I intend this blog to be a music review blog, but I imagine a lot of my other random musings will creep their way in. So, if you're interested in reading about my black thumb, my unwilling debut in the rental real estate industry, my incredible talent for cooking, my partially successful dieting, my exercise routine (or "How I Developed the Healthiest Addiction Ever"), how being a mom is awesome, or Alexander Hamilton's biography, stay tuned. Oh, and I may throw in an occasional tidbit of free tax advice. Watch closely, you wouldn't want to miss those gems.
I intend my first bit of writing to be a review of Middle Brother's debut album, Middle Brother. For those of you who don't have your finger on the pulse of the music industry like I do, Middle Brother is a alternative country band made up of John McCauley of Deer Tick, and what's-his-face from Dawes and the guy from Delta Spirit. Both Dawes and Deer Tick have been quite active in the last year or two. Deer Tick released two dynamite albums back-to-back in 2009 and 2010, Born on Flag Day and The Black Dirt Sessions. Dawes released their self-titled debut in 2009. I know nothing about Delta Spirit, but given Matthew Vasquez's promise shown on "Middle Brother," they're on my "to check out" list. The trio took time off from their full-time gigs in early 2010 to record this stand-up album.
Okay, so, Middle Brother. Those of you who are familiar with Deer Tick's work will immediately recognize John McCauley's gravelly, twangy voice in about a third of the songs. A quick look through the liner notes will indicate that the writing credits go to the three bandmates approximately equally, but their styles meld so fluidly that it's nearly impossible to pick out the song's writer just by listening. The vocals, however, are another story.
John McCauley's melancholy, even despairing, tone, exhibited so keenly on "The Black Dirt Sessions" is present throughout, even in the funny, upbeat title track (which I can't wait to play on the radio so I can say, 'Here's the title track from the self-titled debut album by Middle Brother, this is "Middle Brother," off of "Middle Brother"'). This commentary on birth order could only be written by a middle child, and McCauley and Goldsmith share writing credits on this one, along with a one "Jonny Corndawg". The tune is peppy but the story is about the inadequacies and failures and mediocrity felt by a middle child. Even the half-assed applause closing the song emphasizes the unavoidability of the narrator's loser-dome.
"Middle Brother" covers enough ground regarding unrequited love ("Blue Eyes") and breakups ("Daydreaming," "Thanks for Nothing", "Theater") to make you think these three songwriters have experienced suffering beyond their ages (none has reached age 30, don't quote me on that for Vasquez though). None stands out like "Million Dollar Bill," however. Goldsmith's feeling, the poignancy with which he describes the shock and loneliness of losing a love, almost makes me want to have a break up just so I can experience that kind of pure, absolute emotion, even if it is heartbreak. Goldsmith, Vasquez, and McCauley switch off vocals and each emotes his verse with such sincerity that you can feel his yearning and want to dive into the song to ease his pain.
As a huge John McCauley fan, I had high expectations for this album and have not been disappointed. The collaboration among three of music's most promising rockers is no gimmick. Listen closely, you wouldn't want to miss the poeticism displayed by these three talented young musicians.
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