Someday My Blues Will Cover The Earth (4AD) is a full-blown collaboration with vocalist Lovetta Pippen, Detroit runaway whose tangled and traumatic life story lies just below the surface of the songs and go a long way to ... more »explaining the emotional impact of her singing. The artwork is designed by Vaughan Oliver. His Name Is Alive will be playing on both sides of the Atlantic to support the release of the album.« less
Someday My Blues Will Cover The Earth (4AD) is a full-blown collaboration with vocalist Lovetta Pippen, Detroit runaway whose tangled and traumatic life story lies just below the surface of the songs and go a long way to explaining the emotional impact of her singing. The artwork is designed by Vaughan Oliver. His Name Is Alive will be playing on both sides of the Atlantic to support the release of the album.
"Okay- please bear with me, 'cause I'm gonna start with the criticisms...The main problem I have with this record is that it is successful neither as a straight R&B album nor as a His Name Is Alive album, which leaves us in something of a nebulous zone. I have much respect for Warn Defever's skills, but the beats tend to get in the way. I think the basic problem is in trying to force an R&B structure onto songs which are so clearly not of that realm. Just listen to the version of "One Year" on Warn's solo release "I Want You to Live One Hundred Years," compare it to this recording (with Lovetta's syrupy croon replacing Warn's anguished crack), and you'll see what I mean. And while I'm sure Warn is really happy with this new version of "Are We Still Married," I don't think it stands up to any of HNIA's earlier renditions. Which brings me to the next big issue: the absence of Karin Oliver. While I knew this was going to be a Lovetta spectacular, the song title "Karin's Blues" (listed on the 4AD web site well before the actual album release) gave me a sliver of hope that she'd make an appearance. Instead it is the song that I most wish had been left off this album, seeming like a suburban high school band's rendition of the blues more than anything. HNIA has always flirted with disparate styles and survived, making the process that much more impressive (look at the shift from old time-y folk to surf-rock on "Stars on ESP"). Here, however, the experiments fail more often than succeed, proving nothing more than Warn's fallibility, which he needn't be crucified for. He's still an amazingly talented, adventurous musician.Keep this in mind when you first put this CD on, for you will be greeted by the kind of magic that I have come to expect from His Name Is Alive, and I suppose that's what really counts. "Nothing Special" sounds a little like "No Hiding Place Down Her" from "Ft. Lake," which should give you a good idea of what to expect. "Write My Name In The Groove" is about the most upbeat this album gets, which is mostly full of slower, introspective songs (and not too much guitar wankery). Warn digs out his ancient wire recorder once again for a brief (and very effective) foray into Duke Ellington's "Solitude," but elsewhere there are hi-fi flourishes of strings and piano. The focus of this album is supposed to be Lovetta's voice, and it is impressive. I still miss the ethereal Karin, though, and hope that Defever's love affair will eventually give way to some amazing new songs. Compared to HNIA's other releases, this one is flawed. I got my hopes up pretty high since it was delayed so long, and I do expect this release will grow on me, but I was counting on something more immediately mind-blowing. As it is, it stands as a fine record, just not one of Warn's best. He's working on an instrumental album (with much of the same cast) for time stereo, and I wonder if much of this could've been released as one of his many side projects rather than the "big" new HNIA album. Buy it, enjoy it, check out timestereo.com for more obscure Warn releases and other fun stuff.Fans of Ida please note: Dan Littleton plays on a few tracks here (and co-wrote "Happy Blues"). Violinist Ida Pearle appears, as well."
Best album of 2001
Neil | New Orleans | 08/29/2002
(5 out of 5 stars)
"Most people might think of this album as a sharp 90 degree turn for the band, but I disagree. Owning all albums from the first up until this one, there is a definite path of growth and change, and this album makes perfect sense. I listen - I still hear His Name Is Alive. Their subtle nuances are unmistakable. This album is finely crafted and beautifully thought out and the attention to detail shows. It is one of my all time favorite albums. Their new album will be out 23/Sept/2002, and I can hardly wait... If it is anywhere near the beautiful album 'Somday' is, then we're all in for a second treat.
Neil"
The apotheosis of HNIA
Zak Jarvis | San Diego, CA USA | 10/19/2001
(4 out of 5 stars)
"No, this does not sound like (most) any other HNIA CD. Of course, I stopped hoping any of Warren's pieces would sound like any other some time ago. While I certainly do love the alien beauty of the earlier works, I also really appreciate the humor and deep strangeness of the newer works. A feature that 'Someday...' is hardly lacking in.I doubt somehow that the Living Dead occupy much space in most popular R&B. The whole point of this CD is that while it might sound like run of the mill R&B, it most certainly isn't if you listen to the lyrics.This is exactly what I would expect from the guy who did the surf rock song about quantum theory (specifically, the Copenhagen Interpretation), or a funk song about Nikola Tesla. Specifically, I would expect something I couldn't anticipate.That said, this is enough of a divergence from my usual taste that I need to be more specifically in the mood for it than the other HNIA music. My tastes lean towards the goth, (and fall flat down into it from time to time), but I have room for this music too."
Not the best place to start...
J. C. Sanders | San Francisco | 01/05/2006
(2 out of 5 stars)
"I'm not what you would call a "fan" of HNIA, but I do enjoy many of their efforts, and appreciate their originality. There's nothing "bad" about this album per se, I just don't really see it as a step forward, more of a tangent.
Also, this album seems to me to be the least original of the HNIA albums that I've heard. Lovetta's voice is beautiful, but I appreciated it more on Ft. Lake, when it was one feature of a diverse album, and not the headlining act. Also, IMHO, Defever's beats sound contrived and forced, and clash with, rather than compliment Lovetta's voice. I know he's capable of much more complex, interesting soundscapes.
That being said, The album cover art is beautiful, as usual. If you are easily impressed by R&B songs, then you will like this album. If you are a rabid HNIA fan that must complete your collection, then by all means...
FOR THOSE NEW TO HNIA, THIS ALBUM IS NOT THE PLACE TO START.