“Even your mama said she don’t wanna see you spent at twenty-five.”
You want a super-group? Well, I’ll show you a damned super-group full of the best young folk and indie artists out there! Conor Oberst, Jim James (or Yim Yames, whatever, I’ll call the dude whatever he wants), M. Ward, and Mike Mogis are Monsters of Folk, and on they’re self-titled album, they’re out to prove that folk musicians can be rock stars. As if their respective careers to date haven’t already been exemplary proof of that all in themselves. So there Crooked Vultures, put that in your pipe and smoke it!
In what must come as a big surprise to absolutely nobody, Ward, James (Yames), and Oberst handle the brunt of the vocal work. “Dear God (Sincerely M.O.F.)” kicks the album off with Jim James primarily on vocal duty. The song foreshadows a couple of patterns that are present across the album. The first is the fact that’s a song about faith and spirituality, not surprisingly, this is something that’s a reoccurring theme with Monsters of Folk, this is folk music after all. From a lyrical standpoint, the track actually really reminded me of John Legend’s “Show Me”, another song that was about a man struggling for faith, albeit in an entirely different genre. From a musical standpoint, with it’s kind of funky groove mixed with the folky aspects made it so “Dear God” actually sounded like a cut off of My Morning Jacket’s last album, Evil Urges. Of course, this was compounded by the fact that James was primary vocalist. Which leads us to the second trend, Jim James consistent excellence.
As earlier noted, three of the musicians swap vocal duties back and forth, but it’s Mr. Yames who delivers the most consistently solid performances. Perhaps equally impressive, with the possible exception of the afore-mentioned “Dear God”, none of the Jim James tracks sound much like any of his previous solo work or his work with MMJ. On “The Right Place” James delivers a very upbeat and much more traditionally folky track. Meanwhile, James is also the vocalist on the album’s last track, “His Master’s Voice”, and with this tender spiritual ballad he proves just as skillful ushering us out the door as he was ushering us in. However, James probably saves his best work for “Losin Yo Head”, a track that’s probably the closest thing to a throw-your-hands-up-and-dance folk song as I’ve ever heard. At it’s core, the song is really just a funky party track, with James singing; “It don’t matter what I’m doing, as long as I’m losing my head.” It’s probably the most fun song of the entire bunch.
As I said, the results for the songs that are primarily Conor Oberst or M. Ward tracks see some more mixed results. That’s not to say that both musicians don’t have their moments in the sun, though. Oberst, in particular, has some ups and downs on the album. “Ahead of the Curve”, for example, could be considered something of a “down” track. The song could pass for any number of lesser Bright Eyes songs, and Oberst, seemingly aware of this, pretty much sounds like he’s just going through motions. However, returns are far more positive on “Man Named Truth”, a dark and lyrical song that’s classic Oberst. The track features a mean guitar and sinister little lyrical moments such as; “With oregano oil and a morphine drip, pain was hunting me down, but I gave him the slip.” That’s my kind of tune.
M. Ward’s tunes are a little more consistent than Oberst’s, but he doesn’t wow the way that James does. As you’ve come to expect from Ward, most of the tracks that he fronts are warm, almost old-timey, jams, and for the most part they’re pretty good. “Goodway” is probably the best of the bunch, and it might just have my favorite hook on the album from a lyrical perspective with; “You taught me everything I know about taking other people for a ride, and I just wanted to take the time to thank you for that gift tonight.” I love it, cynical yet syrupy, I hope all the young pop musicians are out there taking notes! And while there are some lesser tracks, such as “Sandman, the Brakeman, and Me” (a ballad that falls a bit flat), for the most part M. Ward does more than enough on the whole to leave a nice mark.
Now, I would be remiss if I went this entire review without mentioning the contributions from Mike Mogis. If Jim James is Monsters of Folk’s MVP, Mogis is almost certainly the team captain. The instrumental work and contributing vocals that he delivers are often what quietly seal the deal on some of the band’s very best tracks. Songs like “Dear G0d”, “Losin Yo Head”, and “Magic Marker” would be far less impressive without the work that Mogis does. It’s just the way things work that every band needs to have a Ringo, and this is magnified considering the popularity and notoriety of this supergroup, but Mogis does the job admirably.
Overall, I would certainly not call the album a disappointment. Yes, it’s a bit inconsistent, but really all that means is that instead of being a great album, it has to instead settle for merely being a very good one. It’s no surprise that the songs are well crafted, Obest, Mogis, Ward, and James are all very accomplished musicians. What gives Monsters of Folk their soul is the fact that the band sounds like they’re just having an absolute blast playing together. Of course, it’s not too bad to listen to, either.
SCORE: 3.6 out of 5.0
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