Music

Woody Pines: Rabbits Motel

Rabbits Motel might be an okay place to visit, but you certainly wouldn't want to live there.


Woody Pines

Rabbits Motel

Label: Self-Released
US Release Date: 2013-02-13
UK Release Date: Import
Artist website
Amazon
iTunes

Woody Pines is a rambler by nature. Living in trailers in Asheville, North Carolina, and now Nashville, Pines is the kind of performer who feels the pull of the rails as being a part of his nature. Indeed, his fourth album, Rabbits Motel, is an ode to the rootless lifestyle: "Hobo and His Bride" offers that anytime that a hobo dies, he gets to ride on the tail of Halley's Comet through the sky. You'll either find the sentiment romantic, or you'll be peeling in laughter at the sheer absurdity of the image. Well, Rabbits Motel is a record that unfortunately straddles the poles between punch drunk love and being just punch drunk: it is disarming and cloyingly silly in about equal measure.

While the album does boast some fine flashes to '50s rockabilly and country-and-western twang (with just a pinch of rock and jazz thrown in for good measure), the problem is that Pines has a wispy voice that doesn't carry through the material. When he sings the chorus to "Who Told Ya?", it sounds like an owl trying to cut through the cover of night. And when you're not paying attention to often silly lyrics, as outlined above, the album tends to work best taken in short spurts: most of the originals and covers included here are in the two-minute range; when Pines stretches out into the three and four minute terrain, as he does mid-record, the LP drags. Overall, there are worse albums out there than Rabbits Motel. However, the end result is so plain and generally uninteresting, you'd be better off living the experience of rail riding firsthand than living vicariously through Pines' lackadaisical and only sometimes successful yearnings here. Rabbits Motel might be an okay place to visit, but you certainly wouldn't want to live there. No siree.

5

In the wake of Malcolm Young's passing, Jesse Fink, author of The Youngs: The Brothers Who Built AC/DC, offers up his top 10 AC/DC songs, each seasoned with a dash of backstory.

In the wake of Malcolm Young's passing, Jesse Fink, author of The Youngs: The Brothers Who Built AC/DC, offers up his top 10 AC/DC songs, each seasoned with a dash of backstory.

Keep reading... Show less

Pauline Black may be called the Queen of Ska by some, but she insists she's not the only one, as Two-Tone legends the Selecter celebrate another stellar album in a career full of them.

Being commonly hailed as the "Queen" of a genre of music is no mean feat, but for Pauline Black, singer/songwriter of Two-Tone legends the Selecter and universally recognised "Queen of Ska", it is something she seems to take in her stride. "People can call you whatever they like," she tells PopMatters, "so I suppose it's better that they call you something really good!"

Keep reading... Show less

Morrison's prose is so engaging and welcoming that it's easy to miss the irreconcilable ambiguities that are set forth in her prose as ineluctable convictions.

It's a common enough gambit in science fiction. Humans come across a race of aliens that appear to be entirely alike and yet one group of said aliens subordinates the other, visiting violence upon their persons, denigrating them openly and without social or legal consequence, humiliating them at every turn. The humans inquire why certain of the aliens are subjected to such degradation when there are no discernible differences among the entire race of aliens, at least from the human point of view. The aliens then explain that the subordinated group all share some minor trait (say the left nostril is oh-so-slightly larger than the right while the "superior" group all have slightly enlarged right nostrils)—something thatm from the human vantage pointm is utterly ridiculous. This minor difference not only explains but, for the alien understanding, justifies the inequitable treatment, even the enslavement of the subordinate group. And there you have the quandary of Otherness in a nutshell.

Keep reading... Show less
3

A 1996 classic, Shawn Colvin's album of mature pop is also one of best break-up albums, comparable lyrically and musically to Joni Mitchell's Hejira and Bob Dylan's Blood on the Tracks.

When pop-folksinger Shawn Colvin released A Few Small Repairs in 1996, the music world was ripe for an album of sharp, catchy songs by a female singer-songwriter. Lilith Fair, the tour for women in the music, would gross $16 million in 1997. Colvin would be a main stage artist in all three years of the tour, playing alongside Liz Phair, Suzanne Vega, Sheryl Crow, Sarah McLachlan, Meshell Ndegeocello, Joan Osborne, Lisa Loeb, Erykah Badu, and many others. Strong female artists were not only making great music (when were they not?) but also having bold success. Alanis Morissette's Jagged Little Pill preceded Colvin's fourth recording by just 16 months.

Keep reading... Show less
9

Frank Miller locates our tragedy and warps it into his own brutal beauty.

In terms of continuity, the so-called promotion of this entry as Miller's “third" in the series is deceptively cryptic. Miller's mid-'80s limited series The Dark Knight Returns (or DKR) is a “Top 5 All-Time" graphic novel, if not easily “Top 3". His intertextual and metatextual themes resonated then as they do now, a reason this source material was “go to" for Christopher Nolan when he resurrected the franchise for Warner Bros. in the mid-00s. The sheer iconicity of DKR posits a seminal work in the artist's canon, which shares company with the likes of Sin City, 300, and an influential run on Daredevil, to name a few.

Keep reading... Show less
8
Pop Ten
Mixed Media
PM Picks

© 1999-2017 Popmatters.com. All rights reserved.
Popmatters is wholly independently owned and operated.

rating-image