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Enlisting a cast of superstars and regular contributors (Will Oldham, Bob Nastanovich, Stephen Malkmus, Cassie Berman etc), the musical landscape is wide and open; any rough edges have been smoothed away, leaving the listener to enjoy Bermans croon and some prime Americana. Only closer "There Is A Place" matches the dark intensity of previous SJ records.
The lyrics are as always pretty impenetrable, making reference to Natchez Trace, Andre (a "young black Santa Claus") a "girl in the special economic zone" and the fact that "Sometimes A Pony Gets Depressed"; however (like 60s Dylan) whats being sung is second to how its delivered.
For Silver Jews fans, then, their best record since The Natural Bridge. For everyone else, an introduction to genius, but for all, truly an album to "love to the max"! Thom Allott
Previous SJ albums have always tended to have a few tracks that you could happily skip but this one is awash with melody, orchestration and harmonies sent from heaven.
Legend has it that the master tapes were almost destroyed in a studio fire. After hearing the album (for the tenth time in succession) I couldn't imagine how tragic it would be not hearing this).
If you don't own this, put your order in NOW!!! and listen to one of the best albums of 2005.
From the opening seconds of Punks In The Beerlight, it’s clear that the music matters more than it ever has. With guest spots from Will Oldham, Bob Nastanovich, Paz Lenchantin and Stephen Malkmus, perhaps it’s not surprising that the music is of high quality, but more importantly, there appears to have been a shift in the way that the songs are performed and structured. If its predecessor, Bright Flight, was a muted country record, then Tanglewood Numbers is straight-up band orientated rock and roll. In fact, only the ballads I’m Getting Back Into Getting Back Into You and Sleeping Is The Only Love offer respite from the otherwise non-stop romp.
It’s no surprise that Berman - probably the most talented lyricist of his generation - refuses to allow his words to be overshadowed. Lines like “Andre was a young black Santa Claus / Didn’t want to be like his Daddy was,” allay any fears that Berman’s intentional drug overdose two years ago has dulled his wit. What’s more, his singing voice, nominally the weakest part of any Jews record, is more forceful and intense than ever.
It would’ve been easy for Berman to turn Tanglewood Numbers into a maudlin, autobiographical account of his drug addiction, but nothing could be further from the truth. As Berman chants “I saw God’s shadow on this world,” with almost insane conviction, you know that he has used his adversity to create an altogether triumphant rock record.
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