Travelin' Songs

Bright Eyes has certainly given us a lot to chew on the past few years. Like Ryan Adams, Conor Oberst is amongst the prolific singer/songwriter elite -- the rare breed that perennially delivers material that never quite seems to suck. Think of these guys as our generation's equivalent to 60's Dylan or 70's Springsteen. And like Adams, Bright Eyes' sound has flowed and ebbed over the course of its illustrious career -- a folk album here, a rock record there, but nothing too out of the ordinary from what we've come to expect of this band of troubadours. For the most part, everything Oberst has put out has been well-received from fans and critics alike. So when you slice and dice it, this is a band you can set your watch to. But it appears that this is the last thing Oberst wants. Taking this into account, it's only fitting that he has opted to drop the "Bright Eyes" moniker this go around, along with the band that has faithfully been at his side for the past decade. On his first foray outside of the Bright Eyes realm, Oberst embarks on a solo stint in which everything is literally up for grabs. The only thing that really connects the dozen or so tunes on this debut is the fact that they are all decidedly inspired by the places Oberst has frequented by way of his day job. And here's the kicker: for an album that was written and recorded in Mexico (of all places), this one straight up Americana. With songs that reference places as far-reaching as northern California, New York, and Florida, Oberst and his Mystic Valley Band are all over the place on this one. At times simplified and acoustic ("Eagle On A Pole," "Get Well Cards), while at others times even dabbling in old-fashioned county fair hoedown ("I Don't Want To Die," "NYC - Gone, Gone"), this album has all of the elements of a an alt-country endeavor for the ages. The better news is that Oberst's consistency is still here. Just because he's playing with a new crew here doesn't mean he's lost his signature songwriting touch. For those of you craving the Bright Eyes of yesteryear, the swingy "Danny Callahan" could have fit very well on Cassadaga . Other than this, we are served up a new, upbeat helping of Conor Oberst that explores new grounds while borrowing from successes past. And although it's evident that this one's a side project intended to bide his time before creating the next inevitably phenomenal Bright Eyes record, Oberst, in the meantime, succeeds at winning over some new fans while successfully treading some new welcomed territory.

My Rating: 7.7/10