies and layers of instrumentation. There are pretty harmonies throughout, some sung by Sarah Beam, sometimes Sam double-tracking his own vocals in falsetto. There are surprises too, the crazy toy whistle on `Rabbit Will Run', the funk basslines of `Monkeys Uptown'.

As usual, the lyrics are wonderfully poetic, cryptic, full of a home-spun mythology of angels, horses, moonlight. Songs feel lovingly crafted, and couplets jump out and suggest whole untold stories - the teenagers who are still "strangers to change" in the nostalgic `Tree by the River', or the character "barefoot in the city and your phone's ringing" on `Your Fake Name is Good Enough for Me'.

This is a lovely album that rewards repeated listens.
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6 of 7 people found the following review helpful By Gannon on 24 Jan. 2011
Format: Audio CD
From the Garden State soundtrack to Twilight much more recently, Iron & Wine`s Sam Beam has been on a journey. He started it wearily, his storyteller-like persona creaking and wheezing through the gate with outdoorsy, dusty, impressively beardy folk in tow. Yet now, ten years into the business, having relocated to Austin from South Carolina in the process, he sounds youthful, playful even in comparison.

Taking the upbeat, lyrical folk template from his well-received last outing The Shepherd's Dog, and now releasing via the rejuvenated label 4AD, Kiss Each Other Clean now sees Beam give his sound a 70s MOR sheen. Bled through with a magpie's capriciousness (check that sly marimba backbeat here and there), Beam's journeyman quality now comes bolstered with sympathetic concessions to the in-vogue Fleetwood Mac ("Your Fake Name Is Good Enough For Me"), to the gentle piano ballad ("Godless Brother"), and perhaps even to Toto`s "Rosanna" as heard with the countrified smoothness of "Half Moon".

Whilst tail-stacking the album with mature, West Coast rhythms - see the impeccably pitched "Glad Man Singing" - Beam nevertheless also takes the time to silkily glide "Rabbit Will Run" over troubled waters and introduce a murkier groove to proceedings thanks to "Big Burned Hand" and its warped sax and talk of tattoos.

Of course, the Midwestern Gayngs collective tried this same nostalgic hand last year, only with less subtlety. Their strict diet of soft-rock and Bone Thugs `n' Harmony suffered, but only slightly, by their self-imposed 10CC constraints.
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11 of 13 people found the following review helpful By TCH TOP 1000 REVIEWER on 26 Jan. 2011
Format: Audio CD Verified Purchase
I'm a big admirer of Iron & Wine who in my opinion are right at the forefront of contemporary acts and "The Shepherd's Dog" is a masterpiece no question and one that has probably been difficult to follow up (it is three-and-a-half years since that opus, a long-interval by Sam Beam's standards). "Kiss Each Other Clean" has had pretty mixed reviews, some hailing it as a near classic and others put off by the rather 'slick' production. I fall into the second school on this one - the excellent quality of much of the songwriting is self-evident but whereas "The Shepherd's Dog" was enhanced by the brilliant arrangements and production which gave the whole album an opaque, mysterious yet very alluring quality (with all those buzzing sitars, dobros, acoustic guitars & dub effects) the overly 'clean' production of "Kiss Each Other Clean" rather diminishes the overall impact. For the first time on this record synthesisers are pushed to the foreground rather than being just used texturally losing something indefinable in the process. That said it is still a worthwhile listen especially for Iron & Wine fans since even a minor misstep like the too slick production employed here can't entirely eliminate Sam Beam's brilliant artistry and songwriting chops. The only track that really doesn't work at all is "Big Burned Hand" which is attempts an almost funky vibe but vocally Sam Beam can't pull it off convincingly (he's hardly Sly Stone!) and the production track is too brash and overwhelms him, still good try! In many ways this album rather reminds me of listening to Goldfrapp's "Black Cherry" after loving "Felt Mountain" - a pretty startling change and enjoyable enough but just not the same (and to be honest not as good, as least in my opinion though I'll be the first to admit others will probably love this direction but I prefer the "Wood-sy" vibe of Sam Beam's earlier work culminating in magnificent "The Shepherd's Dog").
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