Blood From Stars

When you sift through the musical styles, genres, and influences that attach themselves to Joe Henry's wonderful Blood from Stars, what's left is a simmering stew that smacks of blues, jazz, cabaret, rock and other subtler ingredients. I'm not able to muster a blow-by-blow accounting of the songs here--this is one of those few recordings that strike me as something to take all at once, like a spoonful of fish oil--and I find my favorites keep changing depending on when and where or even how I listen. (By "how" I mean, am I listening alone, listening when doing other things, or trying to inflict my musical proclivities on someone else.)

Mr. Henry commands a crack ensemble of veteran musicians whose talents he puts to great use in these tight arrangements that sometimes yield jaw-dropping moments as when the full band locks step and takes things up a notch in The Man I Keep Hid or Bellwether. Despite the deep traditions that inform these songs, Mr. Henry ups the hip factor with overlays of unusual effects or total change up as with the bongo drumming that end All Blues Hail Mary. The anthem Suit on a Frame crackles with a menacing energy as Mr. Henry repeats "my every breath" and his band plays with an inspired fervor, a true sum of the parts.

As noted frequently, some songs share something with Tom Waits' music, particularly his earlier works, though I find this sharing more the result of having a common muse than a common result. Yet I also suspect that the facets I like here--the multitude of influences, expressions, and genres well-played with a retro noir feel--may not command the attention Mr. Henry should garner in a world where music is a commodity that has to be slotted and categorized as though it were mail.

No artist in the 00s has put out a staggering and consistent body of work as Joe Henry, from Scar to Blood from Stars, he delivers exquisite, heart rendering, deeply felt, incredibly well written albums every time.

Blood from Stars is no different, and it maybe my favourite since Tiny Voices, dark and sprawling and loose, gorgeous and shadowy. Each song transports you to a dimly lit run down parlour, full of stragglers and losers and the terminally heartbroken. Another exquisite and accomplished record from one of the greatest American artists.

I'll be honest. I didn't know what to expect. I don't know the work of this artist, and I am wary of rock when described as alternative. And, while I'm glad I bought the album, be forewarned: Don't listen to this alone. In fact, don't listen to this if you are having a bad day.

But on rainy days, or snowy nights, this is your album. It can warm you up. And you don't want to be alone. Stylistically, this is a difficult album to categorize. That's not a bad thing, merely and observation. I hear elements of early jazz, album rock, and, of course, blues.

"The Man I Keep Hid" is haunting and reminds me of the blues, but only in passing. I liked "Death To The Storm" so much, I listened to it twice on the first listen. It's one of my favorites on this album. I also liked "All Blues Hail Mary," on the strength of the music and lyrics. "Progress of Love" is a nice little three-four song, a true rarity outside of country and folk. It works well for this album. "Suit On A Frame" is the closest thing to a rock style song, and only just barely. This is probably my second favorite track The styling reminds me of Sting. "Truce" is a wonderful song about life's contradictions and how to get through them; wise advice in any event. For what it's worth, "Stars" is also a good listen and a strong finish to a very interesting album.

This isn't my usual cup of tea. But I liked it very much.