Since signing to record label American in July 2008,
the Avett Brothers have not rested. They’ve been the
opening act for Dave Matthews Band, recognized as
a Best New Artist to Watch by Rolling Stone, graced
the cover of Paste magazine, been approved by
Oprah Winfrey, mentioned in Vanity Fair, extolled by
writer John Grogan of Marley and Me and actor Rainn
Wilson who plays Dwight Shrute on NBC’s “The Office.”
Their new CD, I and Love and You, is the magnum opus that
could catapult the Avett Brothers into notoriety with Grammy
Award-winning producer Rick Rubin spit-shining and polishing
harmonies and orchestrations to lip-smacking perfection.
Paradoxically, the glory of worldly fame is not celebrated in I and
Love and You. The onus to perform and the inevitable vicissitudes
of success resonate in the lyrics, ruminations of weary travelers
whose peregrinations have left them disillusioned and exhausted.
Ten of the 13 songs lie heavy as wet wool blankets sodden with
themes of self-doubt, loneliness and the ugliness of greed.
While Scott Avett plays banjo in only three songs, his twangy
picking is distinctive and succinct. Joe Kwon delivers exemplarity
cello performances as notes weave and linger with ethereal
luminosity.
Seth Avett’s guitar adroitly channels velvety classics
such as James Taylor’s “Fire and Rain.” And Bob Crawford’s
thunking stand-up bass anchors the tracks.
The Avett Brother’s 2007 Ramseur Records produced CD,
Emotionalism, serves as harbinger to I and Love and You.
The title track implores Brooklyn to take them in, much as
Emotionalism’s “Salina” where they are “down on their knees”
for Kansas.
A heavy piano solo, shades of the Beatles’ “Let It Be,” accompanied
by a stellar cello performance by Joe Kwon opens the
song.
A return to more traditional Avett roots is Seth’s endearing love
song, “January Wedding.” Scott’s banjo converses with guitar a
la the prelude to “Dueling Banjos” before diving into a crashing
crescendo of strings and snare.
“Head Full of Doubt, Road Full of Promise” commences with
a powerful hymnal style piano baseline and sinuous cello notes.
Rat-a-tat drums shake the fourth track, “And It Spead.”
Abruptly, the din is softened with gentle guitar and Seth’s sunny
voice.
“The Perfect Space” is part mournful symphony and part fullout
rock with Scott’s wistful voice singing:
“I wanna have friends
that I can trust that love me for the man I’ve become not the man
that I was”
“Ten Thousand Words” is a brilliant epic featuring heartwrenching
chord changes and a light guitar melody. Seth’s
impeccable harmony floats like a summer sheet over Scott’s
gravely voice.
With a signature chortle and caterwaul, Seth lightens the tone
with “Kick Drum Heart.” He borrows a stuttering ruse from
Emotionalism’s “Will You Return?” and a dash of Jamaicanlaced
flavor from “Pretty Girl from San Diego.”
Thump…thump thump thump….thump thump the song ends
with the kick drum sounding like a heartbeat.
While watching Scott whip the crowd into frenzy in a live
show, beckoning with his arms to “take you all for a ride” is a
very different experience than listening to the smoother more
melodious version of “Laundry Room,” though it is no less titillating.
The band kicks their heels up at the end in an unexpected
hodown circa 2003
“Ill with Want” summons a piano funeral dirge with Scott conjuring
shades of Gram Parsons.
“Tin Man” makes the cut to CD with it’s a smoothly orchestrated
drum and guitar set.
“Slight Figure of Speech” accelerates the mood with a fast paced
guitar rhythm reminiscent of Elvis at a clambake with bikini-clad
girls dancing the jerk. Inserted in the middle is a stattcato raptinged
refrain similar to “Talk on Indolence” from Four Theives
Gone — The Robbinsville Sessions.
“It goes On and On” is Seth’s sincere sonnet imbued with a
strong Darling influence (Seth recorded three CDs under the
name Darling in the bedroom of his childhood home in Concord.)
The last track, “Incomplete and Insecure,” features Scott’s voice
serrated with discouragement accompanied in sympathy by
Kwon’s cello. Scott’s reference to his insecure nature is in direct
conflict to Emotionalism’s “I Would Be Sad” lyrics where he
sings about his “easy confidence.” The Second Gleam’s song
“Murdered in the City” is also given a nod to lyrics in this song
where Scott acknowledges the value of family.
I haven’t finished a thing since I started my life/ I don’t feel much like starting now/ walking down lonely has worked like a charm I’m the only one I have to let down. Veteran Avett fans raise your arms in a collective cradle, a mosh pit to bolster Scott, Seth, Bob, and Joe. Then rejoice and wrap your arms around the new Avett Brother’s converts that I and Love and You will hook. Welcome them to Avett Nation, it’s the perfect space to gather and celebrate. !
