There's a Surprisingly Thick Line Between "Not Bad" and "Pretty Good"

As year's end approaches I'm yet again scrambling to distinguish the bad from the good, the meh from the meh-gnificent, the mezza-mezza from the Measure for Measure, the crummy and puerile from the Crime and Punishment. 

And as usual, most of it falls somewhere in the middle.

Of course, what slows me down is my short attention sp -  

Look, a new 50 CD set of out-takes by (fill in obscure and probably overrated indie rock "legends")!!

And suddenly, it's three months later.

But I eventually return and get back to telling the bad from the good, the turd that's forced from the tour de force, the... well, you get the idea.

So here are two records that, on paper, seem similar - keyboard-based pop music with female singer/songwriter - but whose outcomes are completely different, if not in quality exactly, definitely in the fun factor. And isn't fun non-negotiable?

Weyes Blood: Titanic Rising (2019)

Christ, I've listened to this a couple of dozen times and I still don't know if I am actually hearing it.  (I must admit this also happened with Destroyer which I eventually came to like a lot.

This lady's kind of a drag. She sings in that stentorian style that comes from on high, indicating she's above all this mere pop music. She's always got her orchestra with her. 

The songs are not bad, the voice is not bad, the tunes are not bad and the record is overall...not bad.

It is kind of annoying and one-note (Jesus, sing in a different key fer chrissakes).

But I'm finally able to distinguish one song from another! I even put it on for company - not to knock their socks off, of course, but to provide that pleasant background sound for civilized dinners. Nothing that could be confused with rock 'n roll. Not that there's anything wrong with that.

Some people will love it. A lot more will admire it. It's very accomplished, but really no fun. At. All.  And when you're just not in the mood, it's interminable.

But not BAD.

B+

"A Lot's Gonna Change"

Sharon Van Etten: Remind Me Tomorrow (2018)

Her voice occupies approximately the same range as Weyes Blood's, so why does she sound so much more compelling, even if her melodies aren't quite as strong? 

Maybe it's the delivery? Yes! It's not as technically accomplished, but it's far more passionate. She sounds like a participant in these songs, rather than just an observer. 

Or the dynamic and varied arrangements? Yup. Piano, of course, but also guitars, drums, and even some gratuitous noise. (My favorite kind.)

Or maybe it's the way she goes over similar territory as WB but risks throwing in a "holy shit" in order to keep it all grounded. Fuck yeah.

And it all goes by so quickly you're sure you missed something. So even if each song hasn't quite hit me yet I'm ready to play it again.

So, it may not turn out to be a MASTERPIECE, but it's pretty damn good.

A-

"I Told You Everything"

So next time....Oh, look! A squirrel! -