Record Review: The Raconteurs - Consolers of the Lonely

Rating: 6.0 / 10.0

Say what you will about them, but The Raconteurs took the world by storm a few years back with their debut, Broken Boy Soldiers. That record was more than susceptible to criticism, but what could not be denied about it and the band that produced it (and anyone who saw them perform live, this blogger included, will attest to it) was that both possessed an infectious and raucous energy. The big question leading into their sophomore effort, Consolers of the Lonely, then, was whether that energy could endure. Was it the product of their being on the same page musically, or was it the product of them all being excited to be part of a new project?

Consolers of the Lonely splits the difference between the two, but errs on the side of the latter. It is less dependent upon raw energy and more dependent upon the members' musical skill - displays of tight rhythmic aplomb and dynamic command. When it works, it works. They generate energy without needing to turn the speakers up to eleven, and the effect is powerful. But it doesn't always work. Sometimes the songs are just flat out boring, with no dynamic direction, no builds, no climaxes.

The Raconteurs have expanded their instrumental palette here; incorporating piano, organ, moog, horns, and even fiddle onto this record. There is much more sonic variety, but it is clear that they don't quite know when to use what instruments. Sometimes, like on "Old Enough", they bring in too many instruments and change the stylistic trajectory of the song for the worse. "Old Enough" should not have been a countrified, fiddle-laden square-dance number. Vocal hooks abound, and they would have been better suited to an approach like the one taken on "Hands" on the band's debut. Other times, like "Top Yourself", there isn't enough going on. This track would have benefitted from a little piano sprinkled in to support the electric guitar. When the piano finally does come in (with fifteen seconds to go), it's nowhere near soon enough. "These Stones Will Shout" is also too spare; by the time it actually does pick up, you will have lost interest, I promise, but you will get a taste of what the song should have sounded like: Benson and White's vocals blending seamlessly in front of straight ahead electric guitar.

Sometimes, they get it right. They are well-served by stepping out of their comfort zone on standout track "You Don't Understand Me" boasts a stunning interaction between piano and guitar with an instrumental breakdown that is perfectly tailored to be played live. "Carolina Drama" is the only good "mellow" song on the whole record; a wonderful collage of measures of rhythmic tightness, flashing glimpses of lead guitar, splashes of piano and fiddle (tasteful, this time), with an electric rhythm guitar lurking back in the mix, occasionally rising to prominence. On the other side of things, "Hold Up" is another fantastic track that shows a band playing to its strengths. A talented group of musicians with nearly unparalleled proficiency on their respective instruments with, all supporting the phenomenal guitar work of Jack White. Sadly, this is the only track where this happens.

We - or I - took it for granted that they would never make the wrong choice about who should sing a given song, but they make a few missteps here. Benson takes a crack at "Many Shades of Black", a tune that was written and arranged (beautifully) for Jack White's voice; it would have blended wonderfully with the rich mix of horns, offbeat accented guitars, and keyboards. I love Brendan Benson's voice, but it sounds out of place on this song. The next two songs show the band making the opposite mistake. Behind Jack White's monotone whine on "Five on the Five" can be heard the remnants of a carefully sculpted pop melody that needs the Benson touch. "Attention" shows Jack White trying to sound like Brendan Benson, with disastrous effect. Why try and mimic him when you've got the real thing on hand?

Consolers of the Lonely showcases all of the strengths and the weaknesses that were lurked beneath the surface of Broken Boy Soldiers. It shows The Raconteurs' ability both to take risks successfully as well as their fallibility as arrangers. It evidences their tightness, but also their inconsistency as a songwriting entity. We see their willingness to create energy without cranking up the volume and drive, but sometimes it gets a little boring. It's the classic sophomore slump, from a band that is trying to find its sea-legs, with varying degrees of success. Hopefully, the third record will show lessons learned.

-PTC