A.C. Newman Albums (2)
What The Critics Say
Carl Newman has been behind so many excellent bands and albums that by 2009 it has become increasingly easy to take a new album for granted, to mistake his steady craftsmanship for complacency. While it's true that Get Guilty doesn't break any new ground, you'd be wrong to think that Newman is treading water or just cranking out albums because it's his job. The album is full of songs that would have made the cut for the New Pornographers' last couple albums -- in fact, some (like "The Heartbreak Rides" and "Submarines of Stockholm") would have bested everything there. At the risk of sounding heretical, at this point in time the A.C. Newman records are superior to the New Pornographers albums. Sure, the NPs make bright and shiny indie rock albums that sound great on the radio, but they also have acquired a layer of gloss and bombast that makes it hard to truly embrace their sound. On his solo albums, Newman is more relaxed with the arrangements; many of the songs forgo the insistent rhythms of the NPs for a more stripped-down and immediate feel. While there is less experimentation here than on Slow Wonder, it's still nice to hear Newman thinking small(er). He's also more focused in the songwriting department when he's on his own, forsaking the often manic twists and turns of a typical NP song in favor of a more direct approach. That's not to say that Newman has suddenly become a confessional singer/songwriter; it's just that he appears more confident in writing songs that simply sound good. It may not seem like a big distinction but it really is, and it helps give this record (like it did with Slow Wonder) a feeling of peace and warmth that wasn't really part of Newman's game until very recently. Of course, all that being said, Get Guilty is still a Carl Newman record -- so you get all the things you've come to expect from him: insanely catchy songs, loopy and indecipherable lyrics, and first-rate female backing vocals (here provided by Kori Gardner of Mates of State and Nicole Atkins). Call him a journeyman indie rocker if you like, take him for granted if you must, just don't write him off. Anyone who can craft a record that sounds and feels as good as Get Guilty deserves to keep on making records forever. ~ Tim Sendra, All Music Guide
What The Critics Say
A.C. Newman is Carl Newman. You may know him as the main dude in underrated pop heroes Zumpano; you may know him as the leader of the justly-rated New Pornographers; you may even remember him as the lead screamer in the very weird heavy rock band Superconductor. Either way, his name on a project is like the "Indie Good Housekeeping Seal of Approval." This is his first solo record and it delivers all the things one has come to expect and rejoice in from Newman. Things like witty, engaging songcraft that is full of surprises and exciting twists and turns, expertly produced and arranged songs, his perfect rock & roll voice, songs with big, fat hooks that call to mind power pop legends like the Raspberries, Redd Kross, and the Kinks, or plain old legends like Elton John, Harry Nilsson, or Todd Rundgren; songs that make you want to hit repeat as soon as the disc is over. Slow Wonder is undoubtedly Newman's most personal disc, not a shock given the format. Many of the lyrics have an intimate feel and there is also a wider range of emotions then on a New Pornographers' disc; some anger on "Town Halo," bitterness on "Better Than Most," and weariness on the aching "Drink to Me, Babe, Then." It also features some new instrumental textures like sawing cellos on "Town Halo," acoustic guitars and gritty slide work on "Drink to Me, Babe, Then," electronic percussion on "Most of Us Prizefighters," and autumnal chamber pop strings and horns on the utterly beautiful "Come Crash." Having made the case for how different this record is from his other work, now let it be said that the record is very much like his other work. Maybe even better. It certainly contains some of his catchiest, most exuberant songs like the crashing opener "Miracle Drug," "On the Table," "The Battle for Straight Time," and the jittery "35 in the Shade." The presence of the sunny, new wave-ish gem "Secretarial" is enough to make Slow Wonder essential. Sara Wheeler is a perfectly perfect replacement for Neko Case. The production by John Collins, David Carswell, and Newman himself is flawless, sleek, and modern, but still warm and organic. It all adds up to one whale of a good record that fits in well with all his work leading up to it. In fact, barring the late arrival of another New Pornographers record, this is probably the best indie rock/pop record of 2004. Carl Newman deserves every last bit of praise thrown his way. In a better world, he would be our Elton, our Todd, our McCartney, and Slow Wonder would be on everyone's iPod, rotating on M2 hourly, and his name would be on the lips of everyone from aged Royalty to teen-aged girls. Hmm, don't hold your breath, just sing along and be glad you discovered him. ~ Tim Sendra, All Music Guide
