Search - Jay Bennett :: Magnificent Defeat

Another chapter in the ongoing saga

Howlinw | California, USA | 10/12/2006

(5 out of 5 stars)

"It is nearly impossible to write a review of Jay Bennett's latest effort, or any Jay Bennett release for that matter, without referring in some way, however tangentially it may be, to his background in and dismissal from the pioneering roots-rock ensemble Wilco. In fact, it is nearly impossible to write a review of this album without delving into the whole drama-ridden scene, specifically the irony surrounding Jeff Tweedy's swift dismissal of Bennett when he himself was unceremoniously dumped by former bandmate Jay Farrar when Mr. Farrar decided that Uncle Tupelo (yes, another pioneering roots-rock ensemble) had run its course. For those of you who don't know what I am talking about but have nonetheless stumbled on this album, GOOD FOR YOU, ignore the first paragraph of my review and please enjoy the album! But I suspect that very few people who would care about the release of the album do not know this story, and to me it's a sad thing.



Bennett may or may not have gotten a raw deal after Yankee Hotel Foxtrot was released. Jeff Tweedy may or may not have been a control-freak, and Bennett may or may not have been emotionally needy. All of this is up for debate among the few and proud who care. But this album is proof that the few hangers-on who still want to think about that debate should DROP IT AND MOVE ON. Bennett has truly come into his own as an artist here, and more power to him. This disc is every bit as good as anything I have heard so far this year, and holds its own against each and every Wilco album released thus far. I am saying this with full awareness that Wilco is currently my favorite band.



Yet I cannot help but describe it by providing an unlikely comparison with a Wilco release, and it's not Summerteeth (yeah it has the same overall power-poppy sound and keyboards, etc etc, I hear that too). The disc of which I speak is Wilco's first release, the underrated A.M. That was by all accounts a breakup album, with songs that were on their surface about relationships with girls. Yet underneath the surface (and you don't need to scratch very far) is a letter to Jay Farrar, bemoaning the loss of a friendship with a mixture of anger and regret. The Magnificent Defeat follows what seems to be a similar pattern. A lot of these songs focus on past relationships, and display this same emotional confusion; Bennett is by turns bitter and regretful, as quick to bemoan the loss at to to say "good riddance." Which is, in actual fact, how a breakup of any kind often feels (at least to me). It is unclear whether this album's emotional drive was prompted by Bennett's recent divorce, or by leftover feelings of hurt and loss from the Wilco ouster. It doesn't matter though. The sentiments are very real, and this is what counts.



Plus this album shares with A.M. a sense of rollicking fun. There are a lot of rockers here, tracks such as "Replace You" that sound great on the car stereo and are pretty funny too (in a sad way). But then there are moments of quiet, contemplative beauty like "Survery the Damage," which is my personal favorite track. Here Bennett drops the shouting and the gravelly snarl to sing very straightforwardly about a relationship he didn't want to end. It's a truly classic pop-rock moment of a kind I rarely find anymore. There is also a real debt owed to Elvis Costello, as other reviewers in various publications have noted. Yet it's hardly theft or plagiarism. Yes his voice has the same bite and snarl when shouting, and the lyrics are suitably complex and intricate, but Bennett makes these qualities his own here. To say that this disc sounds like Elvis Costello fronting Summerteeth-era Wilco is a vast oversimplification which neglects the elements that make Bennett's work unique and personal.



For those of you new to the artists I have mentioned above who have stuck with this review, I will summarize by saying that this album is emotionally honest and direct without being self-indulgent, and is very, very therpeutic. It's simple fun on one level, and much more on another. For me, that makes it a keeper, like so many records which come out of this scene (the scene that used to be called "No Depression," and who knows what it's called now or how many bands are actually involved). Of all the great new releases so far this year (Bob Dylan, Tom Petty, Yo La Tengo and Cracker included) I listen to this one the most."

This explains some things...

L. Majeski | New York, NY | 09/26/2006

(5 out of 5 stars)

"Like a lot of Wilco fans, I was disappointed not only with their recent musical direction ("you need to listen to this - this is serious stuff"), but also with the neverending carousel of talented musicians that spun through the band. In following a band and being a fan, a bond is started, and it was frustrating to see the consistent turmoil in their lineup. And though I found the documentary about Wilco somewhat inciteful, after a few views, it certainly seemed like Jay Bennett got the raw end of that whole deal.



Which is why it's so rewarding to hear Jay bringing it all on "The Magnificent Defeat." This album is a glorious return to the highs of "Summerteeth" and "Being There," with bits of "YHF" sprinkled in, not to mention a smattering of Elvis Costello and other straight-up pop influences. This album is really a rollicking, blast of a ride.



It's clear that Jay has not only let the Wilco past go, but has thrived by being away from it. And indeed, it's now quite appaerent what he brought to the table for them - his influence is certainly missed. Jay's new record delivers the fun and raucousness I miss from the current (but guaranteed-to-be-changing-soon) Wilco, and for me, that makes me smile."

Try to listen without knowing anything about his past.

Mister Charlie | Los Angeles, CA | 02/22/2007

(3 out of 5 stars)

"When taking in a new work of art, I try to do my best to seperate the work from the vortex of drama in the artist's life. I'm not sure whether that's good or bad, and I don't always succeed, but I think it's a viable approach. One reason is, to take this album as an example, will anyone care in 25 years if Jay Bennett got a raw deal when he parted company with Wilco (other than Jay Bennett)? Probably not, probably all that will matter is whether the music holds up over time.



Of course, only time will tell!



The skinny: if you like Wilco and are curious about Jay Bennett's solo stuff, by all means, pick this album up and see what you think.



The longer: the Elvis Costello comparisons are inevitable. But listen to, say, "Blood & Chocolate", and then this Jay Bennett album, and see how weak a voice Bennett has in comparison. It's not that he has a bad voice, it's just that it doesn't come close to the power and emotional heft that Costello puts out. Bennett does somber and introspective much better than free-wheeling and powerful. I would also proffer that Bennett seems to share some of Aimee Mann's melodic sensibilities, and perhaps a bit too much fondness for '67 Beatles drum fills and keyboard flourishes.



Other reviews have talked about this album being "fun", and to be honest, I just don't hear the fun. I hear a strange hybrid of first-take looseness and studio trickery. I hear the occasional great song, such as "Survey the Damage", marred by a ruined guitar solo that feels more like posing in front of the song rather than participating in it. I hear NRBQ doing a cover of "Simply Irresistable" ("Overexcusers"). I hear someone turning in their in-the-style-of-the-Hollies book report ("I'm Feelin' Fine"). I hear a heart-wrenching little acoustic number at the end ("Good as Gold"), which actually reminds me of John Wesley Harding [remember him?]. There's some good stuff here, but not a lot of "fun", at least to my ears. I feel like if Bennett could have dialed back on the bells and whistles (like on the headache of an opening track particularly!), and did a couple extra vocal and guitar takes here and there, it wouldn't sound so much like the production was fighting with the songs rather than supporting them.



I haven't yet heard his other solo work and I look forward to doing some more exploring."