I bought this album for my father (Who bears a VERY striking resemblance to the man himself), and since I got a free copy sent straight to my Amazon library, I thought "Why not?"
Does James still have it? Kinda.
Just for clarity's sake, I have listened to most of his discography up to this point, and I've been to see him live. It's not like this is my first interaction with this artist.
The album's start, "Today Today Today" is...eerily reminiscent of earlier James. It's a strong piece, yes, and if anyone else had played and written it, I'd be tempted to tell them they'd just built a career of ripping off James Taylor. Since it's James, though it sounds more like he's been pitched a country song, and instead of having a little integrity, he just said the hell with it and called in a bunch of studio musicians.
Maybe I'm just in the wrong head space. Maybe I'm too young to adequately appreciate what this artist is trying to say. Maybe the over the top production and lyrical apathy that's swarming all over this song are just out of my reach.
I just feel like he's out of things to say. Like all that turmoil that bred amazing experiences to write about is over for him, and he's happy and settled in with nothing more to say about the human experience than "I'm incredibly rich, happy, healthy, married, and...yeah, *Toot toot*." Hence my Animosity for "You and I Again".
Angels of Fenway is doing nothing but PISS ME OFF. The lyrics are SO on the nose, and the story is SO trite and cliched that I wonder who's stroking his ego in the studio. Who heard this the first time and said, "Yes! What a beautiful piece! I can't wait to see how much money it makes us!" Why would you let James Taylor put this song out? Did he fire all the honest people around him?
Stretch of the Highway has the distinction of literally jarring the cans off my head with the line, "Just for example, lookie yonder over there/ Chicago got the finest, high-test, first class poon-tang anywhere." Okay, yeah, that's funny out of context, but in the middle of this jazzy, down-low-and-slow song with not a whole helluva lot to say, it's like hearing your grandfather fuck your grandma vigorously in the next room. You don't wanna say anything, but you sure as hell don't wanna stick around either.
Montana seems like a step in the right direction. Honest, at least. Over produced, certainly. James, do you really need all that extra shit clouding up your lyrics? Pianos and drums and oohs and ahhs and strings and little clicky instruments only music majors recognize by ear? Also, your melody line is bland as celery. Could you at least pass the peanut butter?
Watchin' Over Me. What happened to your ideas about time signatures James? Your lyrics just lag and strangle at the ends of your lines. This of course sounds like nit-picking at it's finest, but the song is so lack luster and elevator ready that I can't even be bothered to do it a proper send up.
Snowtime. "Say, do you have that book of tired metaphors handy? I wanna write a new song..." And as you mentioned on the enclosed DVD, Yeah, NOTHING RHYMES WITH TORONTO. Especially not a force-fed version of "Want to". Lazy. Very Lazy.
Before This World. Okay, okay, this is really good. Sting, 5 points to you for having the good sense to be on this track. Jolly Springtime, however, is an ABOMINATION. Burn it with fire.
Far Afghanistan. No comment. I don't have any experience to write anything on this.
Wild Mountain Thyme. Are you Irish? Scottish? No wait, you're a Carolinian. Don't call me "lassie" you disingenuous fuck.
He's done. James Taylor has nothing more to say folks. I can't recommend buying this album.
The fact that he hit number one with this album should trouble you endlessly if you like good writing and well-played music. This album will fade from memory, and ultimately mark the very real end of James Taylor's career.
Final Score: 1 out of 5
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