It's a Wonderful Life

It's a Wonderful Life

by Sparklehorse
     
 

View All Available Formats & Editions

Along with the Flaming Lips and Mercury Rev, Sparklehorse crafts strangely beautiful -- and beautifully strange -- music inspired by down-to-earth sounds as well as spacey experimentalism. But where the Lips are lovably loopy and Mercury Rev is arty and wry, Sparklehorse wraps deep-seated, often uncomfortable

Overview

Along with the Flaming Lips and Mercury Rev, Sparklehorse crafts strangely beautiful -- and beautifully strange -- music inspired by down-to-earth sounds as well as spacey experimentalism. But where the Lips are lovably loopy and Mercury Rev is arty and wry, Sparklehorse wraps deep-seated, often uncomfortable emotions in layers of metaphors and static. However, the group's third album, It's a Wonderful Life, is its most open and direct work yet. Whether this has anything to do with the fact that this is reportedly singer/songwriter Mark Linkous' first substance-free work is arguable, but regardless, it's a noticeably more focused effort. Though it lacks Good Morning Spider's sprawling brilliance, it's possibly Linkous' most effective, and affecting, collection of songs. It's also his most collaborative album, with co-producer and Mercury Rev alum David Fridmann adding just the right amount of warmth and weirdness and the Cardigans' Nina Persson and PJ Harvey contributing backing vocals that rival their work on Gran Turismo and Stories From the City, Stories From the Sea. Persson's sweetly empathetic voice shines on "Gold Day" and "Little Fat Baby," while Harvey's passionate style fits "Piano Fire" and the brooding ballad "Eyepennies" perfectly. Driven by burbling keyboards, drum machines, acoustic guitar, and piano, and populated with spooky, homespun images of babies, teeth, nails, and horses, most of the album consists of gently unsettling ballads like the title track and "Apple Bed." Edgier, poppier songs like "King of Nails" and "Comfort Me" don't sound out of place, but the stomping, clunky, Tom Waits-lite of "Dog Door," which actually features Waits on lead vocals, is a distraction. The album's sweet, yet too strange to be conventionally uplifting songs like "More Yellow Birds" and "Babies on the Sun" convey It's a Wonderful Life's message best: Even at its weirdest, just being alive is pretty wonderful. Needless to say, so is the album.

Editorial Reviews

Rolling Stone - Arion Berger
[three and a half stars]...Musing, eerie and oddly lovely, It's a Wonderful Life is almost minimalist -- it captures fleeting moments in a few chords and peculiarly evocative phrases.
Entertainment Weekly - David Browne
"A-"...The brittle keyboards and violins make for the sound of an Appalachian funeral. It's the O Brother, Where Art Thou? For the modern death-obsessed introvert.

Product Details

Release Date:
07/10/2001
Label:
Emi Europe Generic
UPC:
0724352561629
catalogNumber:
525616
Rank:
60994

Tracks

Album Credits

Performance Credits

Sparklehorse   Primary Artist
Tom Waits   Sounds
Dave Fridmann   Bass,Piano,Glockenspiel,Mellotron,Wurlitzer
Mark Linkous   Acoustic Guitar,Percussion,Vocals,Moog Synthesizer,Sampling,Mellotron,chamberlain,Wurlitzer,Casio,Optigan,Prophet 5,Shortwave Radio
Scott Minor   Percussion,Drums,chamberlain,Korg,electronics
John Parish   Bass,Casio
Adrian Utley   Bass,Dictaphone
Bob Rupe   Bass
Jane Scarpantoni   Cello
Joan Wasser   Violin,Wurlitzer
Miguel Rodriguez   Drums
Alan Weatherhead   Mellotron,chamberlain,Lap Steel Guitar
Nina Persson   Vocals
Margaret White   Bass,Violin

Technical Credits

Dave Fridmann   Producer,Engineer
Mark Linkous   Producer,Engineer,drum machine,Orchestration
Scott Minor   Orchestration
John Parish   Producer
Joel Hamilton   Engineer
Alan Weatherhead   Orchestration

Customer Reviews

Average Review:

Write a Review

and post it to your social network

     

Most Helpful Customer Reviews

See all customer reviews >