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It was only a matter of time before Julian Koster's strict adherence to dated recording techniques, oddball instrumentation, syrupy-sweet melodies, and relentless nostalgia would lead to a full-on circus sideshow. Bolstered by an ambitious Kickstarter campaign, Koster and his band of merrymakers plan to take their latest concoction, the typically lush, fractured, and kaleidoscopic Mary's Voice, on the road in style with The Traveling Imaginary, a mobile big-tent event replete with music, games, stories, films, and amusements. It's a fitting notion, as the 14-track collection of new material, the band's first since 2008's well-received Music Tapes for Clouds and Tornadoes, plays like a fire-twirling, tightrope-walking, funnel cake-devouring Sunday-afternoon performance with Koster wearing the top hat. Peppered with bursts of incidental music suggesting a surprised handshake between the Beach Boys' SMiLE and Tom Waits' Frank's Wild Years, Mary's Voice can sound much bigger than its 1930s Webster Chicago Wire Recorder and 1960s Ampex AG-440 four-track would imply, especially on standout cuts like the desperate and bountiful The Big Beautiful Shops (It's Said That It Could Be Anyone), the old-timey bard-pop ballad The Dark Is Singing Songs (Sleepy Time Down South), and the glorious last minute and a half of the sweet and sentimental closer, Takeshi and Elijah. There's nothing new here for the established Elephant 6 fan, as all of the collective's notable idiosyncrasies are present and accounted for, but while Koster's childlike enthusiasm, meandering, impressionistic lyrics, and Anglophile steampunk posturing may be the very definition of twee (or tweed, in this sense), like Willy Wonka, it's hard not to admire his Luddite tenacity, especially in an age that prefers instant gratification to pure imagination. ~ James Christopher Monger, Rovi
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This is a somewhat spruced-up version of Burke's 1969 Proud Mary album, containing all of the songs from that LP, and adding seven bonus cuts from 1969-70 singles and outtakes. Burke kept pace with changing soul and rock trends fairly well on Proud Mary, which has a funkier, bluesier deep soul feel than his more famous early- and mid-1960s Atlantic material. That feel didn't come about by total accident, of course; the record was recorded at Muscle Shoals, where he could sing with the area's esteemed session musicians, rather than the uptown New York players he'd worked with at Atlantic. There's a bit of a sense of Burke following the crowd rather than blazing his own path, and the song selection is a bit unimaginative (not that this was an unusual happenstance on soul albums). Still, even those are given respectable readings, and Burke also tackles a couple of songs Dan Penn co-penned, in addition to waxing one of his own, How Big a Fool (Can a Fool Be), which has that thin electric sitar-guitar hybrid sound peculiar to some pop-soul discs of the era. The bonus tracks are pretty interesting, including previously unissued covers of Bob Dylan's The Mighty Quinn and Sam Cooke's Change Is Gonna Come, along with some non-LP singles that showed Burke absorbing (as he had on the Proud Mary album) some contemporary rock influences. His own The Generation of Revelations, a 1969 single, made some fashionable lyrical bows to the counterculture; an odd 1970 single matched a post-Elvis Presley cover of In the Ghetto with the gospel rock of God Knows I Love You, written by the unusual songwriting team of Delaney Bramlett and In the Ghetto composer Mac Davis. ~ Richie Unterberger, Rovi
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