Product Description

Nomadic freak-folk revivalist Devendra Banhart's seventh release, 'Smokey Rolls Down Thunder Mountain', is a largely jam-based melancholic journey that takes in as much Zappa-esque humour as it does early Led Zeppelin folk influences. Withhis ever-changing band (under the name 'Spiritual Boner' atthe time of release) in full support, the record was recorded in the legendary Topanga Canyon region of LA where Neil Young and Joni Mitchell recorded some of their strongest material. Featuring collaborations from Pete Newsome and Vetiver's Andy Cabic, this acid-tinged release is an ambitious addition to Banhart's varied canon.

Track Listing

1. Cristobal
2. So Long Old Bean
3. Samba Vexillographica
4. Seahorse
5. Bad Girl
6. Seaside
7. Shabop Shalom
8. Tonada Yanomaminista
9. Rosa
10. Saved
11. Lover
12. Carmensita
13. Other Woman
14. Freely
15. I Remember
16. My Dearest Friend

Product Details

• Amazon Sales Rank: #15698 in Music
• Released on: 2007-09-24
• Number of discs: 1

Amazon.co.uk Review

The prolific Banhart is a one man Facebook, with his uncanny ability to network with an apparently endless series of collaborators, so it's not entirely surprising that "Cristobal", the first track on Smokey Rolls down Thunder Mountain, should feature an unlikely guest vocal from Mexican actor Gael Garcia Bernal. Clearly being bilingual in English and Spanish--Banhart grew up in Venezuela--doubles the names in his address book. Though not as instantly appealing as 2005's sprawling Cripple Crow, Smokey Rolls down Thunder Mountain is a genuine grower, starting slowly and giving up its secrets reluctantly. Arrangements that initially seem sparse feature more and smarter details than his previous records, his full band appearing throughout. So "Tonada Yanomaminista" ends with a spray of stinging lead guitar reminiscent of the Bay Area's original hippie outfits. "Samba Vexillographica" mutates from a traditional South American rhythm into something much stranger and heavier while "Seahorse" shifts from bluesy ballad to cool jazz section (owing plenty to Dave Brubeck's perennial "Take Five") before concluding with a heavy white soul outro, Banhart for once ditching the ethereal voice. The component parts are hardly original but the combination certainly is. Elsewhere "Lover" is a straightforward, yet irresistible homage to sixties Stax soul, "Carmencita" a jolly Latin rave-up, "The Other Woman" sparse, gender-bending reggae. "Shabop Shalom" is this album's faintly contentious throwaway, nearer to Jonathan Richman's `Egyptian Reggae' than political comment. It's silly really, but it's Banhart's lack of self-consciousness that makes him so engaging. --Steve Jelbert

Customer Reviews

Master of all trades
I read a recent review in a magazine that criticised 'Smokey...' for being a jack of all trades but master of none. It's true: there are a lot of styles and influences packed onto this album - if I could name them all, I would. That said, I think the album hangs together so well. Plus, there's not a duff song on show.

One exciting aspect of the collection for me is that it is more electric than some earlier albums. It seems some other reviewers prefer the stripped-back Devendra - and that's fine, obviously. But, this isn't a million miles away from where he's been before. It's like a progression from 'Cripple Crow' with a bit more rockiness rolling around. Add some funky steps, The Doors, stick with the good stories and humour... and you're just about there.

As you might gather I recommend this album. 'Seahorse' is one of the best songs I've heard. And, at 70+ minutes you're sure to find something you like if you buy.

Where there's smoke...
I became interested in investigating Devendra Banhart when I read that Michael Gira (of Swans) had "discovered" him and put out his first album. Then his name was mentioned here, on Amazon, in the same breath as Frank Zappa and Led Zeppelin. He's made a few albums already so I'm a bit late on the scene but anyway, what to make of it? From what I've read this is his most ambitious album so far, previous ones being more rooted in Banhart's admittedly leftfield take on folk-rock. This album rolls all right, it doesn't exactly rock. More accurately, it unfolds, in a series of dreamy episodes. There are Latin elements in places (and some lyrics in Spanish), there are bluesy elements elsewhere. On first listening it sounds a bit unfocused, and it probably is, but it takes better shape after a couple more listens and is rather good, in a laid back I-don't-care-about-daytime-radio-airplay kind of way. A smoking slow burner.

I like it, but I don't like it like I like some of his other albums
I like this album - it is elegantly put together, and has an enjoyable range of styles within it. I take what the other reviewer said; it definitely grows on you with a few listens.

Nevertheless, I still find myself pining for the type of stuff we had on Rejoicing in the Hands or Nino Rojo: very stripped-down songs, often just a voice and an instrument, where you could appreciate the achievement of making so much out of so little. While there is nothing much to complain about on this album, the increased production values, budget, and number of performers, means there is not much of this simple music to be enjoyed.

I'm slightly alarmed that I'm sounding like those grumpy folkies who cried 'Judas' when Dylan picked up an electric guitar, but as much as I enjoy the new stuff, it still jars a little - I keep waiting for a 'Will is my friend', and it just isn't there.

Basically, if this was a new artist/band I would probably have given it a higher rating, but because of my attachment to the earlier albums, I can't enjoy it quite as much as I'd like.