Leftover Salmon/Cracker: O Cracker, Where Art Thou?

Andrew Gilstrap

Leftover Salmon / Cracker

O Cracker, Where Art Thou?

Label: Pitch-a-tent
US Release Date: 2003-05-06
UK Release Date: Available as import

Now here's an idea fraught with peril. Take perpetual wise-asses Cracker (spawned from seminal wise-asses Camper Van Beethoven) and pair them with the grassroots, decidely jammy Leftover Salmon. David Lowery and company have always had a smirk to their music that always threatened to overpower their chops, but it's safe to say that the Camper Van/Cracker collective is responsible for some genuine, lasting classics.

O Cracker takes some of those classics (at least from the Cracker side of the fence) and runs them up and down and through the hollers so they get a little bit of bluegrass in their blood. As usual, it's hard to tell how seriously to take the record, but the band's sense of fun is so apparent that the listener's best choice is to probably just go along for the ride and not worry too much. And it's a pretty fun ride, overall, even if Lowery's put-on drawl distracts whenever it pops up (but then again, we Southerners could just be a touch too sensitive to bad Southern accents).

In some cases, the songs didn't have that far to travel. "Lonesome Johnny Blues" had one foot in the country to begin with, so a little banjo and mandolin don't stir things up that much. "Mr. Wrong" also possesses a natural backwoods lope, and all the banjo plucking in the world won't suppress its gleeful, low-class heart. It's surprising, though, how well a song like "Sweet Potato" fares without the heavy riffage; here, it leads in with a rolling banjo line and settles into a largely acoustic groove with time for a tasty instrumental breakdown. Likewise, "Low" shouldn't work at all, but the group manages to make the intro banjo lick actually sound brooding, and from there it goes into a fairly conventional chorus and a pretty nice banjo/organ interlude. The real highlight, though, is "Waiting for You Girl", which also sounds like the most fully fleshed out song. Like the other ordinarily electric Cracker songs, it finds a way to translate the opening guitar riff's power. It also features one heck of a piano intro, before the whole thing gives in to piano, banjo, and slide guitar gods.

The whole thing does feel like a bit of a goof, despite the fact that much of it works. It's not likely Cracker and Leftover Salmon are trying to stake their claim in the Americana/alt-country landscape (other than what Leftover Salmon already occupies), and it doesn't feel like they're laughing (too loud) at the whole post-O Brother, Where Art Thou? landscape (despite the fact you'll never be able to get the title's tongue out of its figurative cheek). It sounds like they're just having some fun. No doubt, Lowery welcomed the chance to reinvent/twist a few of his band's old chestnuts, and Leftover Salmon probably enjoyed giving "Eurotrash Girl" a little country twang. At any rate, it's certainly in keeping with Cracker's recent performances and upcoming album under the guise of Ironic Mullet, where outlaw country covers carry the day.

It's certainly more satisfying than Camper Van Beethoven's recent rescue of Tusk from the archives. While Tusk has its moments, it also tends to wander off into the cosmos with little sign of returning. O Cracker plays it much more straight, for all the newgrass trappings and instrumentation, and ends up being a fun diversion as a result. Heck, half the time you can hear the band jabbering instructions to each other behind the music. They obviously didn't get bogged down in mapping out every nook and cranny of the songs; consequently, it feels way too anal-retentive to listen to the record with anything approaching critical precision. It feels better to just tap your foot and sing along.





The Kinks and Their Bad-Mannered English Decency

Mark Doyles biography of the Kinks might complement a seminar in British culture. Its tone and research prove its intent to articulate social critique through music for the masses.


ONO Confronts American Racial Oppression with the Incendiary 'Red Summer'

Decades after their initial formation, legendary experimentalists ONO have made an album that's topical, vital, uncomfortable, and cathartic. Red Summer is an essential documentation of the ugliness and oppression of the United States.


Silent Women Filmmakers No Longer So Silent: Alice Guy Blaché and Julia Crawford Ivers

The works of silent filmmakers Alice Guy Blaché and Julia Crawford Ivers were at risk of being forever lost. Kino Lorber offers their works on Blu-Ray. Three cheers for film historians and film restoration.


Rush's 'Permanent Waves' Endures with Faultless Commercial Complexity

Forty years later, Rush's ability to strike a nearly perfect balance between mainstream invitingness and exclusory complexity is even more evident and remarkable. The progressive rock classic, Permanent Waves, is celebrating its 40th anniversary.


Drum Machines? Samples? Brendan Benson Gets Contemporary with 'Dear Life'

Powerpop overlord and part-time Raconteur, Brendan Benson, grafts hip-hop beats to guitar pop on his seventh solo album, Dear Life.


'Sell You Everything' Brings to Light Buzzcocks '1991 Demo LP' That Passed Under-the-Radar

Cherry Red Records' new box-set issued in memory of Pete Shelley gathers together the entire post-reunion output of the legendary Buzzcocks. Across the next week, PopMatters explores the set album-by-album. First up is The 1991 Demo LP.


10 Key Tracks From the British Synthpop Boom of 1980

It's 40 years since the first explosion of electronic songs revitalized the UK charts with futuristic subject matter, DIY aesthetics, and occasionally pompous lyrics. To celebrate, here's a chronological list of those Moog-infused tracks of 1980 that had the biggest impact.

Reading Pandemics

Poe, Pandemic, and Underlying Conditions

To read Edgar Allan Poe in the time of pandemic, we need to appreciate a very different aspect of his perspective—not that of a mimetic artist but of the political economist.


'Yours, Jean' Is a Perfect Mixture of Tragedy, Repressed Desire, and Poor Impulse Control

Lee Martin's Yours, Jean is a perfectly balanced and heartbreaking mix of true crime narrative and literary fiction.


The 60 Best Albums of 2007

From tech house to Radiohead and Americana to indie and everything in between, the 60 best albums of 2007 included many of the 2000s' best albums.

Love in the Time of Coronavirus

Solitude Stands in the Window: Thoreau's 'Walden'

Henry David Thoreau's Walden as a 19th century model for 21st century COVID-19 quarantine.

Love in the Time of Coronavirus

Will COVID-19 Kill Movie Theaters?

Streaming services and large TV screens have really hurt movie theaters and now the coronavirus pandemic has shuttered multiplexes and arthouses. The author of The Perils of Moviegoing in America, however, is optimistic.

Gary D. Rhodes, Ph.D
Collapse Expand Reviews

Collapse Expand Features
PM Picks
Collapse Expand Pm Picks

© 1999-2020 All rights reserved.
PopMatters is wholly independent, women-owned and operated.