Loudon Wainwright III - 'Recovery': The Ramblings (semi) review

I am underqualified to review Loudon Wainwright III's new record Recovery.  

I own exactly two Wainwright records, both released in the past year or so and bound by the common thread of Joe Henry's production.  Therefore, it's difficult to separate my enthusiasm for Henry's production work from my enjoyment of Recovery and its predecessor Strange Weirdos (the soundtrack for the film Knocked Up).  Further negating my opinion is the fact that the new album is comprised solely of Wainwright compositions from very early in his career, bare bones affairs re-recorded here with the help of Henry's usual suspects.  So I can tell you that Recovery is a great album, but I can't really compare these recordings to their original versions or the many live versions floating around out there.

But then again, I'm probably representative of the vast majority of potential listeners (if not music critics).  Wainwright has a healthy cult following, but his kiddos Martha and Rufus have probably already eclipsed Loudon's entire lifetime of fame by a fair bit.  Since these tunes are all plucked from his first four well-regarded albums, it probably goes without saying that the quality of the tunes is pretty high.  However, where the collection really shines is in the fact that these songs - some 35 years old or so - hold together thematically and take on a much different tenor in the voice of a 61-year old than they likely did in the hands of a young folksinger.  Wistfulness, wisdom and occasional regret permeate these songs, reflected in the lovely, unobtrusive arrangements courtesy of Henry's wrecking crew.

For a noob like myself, there are simply too many great songs here to list.  "The Drinking Song" is a highlight for sure, but so is the reflective "The Movies Are A Mother To Me".  "Muse Blues" and "Say That You Love Me" let the band cut loose a few degrees further than most of Henry's recent productions.  On that note, it's worth mentioning that the sound and arrangements on Recovery are in the same vein of Joe Henry's brilliant 2007 effort Civilians, as well as Mary Gauthier's Between Daylight and Dark and the aforementioned Strange Weirdos.  Though many of his earlier productions were marked by a diversity of style, it's clear that he has settled into a rich groove with his usual stable of players, which includes Jay Bellerose, Greg Leisz, David Piltch and Patrick Warren.  If those albums aren't really your taste, Recovery may not be up your alley either (but, seriously, why are you even reading this blog?).

In the cases of Solomon Burke and Bettye LaVette, Henry produced high-profile comeback albums that revitalized their respective careers.  But between Strange Weirdos and now Recovery, it's clear that Wainwright's relationship with Henry is based on friendship and mutual admiration.  In Henry, Wainwright seems to have a perfect foil for his uniquely personal brand of songwriting.  Here's to many more such efforts.

(And for the hardcore Wainwright fans' perspective, let me suggest the following reviews:  Slant, Josh Hurst and Jersey Beat.)

Comments

[Josh]

Really nice work as always, DK. Funny that you mention "Movies..." as a highlight, though-- that's the weakest moment on the album for me. Small complaint, though. At any rate, I'm so glad you're enjoying this album!

[Andy Whitman]

Nice article, David. Minor quibble: Rufus and Martha, regardless of their other merits, have never had a Top 20 hit. Loudon did in 1972 with his novelty song "Dead Skunk." It's probably best to think of him as a one-hit wonder who then made another 25 great albums that almost no one heard. :-)

For what it's worth, Loudon's mid-'80s tour with Richard Thompson (Richard sang harmonies and played guitar during Loudon's set; Loudon returned the favor during Richard's set) was the most inspired double bill I've ever seen.

[David Kennedy]

Oh, and I think Martha is pretty much a cult figure at this point - she's not exactly lighting up the charts. Rufus isn't exactly a hit machine, but the dude can fill theater-sized venues.

Here's how ignorant I am - I've never even heard "Dead Skunk."

[Andy Whitman]

You're not missing a whole lot:

Take a whiff on me, that ain't no rose!
Roll up yer window and hold yer nose
You don't have to look and you don't have to see
'Cause you can feel it in your olfactory

You got yer
Dead skunk in the middle of the road
Dead skunk in the middle of the road
You got yer dead skunk in the middle of the road
Stinkin' to high Heaven!

It's surely among Loudon's slightest works, although it's kind of fun the first couple times.

[A Free Man]

I saw this one today when I went to buy the new Okkervil River. I couldn't remember what I'd heard about it, so came back to check your opinion. I think I'll shell out.