Press for the Moll/Shananchie CD ('95/'97)
The Austin Chronicle
Roger Manning (Shanachie)
In the past 10 years, New York punk-folk vagabond
Roger Manning has played the role of sore thumb at both
SST and Shimy-disc, so it's no big surprise to find his
latest release pop up amid the indigenous music of
Shanachie. Recorded with a full band on four-tracks at
various Manhattan apartments, this album is Manning's
most realized effort to date. Austinites will no doubt
recognize the similarities between Manning and Hammell
on Trial. Both attack their beat-up acoustic guitars
with a ferocity that produces a, low growling sound.
The two artist share an affinity for half-humorous
introspection and leftist political causes. The
difference between these two brands of anti-folk,
however, is manifest in Manning's well-honed
songsmithing versus Hammell's preference toward
tangential rants. Manning's approach is form-fitting
for his tales of cross-country travel, American
indignation, and especially romantic woe. On "The
Pearly Blues #6 (Explanation Blues)" and "East 5th
Street Blues #5", he explores intimacies with a
thorough brush that nails difficult shades of gray
with remarkable accuracy. You really don't switch in
and out of love just like that and neither do Manning's
songs. It's a bit unfair to tag Manning as a confessional
songwriter in the tabloid age, but that moniker is
ultimately un avoidable. This is stark truth. The
difference between Manning and the average talk show
guest is his singular and unique way of framing life
stories.
-Greg Beets
Option Magazine
Roger Manning
Well, Manning is tenacious, that's for sure.
Years after the "anti-folk" movement failed to
move anybody, he's still plugging away. The even
bigger surprise is that Manning's new album is
notably better than previous ones. This may or
may not be due to the rowdy band behind him but
there can be no doubt that the percussive guitars
and thickened sound make a difference.
It helps that these are actual songs and not just
confessional poetry recitals with acoustic
accompaniment. The words fit mainly into the
lamentable tradition of it's-all-true, self
published poets but Manning avoids the genre's
pitfalls by writing the lyrics to be dense
and then performing them to be tossed off.
It's a clever way to ensure that you get
something whether you're listening to the
words or not. But the real clincher is the way
Manning and Co. ride the riffs like they were
breaking in a colt. At times it sounds like
they're racing for the song's end, creating
extra tension that finally puts the "anti-"
into "anti-folk", which previously tended
towards the indeterminable.
Perhaps that only means that Roger Manning
is a rock'n'roll record just as much as Dylan's
early electric albums were. Tune in for further
broadcasts.
-Lang Thompson
Germany
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