Ritter breaks old habits with successful new mix
What has Josh Ritter conquered? He has conquered his fourth full-length studio album, The Historical Conquests of Josh Ritter, and with it the challenge of following up a critically acclaimed volume of work without disappointing. The lone Roman helmet on the album cover only alludes to Ritter’s epic intentions, and after the first listen it becomes obvious that he is exploring new musical territory in what may be his best album yet.
Ritter’s previous work is from a singer-songwriter of the traditional sense — Hello Starling (2003) seemed to be the product of a quiet room and his guitar — but Historical Conquests is more upbeat, raucous, and whimsical. The first track, “To the Dogs or Whoever,” references Joan of Arc, Calamity Jane and Florence Nightingale, and all of them are stuck inside the belly of a whale. On his Web site, Ritter explains that these legendary women followed inner voices, something he attempted to do with this album. In keeping with that theme, the song serves as a thesis of sorts for Historical Conquests.
The next two tracks, “Mind’s Eye” and “Right Moves,” keep up the pace, and although they are both perfectly danceable, a slightly somber substance lies beneath them. In “Right Moves,” Ritter exclaims, “I traded all the innocence I ever had for hesitation.”
The fourth song, “The Temptation of Adam,” slows to a thoughtful, more subdued pace and an unusual storyline where Ritter sings to a girl he loves inside a missile silo. Yes, all the songs on the album are melodically pleasing and even down-right catchy or worthy of head-bopping. But it is these crafted whale- and World War III-themed poetic fictions that make Ritter so good.
There really are no songs on the album that do not merit a turn with the repeat button. “Open Doors” and “Wait for Love” are intimate and relatable, the latter a melancholy song about being on the rebound. “Rumors” is funkier — Ritter’s version of hard rock with an Elvis-style croon for lines like, “He’s trying to forget you but the music’s never loud enough.”
The disc even includes a delicate instrumental interlude, “Edge of the World.” It serves as soft respite before listeners delve into songs like “Still Beating” and “Next to the Last True Romantic,” both exercises in bitterness.
Especially for all the girls out there, Ritter does inject certain raunchy lyrics like, “I’m gonna kiss you where the sun don’t shine,” and, “Lemonade on your breath, sun in your hair, did I mention how I love you in your underwear?” into the mix. Balanced by his broken-heart libretto, their presence may not make Ritter the kind of man nubile girls will slip backstage for. But he still retains his own brand of sexy.
These many layers make The Historical Conquests of Josh Ritter a complex and worthwhile experience. Some loyal Josh Ritter fans will be disappointed by the obvious change of style. In fact, Ritter’s songwriting process changed during the creation of this album — he chose to write without the guitar, coming up with the melodies and words separately, at times aided by a piano he did not know how to play.
The truth is growth and experimentation keep musicians interesting. Wherever Ritter ventures from here, Historical Conquests makes it evident that it will be the product of a talented musician.
Other arts & entertainment stories
- Moralistic Nanny Diaries avoids children's plot
- Morbid Funeral presents stiff characters, unoriginal comedy
- Truly racy theater, art strips values, not clothes
- Two summer documentaries make hard, sound arguments
News
- McMurtrys break 10th college ground
- Riggs departs for A&M
- Sociology Chair Gordon remembered for candor
- Theater director Rigdon to leave Rice, academia
- Williams resigns post in student activities office
Sports
- For new coach Bailiff, trust is earned, not assumed
- Forget about predictions; let's focus on how much we really know
- Volleyball loses two of three to christen new home