Lullaby for the Working Class Albums (3)
What The Critics Say
The final offering from Ted Stevens' Lullaby for the Working Class is their most pensive and orchestral disc, but also their most beautiful. The revolving cast that also includes brothers Mike and A.J. Mogis as well as violinist Tiffany Kowalski would reappear in a similar fashion a few years later on Stevens' Mayday project, but this is more of a full-band effort, and the cohesive work of the artists involved truly pays off. From the gorgeously lilting opener, "Expand, Contract," to other lengthy but enlightening numbers like "Seizure," Lullaby for the Working Class are the predecessors to the slowcore movement and orchestral pop acts that followed a few years later, and this is their epic offering and inspiration. Almost creepy in its subtle nature and free-flowing structure, Song is a disc that takes a number of listens to fully appreciate. Once its complicated shell is broken though, the band's core is still incredibly emotional, but features far-from-sappy songwriting led by Stevens' surprisingly powerful and evocative vocals. Chamber pop acts like Matt Pond PA owe a lot to the work of Lullaby for the Working Class, and even those who might complain that the band stretches their tunes a bit too long should eventually succumb to songs like the cheerful and quick "Sketchings on a Baroom Napkin," wherein the Nebraska outfit proves that you can indeed make a happy-sounding tune without ever smiling. ~ Peter J. D'Angelo, All Music Guide
'I Never Even Asked for Light'
Release Date 10/21/1997
Tracks 13
Label Bar/None
See Album Tracklist and Review
What The Critics Say
Slowly crafted between 1994 and 1996, the debut album by Lullaby for the Working Class could be easily categorized along with the alt-country of Palace and Wilco that developed around the same time. And while the Nebraskan foursome certainly base their sound in the same acoustic Americana of these other bands, their extensive use of classical arrangements and chamber instruments gives Blanket Warm a gilded edge over its peers.The hollow strumming on "Good Morning" builds to a crescendo with drums and violin that continues higher on "Honey, Drop the Knife." The group's pop-writing skills are displayed prominently on "Boar's Nest" and "Rye," while the lilting textures of "Eskimo Song Duet" and "Turpentine" show an equal ability to drop conventional arrangements and melodies in favor of mood and, in the case of the latter, which ends with the albums single histrionic outburst of voices which create an incredible impact.Singer Ted Stevens approaches his vocals with a Midwestern neutrality that is mercifully free of hillbilly affect. In fact, Lullaby for the Working Class never resorts to any of the down-home clichés so often found in new roots music. Instead, the group achieves a majestic sophistication that is akin to finding a Faberge egg in the middle of a cornfield. ~ Joshua Glazer, All Music Guide
