Creative �Urges�

My Morning Jacket explores its soulful influences

By Bill Earl

2008-06-04

Blast from the Past
Uncle Tupelo
“No Depression”
Rockville Records
1990
It is hard to lament for too long over the breakup of Uncle Tupelo, given that when the band splintered, it gave birth to southern juggernauts Son Volt and the stratospheric stars of Wilco. Yet during Uncle Tupelo’s brief run, it gave birth to a completely new genre of music: alt-country. These cowpokes were not content with Western’s limitations, so they infused some of their favorite punk twists into the mix. The 1990 debut was arguably their best, with the righteous noise and fury of tracks such as “Graveyard Shift,” “Whiskey Bottle” and “Flatness.” Never has rural angst sounded so good.

It is often difficult to understand how some bands make the leap from humble beginnings to creative genius. A classic example remains The Beatles, who transitioned from a solid pop group to rock-and-roll titans. In more modern times, it is effective to examine Radiohead, whose early Britpop was no match for its pioneering later work.

History will likely look upon My Morning Jacket’s fifth studio album, “Evil Urges,” as the turning point when a good band became a great band. Originating in the late-‘90s as a jammy take on southern rock staples such as The Allman Brothers Band and Lynyrd Skynyrd, the Louisville-based group first gained a cult following with its energetic live shows and tight grooves.

But on “Urges,” MMJ has developed a brand new element in its songwriting style — restraint. It was 2005’s “Z” that first developed the guys’ interest in composition, unleashing some nifty choruses and polished tunes. But the latest disc washes this formula with the classic FM cuts of the band’s youth.

Much like the kindred country spirits in Wilco, MMJ has finally discovered that its strength is anchored in utilizing roots music as a jump-off for rock, opposed to a final destination. After developing their chops as the reverb-soaked hippies of country, the boys have succeeded in turning their base sound on its ear.

Perhaps most surprising is the lead singer Jim James’ willingness to experiment and flex his penetrating vocals. Previously, he only sang to add another instrument to the mix, never making a serious stab at greatness. Yet the opening title track from “Urges” opens up a whole new world for the group, as James rides a taut falsetto over a stuttering soul beat unlike anything which has ever come out of the MMJ camp.

The surprises keep on coming. Headphone anthem “Touch Me I’m Going to Scream (Part 1)” ranks among the prettiest strokes of MMJ’s career. “Librarian” uncovers a veil of delicacy which has never been investigated by the heavyweights. And “I’m Amazed” is a modern update of the group’s classic sound, proof that James and company have not forgotten their roots.
“Urges” is not a perfect record, yet it is ambitious enough to make up for its shortcomings through soul and experimentation. It is unfortunate that few American bands find as much joy in uncharted territories, and hopefully others will follow in the footsteps of these modern melody kings.