Pete Yorn Albums (5)
What The Critics Say
Pete Yorn throws open the studio doors with Back & Fourth, his first album to feature heavy contributions from a backing band. Drummer Joey Waronker, guitarist Jonny Polonsky, and former Azure Ray vocalist Orenda Fink are among those featured, and the presence of producer Mike Mogis -- chief architect of the Saddle Creek sound -- gives the material a tasteful gloss. Traces of Californian folk-rock can be found throughout these ten tracks, particularly in the jangle of "Last Summer" and the breezy, coastal sway of "Paradise Cove." Nonetheless, Yorn's fourth album is a fairly depressed affair, eschewing the West Coast's sunny weather for the lonely, windswept vistas of Nebraska, where the album was recorded in early 2008. There's beauty here, yet it's more melancholic than buoyant, with Yorn giving the most screen time to his failed relationships and various missteps. "Same old town, loose ends surround me, always drags you down," he sings on the album's final track, an elegiac piano ballad brimming with vibraphone, upright bass, and understated guitar. Songwriters don't have to be happy to deliver a good hook, of course, and tunes like "Close," "Last Summer," and "Shotgun" balance Yorn's temporary gloom with tight pop/rock songcraft. The bulk of Back & Fourth is more insular, though, serving as Pete Yorn's personal therapy rather than his audience's ear candy. ~ Andrew Leahey, All Music Guide
What The Critics Say
Pete Yorn is finally carving out a sound that's uniquely him; no more Ryan Adams comparisons are necessary, for the Jersey-born singer/songwriter has written some of the most complex songs of his career to date with Nightcrawler. While the title might suggest something a bit more dark and dramatic, Yorn embraces the warmer sound of his previous work to create a rich, picturesque batch of songs. Having producer Butch Walker in tow is a great move for Yorn, too, for he finally seems content with his artistic place. In addition, producers Tony Berg and Michael Beinhorn focus on the simplicity of Yorn's familiar, country-inspired sound; however, those who reveled in the hungry delivery of his 2001 debut Musicforthemorningafter may question Nightcrawler's natural rock stamp. From the shivering slow build of "Vampyre" and the reaching desire of "For Us" (which also features Dave Grohl on drums) to the road trippin' golden tones of "Maybe I'm Right," Yorn sounds pretty self-assured this time out. The Kinks-ish "Georgie Boy" and the murky synth beats of "Same Thing" highlight more of an experimental side to the guitar-centered Yorn, and such a slight change in sound is swiftly done. The Dixie Chicks' Martie Maguire and Natalie Maines also lend a hand on "The Man," a classic ballad from the natural-born troubadour. Overall, Nightcrawler breathes easily, and despite it missing the fire of his first record, it's a worthy piece of work. "Undercover," which is featured on 2002's Spider-Man soundtrack, and "Splendid Isolation" from the 2004 Warren Zevon tribute Enjoy Every Sandwich: The Songs of Warren Zevon are also included here. ~ MacKenzie Wilson, All Music Guide
'Live from New Jersey'
Release Date 1/1/2004
Tracks 20
Label Columbia/Sony
See Album Tracklist and Review
What The Critics Say
Since making an impressive debut in spring 2001 with the country-rock-flavored Musicforthemorningafter, singer/songwriter Pete Yorn has gained a loyal fan base. The double-disc set Live From New Jersey highlights Yorn's undeniable star power both as a lyricist and as a performer. So what if his second album, 2003's Day I Forgot, didn't fare well with the critics. Yorn has already established himself to be a real artist. His live shows capture the grit and soul that's not as obvious on a studio-produced album, much like Ryan Adams and sometimes Eddie Vedder. His honesty and earnestness is apparent, but Yorn is so much more convincing when he's performing these songs on-stage. A cover of bluesman Junior Kimbrough's "I Feed Good Again" kicks things off, a textured acoustic number that sets a confident tone for the evening. He rummages through the bulk of his only two albums, and songs such as "Black," "Long Way Down," and "Strange Condition" are evenly spread throughout, capturing the simplicity of disc one. His biggest hit, the feel-good rush of "Life on a Chain," maintains the momentum of Yorn's infectious live show for disc two. His backing band -- guitarist Jason Johnson, drummer Luke Adams, pianist Joe Kennedy, and bass player R. Walt Vincent -- have never sounded tighter. Live From New Jersey sweats with their and Yorn's excitement for putting on a solid live show. "For Nancy ('Cos It Already Is)" and cover version of Elvis Presley's "Suspicious Minds" prove that furthermore. "Bandstand in the Sky," which was written on the day Jeff Buckley died and is a tribute to him, is even revamped for bittersweet country-rock romp compared to its original somber flow. Yorn is personable in concert, too. He laughs and jokes with the crowd. His most charming moment comes prior to delivering "Crystal Village," where he explains that someone accused him of mimicking Cat Stevens. Yorn insists that such an opinion is ridiculous, for he ripped off Wilco on "She's a Jar" instead. The only similarity that Yorn shares with Wilco is that they're both talented musical acts. Yorn and Jeff Tweedy wear their hearts on their sleeves, in turn seducing the pants off anyone who pays attention. Live From New Jersey will surely do the same. If not, Yorn doing a cover of Bruce Springsteen's "Atlantic City," let alone performing the song in the Boss' home state, should do it. [Live From New Jersey was originally available as an exclusive release on Yorn's official website.] ~ MacKenzie Wilson, All Music Guide
What The Critics Say
Perhaps the most appealing aspect of Pete Yorn's 2001 debut, Musicforthemorningafter, was its seamless combination of quirky, Brit-pop-influenced production and rootsy, tuneful songwriting. Day I Forgot, Yorn's sophomore effort, scales back the Smiths-influenced guitar work, scratchy-old-record sound effects, and delicate acoustic balladry in favor of a more straightforward approach. After the unnecessary 47-second opener, "Intro," Day I Forgot buds off to an impressive start with "Come Back Home" and "Crystal Village," a pair of the upbeat yet desperate rockers that will remind Yorn's audience why they started listening to his work. Unfortunately, the pace slackens with "Carlos (Don't Let It Go to Your Head)," which is dominated by an overblown, rudimentary guitar riff and for the most part unintelligible lyrics instead of Yorn's traditional mark-up, catchy melodies and emotive vocals. The rest of the album is comprised of well-crafted, earnest, midtempo numbers that, while certainly above average as a whole, tend to blend together. Luckily, Yorn throws in a wild card just as Day I Forgot threatens to coast to an agreeable yet lackluster conclusion. "Burrito"'s lyrics are undeniably goofy, but Yorn pulls them off by pairing them with fierce guitar work and an infectious, urgent chorus. It's the most unabashedly energetic (and fun) song of the set, and stands out in much the same way that "For Nancy ('Cos It Already Is)" did on Yorn's previous release. Ultimately, Day I Forgot lacks the emotional poignancy and experimental sonic character present on every track of Musicforthemorningafter, which was so intricately detailed that repeated listens were not only rewarding, but mandatory. However, it's hardly a disappointment. Enough quality material is present to keep Yorn near the top of the list of rock's up and coming singer/songwriters. But while fans were more than happy to spend two years listening to Musicforthemorningafter while waiting for his follow-up, they may have trouble spending that much time with Day I Forgot before his next release. ~ Mark Vanderhoff, All Music Guide
'Musicforthemorningafter'
Release Date 3/27/2001
Tracks 14
Label Sony
See Album Tracklist and Review
What The Critics Say
South Jersey singer/songwriter Pete Yorn wears his heart on his sleeve like Whiskeytown's Ryan Adams, delivers seductive vocalics similar to Jakob Dylan, and plays into passion and emotion like Jeff Buckley. The year 2001 belonged to Yorn, and his critical praise was not unwarranted, and Musicforthemorningafter, his debut for Columbia, marks a stunning beginning. It's a raw selection of heartland and American trad rock, yet Yorn's love for Brit-pop is also quite evident. Songs such as "Sense" and "Simonize" resemble threads of the Smiths, and are delicate with breezy acoustics woven inside of Yorn's hushing vocals. Rhythmically, Yorn is a perfectionist -- he plays nearly every instrument on the album and nothing is left unopened or lost. "Strange Condition" illustrates a sentimentality that is quite endearing. He isn't concerned with an image, regardless of the press making him out to be the hip poster boy. He only yearns to write the perfect pop song. Not totally playing into the lush side of things, he does rollick his way through a hearty selection of songs. Debut single "Life on a Chain" is twangy with an honest impression; down-home acoustic riffs are brawny and a definitive song craft is cast. The fierce melodies found on "For Nancy ('Cos It Already Is)" and "Murray" support Yorn's dear heart with a cord of mystery. Musicforthemorningafter arrived when modern rock was looking for an outlet to escape alternative metal popularity. Yorn isn't afraid of becoming pop, for it's with a rugged edge and that's quite all right. ~ MacKenzie Wilson, All Music Guide
