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Her Majesty The Decemberists Import


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Her Majesty The Decemberists + Castaways & Cutouts (Vinyl) + Crane Wife
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Product Details

  • Audio CD (May 1 2009)
  • Number of Discs: 1
  • Format: Import
  • Label: Kill Rock Stars
  • ASIN: B0000BWVMJ
  • Other Editions: Audio CD  |  LP Record
  • Average Customer Review: 3.9 out of 5 stars  See all reviews (34 customer reviews)

1. Shanty For The Arethusa
2. Billy Liar
3. Los Angeles, I'm Yours
4. The Gymnast, High Above The Ground
5. The Bachelor And The Bride
6. Song For Myla Goldberg
7. The Soldiering Life
8. Red Right Ankle
9. The Chimbley Sweep
10. I Was Meant For The Stage
11. As I Rise

Product Description

Product Description

Amazon.ca

Failing students have had such an influential role in shaping rock & roll that it's easy to give the bookworm segment short shrift. Witness the vital contributions from the likes of Ray Davies, the Zombies, and Neutral Milk Hotel's Jeff Magnum--the kind of smartypants songwriters with whom the Decemberists' Colin Meloy is often compared. The second full-length CD from Portland, Oregon's Decemberists certainly posits Meloy near the top of the current crop of literate indie rockers. Meloy is the brother of author Maile Meloy and a fellow whom one concludes has his own well-worn library card. Eschewing conventional pop-song subject matter, he delves deep into the past for his narratives and even his lexicon, witness "Shanty for the Arethusa," the high-seas opener, and "The Chimbley Sweep," which recalls the Zombies' similarly dark-hued "Butcher's Tale." Though the subject matter is frequently dire and the approach is lyrically erudite, one shouldn't conclude that listening to Her Majesty is the aural equivalent of wading through some dusty tome. Bright pop melodies, smart arrangements, and Meloy's commanding vocals adorn songs that are as inviting as they are astute and evocative. --Steven Stolder

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Customer Reviews

3.9 out of 5 stars

Most helpful customer reviews

Format: Audio CD
_
The Decemberists sophomore album is a more ambitious outing than their previous "Castaways and Cutouts," but it definitely has its highs and lows. But when it hits its stride, it's on.
It opens with its most ambitious track, "Shanty for the Arethusa," (3/5) which is quite a whale of a song. It's a little lengthy and drags on, leaving the listener to wonder if the rest of the album will sound like this. It's not at all a bad song, but it's, dare I say, too much. It gets to be overwhelming. It's chorus gets you thinking it's about to pick up into something new but this song just, sort of, goes on... over my head. Definitely an interesting track and not one to skip, but it's just a little too ambitious and overwhelming. Next you hear the shout of "Billy Liar" (4/5) having his hands in his pockets staring over at the neighbors' knickers down. This is a much peppier song than the previous and changes the direction of the album for the better, it's not their best song, but "Billy Liar" is much friendlier to the listener and is much more enjoyable.
"Los Angeles, I'm Yours" (5/5)is one of the better songs on the album. Composed with the guitar, backed up by the Decemberists' string quartet and including a harmonica solo, this brilliantly written song that takes shots at my home town is one that will leave you asking for more.
"The Gymnast, High Above the Ground" (4/5) is another more ambitious song. Unlike "Shanty," "The Gymnast" builds up rather than go backwards. This is one of the more beautiful songs with a little bit more piano. The simple repetition of this song is infectious and it was very well done and thought out, but still not their best.
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By B. anderson-bauer on May 28 2004
Format: Audio CD
This is very new terrain for Meloy and his crowd. Where the First Decemberists record (Castaways and Cutouts) relied on Meloy's melancholy lyrics and soul raking melodies, this record stands upon some daring production efforts and plodding song structures. When Castaways... gave us the clever 'Leslie Anne Levine', Her Majesty... blows us the powerful and moving 'Shanty for Arethusa'. For the most part this record maintains the same late 1800's epic feel that Castaways... did. Well almost...
As this record sinks in you might find yourself (as I did) wishing for some more of the 'Here I Dreamt I was an Architect' school of songwriting. Indeed, none of the songs quite seemed to move me the same way that Castaways... did. Mostly I felt that Meloy was trying to move away from his often criticized (and Neutral Milk Hotel-ish) style of performance. I support his efforts to alter his music and production qualities. Yet, I do not support his efforts to change them. Does he? It really doesn't really matter. What matters is that the quality of his songs are hurt as a result.
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Format: Audio CD
This album has been slowly blowing my mind since I first listened to it two weeks ago. It's not instantly catchy or even all that accessible - very different, in that regards, from Castaways & Cutouts, an album that laodged in my brain upon first listening to it - I've had to work at getting into this one.
Thankfully, the effort more than paid off - this is an album of rare brilliance. 11 finely crafted songs, each creating its own unique world populated with deftly drawn individuals. Colin Meloy has a rare genius for inhabiting the characters of his songs. (A genius that is certainly comparable to that of Jeff Mangun, though that genius and a certain similarity of voice are really the only points of comparison between the two).
The sound is folky and lurches from moments of quiet introspection to pure pop bliss - often within the same song. The addition of strings on several trackes is welcome, and almost reminds me of Love (almost).
I'd pick 'Shanty for the Arethusa' and 'Los Angeles, I'm Yours' as my personal favorites, but in reality, it's all good. This is a difficult album, a quirky album, but, ultimately, one of the best things I've heard in a long time.
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By E. A Solinas HALL OF FAMETOP 50 REVIEWER on May 6 2004
Format: Audio CD
Musical genius always spawns something that is good-but-not-great. So it is with the Decemberists, who produce a sort of vaguely psychedelic folk-pop similar to Jeff Mangum's. The Decemberists are pretty good at what they do, but nothing here will stun you.
"Her Majesty The Decemberists" peaks early, with a quirky tune-up and a grandiose musical blast at the start of the seaworthy "Shanty for the Arethusa." From there the album levels off into a collection of catchy folk-pop (the naughty "Billy Liar," bouncy "Chimbley Sweep") and strummy psychedelic folk (the staccato "Los Angeles I'm Yours," the furtive "Gymnast, High Above the Ground") before leveling off into the slow, singsongy "As I Rise."
Comparisons to Neutral Milk Hotel are inevitable, since they both play psychedelic-folk, have similar singing and very quirky styles. But the Decemberists come across as Neutral Milk Hotel-lite, since the psychedelica is toned down and there's none of that great fuzz guitar.
In fact, everything is toned down -- it's pleasant to listen to, but nothing will make your ears burn or your spine tingle. After the opening minute, it's more or less ordinary folk-pop with some strange lyrics. Most of the music is strummy acoustic guitar, with a bit of solid percussion, pretty piano, and a brief interlude with an accordian in "Chimbley Sweep."
Frontman Colin Meloy is one of those indie-rockers who sings in a high, off-key way. It's not great singing, but nice if you like lead singers of bands like Grandaddy or (surprise surprise) Neutral Milk Hotel. And the songwriting is pretty solid. Not exceptional, but with lines like "Seraphim in seaweed swim where stick-limbed Myla lies," it's certainly attention-grabbing.
"Her Majesty The Decemberists" is a pleasant collection of vaguely psychedelic folk-pop. It won't rock your world, but it might make it sway a little bit.
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