Any long-standing “greats” often veer into overproduction as a failsafe from, as far as I can tell, lack of confidence in their aged talent. They find a niche, their corner and stick there.
Now, this usually results in record after record of well, drivel. Stuff that doesn’t push boundaries, engage you in any way or create a lasting effect. But, this has surprised me. Don’t get me wrong there’re moments on this that are so noughties that not just my toes curl but my knees do. But, there are some seriously good grooves.
Robbie Robertson plays a character – he always has – but it’s not his seventies coke man, and it’s not his sixties rock star, but his eighties cool guy brand. He embraces cringe but really pulls it off – most of the time…
The songs are about love, heroes and villains, shanghai crime bosses and peace. They’re well put together, not overly produced, but sound a little like a Chris Isaak mix. You can tell it’s Bob-from-the-basement on guitar, but it’s nicely a full-band effort.
In a post-fact and very ironic world, Robertson comes across as a highly conceptualized figure, aware of his own pretentiousness. The thing is, I highly doubt he is in all honesty. And, that’s the problem with the whole record, it can drift into areas that are just too cringeworthy to stand. Most, if not all, listeners who read this will most likely experience that full-body sequel when some of his lines are sung. It’s a careful balance between acting ‘cool’ and being ironically cool in the process, and acting cool and coming across as an arsehole. Alex Turner and Alex Cameron are the two examples I’d suggest you think about before attempting to hear this.
By all means, if you go into this without a chip on your shoulder, its fun and stylised, sexy and groovy. If you can stand it for the full 58 minutes, it will reward you.
Haiku Review:
Bob Bob still got it,
But listen, prepare to cringe,
Don’t be serious,
Listen to Robbie Robertson on Spotify and Apple Music.
