Smile

オルタナティヴ・カントリーの先駆的バンド、ジェイホークスの2000年の6thアルバム

Mojo - "...Thoughtful, poetic, adult music....a radio-friendly version of what they do best....their deep-rooted love of melody isn't diminished by the gloss..." NME - 6 out of 10 - "...The trace elements of British invasion pop, Big Star and the lonesome call of the bayou are still present in [their] sound, but SMILE states its intentions not to be alt-anything with each confident chord..." Entertainment Weekly - "...Famous for magnificent melancholia....They'll bring you down...and in the loveliest way....skirting the thin line between Gram Parsons and David Gates....prettily nervous." - Rating: B Q - 3 stars out of 5 - "...Sees them returning to their early principles with an extra helping of sonic gloss....essaying their classic chord progressions, pristine CSN&Y harmonies and timeless melodies." CMJ - "...The pop streak that cut across its rootsy rock...has come to full fruition on SMILE, a far more optimistic affair [than the act's last release]..."

With Smile, the Jayhawks drop yet another sizable chunk of their alt-country sound by the roadside, adding in its place healthy doses of power pop and modern electronic music. Almost half of Smile's songs feature looped percussion, overdubbed drum tracks, or flat-out, funky backbeats. Little blips of sound skitter underneath the mostly acoustic guitars on the wistful "What Led Me to This Town" and make "Queen of the World" a worthy candidate for a dance remix (if the Jayhawks were ever to consider such a thing). Their second record since the departure of founder and leader Mark Olson, Smile is meant as a direct reaction to the pessimism of Sound of Lies, their underappreciated, moody offering from 1997. Ironically, with the charismatic Gary Louris now fronting the group alone, they sound more like a band than ever before. Despite the modern touches, though, the fact remains that Smile retains just enough of a distinctly Americana feeling. On the warm and twangy "Better Days," one of Louris' best songs in years, he sings with genuine regret and heartache the way he treated a long ago lover, and on "Break in the Clouds" he celebrates the comforts of domestic contentment, complete with pedal steel and soaring harmonies that recall the band's landmark work Hollywood Town Hall from 1992. The general shift in direction may alienate a few long-term fans, but much like friends Wilco achieved with their adventurous Summerteeth, Smile's modern touches may bring even more people into the band's orbit. What never changes on the Jayhawks' albums, it seems, are the blissful melodies and well-constructed tunes, and that may just be enough for even the toughest critics. ~ John Duffy|