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▓ [ release info ] ▓
▒ ▒
░ artist: Lucinda Williams ░
album: World Without Tears
░ label: Lost Highway ░
genre: Folk
rip date: 01/21/2004
rel date: 04/08/2003
# tracks: 13
size: 87,9 MB
time: 59:52 min
ripper: PushiTooL
encoder: Lame 3.90.3
quality: --alt-preset standard (VBR)
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▓ [ about this release ] ▓
░ ░
http://www.allmusic.com/cg/amg.dll?p=amg&uid=UIDMISS70311062044412590&sql=A64rj283l053a
While many considered Car Wheels on a Gravel Road and
Essence as definitive statements of arrival for
Lucinda Williams as a pop star, she "arrived"
creatively with her self-titled album in 1984 and
opened up a further world of possibilities with Sweet
Old World. The latter two records merely cemented a
reputation that was well-deserved from the outset,
though they admittedly confused some of her earliest
fans. World Without Tears is the most immediate,
unpolished album she's done since Sweet Old World. In
addition, it is simply the bravest, most emotionally
wrenching record she's ever issued. It offers
unflinching honesty regarding the paradoxes inherent
in love as both a necessary force for fulfillment and
a destructive one when embraced unconsciously. Fans of
her more polished, emotionally yearning material may
have a hard time here because there isn't one track ù
of 13 ù that isn't right from the gut, ripped open,
bleeding, and stripped of metaphors and literary
allusions; they're all cut with the fineness of a
stiletto slicing through white bone into the heart's
blood. World Without Tears is, among other things,
predominantly about co-dependent, screwed-up love.
It's about relationships that begin seemingly
innocently and well-intentioned and become
overwhelmingly powerful emotionally and transcendent
sexually, until the moment where a fissure happens,
baggage gets dumped in the space between lovers, and
they turn in on themselves, becoming twisted and
destructive ù where souls get scorched and bodies feel
the addictive, obsessive need to be touched by a now
absent other. The whole experience burns to ashes; it
becomes a series of tattoos disguised as scars. The
experience is lived through with shattering pain and
bewilderment until wrinkled wisdom emerges on the
other side. Most of Williams' albums have one song
that deals with this theme, but with the exception of
a couple of songs, here they all do.
Musically, this is the hardest-rocking record she's
ever released, though almost half the songs are
ballads. Her road band ù on record with her for the
first time ù cut this one live from the studio floor
adding keyboards and assorted sonic textures later.
The energy here just crackles. Sure, there's gorgeous
country and folk music here. "Ventura," with its
lilting verse and lap steel whining in the background,
is a paean to be swallowed up in the ocean of love's
embrace. In fact, it's downright prosaic until she
gets to the last verse: "Stand in the shower to clean
this dirty mess/Give me back my power and drown this
unholiness/Lean over the toilet bowl and throw up my
confession/Cleanse my soul of this hidden obsession."
The melodic frame is still moving, but the tune
reverses itself: It's no longer a broken-hearted
ballad, but a statement of purpose and survival.
"Fruits of My Labor" is a straight-ahead country song.
Williams shimmers with her lyric, her want pouring
from her mouth like raw dripping honey. Her words are
a poetry of want: "I traced your scent through the
gloom/Till I found these purple flowers/I was spent, I
was soon smelling you for hours...I've been trying to
enjoy all the fruits of my labor/I've been cryin' for
you boy, but truth is my savior." One can hear the
grain of Loretta Lynn's voice, with an intent so pure
and unadorned. But the muck and mire of "Righteously,"
with its open six-string squall, is pure rock. It's an
exhortation to a lover that he need not prove his
manhood by being aloof, but to "be the man you ought
to tenderly/Stand up for me." Doug Pettibone's
overdriven, crunching guitar solo quotes both Duane
Allman and Jimi Hendrix near the end of the tune.
"Real Live Bleeding Fingers and Broken Guitar Strings"
is a Rolling Stones-style country-rocker with a lyric
so poignant it need not be quoted here. "Over Time," a
tome about getting through the heartbreak of a ruined
relationship, could have been produced by Daniel
Lanois with its warm guitar tremolo and sweet, pure,
haunting vocal in front of the mix.
"Those Three Days" may be the most devastating song on
the record, with its whimpering lap steel and
Williams' half-spoken vocal that questions whether a
torrid three-day affair was a lie, a symbolic
sacrifice, or the real thing. The protagonist's
vulnerability is radical; she feels used, abused ù
"Did you only want me for those three days/Did you
only need me for those three days/Did you love me
forever just for those three days." Yet she holds out
hope that there is some other explanation as the
questions begin to ask themselves from the depth of a
scorched heart and a body touched by something so
powerful it feels as if it no longer owns itself.
Pettibone's solo screams and rings in the bridge to
underline every syllable and emotion. "Atonement" is
something else altogether; it's a punkish kind of
blues. If the White Stripes jammed with 20 Miles in a
big studio it might sound like this, with Williams
singing from the depths of a tunnel for a supreme
megaphone effect. She growls and shouts and spits her
lyrics from the center of the mix. And Taras
Prodaniuk's fuzzed-out basement-level gutter bass is
the dirtiest, raunchiest thing on record since early
Black Sabbath. "Sweet Side" is almost a poem in song,
attempts to inspire someone who's been broken by life
to accept his goodness. It is not a rap song despite
what's been written about it so far. It's more in the
tradition of Bob Dylan's early talking blues, but with
a modern organic rhythm played by Jim Christie instead
of drum loops. In addition, there is the gorgeously
tough "People Talking," the most straight-ahead
country song Williams has written since "Still I Long
for Your Kiss" (from the Horse Whisperer soundtrack,
not the version that appears on Car Wheels, which is
dull and lifeless by comparison). Here again,
Pettibone's guitar and the slippery, skittering
shuffle of Christie's drumming carry Williams' voice
to a place where she can sing her protagonist's
personal, soul-searing truth without restraint.
World Without Tears is a work of art in the Henry
James sense; it is "that which can never be repeated."
It is as fine an album as she could make at this point
in her life ù which is saying plenty. While she has
never strayed from her own vision and has made few
compromises, this album risks everything she's built
up to now. The audience she's won over time ù
especially with her last two records ù may find it
over the top, which would be too damn bad; it'd be
their loss. Hopefully, history will prove that World
Without Tears sets a new watermark for Williams, and
is an album so thoroughly ahead of its time in the way
it embraces, and even flaunts, love's contradictions
and paradoxes ù the same way the human heart does. It
is this writer's hope that people will be listening to
and learning from it for years to come. ù Thom Jurek
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▓ [ track listing ] ▓
░ trk title time ░
01 Fruits Of My Labor 04:49
02 Righteously 04:42
03 Ventura 04:43
04 Real Live Bleeding Fingers And Broken Guitar 04:43
Strings
05 Overtime 03:59
06 Those Three Days 05:00
07 Atonement 05:50
08 Sweet Side 03:37
09 Minneapolis 04:08
10 People Talkin' 05:12
11 American Dream 04:38
12 World Without Tears 04:17
13 Words Fell 04:14
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▓ [ about us ] ▓
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purely for the public, so you can hear that hard-to-
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nfo.header : knawledge ■ 12.30.2001
nfo.layout : z0oy0rk ■ 02.18.2001
modified.by : Damnir ■ 01.01.2004
last.update.by : Damnir ■ 01.01.2004
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