Search - Ben Weaver :: Stories Under Nails

Stories Under Nails
Ben Weaver
Stories Under Nails
Genres: Folk, Pop, Rock
 
  •  Track Listings (12) - Disc #1

Ben Weaver's records are marketed as music, but they have more in common with the Southern Gothic novels of Larry Brown and Harry Crews. Though hailing from Minnesota, he mines the same territory of rural noir as those aut...  more »

     
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CD Details

All Artists: Ben Weaver
Title: Stories Under Nails
Members Wishing: 0
Total Copies: 0
Label: Fugawee Bird Records
Release Date: 9/7/2004
Genres: Folk, Pop, Rock
Style: Traditional Folk
Number of Discs: 1
SwapaCD Credits: 1
UPCs: 614511725927, 3448969253520

Synopsis

Amazon.com
Ben Weaver's records are marketed as music, but they have more in common with the Southern Gothic novels of Larry Brown and Harry Crews. Though hailing from Minnesota, he mines the same territory of rural noir as those authors, with as much a literary sensibility as a musical one. Nails comes off more as a book of short stories set to music than a CD of songs. Though the opener, "Grieve All You Want," has a beautifully romantic chorus, the melody is perfunctory a best. Weaver abandons singing all together for "John Martin," a recitation with band accompaniment about a good deed going punished. The aforementioned accompaniment is stellar throughout, from the unidentifiable drone that haunts the opener to Jimmy Johnson's spooky and atmospheric pedal steel guitar. It is no surprise that authors like Brown and critics internationally praise his work: being wordsmiths they, like Weaver, are enamored of the wonderful images conjured up by his lines and aren't worried that the phrasing of such imagery doesn't always fit comfortably into the rhythm of the music. You may not find yourself singing along to Weaver's tunes, but they will haunt your dreams. --Michael Ross

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CD Reviews

+3/4 -- Tom Waits-ian folk-country
hyperbolium | Earth, USA | 08/11/2004
(3 out of 5 stars)

"Weaver's oddly instrumented folk-country features the sort of percussive, disjointed sound Tom Waits created for "swordfishtrombones," together with the sort of rough-hewn, unblinking first-person narratives that made Chris Knight's "A Pretty Good Guy" so powerful. Weaver's singing mixes a dash of old-soul (ala Jack Ingram's earlier records) with a rural rendition of Tom Wait's weary downtown rasp. The guitars often careen and stab and loom, rather than strum or pick, and the sparse accompaniment of bass and drum creates backings that are often soundscapes rather than instrumental arrangements. It's a powerful combination with Weaver's words, defining a world in which even a contented relationship defines a point in time that's closer to death than to birth, and the charitable ending of a day in the city is forever poisoned by the thief at the day's start. This is challenging, depressing and disturbing music, with downbeat subjects, complex wordings, and unusual instrumentation. Fans of Waits, Knight, Leonard Cohen, Nick Cave and the like will likely certainly enjoy this. 3-3/4 stars, if allowed fractional ratings."
Ben Weaver strikes gold again
Nicholas D. Wassenberg | Minneapolis | 10/11/2005
(5 out of 5 stars)

"I'm not really sure what the negativity of the other reviews is all about, but I'd say this is Ben's best effort yet.



He's made a geniune leap as an artist, with a transition from jug band/whiskey swillin' tunes to a more mature, bone-chilling sound. Always powerful and always honest. Give 40-watt bulb a listen and you'll hear what I mean.



I look forward to the next installment."
Superb
Alex Carlton | 10/01/2005
(5 out of 5 stars)

"There should be some sort of musical knowledge and comprehension test made mandatory before you can write a review for Amazon. What did you people in the earlier reviews expect when you bought this? Ricky Martin?



This is such haunting music. It's mountain music, melancholy and slightly queasy, but still so beautiful. I can see the Nick Cave comparison, more for its moodiness than its actual structure or lyric content, though there are still similarities there. Ben's voice has much more authenticity though - Nick Cave feels contrived in comparison.



This album really takes some getting used to, but you'll find yourself going back to it repeatedly just to freak yourself out a bit. The twangy, rural-noir guitar can be quite unsettling at times.



To the second last reviewer here, I'm sorry your friend's mother didn't enjoy this. Why don't you go out and buy her something by Michael Buble."